Tikrovė ar imitacija? Neįprasti vaizdų kūrimo atvejai Lietuvos fotografijoje iki 1940 metų

LTTiriant prieškario Lietuvos fotografiją kaip vaizdais atspindėtą šalies istoriją, teko pripažinti, kad įvykius ar asmenis dokumentuojanti istorinė fotografija ne visada atspindi tą realybę, kurią iš pirmo žvilgsnio regi mūsų akys. Šiame straipsnyje aptariamos tos Lietuvos regionų fotografų 1918–1940 m. darytos nuotraukos, kurios yra neįprastos ir simuliuoja tikrovę. Remiantis šių nuotraukų metaduomenimis, fotografų bei portretuojamų asmenų biografijomis ir pasitelkus fotografijos meno pavyzdžius, svarstomos tokių atvaizdų atsiradimo aplinkybės, funkcionavimas šių dienų fotografinio paveldo tyrimų kontekste. [Iš straipsnio, p. 56]

ENThe article investigates the photos taken by photographers of Lithuanian regions that reflect unusual and simulated reality between 1918 and 1940. On the basis of metadata of the discussed photographs, photographers’ and portrayed persons’ biographies, on the basis of the examples of photographic art, the circumstances in which such images appear, their functioning in the context of today’s photographic heritage research, are discussed. The examples under analysis – photos for memory, where portrayed people are dressed in the clothing of representatives of the opposite sex, however, they are created as traditional photo portraits. In such photographs simulated reality without comments, what is captured in them, today can be read and perceived not as played scene, not as the image of people dressed in other sex clothes, but as the image of real people. Thus historic photography documenting events or people not always reflects this reality which is visible at first glance and is perceived by our consciousness. Another group of the photographs under discussion are portraits created using different manipulations: pictures are doubled, portrayed people are photographed near the decorations that create illusory reality, by means of photo montage they are “loaded” into an imaginary, really non-existent reality. However, this way of portrait construction requires a photographer’s professionalism, thus the obtained results sometimes show the lack of a photographer’s financial opportunities, professional skills, and aesthetic awareness. [From the publication]