Atminties slinktys Nacionalinės dailės galerijos ekspozicijose: nuo paveikslų monologo prie pasakojimų polilogo

LT2009 m. rekonstruotoje Nacionalinėje dailės galerijoje Vilniuje buvo įrengta nauja XX a. Lietuvos dailės ekspozicija, tapusi svarbiu etapu, pristatant visuomenei Lietuvos nacionalinio dailės muziejaus rinkinius ir formuojant šiuolaikinę kultūros atmintį. Išplėtojusi pasakojimą apie moderniosios Lietuvos dailės raidą, didaktiniuose tekstuose pabrėžusi dailės savimonei įtakos turėjusias politines ir visuomenines aplinkybes, kultūros bendruomenėje ji buvo sutikta nevienareikšmiškai. Kritikos sulaukė naratyvo monologiškumas, socialinio ir kultūrinio konteksto stoka bei fragmentiškas šių dienų meno pristatymas. 2019 m., remdamasi išsiplėtusiais ne tik dailės, istorijos, bet ir kitų humanitarinių mokslų tyrimais bei kritine atminties analize pasaulio muziejuose, NDG atnaujino XX a. antros pusės–XXI a. Lietuvos dailės ekspoziciją, sukurdama moderniųjų laikų atminčių polilogą, skatinantį ne tik kultūrinę, bet ir platesnę socialinę diskusiją muziejuje. Besipinantys naratyvai, dauginis laikas, svaresnė moterų kūrybos ir šiuolaikinio meno reprezentacija – nauji kolektyvinės atminties (de)konstravimo muziejuje įrankiai. Reikšminiai žodžiai: muziejus, Nacionalinė dailės galerija, muziejaus ekspozicija, atmintis, naratyvas. [Iš leidinio]

ENThe article aims to compare the permanent expositions set in 2009 and 2019 at the National Gallery of Art, from the point of view of (de)construction of cultural memory, assessing the potential of the museum collections, which were supplemented during the years of regained Independence, for the development of new narratives. The approach of critical studies of museums is applied, perceiving the museum as an institution constructing collective memory and thinking about the expectations associated with museums today and the directions of accumulation of collections. In the 20th-century Lithuanian art exposition of the year 2009, a mixed story, combining chronology and thematic accents, has been created. Its structure was formed by selecting works in the repositories of the Lithuanian National Museum of Art, representing the movements of modern and contemporary art fixed in Lithuanian art historiography, their participants, and focusing on the structure of the exhibition space. The didactics reflected the changing attitudes towards the local circumstances that led to art life and significant international interactions. The spatial projection of the narrative was embodied in the practice of art museums in the usual form of a “white cube”. Having developed a coherent narrative about the modernization of Lithuanian art, this exposition was ambiguously perceived by the cultural community. It was argued that halls equipped with modernist principles reflect the art itself (and the museum collection) rather than forming a new memory of modern society. The monologue of the narrative, the lack of social context, the traditional exhibition and the fragmentary presentation of contemporary art were criticized.In the National Gallery of Art of the year 2019, the part of the permanent exhibition was renewed, covering the 2nd half of the 20th century and the beginning of the 21st century. It was supplemented with new artworks, especially the artworks acquired by the museum and borrowed from other collections after 1990, as well as contextual documentaries, in order to achieve a polylogue of modern memories, which promotes a wider cultural discussion in the museum. Intertwining narratives, multiple time, thematic multilingualism of exhibits, representation of women’s works, a heavier load of contemporary art are the new tools of (de)constructing of collective memory in the exposition. They are effectively aided by a spatial installation that combines the principles of traditional museum expositions, repositories, contemporary exhibitions, and the display of art in public spaces, increasing engagement and emotional impact on viewers. A comparison of the expositions of the National Gallery of Art separated over a decade shows that different models of curation and exhibiting principles have led to the creation of non-identical models of cultural memory. The former model was of a monologue type and more modernist, and the latter – polylogical, seeking the heteromnemonics characteristic of modernity. The analysis leads to the conclusion that the implementation of the renewal of the exposition of 2019 was largely made possible by works of art acquired during the last 30 years. The reorganization also opened important directions for supplementing the museum’s collections. [From the publication]