art 2001/2
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Arvydas Stanislovas Každailis.
Istorinės vėliavos rekonstrukcija.
2001

Ieva Martinaitytė-Mediodia.
Tapybos instaliacija Migruojanti neurogenezė.
2001


“Intact” Concepts

by Jurgita Ludavičienė

The exhibition “Self-Respect” presented by the Swedish curator Anders Kreuger at the Contemporary Art Centre is charged with multiple conceptions. Placed under a microscope, the Lithuanian nation, for which the word “self-respect” arouses an ambiguous reaction, demonstrates a meagre visual vs. powerful mental result of the analysis in the hands of the independent curator. Anti-visual character. To show is not an aim of this exhibition. It is rather an attempt to explore by visual means in what way the image of the nation is realized (from the press release). The nation’s image is being explored by dividing it into constituent parts: Man, Capital, Country; Chronicle reminds us of the past, and Life tries to reflect the present. What stereotypically saves the nation is presented under Earth, and the way the nation tries to present itself is
depicted in the Stage. This casting of roles reminiscent of a baroque performance sounds deceptively attractive. However, in reality this performance unfolds in a languid and boring manner. Selbstbewusstsein. The same artists of the Contemporary Art Centre demonstrate their feeling of self-esteem, self-assuredly claiming that be it a young or an old, a foreign or a Lithuanian curator, they will continue to exist in their patrimony with the same or new works that can be adjusted to any conception. History. It seems that at the present time official history could become a real magistra vitae. The curator’s wish to address the history in which he has not taken part himself looks rather strange and initially intriguing: it can bear a fruit of distanced wisdom. In reality it becomes another attempt to identify oneself with someone else’s history and to identify us with the not-yet-forgotten past. Anti-emotionality. Untamed divided spaces and inconspicuous works do not encourage a spectator to collaborate or try to guess the “encoded” meanings and conceptions. The creative energy in these works has turned into drained potential. Laboratory. The exhibition is reminiscent of an abandoned institute of scientific research, where one can spot traces of the executed experiments. Experiences. Works claiming to have artistic quality rather than being mere illustrations of “art practice” or “art theory” do not save the exhibition; existing somewhat separately, they remain stuck in the haze of inactivity.

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