art 2001/2
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Vizualumo transgresijos

by Virginijus Kinčinaitis

It seems that before long visual arts will become totally integrated into the context of contemporary visual culture. Does it mean that their criticism will also dissipate in the stream of interpretations of visual culture? This tendency is already obvious. A text of art criticism about a show of contemporary art frequently becomes a study of visual anthropology. However, a reverse trend can also be observed – a contemporary thematic exhibition of visual art (e.g. “Self-Respect” curated by Anders Kreuger in the Contemporary Art Centre, 04 09 2001) can be called a visual-anthropological research of the national identity, therefore its interpretation by means of the classical methodology of aesthetics does not reveal the basic feature of this kind of art – its dispersion in the context of visual culture.
The exhibition mentioned above can be discussed in view of the curator’s intentions, but it can also be regarded as a symptomatic reciprocal magnetism of a voyeuristic camera and social otherness, where an artistic intention is replaced by anthropological reflection on social antagonism and socially constructed reality. The suggestion of this kind of reflection seems to be enhanced by the “objectivity” of a photo or video camera, as one is watching the reality from a distance. On the other hand, research of contemporary visual sociology in the context of this kind of work can be more eloquent than an artist’s amateur attempt to systemize and criticize the social reality by means of images. These attempts are further undermined by studies in visual anthropology, when the accumulated visual material is no less informative and moving as part of some contemporary artistic project or an artist’s creative attempts on the whole. In the stream of contemporary visual information the separation of art and not art seems to gain more significance than the problem of authorship, mediation, assimilation, distribution or means of consumption of images.
In his text the author briefly discusses the visual transgressions of contemporary art focusing on the main problems of interaction between the contemporary society of “spectacles”, images and simulacra, and this kind of art.

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