art 2004/1
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Pushwagner (Norvegija). Manhetenas. 2004, lenta, tušas, akrilas, 400x220
Vilniaus tapybos trienalė. Vilnius, Šiuolaikinio meno centras (2004 05 14–06 13)

Aušra Barzdukaitė-Vaitkūnienė. Kai kankina troškulys, vaikščioti per žarijas vieni niekai. 2003, drobė, aliejus, pelenai, pastelė, 150x200
Vilniaus tapybos trienalė. Vilnius, Šiuolaikinio meno centras (2004 05 14–06 13)


Seven Rules of Painting

by Ignas Kazakevičius, Rita Mikučionytė

The painting triennial continues the tradition of the forum started back in 1969. The Vilnius Painting Triennial has mainly focused on the art of the Baltic countries, Lithuania, Latvia and Estonia, with just a few artists representing other regions. Ground breaking in its history was the last, the 11th, event: it discarded the old concept of featuring painting of the Baltic countries and their guests, introducing a new approach of presenting painting in the Baltic countries and elsewhere.
The aim of the triennial ‘Seven Rules of Painting’ is to trace the obliterating boundaries of painting in a contemporary work of art. At the same time, it records how the language of modernism is gradually transformed into that of postmodernism. The traditional painterly structure and its relationship with content is deconstructed, instead, a different painting is created in a new synthetic (non-painterly) language. The latter is perceived as giving up materiality, matter and the concept of a three-dimensional form. It enters a complex, multi-layer space and time, assumes the nature of a process. Concrete goals of painterly effect are replaced by stating the fact of the phenomenon of painting (e.g., reflections on manifestations of the cited developments). In such case, content is perceived as associations of the painterly.
The work of international artists, both showcased at the Contemporary Art Centre and reproduced in the catalogue, demonstrates commonalities, parallel points of reference, and approach to key issues in contemporary painting (structure of the painting, the meaning of colour and texture, the attempts of painting to approach three dimensional objects and establish itself within the fourth dimension of time). The context that provides for drawing parallels and looking for counterparts encourages a wider discourse on the endeavour of contemporary painting in general.
The image of colour scale has been chosen to provide an overview of this particular forum. This scale encompasses seven tones, Seven Rules of Painting. With a more specific focus on the shifts in Lithuanian painting and its internal dialogue, we would like to propose the concept of a Label. The label is a certain scale of emotions, formal structure, and colours. Thus the entrance into exhibition rooms and individual works will have a label attached indicating their colour scale.
The focus of the 12th painting triennial is on Lithuanian artists. Traditionally, the painter Antanas Gudaitis (1904-1989) is considered father of Lithuanian colouristic school. This year is the 100th anniversary of his birthday.
The triennial is organised to explore mirror elements in the works of foreign and local artists. The twinning of Lithuanian and foreign painters is also extremely relative. This freedom of choice is very attractive.

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