Litva bez utopije – izložba

image007U subotu 21. studenog u 19 sati u Galeriji fotografije Fotokluba Split, Marmontova 5, otvara se izložba fotografija mladih litvanskih autora Litva bez utopije – Lithuania Without a Utopia. Otvorenju će nazočiti Kulturni ataše Republike Litve za Hrvatsku i Austriju – gđa. Rita Valiukonyte. Biti će izloženo 25 fotografija od 10 autora. Izložba je otvorena do 4. prosinca 2009.

Izložba mladih litvanskih autora pod nazivom “Litva bez utopije” je pogled na suvremenu Litvu očima mladih. To je prava, fragmentirana sadašnjost zemlje, bez idealizma i unaprijed stvorenih pojmova, vrlo subjektivna, osobna i opipljiva. Ovaj pregled rada mladih umjetnika je prilika ne samo da biste dobili pregled svježih trendova nove umjetnosti, nego i za vidjeti drukčiju Litvu, koja je kritična, hrabra, i nesentimentalna.
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U fotografijama tih mladih litvanskih umjetnika, čovjek je nesretan, tvrd, ponosan, slobodan, imun na rutinu, sanjar, i zbunjen. Ali najvažnija stvar je da on ne predstavlja Litvance ili nacionalni identitet. Ovi mladi umjetnici ne koriste etnografske impulse kako bi pokazali neki poseban aspekt regije koja bi izgledala ljepše za turiste. To je razlog zašto oni potvrđuju univerzalnost kroz konkretne ljudske priče.

(Iz predgovora izložbi – Birutė Pankūnaitė)

Autori: Akvilė Anglickaitė, Joana Deltuvaitė, Rasa Juškevičiūtė, Paul Herbst, Robertas Narkus, Ugnius Gelguda, Vytautas Michelkevičius, Tadas Šarūnas, Vilma Samulionytė, Laura Stasiulyt.

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Vytautas Michelkevicius, “Sovarch schema”

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Tadas Sarunas, “Lietuva didelis”

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Ugnius Gelguda ?Gravitacija”

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Vilma Samulionyte ?Dublin 3337. Neringa”

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Vilma Samulionyte

Lithuania Without A Utopia

The exhibit of young Lithuanian photograhers entitled “Lithuania Without A Utopia” is a look at contemporary Lithuania through the eyes of young people. It is the real, fragmented present-day of the country, without idealism and preconceived notions, very subjective, personal and tangible. This overview of the work of young artists is an opportunity not only to get a preview of the freshest trends of new art, but also to see another Lithuania, one that is critical, courageous, and unsentimental.

It seems, that the work of these young artists have outgrown the set borders of the reportage-like and lyrical classical Lithuanian photography and are looking for other criteria connected with conceptual contemporary art. However it is also clear that in conceptualizing these images, they also outgrown the continuation of the tradition of denial. They have simply chosen another view towards reality and the comprehensiveness of other ideas. The photographs have kept the vision of the genre, but only it – they are not just portraits, landscapes, still lifes or compositions. Hidden beneath one or another genre form is a second narrative. What is chosen is not that which is luxurious and celebrated, but rather “unsightly” directions, subjects on the edge of society or space, the aesthetics of outer limits. You can find this kind of rhetoric in the work of older Lithuanian photographers. However the new generation is different: they have pushed aside the melancholic pressure, despair and retrospection. In their work, Lithuania seems to be turning back not to morals used sometimes as a primary façade, but to being careless, more natural. And what have its people gone through, who received freedom in conditions this new generation has been able to grow up in?

We know from literary history that all of the utopias of the past were created on faraway islands or impassable mountains. There was also an attempt to form a Soviet utopia while isolated. However the post-communist reality is a colourful tapestry, where there are plenty of closed communities, individual drama, and a search for universal truths, but at the same time a conservative distrust. There is a lot of talking centered on the surrounding atmosphere with the natural quotes of reality, and pleasure through participation and communication.

Typical subjects appear in their photography. Man is like a sample for research, scurrying around under a microscope. Societal assimilation reminds one of the principle of mimicry, the adaptation of the individual to the preservation of the environment and in the name of masking it. Is it possible to not water down and preserve the value of autonomy? This average person and his environment are most often depicted as being a part of a group. The groups are distinguished by their joint activities, interests, age or are joined into a whole with the disposable will of the artist’s conception. Dance evening participants looking desperately for closeness, emigrants working on a cruise liner, people partying at night clubs, people leaving their homes and past behind or a lonely “fallen” figure repeating over and over, an environment sprinkled with signs of language everywhere, attributes, situations. Anonymous poetry is met in sprayed-on graffiti, run-of-the-mill packages, restrooms, or Soviet architectural landscapes.

There is a natural flow of time: the road to democratization leads one from closed communities, hierarchies, traditions, and cultural identities towards a universal space and free communication. How does the person going along this road of modernization feel? According to liberal political theories, which are supported by ideas of the Enlightenment, he should travel along it as quickly as possible, including the unavoidable violence that comes with it in the name of democracy and freedom. Or does man perhaps have the right to be slow or different, and show the meaning of diversity and differences? Is it possible to be someone like that without falling into an abyss of marginalness?

In the photography of these young Lithuanian artists, man is un/happy, tough, proud, free, immune to routine, a dreamer, and confused. But the most important thing is that he does not represent “Lithuanianness” or a national identity. These young artists do not give in to ethnographic impulses in order to show some special aspect of a region that would look nicer for tourists. This is why they reaffirm universalness through specific human stories.

However it is also true that Lithuania, like another post-communist world, is still a dark stain in today’s cultural discourse. Postmodern aesthetic logic is inclined to throw out that which is repeated, ugly, monotone, ascetic, boring and uncolourful. All that remains is to break through the ice of its habits with the warmth of real experience, not aspire to uniqueness, but to human cultural dialogue.