Abstract

The art of a transitional period as an intersection of both artistic as well as geopolitical and social factors is characterized by specific images. Lithuanian art of the 90ies approaches reality face to face, uncovering more than just aesthetic meanings of art works: postcolonial or post-totalitarian dimension highlights hidden meanings of stereotypes in an uncanny obvious way. While the illusory and symbolic images were changed by manipulations of the "real" in 90ies, the unceasing discussion on identity is changing its approach as well. Dramatic lament that dominates in the first half of the decade transforms to the analytical self-reflection at the end of the period: uneasiness of expression develops into structural a principle, representation as image is moved by importance of representation as text. At the beginning of the transitional period psychological joints of the past and present were embodied in metaphors of aesthetic tautology and rhetoric of repression and risk. Later on it unfolds into ritual of self-examination and metonymic language. Since the deconstruction of the Soviet art hierarchy come to pass, the mechanisms of an international cultural integration come at anchor. Under the new circumstances the role of an art work as a representative identity sign establishes itself. Analytical reflection based on painful reminiscence transforms into the explanatory narrative about "the other" - this finally releases from being active and turns into value. The artistic attitude towards such a state differs: some are pleased by the segregative status which also stimulates to look inside oneself carefully; while the others are resolved to take nonconformist position in regard to the factors of globalization. In both cases the conclusion about the actively participating type of artist settles down. It appears that "political art", which becomes so influential at the end of the period, could be addressed both to the local discourse as well as beyond it.

Full Text
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