„Viskas tiks...“ : naujieji laikai tapyboje

Abstract

In the time between 1990-1996 were was a signif icant shift in Lithuanian art. The public discourse of that time was marked for the commencement of the postmodernist period and the breakthrough of aesthetic positions. Did it really happen? Our aim is to clarify, whether the old modernist sys tem of values was really renounced. The question has to asked: whether the contemporary painting has sufficient characteristics which would allow us to state its natural postmodern existence. The main purpose of this study is to analyse the spe cific features in the paintings of Kaunas' artists during the recent five years and to survey the relations of their paintings within the context of postmodernist ideas. The analysis of the paintings of recent years revealed the fact that distinct opposition between the notions of modernism and postmodernism did not exist. We may say that, since 1990, the paint ings of Kaunas' artists have experienced the trans formation of traditions that sometimes leads to the postmodernist direction. In this milieu the paint ing with postmodern characteristics naturally grew up in the setting of modernism. Essential modern istic features have not disappeared. There is also no radical reaction to modernism. Therefore, the situation in the painting milieu of Kaunas in the last five-seven years should be rather named "post modernist modernism", but not directly "post modernism". One of the most important features of the mentioned period is the outburst of person al styles and manneristic expressions. The atti tude of postmodernist modernism in painting is organically related with the modernistic concep tion of personal identity. It would be premature to talk about the end of individualism and "per sonal ideologies". The painting of postmodernist modernism is changing its adressee. One can feel the develop ing tendency of conformation to the taste of mass consumer, choosing non-iritating themes and motives. The problem of conformism and non conformism has had an ethic, moral and political tint in Soviet Lithuania. In the situation of post modernist modernism it becomes irrelevant. It is being changed by the strategies of conformation and commercial success.