INTERVIUThe views expressed in INTERVIU are not necessarily those of the Publishers or Editors....
Transcript of INTERVIUThe views expressed in INTERVIU are not necessarily those of the Publishers or Editors....
2 / 2005: ketvirtinis leidinys. Pokalbiai apie menà
Dëmesio: Lolitos Jablonskienës ir Nicolauso Schafhauseno pokalbis
Reportaþas: Tautvydo Bajarkevièiaus interviu su Carstenu Nicolai Vilniuje
Lietuvoje: Larso Bang Larseno interviu su Henriko VIII þmonomis apie Populizmà
Dieteris Lesage’as apie menà ir vakarëlius
Svetur: Arûno Gudaièio ir Kristinos Inèiûraitës pokalbis apie Paryþiø
Þmonës: Valentino Klimaðausko interviu su Piotru Piotrowskiu ir Darium Mikðiu
Biblioteka: Raminta Jurënaitë ir Gintautas Maþeikis
Meninis projektas: Mirjam Wirz
Ðiuolaikinio meno centras, Vilnius www.cac.lt
INTERVIU
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2 / 2005
Redaktoriai / Editors: Linara Dovydaitytë, Simon ReesDizainas / Design: Daiva KiðûnaitëVertimas / Translation: Virginija Januðkevièiûtë, AgnëNaruðytë, Kristupas Ðepkus, Ûla TornauSpauda / Printer: Sapnø sala
© Ðiuolaikinio meno centras, menininkai ir tekstø autoriai / Contemporary Art Centre, Vilnius, theartists and writers, 2005.
Leidinys ar jo dalis negali bûti dauginama ir atgamina-ma komerciniais tikslais be leidëjo sutikimo.No part of this publication may be reproduced withoutprior permission of the publisher compatible with fair practice.
ISSN 1822-2064
Leidþia Ðiuolaikinio meno centras 4 kartus per metus.Produced four times a year by the Contemporary Art Centre, Vilnius.
INTERVIU skelbiamos mintys nebûtinai atitinka leidëjoar redakcijos nuomonæ.The views expressed in INTERVIU are not necessarily those of the Publishers or Editors.
Ðiuolaikinio meno centras [ÐMC]Contemporary Art Centre [CAC]Vokieèiø 2, LT-01130 VilniusLithuaniaT: +370-5-262 3476F: +370-5-262 3954E: [email protected]
INTERVIU bièiuliai / INTERVIU friendsAnn Demeester, AmsterdamChristoph Tannert, BerlinGordon Dalton, CardiffVanessa Joan Müller, FrankfurtMichael Stumpf, GlasgowIrina Gorlova, MoscowJens Hoffman, LondonSofia Hernaÿndez Chong Cuy, New YorkAlexis Vaillant, ParisSolvita Krese, RigaNiklas Östholm, StockholmHanno Soans, TallinnMagda Kardasz, Warsaw
kuravusiems BMW, 9-àjà Baltijos tarptautinio meno trienalæ, kuri vyko Ðiuolaikinio meno centre Vilniuje ir Ðiuolaikinio meno institute Londone (ICA) nuo 2005Toliau iðvardinti klausimai ið ateities buvo pateikti Sofiai Hernandez Chong Cuy (Niujorkas), Raimundui Malaðauskui (Vilnius) ir Alexiui Vaillant (Paryþius),
AAnnttrrass rrauunnddass
Tæsinys, antroji romano dalis ar filmo serijapaprastai susilaukia iðskirtinio dëmesio.Kritikams ir skaitytojams visada ádomu, artæsinys toks pat stiprus kaip ir pirmoji dalis,ar tebeturi naujumo prieskoná ir tebekaustoskaitytojo dëmesá. O gal palieka tik „padëvë-to daikto“ áspûdá? INTERVIU kaip tik tokiojesituacijoje ir tik laikas parodys, kaip yra iðtikrøjø.
Ðiuo metu Ðiuolaikinio meno centras leidþiastambø katalogà Emisija, kuris tam tikraprasme irgi yra kito didþiulio leidinio Lietuvosdailë 1989-1999: deðimt metø tæsinys. Iðtreèiojo tûkstantmeèio pirmo deðimtmeèiovidurio perspektyvos þvelgiama á septynismenininkus, priklausanèius deðimto deðimt-meèio kartai. Pristatydamas septynis mono-grafinius projektus, Emisijos katalogas rikiuo-ja ðiuos menininkus, dëlioja ir stumdo lygdomino kaladëles – kas gali numatyti, kokiatvarka jos iðkris?
Kaþkodël 2005-ieji atrodo zeitgeist metai.Pranaðystës ir panaðûs dalykai paprastaitaupomi deðimtmeèiø kaitos momentui.Taèiau ðio deðimtmeèio vidury daugelis ávykiøsusidëjo á krûvà, iðryðkindami istorinius laiko-tarpio bruoþus. Uþtenka paminëti keletà –popieþiaus mirtá, 60-àsias karo Europoje irnaciø mirties stovyklø pabaigos metines,Holokausto memorialo Berlyne atidarymà, ESkonstitucijos ratifikavimo procesà, milþiniðkøAir Bus ir Boeing lëktuvø paleidimà. Sukankair 15 metø – priklauso, kaip skaièiuosi, – kaididelë Europos (ir europieèiø) dalis iðsivadavoið sovietinës okupacijos. Ir visi ðie ávykiai tapodaugelio kultûros renginiø, straipsniø,debatø ir meno kûriniø tema visoje Europojeir uþ jos ribø.
INTERVIU irgi nekitoks. Lolita Jablonskienë irNicolausas Schafhausenas kalbasi apienetolimà ateitá kaip asmenys, atsakingi uþkultûriniø institucijø kûrimà – jø kritinispoþiûris remiasi dviejø deðimtmeèiø darbo patirtimi ðioje srityje. Lietuviø menininkaiArûnas Gudaitis ir Kristina Inèiûraitë kalbasiapie meno rinkà – paèià naujausià institucijàLietuvoje. Valentinas Klimaðauskas diskutuojasu vienu reikðmingiausiø Lenkijos intelektualøPiotru Piotrowskiu ir menininku DariumiMikðiu apie Karolio Wojtylos vaidmená jogimtojoje ðalyje ir ðiandieniniame pasaulyje.Pokalbyje su Tautvydu Bajarkevièiumi þino-mas garso menininkas Carstenas Nicolaipasakoja apie eksperimentinæ muzikà irpasenusias sovie-tines áraðø technologijas,kuriomis susidomëjo dar VDR gyvavimometais. Kuratorius Larsas Bang Larsenaskalbina menininkø grupës Henriko VIIIþmonos na-rius apie jø projektà Tatlino bokð-tas – bandymà realizuoti Vladimiro Tatlino1920-aisiais sukurtà paminklà III KomunistøInternacionalui. Ar Tatlino bokðtas yra darvienas paminklas þlugusiems idealams?INTERVIU tikisi, kad ne.
Ieðkodami naujoviø pradedame knygø ap-þvalgos rubrikà, ðiame numeryje taip patpublikuojame filosofo Dieterio Lesage’o teks-tà, skaitytà Ðiuolaikinio meno centre balandá.Naujojoje rubrikoje bus recenzuojamos nese-niai iðleistos ar iðverstos á lietuviø kalbà kny-gos, kurios, mûsø poþiûriu, gali átakoti ðiuo-laikinio meno kontekstualizavimà ir recepcijà.Tokiø vilèiø neturëtume, jei patikëtumeDieterio Lesage’o tekstu apie tuðèià ðiuo-laikinio meno aplinkos, kurioje niekas neturireikðmës, spindesá. Jau ið tiesø metas prisi-liesti prie kriðtolinio rutulio – ir paþadëti visaspaslaptis atskleisti rugsëjá.
Linara Dovydaitytë, Simon Rees
Ðiam pokalbiui su Nicolausu Schafhausenususitikome Amsterdame, prieð pat Populizmoparodos atidarymà Stedelijko muziejuje. Beje,kità dienà Amsterdame virë tikrø tikriausiapopulistø puota – olandai ðventë karalienës
Beatrix karûnavimo trisdeðimtmetá. Prieðsavaitæ Populizmas, kurá Schafhausenas kura-vo kartu su Cristina Ricupero ir Larsu BangLarsenu, atsidarë Ðiuolaikinio meno centreVilniuje, ir, man iðvykstant á Amsterdamà,Superflex ir Jenso Haaningo lankytojø skaitiklisbylojo, kad parodà Vilniuje jau buvo pamatædu su puse tûkstanèio þiûrovø. Kalbà apienaujas Europos meno institucijas pradëjomedar Vilniuje, mat tuo metu pasklido þinia, kadSchafhausenas palieka Frankfurto kunstve-reino direktoriaus postà ir pradeda vadovautinaujai institucijai. Kadangi pati dirbu ágyvendi-nant naujo modernaus ir ðiuolaikinio menomuziejaus Vilniuje projektà, ádomu buvo pa-klausinëti, kaip gimsta naujos institucijos
Europoje, kaip apibrëþia savo misijà jaupakankamai komplikuotame nûdienoskultûros institucijø lauke ir ypaè – kaipsàveikauja su „institucijø kritika“, aktyviai plë-tojama ávairiose ðiuolaikinio meno praktikose.
Atvirai sakant, tikëjausi, kad tai bus dviejøþmoniø, „stovinèiø prie pamatø duobës“,padejavimai, bet maloniai nustebau susidûrusisu kitokiu poþiûriu á institucijø steigimà.
Lolita JJabblonskienë: Gal pradëkime nuopradþiø: koks naujosios institucijos pavadini-mas ir kada ji atsidarys?Nicolauusass Scchaffhauusenass: Ið pradþiø apskritaikeletas þodþiø apie institucijas. Paþvelgæ á jas,ypaè á Vidurio Europoje ðiuolaikinio meno dis-tribucijà vykdanèias institucijas, pastebësime,kad per pastaruosius ðeðerius-septyneriusmetus jø finansø struktûra, valstybinio (armunicipalinio) bei privataus finansavimo san-tykis, o taip pat strateginës funkcijos miestø
struktûroje dramatiðkai pasikeitë. Sakau taip,nes man teko dirbti dviejø skirtingø privaèiøinstitucijø, beje, itin galingø ir átakingø menosistemoje institucijø, direktoriumi – nemeniniu, o tikruoju direktoriumi. LJ: Turite omenyje Vokietijos ðiuolaikinio menosistemà ar kalbate plaèiau?NS: Plaèiau. Nors Vokietija, þinoma, yra vienasið svarbiausiø Europos centrø, net po keliøekonominiø kriziø, kurias ji iðgyveno po susi-jungimo. Tai labai svarbi ðalis ðiuolaikiniomeno recepcijos, distribucijos ir produkcijosprasme. Jos ðiuolaikinio meno institucijø istori-ja taip pat itin ádomi. Daugelis instituciniømodeliø – nuo municipaliniø kunstvereino irkunsthalës iki dideliø privaèiø ir valstybiniømuziejø – prigijo ir kitose Europos ðalyse, irèia, mano nuomone, buvo iðvystyti daug sëk-mingiau nei paèioje Vokietijoje.LJ: Kaip manote kodël?NS: Tai ir yra vienas svarbiausiø klausimø, ákuriuos turësiu atsakyti, rengdamas EuropeanKunsthalle Cologne (Europos kunsthalësKelne) koncepcijà.LJ: Ar tai oficialus naujosios institucijos pava-dinimas?NS: Taip, tai yra neseniai patvirtintas projektopavadinimas – European (ne Europäische)Kunsthalle Cologne. Nors skamba jis ganaprieðtaringai. Kà apskritai reiðkia EuropeanKunsthalle Cologne? Net neþinia, ar ji kadanors taps realia fizine erdve. Bet kai manepakvietë kandidatuoti á ðios naujos institucijosdirektoriaus postà, þvelgdamas ið VidurioEuropos perspektyvos pamaniau, kad toksdarbas gali bûti vienu ið mano, kaip kurato-riaus, tikslø. Manau, turiu tam reikalingospatirties: þinau darbo Vokietijoje ir tarptauti-niame kontekste specifikà, esu dirbæs suskirtingomis kultûromis, rengiau projektuskitose Europos ðalyse, miestuose, ávairioseinstitucijose ir t.t. Pradedu dirbti [jau greitai –2005 birþelá], padedant privaèiai kultûrinei ini-ciatyvai Das Loch. Ðià asociacijà ákûrë Kelnokultûrinis elitas. Asociacijà, kurios pavadinimàreikëtø versti þodþiu „skylë“, sudaro tokieþmonës, kaip viena þymiausiø Vokietijosmenininkiø Rosemarie Trockel ar Ludwigomuziejaus direktorius Kasparas Königas, taippat þinomas galerininkas Christianas Nagelisar itin populiarus aktorius Udo Kieras ir kt.Þvelgiant á ðiandieniná Kelno statusà Europosmeno sistemoje, akivaizdu, kad ðis miestaspastaruoju metu prarado átakà ðiuolaikiniomeno istorijai, kuria neabejotinai galëjo di-dþiuotis nuo penkto deðimtmeèio pabaigos ikidevinto deðimtmeèio pabaigos.
Dëmesio
Lolitos Jablonskienës irNicolauso Schafhausenopokalbis
ÐMC INTERVIU / CAC INTERVIU
Meninis projektas: Mirjam Wirz, Auto Portretai, 2004-Tai automatiniu principu veikiantis ir pats save generuojantis projektas, kuriame fiksuojami á kolaboracinius kultûrinius projektus ásitraukæ „menininkai/muzikan-tai/dizaineriai/aktyvistai“. Projektà sudaro dokumentinio pobûdþio momentinës Vilniuje gyvenanèiø ir jo kultûriná gyvenimà veikianèiø þmoniø fotografijos.Projektas bus baigtas, kai ratas uþsidarys – kai naujas vieno ið dalyviø parekomenduotas þmogus bus jau dalyvavæs.
Artist Project: Mirjam Wirz Auto Portraits 2004-This is a self-generating automatic project recording ‘artists/musicians/designers/activists’ who are involved in collaborative cultural practices. It constructs a docu-mentary snapshot of individuals in Vilnius who are important to the transmission of culture here. The project will reach a conclusion when the participants whoare asked to recommend the next portrait subject nominate someone who has already appeared: closing the loop.
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ar ne?NS: Ne. Ðiai daliai plëtoti ieðkosime partneriø,bendradarbiø Europoje ir pasaulyje. Kuriameir patarëjø tarybà, kurià sudarys asmenybës,turinèios realià átakà didþiajai Europoskultûros politikai.LJ: Ar tai reiðkia, kad menininkai ir kitikultûros veikëjai, paskelbæ ðià iniciatyvà,nebëga nuo politikos á naujus jaukius namustik sau, o prieðingai – siekia aktyviai dalyvauti
politiniame gyvenime?NS: Kaip tik taip. Jie siekia dalyvauti politinëjediskusijoje.LJ: Ir dël ryðiø su politika, ir dël kitø prieþas-èiø – ar tai realistinis, ar utopinis projektas?NS: Manau, kad realistinis. Apskritai laikasbaigti nesibaigianèià socialinio-politinio irkultûrinio gyvenimo pertvarkà, nuolatinesreformas ir imti galvoti apie stabilumà.
LJ: Puikiai þinau ðià pokyèiø ir reformø ide-ologijos dvasià. Jau keliolika metø Lietuvojevisos vieðojo gyvenimo sritys trimituoja apiereformas, tik maþai kas spëja susimàstyti apiejø turiná ir rezultatus. NS: Iðties – kà reiðkia reforma?LJ: O ar bendradarbiavimas su menininkais –juk Das Loch daugiausiai sudaro menininkai –kuriant naujos institucijos koncepcijà yravaisingas? Þinau, kad Jûs taip pat studijavote
menà, taèiau ðámano klausimàveikiau paskati-no átemptimenininkø irinstitucijø san-tykiai Lietuvoje.NS: Taip, aðstudijavaumenus, taèiau,pradëjæs kura-toriaus karjerà,pabaigiaumenininkogyvenimà.Mano kurato-rinë praktikanëra meninisprojektas.PrisimindamasKelnomenininkø inici-atyvà, galiupasakyti, kadnesu anksèiaudirbæs tokiomisaplinkybëmis,nesu buvæstokioje situaci-joje; taigi irman tai yravisai naujapatirtis. Ádomutai, kad ðian-dien meninin-kai, ypaè ðiemenininkai, yralabai galingi irátakingi, puikiaiásitvirtinæ meno
rinkoje. Kai kurie jø, pavyzdþiui, RosemarieTrockel, jau nëra vien menininkai, o veikiausavotiðki kultûros faktoriai. Pasiraðiau sutartádvejiems metams. Mano misija per ðá laikàsukurti instituciniø praktikø santykio sukultûros politika diskursà. Toks yra ir Das Lochasociacijos tikslas.LJ: Ar per ðiuos metus numatote ágyvendintiir konkreèiø meniniø projektø? Kaip apskritai
planuojate bendrauti su visuomene?NS: Yra ávairiø bûdø supaþindinti visuomenæsu mûsø darbu. Kelnas yra ir þiniasklaidosmiestas, net jei ne toks galingas kaipFrankfurtas, Berlynas ar Hamburgas. Kaipminëjau, tikiu aukðtosios kultûros, intelektu-alø galia. Kaip tik todël buriame ne tikEuropos, bet ir viso pasaulio patarëjøkomandà, kuri galëtø átakoti didþiàjà politikà.European Kunsthalle Cologne reikia galios,kad ji galëtø ágyvendinti savo sumanymus.LJ: Koks jûsø poþiûris á ðiuolaikinio menoinstitucijø veiklos metodus? Ar manote, kadjos turëtø visø pirma bûti diskusijø platfor-momis, idëjø laboratorijomis, ar visgi menokûriniø eksponavimo vietomis, menininkøprojektø realizavimo aikðtelëmis?NS: Ðiuolaikinio meno institucijos negali bûtitik laboratorijomis. Tai neleidþia joms vykdytikitø labai svarbiø funkcijø. Manau, kad ðiuo-laikinio meno institucija – tai ir paprasèiausiaparodø erdvë. Að mëgstu parodas ir papras-tus jø lankytojus bei betarpiðkà emociná pas-tarøjø santyká su meno kûriniais. Manæsnedomina diskurso, skirto uþdaram menokontekstui, kûrimas. Tuo juk turëtø uþsiimtiuniversitetai. O kunsthalës ir kunstvereinainëra universitetai.LJ: Teigiate, kad kiekviena institucija turëtøsiekti bûti geriausia savo srityje: universitetasturi bûti geras universitetas...?NS: Þinoma. Biblioteka turi bûti biblioteka,archyvas – archyvu, o muziejus – muziejumisu rinkiniu, kaip rinkiniu...LJ: Ar turite favorièiø tarp ðiuolaikinio menoinstitucijø?NS: Ne viena jø ðiandien puikiai dirba ir turigerø idëjø. Taèiau dauguma jø kalba tik apiepokyèius ir reformas. Idëjos negali bûti visadaðiuolaikinës ir aktualios – kai jos nustojatokiomis bûti, reikia jø atsisakyti.LJ: Bet reformos ir pokyèiai, kaip taisyklë, aso-cijuojasi su revoliucija ir progresu – kitoje pu-sëje rikiuojasi konservatyvumas ir stagnacija.NS: Nebûtinai. Ðiuo metu Europoje vykstakonservatyvi revoliucija ir konservatyviosreformos.
Ðioje vietoje mûsø ádomus pokalbis nutrûko,nes jau kone vëluojantá á parodos atidarymàStedelijko muziejuje Schafhausenà kolegosbrukte ábruko á taksi. Tad instituciniø modeliøsvarstymai liko nebaigti. Laukite tæsinio.
Lolita Jablonskienë yra LDM Nacionalinësdailës galerijos vadovë ir Lietuvos paviljono
51-ojoje Venecijos bienalëje antroji komisarë.
LJ: Tad ko siekia ðiandieninis Kelno elitas?NS: Pirmiausia jie nenori meno institucijølauko atiduoti politikams. Kelne nuo 1980metø veikë kunsthalë, tiesa, veikë ji nesëk-mingai; taip pat neseniai po rekonstrukcijosnaujose patalpose duris atvërë pakankamaiþymus Kelno kunstvereinas. Taèiau abi ðiosinstitucijos pasmerktos, mat miestas nuspren-dë pastatyti vienà naujà kultûros centrà,kokiø dabar pilna visuose Europos miestuose– juose ávairiø srièiø muziejai ir kitos kultûrosinstitucijos ákurdinamos po vienus stogu, taipsuformuojant savotiðkà naujà instituciná mo-delá. Toká centrà numatyta pastatyti miestoviduryje, paèiame Kelno centre. Atrodo, kaddiskusijai apie ðios institucijos koncepcijànepakako pinigø ir politinës valios, tadaktyvistai, minëtoji kultûrinë iniciatyva nu-sprendë kitaip atkreipti miesto politinësvaldþios dëmesá: jie atsisakë pasiûlymo daly-vauti kuriant kultûros centro modelá ir iðkëlëmintá – tik idëjà – sukurti visiðkai naujos insti-tucijos, vadinamos European KunsthalleCologne, koncepcijà. Pagrindiniu institucijostikslu turëtø tapti skirtingø kultûrø tyrimai, o
ne politikø vizijø ágyvendinimas. Man tai atro-do ypatingai ádomus judëjimas, nors ðiuometu daugelis dalykø dar nëra nuspræsti.Kartu su dar tebeformuojama komanda kur-sime ðios institucijos, kokia ji bebûtø, kon-cepcijà.LJ: Vadinasi, kalbame apie koncepcijoskûrimà – nëra nei konkreèios vietos ðiaikunsthalei, nei jokios pamatø duobës? NS: Nei þemës sklypo, nei duobës, nieko nëra.LJ: Norëèiau paklausti apie minëtoskultûrinës iniciatyvos ir Das Loch asociacijosideologijà: kà manote apie ðiuolaikinio menoir elito santyká apskritai ir ðiuo konkreèiuatveju?NS: Tvirtai tikiu aukðtàja kultûra. Mus supadaugybë aukðtosios ir þemosios kultûrosrûðiø. Ðiuolaikinio meno vieta istoriðkaivisuomet buvo aukðtojoje kultûroje. Tadkodël turëtume jos vengti? Juolab, kad ji taippat gali bûti populiari.LJ: Naujoji Europos kunsthalë kuriama Kelne,tam tikra prasme Vokietijos ðiuolaikinëskultûros ðirdyje. Taèiau minëjote, kaddëmesys skirtingoms kultûroms yra naujos
institucijos tikslas. Kodël ði misija atrodo svar-bi Kelno kultûriniam elitui ir Jumsasmeniðkai?NS: Nes to kaip tik trûksta dabartineiVokietijai. Svarbu yra ne tik tai, kà siûlomeno rinka ar vadinamoji tradicinë institucijøsistema. Tiesa, tikràjá ðios misijos turiná irárankius dar teks sukurti. EuropeanKunsthalle Cologne koncepcijà numatomaplëtoti keliomis pagrindinëmis kryptimis.Pirmiausia viename Europos universitetø (darnenusprendëme kuriame) bus pradëta rengtinauja Europos meno (nuo 1945-øjø) istorija,atmetanti grynai vakarietiðkà þvilgsná beiatverianti Rytø/Vakarø ir Pietø/Ðiaurës ryðius.Antra, remiantis naujausiomis idëjomis apieðiuolaikinio meno institucijas Europoje (pvz.,Art Angel Londone pavyzdþiu), bus ákurtasprodukcijos centras. Treèioji darbo kryptis –urbanistinë meno institucijø sistemos analizë.Daugelyje miestø ði sistema ið esmës keièiasidël privataus kapitalo átakos miestø plëtrai.Tokia tad teorinë European KunsthalleCologne koncepcijos dalis.LJ: Bet produkcijos dalis nebus vien teorinë,
Ar buvote tokie naivûs ar iðsiblaðkæ, kad galëtumëte tikëtis, jog juodoji rinka ir ðeðëlinës sistemos nëra tokios hierarchiðkos kaip bet kuri kita korporatyvinë oli-m. rugsëjo 23 iki lapkrièio 16 d. Ar galite kà nors pasakyti apie kuratoriø psichologijà (turint galvoje diferenciacijà, kombinatorikas/kuratorius/kilimø valytojas)?
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76 Vilnius, ðizofreniðkas miestas per se, buvo iðrinktas projekto scena? Kiek dar sutapimø yra BMW? Nauji nieko neveikimo bûdai! Kaip, manote, gali funkcionuotigarchija? Kodël niekas nekalba apie alternatyvias ir progresyvias mainø schemas, sumanytas menininkø, teoretikø ir gatvës prekiautojø? Ar tai sutapimas, kad
Carsten Nicolai aka Alva Noto – vienas þy-miausiø garso menininkø, deðimto deðimt-meèio pabaigoje Berlyne ákûræs ilgà prieðis-toræ turëjusià leidybinæ firmà Raster Noton.Eksperimentinë elektronika, garso menas,post-techno ir skaitmeninës estetikos ákvëp-tas post-minimalizmas yra raktaþodþiai,apibûdinantys Carsteno Nicolai veiklos kon-tekstà. Su Carstenu Nicolai kalbëjomës po jokoncerto Vilniuje, elektroninës muzikos festi-valyje Jauna muzika 2005.
Tauutvydass BBajjarrkevièius: Leidybinë firmaRaster Noton ir jà kartu su jumis ákûræ garsomenininkai Frankas Bretschneideris ir OlafasBenderis tapo dalimi avangardo, kuris forma-vo naujàsias eksperimentinës elektronikostendencijas, pasiþymëjusias stipriu identitetuir konceptualiu poþiûriu á garso meno prak-tikas deðimtame deðimtmetyje. Tokiais atve-jais visada ádomu apmàstyti konceptualiuspokyèius. Ar keitësi jûsø solinio projekto AlvaNoto ir Raster Noton idëjos bei identitetasnuo to laiko, kai aktyviai sudalyvavote scenosproverþyje deðimto deðimtmeèio viduryje? Carrsten NNicolaii: Be abejo, mes pasikeitëme.Pradëjome nuo maþø dalykø ir, aiðku, kolpasiekëme tam tikrà auditorijà, praëjonemaþai laiko. Todël paèioje pradþioje svar-biausia buvo sukurti leidybinës firmos iden-titetà, menininkams palikus ðalutiná vaidmená.Sukûrëme keletà serijiniø leidiniø koncepcijøir jas realizavusiø projektø, kvietëmemenininkus. Be abejo, ilgainiui situacijakeitësi – þmonës pradëjo atpaþinti leidybinësfirmos vardà. Nuo to laiko mes kur kas dau-giau dirbame su asmenybëmis. Ir vis dar plë-tojame ir tæsiame serijinius projektus, kuriøpradþioje tebuvo vienas kitas, dabar jø jauturime visà pluoðtà. Viena stipriausiø – raster-post serija, taip pat bendradarbiaujame suIlpo Vaisanenu ið Pan Sonic, kuris turi ákûræsnedidelæ Kangaroo leidybinæ firmà, ir,manau, savo ðalutiná projektà turës RyojiIkeda.TB: Visi þinome menø ir muzikos tendencijas,iðryðkëjusias Rytø Europoje po Berlyno sienosgriûties. Bet galbût dar ádomiau prisiminti,kas buvo prieð tai – mûsø situacija buvo ðiektiek panaði. Jûs klausëtës Laurie Anderson irSteve’o Reicho Chemnitze [gimtajame
Carsteno Nicolai mieste] per Baerno antràjàradijo programà, o vidurinioji lietuviømenininkø karta klausësi tos paèios muzikosper lenkø radijà. Prieigos prie muzikos irinformacijos stygius bei savø iðraiðkos formøporeikis… CN: Be abejo, priëjimas prie muzikos buvolabai ribotas. Bet mums buvo labai ádomu.Nusipirkti muzikos áraðø negalëjome, todëlpersiraðinëjome á kasetes. Tuo metu pagrin-dinë muzikos platinimo ir apsikeitimo japriemonë buvo paprasèiausi kasetiniai mag-netofonai. Nuo to að ir pradëjau – tiesiogperraðinëjau muzikà á kasetes. Bet, manau,tai man padarë didþiulæ átakà ir suteikë puikømuzikiná iðsilavinimà. Frankas Bretschneideris,vienas ið Raster Noton ákûrëjø, tuo metuturëjo leidybinæ kaseèiø firmà. Að vis dar nau-doju kasetinius áraðus savo instaliacijose. Kalbant apie radijà – mes gyvenome artiVakarø Vokietijos, taigi, jø radijo stotys buvolengvai pagaunamos. Bet mes specializa-vomës specifinëje muzikos srityje ir visadaieðkojome kaþko naujo.TB: Galbût bûtent dël to informacijos trûku-mo? Kai ið tiesø trûksta informacijos ar priei-gos prie tam tikro konteksto, savitas poþiûrisatsiranda natûraliai.CN: Taip, manau, ðis trûkumas sukûrë ádomiàsituacijà. Ir að vis dar esu toks pats – tikrainiekada neseku hitø Nr. 1. Að vis dar nuolatþvalgausi naujoviø, neseku paskui didelesminias ir madingus brand’us. Taip, ko gero,viskas ir prasidëjo, taip susiþavëjome muzika.Tuo metu pats muzikos nekûriau, tiesiogeksperimentavau su garsais ir mediumais.Kurti pradëjau tik po Berlyno sienos griûties,kai atsirado produkcijos galimybës. TB: Deðimto deðimtmeèio pradþioje?CN: Taip. Manau, kai atsirado galimybë turëtikompiuterá ir instrumentus.TB: Ar tai buvo naudota, analoginë áranga –tokia patraukli tø laikø eksperimentams?CN: Þinoma, mes bandëm analoginius instru-mentus. Mano pirmas komplektas buvo seniosciliatoriai, prieð tai naudoti ir kà tik iðmestiið universiteto. Turëjau senø osciliatoriø iðRusijos ir Rytø Europos kolekcijà. Ðità árangàvis dar naudoju, be abejo, dabar jau skait-meniniu bûdu, bet toks buvo mano iðeitiestaðkas.
Mums patiko abstrakti garso idëja. Buvaulabai susidomëjæs fizika, garso materija. Iðvienos pusës, plëtojau ðias idëjas savo garsoinstaliacijomis, ið kitos pusës – muzikiniubûdu. Tokios praktikos apogëjus – bendrimûsø projektai su japonø pianistu RyuchiSakamoto (Vrioon, Insen), kur viskas ið tiesøtampa muzikaliai organizuota. TB: Kalbant apie Vrioon – atrodo, susidu-riame su poreikiu praturtinti ir praplëstimuzikalumo, paremto koncentruota minima-listine estetika, formas. Patiri stiprø ðvieþumopojûtá ir sakai: „Niekas iki ðiol to nedarë“. Taisuteikia labai erdviðkas ir tuo paèiumuzikalias patirtis. Kaip priëjote bûtent ikitokio muzikalumo? CN: Mane visada domino natûralûs instru-mentai. Negroju jokiu klasikiniu instrumentu.Paprastai naudoju gana techniðkai orientuo-tus garsus, vadinamus ritmais ir daþniais.Gavæs pasiûlymà padaryti tuos remiksus,turëjau daug galimybiø. Atradau grynus pia-nino sample’us – tai yra kaþkas, ko neáma-noma sukurti kompiuteriu. Buvo ádomu, kaiptarpusavyje derës minimali elektronika ir kla-sikinis stiprø pagrindà turintis instrumentas. TB: O taip pat tradicinio naudojimo konotaci-jos, kai turi lauþyti standartus? CN: Man tai nebuvo sunku, nes neturiuypatingo iðsilavinimo ðioje srityje.TB: Kaip ir daugelis eksperimentinës muzikoskûrëjø. Ðiuo atveju ádomi profesionalumosamprata. Daugelis eksperimentinës muzikoskûrëjø lauþë standartus, bet eksperimentinisjudëjimas yra priëjæs ribà, kai, anotChristiano Fenneszo, „grynai“ eksperi-mentinë muzika nebeegzistuoja. Nes atsiradonauji standartai, nauja kokybë ir naujipoþiûrio taðkai. Taigi galiausiai mes turimepermàstytà profesionalumo sàvokà. RyuchiSakamoto labai subtiliai ir profesionaliaiklasikine prasme valdo instrumentà, o jûspridedate naujà, taip pat labai preciziðkà irprofesionalià to muzikalumo, kuris vis darvadinamas „eksperimentiniu“, kokybæ.CN: Taip, manau, eksperimentinës muzikossrityje kiekvienas yra savo paties mokytojas, irtai pakankamai unikalu. Elektroninës muzikossrityje dirbi su specifiniu garsu – jis pasidarosvarbus pats savaime. Man buvo ádomu su-lieti ðiuos du – klasikiná ir unikaløjá – garso
Reportaþas
Tautvydo Bajarkevièiaus interviu suCarstenu Nicolai Vilniuje
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TB: Aèiû uþ interviu ir áspûdingà koncertà. Tautvydas Bajarkevièius yra garso menininkasir meno kritikas, gyvenantis Vilniuje.
Carstenas Nicolai yra garso menininkas, taippat kuria instaliacijas, susijusias su áraðø tech-
nologijos istorija ir eksperimentiniais moks-lais. Nicolai instaliacija bus eksponuojama
didelëje keliaujanèioje parodoje Ðiuolaikiniomeno centre 2006 metø pabaigoje.
Lietuvoje
Larso Bang Larseno interviu su Henriko VIII þmonomis apie Populizmà
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traktavimo bûdus ir suteikti erdvæ jø koegzis-tavimui.Ryuchi Sakamoto yra tikras muzikantas irkompozitorius. Savæs niekada taip nepava-dinèiau. Kai Christianas Fenneszas sako, kadeksperimentinë muzika daugiau neegzistuo-ja, manau, jis turi omenyje, kad eksperi-mentinë muzika yra tapusi „normalia“, t.y.priimama, kad jos klausomasi nebegalvojant,jog „tai nëra muzika“ ar „tai pernelygneáprasta“. TB: Tai vis dar kartais vadinama „garso tero-rizmu“…CN: Þinoma, elektroninëje muzikoje yraintensyvumo. Bet gerai, kad pradedame taipriimti normaliai ir matyti eksperimentinæ irklasikinæ muzikà viename lygmenyje. Nebëratokios grieþtos klasifikacijos.TB: Jûsø kontekstas daþnai siejamas su nau-juoju muzikiniu minimalizmu. Kai kuriuosejûsø darbuose ir idëjose jauèiamas siekis mi-nimalizuoti, vedantis prie koncepcijos „ma-þiau yra daugiau“ – nereikalingø, pertekliniøelementø eliminavimo prasme. Tai yra irRaster Noton koncepcijos dalis, kuri atsispindinet pavadinime – vokiðkas „no ton“ reiðkia„be garso“. Atsimenam jûsø dëmesá ato-mams, tuðèiai erdvei tarp dviejø pikseliø.Skaitmeninë estetika suteikia daugybæ gali-mybiø konceptualizuoti minimalizmà.CN: Kartais að ðiek tiek skeptiðkai þiûriu áminimalizmo idëjà. Nes tai, kà mes darome,galima vadinti minimalizmu dël vienosprieþasties – mes bandome atkreipti dëmesá ágarsus, kuriø normaliomis sàlygomis negali-ma iðgirsti. Tai reiðkia, kad turi minimalizuoti.Noriu padaryti viskà kiek ámanoma ðvariau,nekreipdamas dëmesio á bereikalingusdalykus. Toks poþiûris kur kas labiaufunkcionalus nei minimalistinis, t.y. nëra viensiekis tiesiog þaisti minimaliais elementais. Iðtiesø mes norime iðsireikðti minimaliais ele-mentais, apnuogindami patá garsà. Èia slypitam tikras atvirumas. Palyginèiau savokûrinius su architektûra. Mano muzika labaipanaði á pastatà, kuris nëra uþbaigtas – egzis-tuoja tik pagrindinës struktûros. Ir nieko dau-giau. Tik grindys ir kolonos. TB: Bet, atrodo, viskas ðiek tiek pasikeitë –duomenø tëkmë ir intensyvi skaitmeninëaplinka átakoja ir skaitmeninæ estetikà. Taipatyrëme ir ðiandieniniame koncerte, kurisbuvo labai intensyvus, kaip savotiðka skait-meniniø bangø matrica.CN: Taip, tai vienas ið akcentø: pastaruojumetu plëtoju estetikà, tyrinëjanèià paèiàduomenø struktûrà. Taip atsiduriu prieðaisskaitmeniná instrumentà – kas jis yra, su kuoað ið tiesø dirbu. Kai sukuriu „nulá“ – tai
duomenys, tai tekstinis atminties vienetas,kai sukuriu tylà – tai taip pat duomenys,kurie struktûroje yra triukðmingi. Pasidarogana tanku, o tai taip pat apibûdina mûsølaikø greitá. Fiziná greitá, tarsi mes ið tiesøjudëtume duomenø tëkmës greièiu. Bet, manau, panaudodamas garsà vis dargali gana stipriai forsuoti patirtis – vis darámanoma viskà pagreitinti. Man asmeniðkaiðis laikas yra intensyvëjanèio greièio muzikojelaikas. Be abejo,mes labai grei-tai prie topriprantame.Tonai intensyvë-ja, ritmai greitë-ja – viskas dëlintensyviøgyvenimoritmø. Ypaè kaiesi ið Rytø – iðtikrøjø þinai, kàreiðkia didëjan-tis visuomenësgyvenimo tem-pas. TB: Prisimenujûsø áspûdþiusapie skirtingaspatirtis þiûrintTarkovskio fil-mus. Laikopoþiûriu áþvel-giu paralelætarp Tarkovskiofilmø ir tyliøjøFranciscoLopezo arBernhardoGunteriomicrosound sti-liaus kompozici-jø. Jie laikosikonceptualiosnuostatosiðskleisti garsuslaike ir neleistijiems iðnyktiðiuolaikiniuoseintensyvumuo-se. Atrodo, atsiranda daugybë galimø prieigø– Ryuchi Sakamoto ir jûsø bendradarbiavimorezultatas – taip pat gana meditatyvi muzika. CN: Taip, be abejo, mes ilgimës tylos ir,reaguodami prieðingais bûdais, bandomesulëtinti savo patirtis. Bet dël Tarkovskio –Stalkeris atrodë labai lëtas prieð deðimt metø,bet dabar jis atrodo neátikëtinai lëtas: negaliupatikëti, kad galëjau já taip atidþiai þiûrëti.
Tada pradedi galvoti, kad mûsø supratimasapie kinà visiðkai pasikeitë. Post-matricoskarta ið kino tikisi visai ko kito. Manau, taibuvo viena ið prieþasèiø, dël ko pastebëjau,kad lëtume, be abejo, slypi tam tikra kokybë. TB: Galbût ðiame kontekste galime kalbëtiapie specifiná poþiûrá á garsà jûsø garso insta-liacijose, kur jis labiau orientuotas á erdvinespatirtis?CN: Garso instaliacijos paremtos kitokiu
iðeities taðku. Performansas yra labai ribotaslaike. Instaliacijos iðsklidusios kur kas ilges-niame laike ir turi suveikti bet kuriuomomentu, áþengus lankytojui. Tikriausiainiekada nesuteikèiau instaliacijoms tokiosdinamikos ir intensyvumo, koká paprastaipasiekiu savo performansuose. Èia kur kasdaugiau fizikos, kai að stengiuosi susikoncen-truoti ties paèiu garso fenomenu.
atpaþinti tai, kas uþdrausta, ið kokio poþiûrio taðko? Kodël jûs sàmoningai atsisakëte átraukti koká nors „specifiná“ BMW turiná á parodà? Ar Sony neiðreiðkë ne-visuomenë, kurioje didelë dalis þmoniø niekada nedirbs? Kas ðiandien draudþiama? Kiek laiko tai draudþiama? Kaip mûsø vakarietiðkoje visuomenëje galima
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vienos rûðies meno akcijas. Todël ávairini veik-là. Susidoroji su prisiimta rizika. Þinau,pasakytum kitaip. Sakytum, kad tau ðvelniosformos ðizofrenija. Kad tavyje slypi keliosasmenybës. Kad esi fotografas, bet dar ir DJ.Redaguoji þurnalà, esi leidëjas, bet dar irorganizuoji vakarëlius. Juose fotografuojiþmones. Surengi vakarëlá þurnalo pristatymoproga, leidi þurnalus su vakarëliø liûtø nuo-traukomis, surengi vakarëlá ir pats jamedidþëjauji. Turi didþëjø grupæ, todël pervakarëlá pats gali vaikðtinëti, kalbëtis suþmonëmis ir teirautis, ar jie nenorëtø pub-likuotis tavo þurnale; leidi CD, pristatai juosvakarëlyje, áraðai CD-romà su þmoniø nuo-traukomis, ádedi já á savo þurnalà, nori, kadtavo skaitytojai pasiklausytø tavo muzikos,nori, kad vakarëliø liûtai skaitytø tavo teks-tus, á savo vakarëlius kvieti raðanèius tavoþurnalui, ið fotografijø darai instaliacijas.Darai interviu su sutiktais þmonëmis, daraiinterviu su tais, su kuriais norëtum susitikti,sutiktiesiems papasakoji apie savo þurnalà.Skrajutes, informuojanèias apie tavovakarëlius, platini baruose, kuriuose susitinkidël interviu. Áraðus perki blusø turguose, osavo vakarëliø skrajutes platini baruose, ákuriuos uþeini po blusø turgaus, kuri video,fiksuojanèius, kaip naikini áraðus, pirktusblusø turguje, iðvaduoji savo ðalá nuo blogosmuzikos, rodai tà video galerijoje ir didþëjaujiatidaryme, á kurá kvieti þmones, raðiusius tavoþurnalui, mëgaujiesi vakarëliu bei dþiaugiesifotografuojamas. Kvieti kitus DJ padidþëjautisu tavim, bûni MC, o kaþkas kitas – DJ,pasveikini þmones, susirinkusius á vakarëlá,supaþindini juos tarpusavyje. Tu esimenininkas ir esi mediatorius, tu miksuojiáraðus ir nori, kad þmonës miksuotøsi, tunetgi pats miksuoji nuotraukas þmoniø, kurienorëtumei kad susimiksuotø. Tu bendrauji suþmonëmis, kuriuos fotografuoji, jie kvieèiatave á savo vakarëlius, kuriuose su kitaisþmonëmis kalbiesi apie fotografijà. Tu gaminimarðkinëlius su savo vardu, kai kurie juos
neðioja, tu priverti juos prisiekti, kad jie dëvëstuos marðkinëlius eidami á vakarëlius, kuriuo-se tavæs nebus. Esi visur ir priverti þmonesdomëtis, kur tu esi. Esi namuose, dirbi lap-topu, nuo palikto taðko tæsi visus savo elek-troninius pokalbius, informuoji þmones apiesavo naujus projektus, tu kuri projektus nuo-latos. Paskambini, uþsisakai bilietus, iðsikvietitaksi, nuo taksi iki traukinio neði du ðimtussvarø svorio ávairiø medþiagø. Dirbi skirtin-gose vietose. Judi. Judi ið vieno miesto á kità,ið vienos ðalies á kità. Susigauni kità taksi, ðiektiek uþtrunka, kol susiorientuoji Stambule. Tufotografuoji ir praðai kitø fotografuoti taip,kaip tu nori. Apie þurnalo pristatymàpraneðanèias skrajutes platini klubuose, ku-riuose linksminiesi, dalini skrajutes, informuo-janèias apie vakarëlá, kurá rengi vienameknygyne savo þurnalo pristatymo proga, skel-bi informacijà apie kità to paties þurnalo pri-statymà kitame knygyne, dëkojisusirinkusiems, tarpusavyje supaþindiniþmones, su kuriais darei interviu, pakvieti
juos á vakarëlá. Tu organizuoji parodas, kvietiþmones pristatyti savo darbus, organizuojiatidarymà, apie parodà informuoji þinia-sklaidà. Prisistatai kuo kitu nei esi, o bûnitoks, koká save pristatai. Tu apsimeti ir esinuoðirdus. Tu dainuoji. Darai tyrimà apiesvingà. Fotografuoji fotografijas, þurnaløvirðelius dedi á savo þurnalà, kuri dainøkoverius. Tu esi menininkas, o tai reiðkia, kadbûtø neblogai, jei uþ visus tavo daromusdalykus bûtø mokama. Tu kreipiesi dëlparamos, bandai gauti stipendijas, kalbinimalonius þmones, kurie galëtø paskolintipinigø, turi padëjëjà, þinantá kaip gauti
pinigø ið þmoniø, kurie nëra malonûs. Tuorganizuoji vakarienes þmonëms, kuriuossupaþindinai, vakarienës metu aptari tolimes-nius leidinio planus. Praðai þmoniø paraðytiapie tavo kûrinius, papasakoji jiems kaipdirbi, viskà jiems parodai. Paaiðkini esminiusjauno menininko gyvenimo principus. Kad tuesi menininkas ir tai reiðkia, jog nedarai todël pinigø. Kai kas taip mano. Ir tai yra puikidingstis uþ niekà tau nemokëti. Galø gale tupats ádedi pinigus á projektus, kuriuos kitirodys savo muziejuose, kunsthalëse, savoparodinëse erdvëse ir galerijose. Taigi, tu esiinvestuotojas. Skolini pinigus, kuriø niekastau negràþins. Finansiðkai rizikuoji.Spekuliuoji savimi kaip meno vertybe. Esiprekeivis. Negali visø savo pinigø investuoti ávienos rûðies meno akcijas. Todël ávairini veik-là. Susidoroji su prisiimta rizika. Þinai, að taipasakyèiau kitaip. Að sakyèiau, kad tau ðvel-nios formos ðizofrenija. Tavyje slypi keliosasmenybës. Tu esi DJ, bet taip pat irfotografas. Tu organizuoji vakarëlius, bet turiir rimtesnæ asmenybës pusæ, kuri leidþia þur-nalus. Juokauju. Vakarëliø metu daliniþmonëms nuotraukas. Þurnalus laikai tikdingstimi vakarëliams – ir vël juokauju, – kur-damas þurnalus bendradarbiauji su vakarëliøliûtais, rengi vakarëlá, o DJ yra merrrgina. Yradaug merrrginø. Be perstojo lankaisi Femmeswith Fatal Breaks vakarëliuose ir esi toksdrovus, kad net negali uþsisakyti gërimo, eininamo su dviem ðimtais svarø svorio CD, par-duodi juos kitame vakarëlyje, besilinksmi-nanèiøjø fotografijas áraðai á CD-romus, ku-riuos ádedi á savo þurnalà, raðanèius tavo þur-nalui kvieti á savo vakarëlius, fotografuojiinstaliacijas, jau neminint, ko tikiesi ið savoskaitytojø ir klausytojø. Susitinki su þmonëmisdël interviu, interviu yra alibi, kad galëtumeisusitikti su þmonëmis, sutiktiesiems pasakojiapie savo vakarëliø gyvenimà. Skrajutes,informuojanèias apie vakarëlius, platini ba-ruose, kuriuose susitinki dël interviu. Kai perstipriai lyja, kad eitum á blusø turgø, áraðusperki padëvëtø daiktø parduotuvëse,vakarëliø skrajutes iðplatini bare, kuriame poapsipirkimo gauni puodelá skanios karðtosarbatos, video, kuriuose fiksuoji, kaip naikiniáraðus, pirktus padëvëtø daiktø parduotuvëjearba blusø turguje, parduodi muziejui,iðvaduoji savo ðalá nuo jos paèios blogo sko-nio, rodai video galerijoje ir didþëjaujidernisaþe ar finisaþe, nesvarbu kaip ten jisvadinamas, kur sukvieti þmones, kuriefotografuoja ir raðo apie tavo þurnalà.Norëtum, kad tavo bièiuliai didþëjai pailsëtø,dabar tavo eilë, todël paimi mikrafà irpadëkoji þmonëms, susirinkusiems á vakarëlá.
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Nuo ððakknø iiki ddanngauus
Blankia pavasario saule apðviestojeFrankfurto Turgaus aikðtëje Larsas BangLarsenas kalbëjosi su menininkø grupeHenriko VIII þmonos apie jø darbus, sukurtusprojekto Populizmas parodoms. Populizmas(beveik) vienu metu 2005 m. balandþio –geguþës mën. prasidëjo Vilniuje, Osle,Amsterdame ir Frankfurte. Henriko VIIIþmonos – Rachell Dagnall, Lucy Skaer, PerasSanderis, Sirko Knüpfer, Simonas Polli irRobertas Grieve’as – ðioms keturiomsvietoms sukûrë skirtingus, taèiau susijusiuskûrinius: Tatlino bokðto fragmentà, videoin-staliacijà, pagamintà keliaujant tarp ðiøketuriø miestø, ir àþuoliná vargonø vamzdá,sutvirtinusá ÐMC lankytojø tikëjimo jausmà.
Larrsass BBanng LLarrsenass: Vargonø vamzdis,pavadintas 32 pëdos = nuo 1730 metøaugusio nago ilgis = 8Hz / subgarsas, sklei-dþia garsà, sunkiai pakeliamà þmogaus klau-sai. Tada smegenys bando ásijausti á ðias sub-garsines vibracijas, kurios sukelia svaigulá, irtikriausiai, pasiklausius pakankamai ilgai, ga-lima pradëti haliucinuoti – o gal net matytiDievà! Tam tikra prasme ðiuos vargonus gali-ma bûtø pavadinti proto-populistinepriemone. Kodël juos rodote bûtentLietuvoje?Henriko VVIII þþmonos: Tai karðtai tikinti katali-kiðka ðalis. Vargonø tradicija èia áaugusi irásitvirtinusi realybës forma. Ðiuo poþiûriumûsø vargonø vamzdis atsiduria anapusreligijos ir komentuoja ne tik jos raiðkà, bet irrepresyvumà. Taigi, èia varþomasi tarpbaþnyèios ir sovietmeèio Lietuvos istorijos,kurias mëginame þenklinti. Þinoma, svarbu irtai, kad ði vargonø dalis iðgauna þemiausiàregistro garsà, nurodantá á paranormaliø irekstrasensiniø reiðkiniø sritá… tai lyg ir po-pulizmo kalambûras, reiðkinio, kuris visuometpasirenka þemiausià galimà bendravardiklá.Ðis daiktas veikia ir kaip atrakcionas arreginys. Jis atspindi ir jo gamybos procesà:ðiø vargonø gamintojas turëjo uþmegzti dau-gybæ kontaktø, kad iðsiaiðkintø, kaip juos
pagaminti, nes tokio dydþio vargonøvamzdþio dar nëra buvæ. Europos vargonøgamintojø bendruomenë yra nedidelë, taèiaudabar visi vienas kità þino, nes á juos visusbuvo kreiptasi patarimo!LBL: Ágyvendindami Tatlino bokðto projektàjûs siûlote galø gale pastatyti tà bokðtà, kuráVladimiras Tatlinas 1920 metais skyrë IIIKomunistø Internacionalui, taèiau jisniekuomet nebuvo pastatytas. Gal, rodydamijá kaip savo instaliacijas ar skulptûras vieðosevietose, per kokius deðimt metø pastatysitebokðtà tokiø masteliø, kokie buvo sumanyti?Kaip þmonës Vilniuje reagavo á tokià bolðe-vikinio meno istorijos revizijà?H8Þ: Tokios politinës reakcijos, kokiostikëjomës, nebuvo. Kalbëjomës su ðalieskultûros ministro pavaduotoju apie 1991-øjøtelevizijos bokðto ávykius Vilniuje. Jis mûsødarbà suprato kaip skulptûrà vieðai erdvei,kuri galëtø papuoðti kai kurias komplikuotasmiesto vietas. Ið principo ðiuo projektunorëjome iðryðkinti santyká tarp meno ir val-stybës. Vëliau bus ákurta interneto svetainë irprojekto plakatai bus iðklijuoti Londonometro, o technikos universitetams bus pasiû-lyta sugalvoti, kaip statiná sukonstruoti.Surinkæ tokià informacijà, norëtume pastatytipagrindiná bokðto gabalà. Manome, kad galøgale pamatysime fragmentuotà ir korpo-ratyviai atrodanèià Tatlino bokðto versijà, tin-kanèià 1 % bet kokios ðalies valdþios! Ðiuopoþiûriu ji dokumentuos ir atspindës ðiuo-laikines finansavimo strategijas… Tikimës,kad Tatlino bokðto projektas taip pat galitapti platforma þmoniø komentarø ir kritikosapykaitai. Kai darai panaðius dalykus, norinenori esi priverstas atsiminti, kad egzistavotokia internacionalo svajonë, kad buvopuoselëjama utopija. Kodël dabar nebëratokiø svajoniø? Taigi, Tatlino bokðto projektasvienu metu yra menininko vaidmensvisuomenëje romantizavimas ir deromantiza-vimas, nes jame slypi ásiðaknijæs idealizmas, o,kita vertus, jis atskleidþia þmoniø poþiûrá irvisas technines, biurokratines bei ekonomineskliûtis, su kuriomis susiduriame ágyvendinda-mi projektà.
LBL: Videoinstaliacijoje Misteris Isterijapolitinei populizmo realybei taikote psichia-triná isterijos apibûdinimà. H8W: Kalbëjome apie tai, kaip galima bûtøapibrëþti antitezæ populizmui – kaip ir kadatu nesi populistas? Tada susidûrëme su realy-bës ir to, kas nëra realybë, apibrëþimo prob-lema, atvedusia prie tokiø temø kaipbeprotybë, nusikalstamumas ir kintantysisterijos apibrëþimai. Senovës graikamsIsterija buvo viena ið deiviø, o XIX a. medici-nos moksle tapo moteriðka liga, dar kartàapibrëþusia moterá pagal ankstesná kliedëjimoir nenuovokumo modelá kaip iracionalià bûty-bæ. Ðiuolaikines isterijos apraiðkas galimavadinti simptomais be prieþasties arbaatotrûkiu tarp bendros nuomonës ir individu-alaus suvokimo. Taigi, visos vietos, kurioseMisteris Isterija buvo filmuojamas – Berlynolaikraðèio redakcijos ofisas, Berlyno gimdymonamai, Vilniaus policijos komisariatas irBerlyno akcijø birþa, – siejasi su tam tikrurealybës paslankumu. Tai vietos „minkðtojerealybëje“, tokioje kaip þiniasklaida arbabirþa, bûdingos tai kapitalizmo daliai, kurispekuliuoja daiktø vertëmis. Policijos komi-sariatas tikriausiai nëra tokia jau „minkðta“realybës dalis, greièiau prieðingai – vieta dog-mos átvirtinimui bei konflikto vieta…Gimdymo namai – vieta, kur vyksta kartørealybës poslinkiai, vieta kaþkam, kas atsiran-da dar be realybës. Ið principo tai yra pirmi-ausiai pamatoma vieta. LBL: Visi trys projektai sukasi apie tikëjimo irásitikinimo temas ir kiekvienas turi keletàsluoksniø. Ar kaþkuris ið tø sluoksniø susijæssu jûsø paèiø patirtimi?H8W: Menui naudojame áprastus ir kasdie-niðkus dalykus, kuriuos paverèiame neápras-tais. Ir – tikimës, nenuskambës pernelygsaldþiai – ieðkome þmogiðkumo institucijose,þiûrime, kiek jos gali leisti sau nukrypti, dary-damos paðalinius dalykus.
Larsas Bang Larsenas yra parodos Populizmaskuratorius drauge su Cristina Ricupero ir
Nicolausu Schafhausenu.
tribucija“ – kà tai reiðkia? Ar buvote ásivëlæ á kokià nors neteisëtà veiklà savo tiriamojo darbo metu, prieð prasidedant parodai? Kas pabuèiavo varlæ? Ar reali pa-pasitenkinimo, kad trienalës leidinyje buvo iðspausdintos Soni ir Shanel reklamos? „Nedideli kiekiai, tiesioginis darbas su kontaktais, niðinë rinkodara ir superdis-
Menass, ppopulizmass iir ddemokrattija: III ddallis
Tu esi menininkas ir tai reiðkia, kad nedaraito dël pinigø. Kai kas taip mano. Ir tai puiki
dingstis uþ niekà tau nemokëti. Galø gale tupats ádedi pinigus á projektus, kuriuos kitirodys savo muziejuose, kunsthalëse, savoparodinëse erdvëse ir galerijose. Taigi, esi
investuotojas. Skolini pinigus, kuriø niekastau negràþins. Finansiðkai rizikuoji.Spekuliuoji savimi kaip meno vertybe. Esiprekeivis. Negali visø savo pinigø investuoti á
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Paèiame Paryþiaus centre, Marais rajoneásikûrusioje naujoje galerijojeschleicher+lange pastaruoju metu sëkmingaibuvo pristatyta keleto ðiuolaikiniø Lietuvosmenininkø kûryba. Arûno Gudaièio, KristinosInèiûraitës ir Gintaro Makarevièiauspasirodymà privaèioje Paryþiaus galerijoje ga-lima vadinti ðuoliu á tarptautinæ meno rinkà.Kadangi Lietuvoje meno rinkos infrastruktûradar nesusiformavusi, tai gali bûti naujoLietuvos meno integracijos etapo pradþia.Apie tai ir apie meno sistemos plëtràLietuvoje 2005 metø geguþæ kalbëjosiArûnas Gudaitis ir Kristina Inèiûraitë.
Arûnass GGudaiitis: Kûriniai ne visuomet ásigyja-mi tarpininkaujant galerijai. Pavyzdþiui, poparodos meno leidinyje pasirodþiusi pub-likacija su kûrinio reprodukcija yra paskati-nusi vienà kolekcionieriø susisiekti su manimielektroniniu paðtu. Nors ir tokiu atveju svar-bus vaidmuo tenka kûriná parodþiusiai institu-cijai, parduoti kûrinius galima ne tik pergalerijas. Tiesa, jos kryptingai ta linkme dirba. Kristina IInèiûraiitë: Kaip bebûtø, svarbu, kadgalerininkai ið Paryþiaus pradeda domëtisLietuvos meno scena, atvyksta á Vilniø,renkasi menininkus – atsiveria naujas kon-tekstas, á kurá galime patekti, kuriame galimepristatyti savo produkcijà. Að visø pirma verti-nu ne komercinius galerijos privalumus, bettai, kad darbus galiu parodyti Paryþiaus meno
visuomenei ir plësti ryðius meno pasaulyje. AG: Ir patys galerininkai akcentavo, kadstengsis pristatyti menininkus, kuriø darbaidar nerodyti Paryþiaus kontekste. Tiesiogsveikintina galerijos iniciatyva plësti menorinkos geografijà. Galime tik spëlioti, kodëljie pasirinko bûtent Vilniø. Gal ir dël to, kadpatys yra vokieèiai, savo veiklà pradëjæBerlyne – sociokultûrinis palikimas beipasaulëþiûra turbût turi átakos renkantismenininkus.KI: Menininkui ið mûsø regiono daþniausiaisunku tikëtis bûti pakviestam á galerijas,kurios jau susiformavusios ir turi aiðkius pri-oritetus. Daugiau galimybiø pasirodyti nau-jose galerijose, kurios tik formuoja savo ganaliberalø veidà. Net patys schleicher+langegalerininkai yra atkreipæ dëmesá, kad jø gale-rija iðsiskiria ið kitø galerijø tarpo Paryþiuje jauvien dël to, kad ji priklauso ne prancûzams irtarp kvieèiamø menininkø nëra vietiniø.Pradinis etapas ðiek tiek rizikingas keliomisprasmëmis: konkretus prancûziðkas kontek-stas, galerija ir pakviesti skirtingø regionømenininkai – kaip visa tai susistyguos?Galerijos gyvavimo pradþioje apie tai galimetik spëlioti. AG: Laikui bëgant iðsikristalizuos aiðkesni kri-terijai – galerininkas gali uþimti vienà ar kitàpozicijà, kuri ir apspræs galerijos veidà. Visvien nebus iðvengta tam tikrø komerciniøinteresø. Nes kitu atveju bûtø tiesiog sugaið-
tas laikas, veltui investuota daug energijos irlëðø.KI: „Kapitalas ateina ten, kur jo reikia, irpasilieka ten, kur gerai priþiûrimas“, –garsaus ekonomisto ir bankininko WalterioWristono pastebëjimas tinka ir meno rinkai,kuri auga kaip ant mieliø. Bûtent menorinkos augimas keièia tradicinës galerijossuvokimà, jos apibrëþimà. Paryþiuje, Bazelyje,Londone, Madride, Niujorke ir kituose di-dþiuosiuose miestuose vyksta meno mugës,kuriose dalyvauja nesuskaièiuojamas kiekisgalerijø. Skubama pirkti-parduoti. AnotNiujorko universiteto profesoriaus RobertoStorro, tokie renginiai jau sietini ne suapþiûrëjimu, bet su þymëjimu (spotting), opaþinimo dþiaugsmà èia keièia susiþavëjimasið pirmo þvilgsnio. Ðie procesai, matyt,koreguoja net paèià meno ateitá. AG: Þinoma, meno rinkoje taip pat galiojaverslo principai. Jei darbe áþvelgi komercinæsëkmæ, tau kaip galerininkui nelabai svarbu,kokia bus reakcija ið kritikø ar meno instituci-jø pusës. KI: Galioja ir tam tikri meno rinkos stereotipai– ne vienas galerininkas yra minëjæs, kad kurkas sunkiau parduoti videodarbus nei tradi-ciniø vaizduojamojo meno rûðiø kûrinius –populiarià maþo formato tapybà ar pieðinius. AG: Viskas dësninga: materialiame pasaulyjeparduodami labai materialûs daiktai. Tik kylakitas klausimas: ar perkamas menininko var-
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Svetur
Arûno Gudaièio ir Kristinos Inèiûraitëspokalbis apie Paryþiø
Esi remediatorius, remiksuoji áraðus ir ið naujonori, kad þmonës remiksuotøsi, tu net remik-suoji fotografijas, tas, kuriose esantysþmonës, ið naujo norëtumei, kad remik-suotøsi. Tu refotografuoji þmones, su kuriaisið naujo kalbiesi ir vël ið naujo kalbiesi sukitais þmonëmis apie fotografijà. Ðtai tiemarðkinëliai su tavo vardu, o ðtai ir tas mielasvaikinas, kurá norëjai priversti prisiekti, kaddëvës tik tavo marðkinëlius eidamas ávakarëlius be tavæs. Tavæs niekur nëra irþmonës priversti domëtis, kur tu galëtumeibûti. Nesi namie, tavo autoatsakiklis atsakouþ tas kelias asmenybes, kurios tu esi. Kà tikiðlipai, susigavai taksi, nuo taksi iki oro uostoneðiesi penkiasdeðimt svarø svorio medþiagø.Iðskrendi ið Berlyno. Greit sugráði. Nuolatoskaþkà veiki. Susirandi kità taksi, netrukussusiorientuoji, jau gaudaisi Stambule.Fotografuoji ir praðai kitø fotografuoti taip,kaip tu nori. Su tais, kuriø praðai nufotogra-fuoti, darai interviu, interviu áraðus tran-skribuoji ir spausdini savo þurnale. Kalbintusþmones pasikvieti á þurnalo pristatymà, skra-jutes su informacija apie savo vakarëlius dali-ni per ðá pristatymà viename knygyne, skra-jutes su informacija apie savo þurnalo pri-statymà dalini klube, kuriame linksminiesi,savo vakarëlio metu skelbi kità vakarëlá,apgailestauji, kad kai kurie þmonës negalëjoateiti, dalini adresus, prisiþadi atsiøsti pakvie-timus. Organizuojamose parodose medijuojitarp þiniasklaidos ir menininkø, tariesi dëlinterviu, á atidarymà kvieti kritikus, renki pa-
rodos kritikos straipsniø kopijas, siunti jasparodoje dalyvaujantiems menininkams.Prisistatai kitokiu nei esi, o esi toks, kokiusave pristatai. Apsimeti ir esi nuoðirdus.Viskas kinta. Domiesi karine tematika.Fotografuoji kareivius, fotografuojimenininkus. Tu pats esi menininkas ir taireiðkia, kad bûtø neblogai gauti pinigø uþvisus daromus dalykus. Kartais tave paremia,puiku, jei gauni stipendijà, paþásti tà malonøvaikinà, kuris tau paskolintø dar pinigø, tebe-turi padëjëjà, kuris sugeba gauti pinigø iðþmoniø, kurie pasirodo besà labai labai blogiþmonës. Darai vakarienes þmonëms, kuriønebereikia vienø su kitais paþindinti,vakarienës metu aptari publikacijos planus, onuo praeito karto dar tebëra uþsilikæ ðiek tiekvyno. Ir vël jø praðai paraðyti apie tavo kûry-bà. Jie jau þino, kaip tu dirbi ir kà reiðkia bûtimenininku, kai yra tokiø, kurie galvoja, kaddarai tai ne dël pinigø. Taip, þinoma. Puikidingstis tau në velnio nemokëti uþ visa tai,kà padarai. Galø gale tu, bûdamas suðiktumenininku, ádedi suðiktus pinigus á projektus,kuriuos kiti rodys savo suðiktuose muziejuo-se, savo ðûdinose kunsthalëse, savo suknis-tose parodø erdvëse ir mëðlinose galerijose.Vadinasi, esi investuotojas. Skolini pinigus,kuriø niekas tau niekada negràþins. Imiesisumautos finansinës rizikos. Spekuliuoji savi-mi kaip „meno vertybe“. Gal nematai? Esiprekeivis! Negali sukiðti visø savo pinigø ávienos rûðies meno akcijas. Na kà, tuomet,kaip jie pavadintø, tu „ávairini savo veiklà“.
Susidoroji su rizika, kurios imiesi. Nuostabu.Pasakytum kitaip. Galit man nepasakoti.Sakot, man labai nemaloni ðizofrenijosforma. Kad manyje slypi kelios asmenybës.Na ir kà? Taip ir yra. O kà, anksèiau nepaste-bëjot? Að filosofas, bet dar ir raðytojas. Esuþurnalo redaktorius ir kvieèiu þmones raðytitam þurnalui. Kartais dirbu su menininkaisprie projektø, uþsibaigianèiø parodomis,kuriose susitinku þmones, praðanèius paraðytiapie jø kûrybà. Kartais padarau tai beuþmokesèio. Þinau, kaip ðiais laikais sunkumenininkui verstis. Juk darote tai ne dëlpinigø. Kai kas taip mano. Ir tai puiki dingstisuþ niekà nemokëti. Galø gale tu pats ádedipinigus á projektus, kuriuos kiti rodys savomuziejuose, kunsthallëse, savo parodinëseerdvëse ir galerijose. Taigi, esi investuotojas.Skolini pinigus, kuriø niekas tau negràþins.Finansiðkai rizikuoji. Spekuliuoji savimi kaipmeno vertybe. Esi prekeivis. Negali visø savopinigø investuoti á vienos rûðies meno akcijas.Todël ávairini savo veiklà. Susidoroji su prisiim-ta rizika. Tu pasakytum kitaip. Þinau, bet aðnevartoju keiksmaþodþiø. Pasakytum, kadtau ðvelnios formos ðizofrenija. Kad tavyjeslypi kelios asmenybës. Manau, kad suprantu.
Dieterio Lesage’o paskaita, skaityta ÐMCbalandþio 6 d. Publikuojama antroji paskaitos
dalis, visas tekstas: Dieter Lesage, Vertoogover verzet. Politiek in tijden van globalise-
ring, Amsterdam/Antwerpen:Meulenhoff/Manteau, 2004, p. 289-293.
jamos temos, pavyzdþiui, juodosios rinkos, magija ar okultizmas, gali bûti kliûtimi vertinant tokius Baltijos regiono siekius kaip atvirumas, skaidrumas irroda arba kuris nors kitas jûsø naudotas formatas suteiks juodajai rinkai galimybiø ar erdviø jame egzistuoti? Ar varlë tapo princu? Ar manote, kad jûsø nagrinë-
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Ðiaurës Rytø Europos dalimi. KI: Kaip ásivaizduoji savo ateitá?AG: Visa ko kaita ir judëjimas ágauna visdidesná pagreitá. Keièiasi gerbûvio suvokimas.Tos problemos, kurias turëjome prieð penkismetus, ðiandien nebeaktualios, á daugeládalykø jau galime þiûrëti istoriðkai. KI: Lietuvoje socialiniai, ekonominiai ir
kultûriniai skirtumai maþëja lyginant su kito-mis Europos sàjungos ðalimis. Tolimoje ateity-je, kai mûsø ekonomika dar labiau sutvirtës,turbût vis sunkiau pastebësime kartø skirtu-mus, nes neiðvengsime intensyvesnësmigracijos. Lietuvoje greièiausiai atsiras visdaugiau imigrantø. Kraujas bus sumaiðytas.
Daugiau apie Arûno Gudaièio ir KristinosInèiûraitës (ir kitø jaunosios kartos Lietuvosmenininkø) kûrybà galite suþinoti Lietuvos
instituto ir Lietuvos dailës muziejaus Ðiuolai-kinës dailës informacijos centro ákurtame tin-
klapyje: www.youngartists.lt
Valentinas Klimaðauskas kalbasi su lenkømeno istoriku ir kritiku Piotru Piotrowskiuapie menà, medijas ir baþnyèià balandþiomënesá ávykusios popieþiø kaitos proga.Antroje interviu dalyje pasirodo originaliomistechnovizijoms garsëjantis Vilniausmenininkas Darius Mikðys, o pasiûlymaspakalbëti ðia tema virsta paties sumanymodekonstrukcija.
1 ddallisVallentinass KKlimaððauuskass:Man atrodo, kad tradicinësinstitucijos (pavyzdþiui, val-stybë ar baþnyèia) pradëjokësintis á naujàsias medijas.Atsiranda balsø, reikalau-janèiø ávesti privalomàdokumentø pateikimà,norint atsidaryti elektro-ninio paðto dëþutæ ar ási-gyti SIM kortelæ mobiliamtelefonui… Kà jûs manoteapie naujø medijø irbaþnyèios santykáLenkijoje?Piotrass PPiotrowskis:Lenkijos baþnyèiai (kaip irvalstybei) reikia naujømedijø savireklamos tikslaisir komunikacijai su liaudi-mi, kuri, kaip ir kitose ða-lyse, sieja „liberaliàkultûrà“ ir „liberalias ver-tybes“ su þiniasklaida.Lenkø Romos katalikøbaþnyèia turi tokià galià(jos politinë galia turbûtyra didþiausia tarp Europosðaliø), kad sugebëjo priver-sti parlamentà á þiniasklai-
dos ástatymà átraukti frazæ apie pagarbàkrikðèioniðkoms vertybëms þiniasklaidoje.Laimei, tai tëra retorinis ásipareigojimas irrealioje socialinëje praktikoje daug nereiðkia.O á pirmàjà jûsø klausimo dalá galiu atsakyti,kad yra buvæ ðiokiø tokiø bandymø iðplëstivalstybës kontrolæ komunikacijø atþvilgiu,taèiau, laimei, jie nebuvo sëkmingi. Ðiaip artaip, liaudies kontrolë nëra baþnyèios iniciaty-va, veikiau pati valstybë (kaip ir bet kuri kita)svajoja kontroliuoti þmones.
VK: Sekmadiená (geguþës 8) naujasispopieþius Benediktas XVI sakë kalbà, skirtàþiniasklaidai, kurioje ragino jà labiau stengtiskuriant pozityvø dialogà tarp nacijø ir pan. Arpozityvi ir „moralizuojanti“ þiniasklaida galipadëti sukurti geresná pasaulá? O gal ji taptødar viena cenzûros priemone?PP: Netikiu, kad baþnyèia ið tiesø suinteresuo-ta realiu dialogu tarp nacijø ar bet kuriø kitøgrupiø. Jeigu taip ir yra, naujasis (taip patkaip ir senasis) popieþius kalba apie dialogà,
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das, ar kûrinys? Jei parduodamas vardas,tuomet nesvarbu, ar tai video, ar kitokiaiðraiðkos priemone atliktas kûrinys. Ðiuo atve-ju Vakarø meno rinka yra pranaðesnë neilietuviðka, nes jau seniai yra legitimavusitokias meninës iðraiðkos formas kaip video,performansas, medijø menai.KI: Su meno rinka uþsienyje dar maþai esamesusidûræ, nors privaèiø galerijø susidomëjimaslietuviðku ðiuolaikiniu menu auga. Kur kasliûdniau yra Lietuvoje, kurioje ðiuolaikinismenas savo rinkos neturi. Nenuneigsimefakto, kad intelektualinë produkcija turi turëtisavo kainà. Nëra meno rinkos – nëra galimy-bës suþinoti, kiek vertas ðiuolaikinio menokûrinys. Ðiuolaikinio menininko statusasmiglotas, visuomenë neþino, kaip vertintimenininkà, apskritai trûksta adekvatauspoþiûrio á ðiuolaikinio meno kûrëjà. Daugelisvis dar mano, kad esame grupelë naiviøentuziastø, laisvalaikiu kurianèiø darbus,kurie suprantami tik siauram þmoniø ratui. AG: Taip þiûrima ne tik á Lietuvosmenininkus. Esu bendravæs su nevienu jaunuVakarø menininku, jø situacija labai panaði.Tik ten labiau apibrëþtas menininko statusas,egzistuoja daugiau galimybiø naudotis valsty-bës teikiamomis lengvatomis, ávairiø privaèiøfondø parama, stipendijomis bei kûrybinëmisdirbtuvëmis tokiuose pasauliniuose menoþidiniuose kaip Niujorkas ar Londonas. KI: Lietuvoje vis dar populiari ið modernizmoepochos atëjusi romantiðka bohemiðkomenininko samprata. Lietuviðkose gyvenimobûdo laidose ar þurnaluose daþniausiai paro-doma klasikinë tapytojo studija, pakalbamaapie jo gyvenimo moteris, apie jo klajones poplatø pasaulá. Ðie pasakojimai apie menininkàneretai net mistifikuojami – vien ko vertasstraipsnis populiariame Lietuvos dienraðtyjeapie lietuvio tapytojo susiþavëjimà sargodarbu kapinëse. Kodël jiems skiriamas toksdëmesys? Todël, kad modernistai tapytojaiyra vertinami mûsø visuomenëje – jie turisavo rinkà vietinëje terpëje, jø kûriniai par-duodami tradicinëse, á modernistinæ dailæorientuotose lietuviðkose galerijose. Jeikûrinys turi vertæ, já sukûræs menininkas yragerbiamas visuomenëje ir juo labiau domisiþiniasklaida. Kuo labiau domisi þiniasklaida,tuo sparèiau meno rinkoje auga jo sukurtomeno vertë. O ðiuolaikiniam menui Lietuvojedar teks palaukti...AG: Ar ðiuolaikinio meno rinka Lietuvoje iðviso atsiras? Ar ji èia reikalinga? GintarasBeresnevièius yra taikliai apibûdinæs ðiàsituacijà, kalbëdamas apie skirtingus piþonoir snobo prioritetus. KI: Gal iðeitis bûtø Vilniuje ákurti tokias ðiuo-
laikinio meno galerijas, kurios dalyvautømeno rinkoje uþsienyje. Èia tiktø kol kasvienintelës tokio tipo galerijos IBID Projects,kursuojanèios marðrutu Vilnius-Londonas-tarptautinës meno mugës, pavyzdys.AG: Vis dëlto svarbus vaidmuo tenka galeri-jos geografinei vietai. Tik tiek, kad ðiuo-laikinei galerijai nebûtini mega-plotai. Taitarsi duomenø bankas, o galerija savo formalabiau primena ofisà. Kita prieþastis, kodëlgalerijø veiklaorientuota ádidþiuosiuspasaulio cen-trus, yrakonkurencija.Juk ne taip irsvarbu, kokiodydþio ofisas –svarbu, kokiainformacijajame kaupiamair pristatomatiek paèiojegalerijos erdvë-je, tiek inter-nete.KI: Tokie infor-macinësvisuomenës pri-valumai.Nepaisant to,Lietuvojeneturimepakankamaiðiuolaikiniomeno instituci-jø, kuriose galë-tume rodytisavo kûrinius.Pavyzdþiui, ðiuometu sukuriupo tris arketuris naujusfilmus permetus, kuriuosparodau tikuþsienyje.Skambës liûd-nai, taèiau ðiaismetais Vilniuje planuojamà mano 2002-2005metø videofilmø retrospektyvà reiktø pava-dinti premjera, nes Lietuvoje jie rodyti tiknedaugeliui. Ironiðka, kad kuriu darbus, susi-jusius su lietuviðku kontekstu, kurie vietinëjevisuomenëje retai pristatomi. AG: Taigi vël gráþtame prie lietuviðkos rinkossiaurumo. Taèiau turëtume atkreipti dëmesá irá vietos specifikà. Lietuviðko ðiuolaikinio meno
scena pernelyg uþdara ir jauna. Ji turi savonuoseklø identitetà, o kartø klausimas vis darlieka atviras.KI: Lietuviai sëslûs ir èia kartos glaudþiai susi-jusios. Kitur, ypaè megapoliuose, kur didelëmigracija, sunku sekti kartø evoliucijà.Pavyzdþiui, Anri Sala pradëjo sëkmingàmenininko karjerà Paryþiuje, pasinaudojæs irkûryboje þaidæs savo albaniðka kilme, o atsis-tojæs ant kojø tarptautinëje meno scenoje,
pradëjo kurti darbus, nutolusius nuo savokilmës refleksijø. Panaðiø pavyzdþiø yra irdaugiau. AG: Kalbant apie savo ðalies reprezentavimàuþsienyje, schema lyg ir aiðki – uþsienyje pri-statomi kûriniai, daugiau maþiau atspindintyslietuviðkas socialines realijas. Ðis susidomëji-mas blësta, kaip ir blësta – o gal jau ir visaidingo – domëjimasis Balkanais, Vidurio ar
paroda mes koká ðeðëlá? Girdëjau, kad tiek ÐMC, tiek ICA parodos metu gali bûti pastebëti keisti, antgamtiðki reiðkiniai. Skamba neátikëtinai, taèiau ar tai tiesa?demokratija? Ar pardavëte sielø velniui? Ar parodoje bus kûriniø, kurie galëtø uþkerëti publikà? Juodoji rinka daþnai asocijuojama su ðeðëline ekonomika. Ar ði
Þmonës
Valentino Klimaðausko interviu suPiotru Piotrowskiu ir Darium Mikðiu
1716
paremtà krikðèioniðkøjø vertybiø sistema, t.y.mato save kaip tam tikrà galià, kuri ðiamedialoge jei ir toleruoja kitus subjektus, tainepripaþásta jø kaip lygiaverèiø. Aiðku, kad,jei baþnyèia turëtø galimybæ, ji tikrai norëtøávesti tam tikrà cenzûrà. Visgi tikiuosi, kad irateityje ji neturës tokios galimybës. VK: Kokie yra santykiai tarp meno, menoinstitucijø ir baþnyèios a.a. Jono Pauliaus IItëvynëje?PP: Tai labai sudëtingas klausimas. Daug laikopraleidau tyrinëdamas ðià temà ir esu visiðkaiásitikinæs, kad jo átaka Lenkijos kultûros irmeno srityse, ypaè po 1989-øjø, yra labaidestruktyvi. Jis Lenkijos baþnyèiai suteikëekstremalià galià, jungianèià dvi tendencijas:nacionalizmà ir religijà, tradicines Lenkijosmainstreamo vertybes. Jo konservatyvuspoþiûris turëjo didelæ átakà ðioje ðalyje, kuriyra konservatyvi savo kilme ir istorija. Visosproblemos dël meno cenzûros (religinës, sek-sualinës ir pan.), kurias esu aptaræsPopulizmo leidinyje, yra kilusios ið ðio ðaltinio. VK: Kà Jono Pauliaus II mirtis reiðkia Lenkijosþiniasklaidai ir visuomenei? Ar liturgija 7/24vyko visais – nacionaliniu, privaèiu, þiniasklai-dos, virtualios realybës ir meno institucijø –lygiais?PP: Po (ir netgi ðiek tiek prieð) jo mirtáLenkijos þiniasklaida buvo labai isteriðka. Mannetgi sunku ásivaizduoti, kaip visa þiniasklaidagalëjo taip ignoruoti visas kitas naujienas.Lenkijos spaudoje pasirodë tiek nostalgiðkøistorijø, tiek apologetiniø straipsniø ir beveiknë vieno kritiðko. Visgi manau, kad tai buvoLenkijos baþnyèios galios pabaigos pradþia,nes lenkai daþniausiai matë popieþiø kaip„savo popieþiø“. Dabar, kai toks nacionalinisatramos taðkas pradingo, galbût iðnyks ir jopolitinë-religinë bazë, o Romos katalikøbaþnyèia susilpnës. Labai norëjau naujuojupopieþiumi matyti juodaodá kardinolà. Taibûtø buvæs ðokas Lenkijai, turinèiai stipriànacionalistinæ bazæ – jis bûtø suteikæs galimy-bæ susilpninti ðià ideologijà. Deja, taipneávyko. Taèiau vokieèio pasirinkimas yra tai-pogi daug þadantis...:)
2 ddallisVallentinass KKlimaððauuskass: Siûlau pakalbëtiapie popieþiø, nors dar neþinau kokiu aspek-tu. Að nesu tikintis, tikiu, tu irgi.Darrius MMikðys: Kodël tiki, kad netikintis?VK: Mano nuomone, tu esi labiau nano irmega galaktikø romantikas, medituojantisgnostikas ir medijø ðamanas nei praktikuo-jantis katalikas. Bet klausimas buvo toks: artu tikintis?DM: Bet toks klausimas uþduodamas kine
herojui atsidûrus „ant ribos“. Tai kas ginutiko?VK: Tikiu, kad esame ant senøjø institucijø(tokiø kaip valstybë ir baþnyèia) ásiverþimo ánaujàsias medijas epochos pradþios ribos...DM: Taip, tikëjimui reikalinga „þinia“, kuriai,deja, neuþtenka vien medijos galybës. Þiniaireikalinga ir idëja, o mes matome, kad naujø,su ðiuolaikine pasaulio samprata sutam-panèiø religiniø idëjø baþnyèia kol kas neper-duoda. Arba perduoda, bet mes „nepagau-name“. Arba neperduoda, nes kol kas mes jønesuprastume. O greièiausiai darnepasigaminome tos idëjos, nes kol kas tikmokomës jos þodyno ir kuriame árankius joseksploatavimui. Mûsø esamas/buvæs dievasdabar vis labiau panaðus tik á „materijoskodo“ distributoriø ir jei tas kodas mumstaps „atviru“, naujas dievas vël bus„nukeltas“ uþ naujojo horizonto. Taigi, manatrodo, ir medija „ásiverþia“ á religijà ir keièiajos lokacijà sàmonës þemëlapyje. O valstybë,kaip fiktyvus darinys, þinoma, yra sukurta irnuolatos perkuriama medijø pagalba.VK: ...taip pat nesu tikras, ar bûtø ádomukalbëtis apie sakraliná menà ar menà irtikëjimà.DM: Ádomiai kalbëti bûtø ádomu.VK: Be abejo. Siûlau sudalyvauti kitame inter-viu, kurá skirsime www.bernardinai.lt.DM: Nebent bernardinai.com.VK: Ar tau virtuali erdve.lt atrodo pernelygklaustrofobiðka palyginus su virtualiaerdve.com?DM: Erdve.com klaustrofobiðkesnë. Bet siûlaulaikinai boikotuoti LT dël valstybëje vyk-stanèios korupcijos, kuri trukdo kûrybinëmsbendruomenëms veikti vertingø vertybiøaplinkoje. Bet pirmiausia trukdo toms ben-druomenëms kurtis.VK: Gráþkime prie popieþiaus temos. Ádo-miausias man ðiuo atveju atrodytø popieþiausJono Pauliaus II mirties spektaklis reginioprasme. Dar gilià naktá buvo pradëtostiesioginës ir netiesioginës transliacijos iðVatikano ir Krokuvos, rodyti filmai apiepopieþiaus gyvenimà, mirtá, etc. Vatikanaspalaiko itin gerus santykius su medijomis:SMS ir el. paðtu pasaulis buvo informuotasapie popieþiaus mirtá anksèiau nei stovintysÐv. Petro aikðtëje Romoje. Kà tu manai apienaujø medijø ir konservatyvios baþnyèiosdraugystæ?DM: Manau tà patá, kà ir apie politikø beiþiniasklaidos ryðá. Dar vienas ádomus faktas –baltai juodi dûmai konklavos metu bei ðiossenoviðkos „medijos“ modernizavimas irpanaudojimas.VK: Be abejonës, bendras baþnyèios palanku-
mas þiniasklaidai turi politiná atspalvá, betmane labiau domina medijø sakralizacija,kuria aktyviai uþsiima baþnyèia. Naujasispopieþius pradëjo savo inauguracijà nuo sim-bolinio þurnalistø paðventinimo, buvopaskelbti jo el. adresai susiraðinëjimui ávairio-mis kalbomis, á kuriuos jis pats ir atsakinëjo.Panaðûs procesai vyksta ávairiose religijose,pvz. arabiðki mobilûs telefonai rodo, kuriojepusëje yra Meka. Mane labiau domina ðinaujojo technologinio sakralinio baroko era...DM: Apskritai, manau, kad Lietuvojebaþnyèia neturi „sakralumo“ kredito.Sakralizuojama – kristalizuojama?Kristalizuojama, kristalizuojama ir taip tikin-tieji atverèiami á medijos dorybæ. VK: Kalbi apie skystø kristalø displëjø ðven-tyklas? DM: Ir kiðeninius altorëlius. Air Bus, lenktyniaudami su Boeing, þydamssiûlë lëktuvuose árengtas sinagogas arba,jeigu neklystu, meèetes arabams. Neseniaiskaièiau apie patentuotà „media antkapio“iðradimà – antkapyje ámontuota videosistemalankytojams leidþia perþiûrëti mirusiojopraneðimus ir palinkëjimus/pabarimus.Kaþkada màsèiau apie medijas, kurios netyèiagali iðsaugoti gyvybæ: tarkime, staiga mirðti, otavo el. paðto dëþutë yahoo serveryje „gyve-na“ toliau. Bet að negirdëjau apie svetainæ,kurioje apsilankæs bûtum paðventintas arpakrikðtytas, ar apie paðto serverá, ið kurioiðsiøstos þinutës apaèioje atsirastø lotyniðkareklama.VK: Evangeliniai SMS’ai uþkariauja ne tik TVar radijà, bet ir miðias bei pamaldas:http://www.popemessage.com/ galiuþsisakyti popieþiaus minèiø ðiai dienai,http://www.ev-jugend-hannover.de/ gali mel-stis þinutëmis, o budistai mobiliuosius tele-fonus netgi ðventina http://wired-vig.wired.com/news/culture/0,1284,64624,00.html.Taip pat galime prisiminti tele-evangelineslaidas, kurias stebëdamas neabejotinai galijaustis medijuotos procesijos dalyviu. Kas,tavo manymu, yra tikresnis medijø popieþius– ðventas tëvas ar Marshalas McLuhanas, arkaþkas kitas? DM: Jeigu galëtume nepaisyti (ar bûtineskaitæ) Marshalo McLuhano, popieþius,þinoma, bûtø plaèiau medijuojama ir medi-juojanti figûra. Bet vien dël to jis negali bûti„medijø popieþiumi“. Popieþiaus institucijanustato kanonà ir vykdo jo monitoringà, o taipaskutiniu metu jai visai nesiseka daryti.Galima manyti, kad religija ðiuo metu turimaþiausiai átakos medijai per visà savo gyva-vimo istorijà. Jei paleolito olø pieðinius laiky-tume dalyviais ritualø, kurie galëjo bûti religi-
jos uþuomazga, ir jei pasektume religijosátakà vaizdavimo ir praneðimo bûdams ikimûsø dienø, galëtume tvirtinti, kad religijapraktiðkai inicijavo ir sukûrë medijà. Ði tikneseniai subyrëjo á daugelá medijos formø irmediatoriø, kurie savo ruoþtu yra „popieþiai“savo átakos zonose. Medijuojanèius kûriniuskuriantys menininkai taip pat kartais bûnasavo darbø popieþiais, o kartais gali bûti netik savo, bet ir kitø autoriø darbø popieþiaisarba atvirkðèiai – visai nebûti nei savo, neijokio kito kûrinio popieþiumi (manau,McLuhanas yra ir savo, ir daugelio kitøkûriniø popieþius). Galëtume net pagalvotiapie ðito mudviejø teksto popieþiø, jei ásivaiz-duotume, kad jis jau atspausdintas.VK: Taip, bet ereziniø tekstø ar ereziniømedijø panaudojimo galimybë tik sustiprinareakciniø sluoksniø kovà su antidogmati-nëmis interpretacijomis. Juk internetiniø sve-tainiø monitoringo, reitingavimo, patikimu-mo filtravimo programinë áranga yra tamtikra virtuali inkvizicijos forma. Ar tavæsnebaugina stiprëjanti virtualios erdvës panop-tikumo idëja (pvz., tam tikrø valstybiø tamtikri sluoksniai reikalauja, kad bûtø privalo-mas ID pateikimas atsidarant savo el. paðtodëþutæ ir pan.)?DM: Bet ir reakcionieriai gali didinti erezijø
atsiradimo tikimybæ. Juk tarpsta visokios sek-tos ir alternatyvos „tikrajai versijai“ (galëtumeprisiminti chaoso teorijà). Toliau galime jais irnesidomëti, nes religija jau seniai nebesukuriajokio svarbaus produkto. Nors, þinoma, dartebeturi socialiniø funkcijø. O virtualiosioserdvës anarchija erzina tiek pat kiek ir gali-mas atvirkðtinis, „tvarkingas“ jos variantas.VK: Ar nemanai, kad popieþiaus mirties„spektaklis“ masinëse informacijospriemonëse praplëtë liturgijos sampratà tiekerdvëje, tiek laike? Tiesioginës transliacijos iðVatikano metu iðvietintos baþnytinës miðiosbuvo perkeltos á visà taip vadinamo krikðèio-niðko pasaulio erdvæ. Tokiu bûdu masinësinformacijos priemonës atliko liturginiø medi-jø vaidmená?DM: Að paprastai perjungiu kanalà, kai rodokaþkà visiðkai neádomaus. Tuomet tas ávykisdingsta ið realybës lauko. Ið tikrøjø, medijakaip veidrodis atspindi preferencijas, t.y.veikia kaip veidrodinis ávykio serveris, kurispakeièia realøjá ávyká. Pvz., sporto varþybøtransliacija vyksta ne „ið“ kaþkur, o tiesiogvyksta ir ávyksta prieðais esanèiame maþdaug40 x 60 cm dydþio plotelyje. Niekam ne pas-laptis, kaip atsiranda vaizdas „dëþëje“, betesu tikras, kad TV þiûrovas nekontempliuojarealiosios vietos „perkëlimo“. Ir manau, kad
medija jau nebëra joks tarpininkas, nes jilabiau suinteresuota savimi paèia ir nukreiptaá save ir savo makijaþà bei daþnai yra turinyssau paèiai. Pvz., naujojo BBC orø prognoziødizaino aptarimas tampa BBC þiniø turiniu. Irne tik faktui atsitikus. Ávykis buvo anonsuoja-mas jau prieð pusmetá ir tapo laukiama þiniaþiniø vartotojams. Prie alaus bokalo besipi-nantis lieþuvis, manau, yra tikresnistarpininkas (maþiau ádomus, kas be ko).VK: Jei galvotum apie ðio teksto iliustratyvøpopieþiø, kas jis bûtø?DM: Medijuojantis traktorius arba „popie-þiaus traktorius“, kurá pavyko sugauti KaunoKlinikø kieme. Mûsø neaptarta tema –„popieþiaus maðinos“. Ir kadras ið TV ekrano„dûmai konklavos metu“ – taip pat mûsødar neplëtota tema. VK: Kaip tu pradëtum interviu apie popieþiø?DM: Pasipraðyèiau audiencijos pas popieþiø.Interviuojamas bûtø Jo Ðviesybë.
Valentinas Klimaðauskas yra ÐMC kuratoriusir meno kritikas.
Piotras Piotrowskis yra Poznanës A. Mickevièiaus universiteto Meno istorijos
instituto direktorius.Darius Mikðys yra menininkas, gyvenantis
Vilniuje.
kritikø keliais? Ar elgtis bûtent taip jus paskatino mûsø potraukis pavojams? Ar BMW apskritai gali tapti diskusijos objektu (tik, þinoma, ne tema, juk nesate te-Ar buvo lengva, ar bent ne pernelyg sudëtinga, kuruoti parodà, kuri, atrodo, neperkëlë nieko nei tiesiai ið Disneilendo, nei sekë idealistiniais praktikuojanèiø
1918 bendruomenes? Ar ði paroda skirta „pardavimui“? Ar manote, kad tai yra jos ateitis, ar tik darote tokià prielaidà, tarsi juodoji rinka ir e-bay turëtø daug siste-miniø parkø fanatai!)? Neatrodo, kad BMW klausimai bûtø paimti ið dykumø, prekybos centrø ar teminiø parkø. Kodël? Ar esate kada nors kalbëjæsi apie BMW
AAuudd
rroonnëë
ÞÞuukk
auusskk
aiittëë
AAnna
mmoorr
ffoozzëë
ss: nn
eeppamm
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ëëss ff
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ffiijjooss
pprroo
bblleemm
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2200
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66 pp..
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9955
55--660
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““anna
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ffoozzëë
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Aud
ronë
s Þu
kaus
kaitë
s kn
ygoj
e A
nam
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zës
paai
ðki-
nam
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ugel
is jo
s an
kste
snës
kny
gos
Ana
pus
sig-
nifik
anto
prin
cipo
(200
1) p
robl
emø,
o t
uo p
aèiu
ret
ro-
spek
tyvi
ai át
eisi
nam
as jo
s pa
èios
dau
gelá
met
ø na
grin
ë-ja
mø
tem
ø ra
tas.
Nau
jojo
je m
onog
rafij
oje
vël
sutin
kam
e jo
s m
ëgia
mus
her
ojus
: de
kons
truk
cijà
irJa
cque
s’à
Der
rida,
psi
choa
naliz
æ ir
Jacq
ues’
à La
canà
,id
eolo
gijø
krit
ikà
ir Lo
uis
Alth
usse
rá be
i Sla
vojø
Þiþ
ekà.
Taèi
au p
asiro
do ir
nau
ji ve
ikëj
ai,
ir na
uji p
asau
lio ið
ðû-
kiai
, re
ikal
auja
ntys
filo
sofo
pas
iaið
kini
mo.
Stip
riai
iðpl
eèia
mos
gei
smo
univ
ersa
lum
o be
i tik
rovë
s ne
gali-
mum
o te
mos
, ta
ikom
os g
imin
ës (
gend
er)
prob
-le
mat
ikai
apt
arti,
nuo
sekl
iai a
peliu
ojan
t á J
udith
But
tler
ir Ju
lios
Kris
tevo
s sa
mpr
otav
imus
. Pa
galia
u na
ujoj
oje
knyg
oje
daug
sva
rsto
ma
apie
ðiu
olai
kiná
men
à ir
kinà
pasi
naud
ojan
t dv
igub
o at
spin
dþio
, su
bjek
to k
onst
ravi
-m
o, g
imin
ës t
rans
gres
ijos
ir jo
uiss
ance
teor
ijom
is.
Rem
dam
asi G
uy D
ebor
d’u
auto
rë r
odo,
kai
pvi
suom
enës
spe
ktak
lis,
kurá
prod
ukuo
ja in
dust
rijos
,la
ipsn
iðka
i uþv
aldo
var
toto
jø þ
vilg
sniø
ávai
rovæ
irne
palie
ka v
ieto
s ta
m,
kà,
Raou
lio V
anei
gem
o þo
dþia
ista
riant
, pa
vadi
nèia
u „k
asdi
enyb
ës r
evol
iuci
ja“.
Tik
ar
Þuka
uska
itës
kriti
kos
radi
kalu
mas
, nu
krei
ptas
á vy
riðku
-m
o ga
lios
imita
cija
s, v
isuo
men
ës s
usita
patin
imà
suþe
nklø
gam
yba
ir vi
eðai
s sp
ekta
klia
is,
nëra
did
esni
s ne
ipa
èiø
situ
acio
nist
ø, k
urie
vis
dël
to m
atë
revo
liuci
jos
irra
dika
laus
pok
yèio
gal
imyb
æ? A
r jo
s kr
itiko
sra
dika
lum
as n
esup
onuo
ja s
toið
ko s
usitv
ardy
mo
prie
ðne
atða
ukia
mà
real
ybæ?
Reeall
yybbææ
iirr ssuu
bbjjeekk
ttàà ss
uukkuurr
iia iirr
áággall
iinna
ddiisskk
uurrssa
ss..Se
kda-
ma
Laca
nu Þ
ukau
skai
të a
iðki
ai s
kiria
rea
lybæ
(la
réa
lité)
ir tik
rovæ
(le
rée
l). R
ealy
bës
ir tik
rovë
s pe
rsky
rà a
titin
kato
s bi
narin
ës o
pozi
cijo
s, k
uria
s au
torë
tai
ko p
oliti
kos
sfer
ai.
Rem
dam
asi M
iche
liu F
ouca
ult
ji sk
iria
sàvo
kàzo
ç, r
eiðk
ianè
ià „
papr
astà
, pl
ikà
gyve
nim
o fa
ktà,
ben
-dr
à vi
som
s gy
vom
s bû
tybë
ms”
, nu
obi
os,
nuro
dant
á„g
yven
imo
form
à ir
bûdà
“ (p
. 11
7).
Ideo
logi
ja,
polit
i-ka
, m
enas
yra
bûd
ai a
tsis
kirt
i nuo
„pl
iko
gyve
nim
o“,
pane
igti
savo
zoç
. Pl
ikas
gyv
enim
as n
e átr
auki
amas
ási
mbo
linio
rei
kðm
ingu
mo
ribas
, o
pake
ièia
mas
prii
mti-
nom
is þ
enkl
ø tv
arko
mis
. Ta
èiau
ðia
ndie
n, k
ai v
erty
bes
keiè
ia p
reki
nës
vert
ës,
plik
as g
yven
imas
ið p
oliti
niø
mar
gina
lijø
lauk
o nu
olat
os v
erþi
asi á
cen
trin
æ jo
s da
lá, á
aren
à. Ð
is t
aikl
us Þ
ukau
skai
tës
past
ebëj
imas
atv
eria
galim
ybæ
apta
rti ð
iuol
aiki
ná p
opul
izm
à, m
argi
nalij
as,
jøve
rþim
àsi á
pol
itinæ
are
nà k
aip
vart
otoj
iðko
s ga
myb
os ir
visu
omen
ës s
pekt
aklio
rez
ulta
tà.
Þuka
uska
itë p
risim
ena
hom
o sa
cer
figûr
à, p
aste
bi jo
s sa
ulël
ydá,
bana
lëjim
à,ny
kim
à m
enin
iu,
gim
inës
ir e
kono
min
iu p
oþiû
riais
.
TTuuððtt
uummooss
ssllëë
ppiimm
ass iirr
NNiiee
kkiioo
ppassll
appttiiss
. A
lthus
seris
sak
o,ka
d su
bjek
tas
yra
disk
ursy
vios
inte
rpel
iaci
jos
rezu
ltata
s,ki
tur
– id
eolo
gijø
vei
ksm
o ið
dava
, o
Þuka
uska
itë t
eigi
a,ka
d „ð
iuol
aiki
nis
subj
ekta
s yr
a ne
kas
kita
kai
p re
gim
assp
ekta
klis
“ (p
. 21
0),
prid
urèi
au –
kar
tais
kai
p dr
ama.
Spek
takl
is,
karn
aval
as,
mas
kara
das
kuria
ir s
ubje
ktà,
irob
jekt
à m
aþoj
i a.
Mod
ernu
sis
dvig
ubas
mim
ezis
(va
i-di
nim
ø ka
rtoj
imas
), pa
taik
avim
as v
eidr
odin
iam
atsp
indþ
iui,
iðtik
imyb
ë ek
ranu
i yra
tuð
tum
os s
lëpi
mo
stra
tegi
jos.
Aut
orë
past
ebi:
atsk
leid
æ dv
igub
os im
itaci
-jo
s pa
slap
tá nu
sivi
lsim
e –
mas
kara
das
niek
o ne
slep
ia,
ova
idin
imas
ir y
ra v
ieni
ntel
ë re
alyb
ës e
smë.
Man
au,
kad
dram
a yr
a su
siju
si s
u tik
rovë
s tu
ðtum
os k
onst
atav
imu,
su t
ragi
ðka
past
anga
ávei
kti i
deol
ogijø
skr
aist
æ, n
es p
er-
galë
tea
tver
ia N
ieká
. Þu
kaus
kaitë
s te
kstu
ose
bûtis
tai
pir
nepa
siro
do,
nors
, pr
isim
inus
Mar
tinà
Hei
degg
erá i
rjo
s ci
tuoj
amà
Arv
ydà
Ðlio
gerá,
vai
zdø
neig
imas
rod
obû
tá ka
ip jo
s rib
à. B
ûtie
s pa
rody
mas
bût
ø ta
nel
eist
ina
prab
anga
, si
lpny
bë,
kurio
s Þu
kaus
kaitë
s te
kstu
ose
beve
ik n
eras
ime.
Bev
eik
– ne
s ka
rtai
s ji
min
i tik
rovæ
,ne
áman
omà
ðans
à, á
kurá
nuro
do d
isku
rsyv
iom
stv
arko
ms
nepa
klûs
tant
ys s
impt
omai
.
Siimm
ppttoomm
aii yy
rra nn
eeáámm
annoomm
a „„a
uutteenn
ttiiððkkuu
mmoo““
ggall
iimmyybb
ëë..
Jie n
urod
o á n
eapi
brëþ
tà t
ikro
væ,
á nei
ðpild
omà
pasi
jà.
Nei
deol
ogið
kum
o, n
edis
kurs
yvum
o ða
nsas
yra
sie
jam
assu
gyv
enim
o ta
ktik
a. Þ
enkl
as n
urod
o m
aþia
usia
i tris
dim
ensi
jas:
rei
kðm
æ ar
ba o
bjek
tà,
disk
urso
arb
a te
ksto
tvar
kà ir
, ne
tiesi
ogia
i, si
mpt
omà
arba
dis
kurs
o rib
à.Pa
sak
Þuka
uska
itës,
„si
mpt
omas
yra
tik
rovë
s in
karn
aci-
ja“,
nuo
roda
á „t
raum
iná b
rand
uolá“
(p.
15)
, á,
Laca
noþo
dþia
is t
aria
nt,
cent
rinæ
nega
limyb
æ, a
plin
k ku
riàst
rukt
ûruo
jam
as v
isas
rei
kðm
ës la
ukas
. A
smen
ybë,
pasa
k Þu
kaus
kaitë
s, y
ra p
akib
usi „
onto
logi
nës
dias
te-
mos
“ (p
. 17
) si
tuac
ijoje
: ta
rp d
isku
rso
ir si
mpt
omo,
tarp
rea
lybë
s ir
tikro
vës.
Tai
ir y
ra s
ubje
kto
þlug
imo
prie
þast
is.
Ont
olog
inë
dias
tem
a sl
epia
tra
gedi
jos
kilm
æir
juok
à dë
l neá
gyve
ndin
amø
vilè
iø.
Ðtai
kod
ëlÞu
kaus
kaitë
s kn
yga
yra
ne t
ik ir
onið
ka,
bet
kart
ais
irlin
ksm
a sa
vo n
egai
lest
ingu
mu.
LLiibbii
ddiinnëë
eekkoo
nnoomm
iikka
iirr gga
mmyybb
iinnëë
ppssiicc
hhiikka
. Þu
kaus
kaitë
rem
iasi
mar
ksis
tine
ðiuo
laik
inio
pos
tmod
erni
zmo
gaid
a:ek
onom
ika
veik
ia v
isas
ideo
logi
jas,
sam
prot
avim
us a
pie
pore
ikiu
s ir
resu
rsus
, o
per
tai –
gal
ios
disk
ursu
s. N
ors
pati
gam
yba
kaip
dai
ktin
is p
roce
sas
yra
nedi
skur
syvi
tikro
vë,
taèi
au jo
s ek
span
sija
vis
ø þm
ogau
s sa
ntyk
iøat
þvilg
iu v
ykst
a nu
olat
. Ir
nors
psi
chik
a sa
ugo
asm
ens
sant
yká s
u ge
ism
u, t
aèia
u ga
myb
a uþ
tikrin
a eg
zist
uo-
janè
ias
troð
kim
ø fo
rmas
. Su
bjek
tas
geid
þia
to,
kà g
ami-
na id
eolo
gizu
ota
ekon
omik
a. T
aèia
u ps
ichi
ka y
ra s
usi-
jusi
ir s
u tr
aum
ine
indi
vidø
, so
cial
iniø
gru
piø
ar t
autø
patir
timi.
Trau
ma
rodo
gry
nojo
gei
smo
nedi
skur
syvi
àst
ichi
jà.
Ji ið
ryðk
ëja
per
nuty
lëjim
us,
tabu
, ba
imæ,
pauz
æ. P
aste
bësi
u, k
ad þ
ydø
þudy
mo
1941
-ais
iais
nuty
lëjim
as p
laèi
ojoj
e lie
tuvi
ðkoj
e sp
audo
je,
neþi
ûrin
ttr
umpø
info
rmac
iniø
pra
neði
mø,
iðlik
o tr
aum
a, k
uri
prod
ukuo
ja d
vipr
asm
ybes
. Þu
kaus
kaitë
s kn
ygos
yra
puik
us m
etod
inis
pag
albi
nink
as t
aria
mai
dor
ø di
skur
søkr
itiko
s po
þiûr
iu.
TToo PP
attiiee
ss þþa
bbanngg
ooss..
Dis
kurs
ai,
ideo
logi
jos
dova
noja
subj
ektu
i gal
ià.
Ir ka
i sub
jekt
as k
ûryb
inga
i ats
tova
uja
disk
ursy
vià
tvar
kà,
kai j
is,
Alth
usse
rio þ
odþi
ais
taria
nt,
ið s
ubje
kto
ið m
aþos
ios
svi
rsta
sàm
onin
gu s
ubje
ktu
iðdi
dþio
sios
S,
tada
jo s
vajo
nës,
viz
ijos,
pla
nai i
r ne
tre
voliu
cijo
s vi
rsta
To
Patie
s pa
sika
rtoj
imai
s, s
imbo
linio
egoi
zmo
proj
ekci
jom
is.
Spek
takl
io t
vark
a ga
min
a vi
sna
ujas
vai
dini
mø
tvar
kas,
mas
kara
dai i
ðjud
ina
nauj
uska
rnav
alus
. Fa
ntaz
ijos
tuðt
ybæ
slep
ia r
etro
akty
vum
as,
kai s
vajo
jam
a ap
ie t
ai,
kà g
undo
sva
joti
film
ai,
lege
n-do
s, m
itai.
Uþ
To P
atie
s fa
ntaz
ijø n
esis
lepi
a ni
ekas
,no
rs t
uðtu
ma,
kur
ià u
þden
gia
fant
azijo
s, k
urio
s bi
jotv
arka
, yr
a tr
aum
a. T
raum
a vi
sado
s su
siju
si s
u tik
rovë
sin
vazi
ja.
Nes
tik
rovë
nër
a an
apus
dis
kurs
o, ji
yra
kiek
vien
o þe
nklo
ner
egim
asis
kom
pone
ntas
, rib
a.N
epat
irian
tys
skau
smin
go ð
ios
ribos
kis
mo
neið
veng
ia-
mai
pak
liûna
á To
Pat
ies
pink
les,
kai
p Þu
kaus
kaitë
sN
arci
zas.
DDeemm
oonniiðð
kkii vv
yyrraii
,, kka
rrnnavv
alliiðð
kkooss
mmoott
eerryyss
..V
yrai
kny
goje
aiðk
iai d
emon
izuo
jam
i ir
vaiz
duoj
ami k
aip
nuol
atin
iai
galio
s re
prez
enta
ntai
. G
alia
tur
ëti f
alà
yra
ðios
dem
o-ni
zaci
jos
prie
þast
is.
Mot
eris
, pr
ieði
ngai
, yr
a ge
ism
oob
jekt
o –
falo
– m
aska
rada
s. A
utor
ë ve
ikia
usia
i man
o,ka
d m
oter
iðku
mas
ir v
yrið
kum
as y
ra n
eiðv
engi
ami
pang
eism
o at
ribut
ai.
Pang
eism
o, n
es,
Laca
no ir
Þuka
uska
itës
poþi
ûriu
, vi
skas
– g
amyb
a, s
ocia
linë
orga
-ni
zaci
ja,
kultû
rinë
veik
la –
yra
per
smel
kta
ðio
puls
uo-
janè
io,
gyvy
bing
o ge
ism
o. „
Mas
kara
dinæ
“ m
oter
iðku
-m
o es
mæ
auto
rë p
erte
ikia
nur
odyd
ama
á tra
nsve
stitu
s,ku
rie y
ra a
nalo
giðk
as „
mas
kara
do“
feno
men
as.
Taèi
auá k
vyrø
(Que
er)
egzi
sten
cini
us lû
þius
dël
ski
rtin
go,
nei
mot
ers
atve
ju,
iðst
umim
o m
echa
nizm
ø, ji
nes
igili
na ir
todë
l kvy
røpa
tiria
ma
trau
ma
knyg
oje
netu
ri sa
vo y
pa-
tum
o. T
rans
vest
itai i
ðlie
ka m
iglo
ti.
KKass
ddiieenn
yybbëë
bbee iidd
eealløø
..K
iekv
iena
s as
muo
, re
mda
mas
issi
mpt
omai
s ir
verè
iam
as id
eolo
gijø
bei
dis
kurs
ø,re
aguo
ja á
situ
acijà
, á a
tsiti
ktin
ius
iððû
kius
. Þu
kaus
kaitë
neka
lba
apie
kûr
ybin
gum
à ir
idea
lus,
kur
ie,
rem
iant
isda
r K
anto
tra
dici
ja,
supo
nuoj
a la
isvà
pas
irink
imà.
Nel
ikus
idea
lø,
ávai
rovæ
uþt
ikrin
a tik
kas
dien
ybës
chao
sas.
„K
asdi
enia
i vei
ksm
ai in
korp
oruo
ja g
udra
vim
à,m
anev
rus,
gud
rius
triu
kus,
sim
ulia
cija
s, n
etik
rus
silp
nu-
mo
sim
ptom
us,
poet
ikos
ir k
aro
elem
entu
s [..
.] ta
ktin
ëel
gsen
a vi
suom
et y
ra ið
sklid
usi,
efem
erið
ka ir
sla
pta,
jisu
kuria
ma
kaip
impr
oviz
uota
s at
saka
s á k
onkr
eèià
situ
acijà
“ (p
. 40
). K
asdi
enyb
ës áv
airo
vë s
katin
a ta
k-tin
ius,
mom
entin
ius
veik
smus
. St
rate
gija
, pr
ieði
ngai
,„s
ieki
a ko
loni
zuot
i reg
imà,
spe
cifin
æ vi
età,
kur
i tam
paat
ram
a, ág
alin
anèi
a de
mon
stru
oti g
alià
“ (p
. 41
).St
rate
gija
atv
eria
kel
ià id
eolo
gijo
ms,
dis
kurs
ams,
sub
-je
ktui
, re
alyb
ei,
„vyr
ui“.
Str
ateg
ija u
þval
do ju
sles
, ka
s-di
enyb
ës r
egëj
imà
pave
rsda
ma
þiûr
ëjim
o fo
rmom
is,
steb
ëjim
o ku
ltûra
. Sp
onta
niðk
umas
gal
i tik
pra
sive
rþti
pro
disk
ursy
viø,
nev
erba
liniø
lûke
sèiø
tin
klà,
paþ
eist
iid
eolo
giná
asm
ens
tvirt
umà,
taè
iau
nega
li bû
ti, n
etur
isa
vaim
inio
pat
varu
mo.
Ar
mot
eris
yra
„ta
ktik
ë“?
KKûûnn
ass bb
ee oorr
ggannøø
iirr gg
eeiissmm
oo ttëë
kkmmëë..
Aut
orë
daug
dëm
e-si
o sk
iria
men
o, p
irmia
usia
kin
o, k
ritik
ai,
nors
dar
oek
skur
sus
ir á ð
iuol
aiki
niø
men
inin
kø N
omed
os ir
Ged
imin
o U
rbon
ø, E
glës
Rak
ausk
aitë
s, K
ristin
osIn
èiûr
aitë
s kû
rybà
. Yp
aè ád
omi j
os ið
vest
a pa
rale
lë t
arp
Ant
onin
o A
rtau
d „k
ûno
be o
rgan
ø“ ir
Gill
es D
eleu
ze’o
ikia
smen
inës
, ik
isub
jekt
yvio
s ge
ism
o të
kmës
. K
ûnas
be
orga
nø n
etur
i jok
ios
vidu
jybë
s ir
yra
tik t
ende
ncija
, gr
y-na
s pl
astið
kum
as,
o ge
ism
o të
kmë
yra
pasà
mon
ës s
ub-
stra
tas.
Pas
àmon
ë yr
a pa
gam
inam
a ið
gei
smo,
kai
pki
ekvi
eno
mûs
ø kû
nas
– ið
„kû
no b
e or
ganø
“.In
dust
rinei
gei
smø
gam
ybai
prie
ðina
si ð
iuol
aiki
niai
men
inin
kai.
Iðkû
nijim
as y
ra v
iena
ðiu
olai
kini
ø m
eno
stra
tegi
jø ir
èia
Þuk
ausk
aitë
apt
aria
Rak
ausk
aitë
s ir
Inèi
ûrai
tës
men
iniu
s pr
ojek
tus.
Kûn
o, ly
tiðku
mo,
o,
vadi
nasi
, ir
sim
bolin
ës r
ealy
bës
tran
sgre
sija
s au
torë
svar
sto
ir di
skut
uoda
ma
Pedr
o A
lmod
ovar
o be
i Lar
sovo
n Tr
iero
film
us.
Taèi
au a
r ði
e m
enin
iai p
roje
ktai
yra
tik k
ritik
a? A
r ta
i nër
a na
ujos
kûr
ybin
ës in
dust
rijos
dalis
, kû
niðk
umo
ir ge
ism
o fo
rmav
imo
prov
erþi
s?
Seekkss
uualluu
mmass
iirr jjoo
ppooll
iittiinnëë
eekkoo
nnoomm
iikka .
Vie
nasv
arbe
sniø
kny
gos
tem
ø –
seks
ualu
mas
. Se
kdam
aD
eleu
ze’u
ir F
elix
u G
uatt
ari s
eksu
alum
à au
torë
laik
o
geis
mo
mað
inos
dal
imi.
Gei
smas
yra
inko
rpor
uota
s á
bet
koki
à þm
ogið
kà v
eikl
à ka
ip s
timul
as,
kaip
gal
ia,
irto
dël s
eksu
alum
as y
ra p
oliti
nës
ekon
omik
os k
ateg
orija
.Ði
uola
ikin
ë po
litin
ë ek
onom
ika
nuro
do g
amyb
os s
usi-
dvej
inim
à ta
rp áv
airo
vës
ir su
vien
odin
imo,
tar
p ve
rtyb
iøir
to,
kad
jos
nuol
atos
pav
erèi
amos
mai
nom
osio
mis
vert
ëmis
. D
iach
roni
jos
proc
esai
bei
aug
anty
s po
reik
iai
reik
alau
ja áv
airo
vës,
kur
i daþ
niau
siai
ten
kina
ma
tøpa
èiø
obje
ktø
varia
cijo
mis
. Áv
airo
vës
sim
ulia
cija
yra
To
Patie
s bû
das
iðve
ngti
kank
inan
èiø
skirt
umø.
Pan
aðia
iat
sitin
ka ir
su
lytim
i. Þu
kaus
kaitë
rað
o: „
ðizo
anal
izë
yra
kint
anti
subj
ekto
n ly
èiø
anal
izë,
kur
i yra
ana
pus
antr
opom
orfin
iø r
epre
zent
acijø
, su
bjek
tui p
rimet
amø
visu
omen
ës“
(p.
144-
115)
. Ið
esm
ës e
kono
mik
a ið
stu-
mia
ant
ropo
mor
fizm
à, p
aver
sdam
a ly
tá rin
kos
pore
ikiu
,ar
tefa
ktu.
Man
au,
lytie
s ir
gim
inës
ant
ropo
mor
fizm
okr
itika
yra
sva
rbus
apt
aria
mos
kny
gos
pasi
ekim
as.
Net
ekæs
ant
ropo
mor
finiø
pav
idal
ø se
ksua
lum
as ið
tirps
-ta
libi
dinë
je e
kono
mik
oje
bei n
uola
tos
kart
oja
savo
mað
inin
ius
pavi
dalu
s. T
aèia
u ga
myb
a ir
mað
inos
neið
lais
vina
nuo
par
anoj
os a
r ði
zofr
enijo
s. Þ
ukau
skai
tëie
ðko
ðizo
fren
ijos
inve
rsijø
ðiu
olai
kinë
je g
amyb
oje.
Prid
urèi
au,
kad
vers
lo f
iloso
fijos
ats
tova
i Jos
epha
sSc
hum
pete
ris ir
And
rew
Gro
ve’a
s kû
rybi
ná d
estr
uk-
tyvu
mà
ir pa
rano
jà la
iko
ðiuo
laik
inës
indu
strij
os ð
erdi
mi.
NNeeáá
mmann
oommoo
KKiittoo
iiððssii
llaiiss
vviinnii
mmass
iiðð oo
bbjjeekk
ttoo mm
aþþoojj
ii a.
Kito
tem
a at
veria
kel
ià d
augi
au n
ei d
isku
rsø
ávai
rove
i.K
itas
atve
ria k
elià
tra
nsce
nden
cija
i, ku
ri su
siet
a ar
ba s
uid
eala
is,
arba
su
radi
kalia
i ski
rtin
gais
sim
bolin
iais
pasa
ulia
is,
arba
su
nedi
skur
syvi
u ek
onom
ikos
ir g
am-
tos/
psic
hiko
s sp
audi
mu.
Kito
fig
ûra
nëra
aið
ki,
nes
jine
ásite
nka
bina
riniø
rea
lybë
s/tik
rovë
s op
ozic
ijø r
ibos
e.Ir
jei T
as P
ats
galë
tø b
ûti s
usie
tas
su d
isku
rsyv
iu t
apat
u-m
u, s
u id
eolo
gijø
kol
oniz
uota
sav
imon
e, t
ai K
itas
nie-
ko t
okio
nen
urod
o. K
ità a
tver
ia s
usita
ikym
as s
u ga
m-
tine
aplin
ka a
rba
su n
epat
irtai
s ki
tø,
galb
ût n
eprii
mt-
inø,
pas
auliø
impe
raty
vais
. Ir
nors
Þuk
ausk
aitë
s kn
ygo-
je n
ëra
svar
stom
a A
lfons
o Li
ngio
ar
Alg
io M
ickû
nofil
osof
ija,
taèi
au r
adik
alau
s K
ito p
atos
as ð
iø a
utor
iøm
intis
sua
rtin
a.
Saky
èiau
, ka
d au
torë
Kito
sfe
rà s
kirs
to á
ásiv
aizd
uoja
mà,
sim
bolin
æ ir
tikrà
. Ás
ivai
zduo
jam
a –
tai T
o Pa
ties
kiti
atsp
indþ
iai,
sim
bolin
ë –
tai „
beas
men
iø t
aisy
kliø
visu
ma“
, tik
rovi
ðka
yra
„neá
man
omas
Dai
ktas
, ne
-þm
ogið
kas
part
neris
, su
kur
iuo
neám
anom
as jo
kssi
met
riðka
s di
alog
as“
(p.
142)
. Sk
irtyb
æ lin
kæ d
iskr
imi-
nuot
i Tie
Pat
ys k
iekv
ienà
rad
ikal
iai K
ità p
aver
èia
daik
tu,
nuve
rtin
a ik
i tar
pdal
ykin
iø s
anty
kiø,
iki m
anip
ulia
vim
oob
jekt
ø. Ð
io p
aver
timo
logi
ka y
ra s
usiju
si s
u si
mbo
line
repr
ezen
taci
jos
tvar
ka,
kai k
iekv
ienà
Kità
nei
ðven
giam
aiat
stov
auja
jo s
ubst
ituci
ja –
obj
ekta
s m
aþoj
i a.
Ið e
smës
obje
ktu
maþ
oji a
pave
rsta
s K
itas
virs
ta d
aikt
u, k
uris
nete
ko h
omo
sacr
uspa
vida
lo.
Þuka
uska
itë áv
ardi
ja k
ai k
uriu
os n
eám
anom
us n
eá-
man
omos
tik
rovë
s at
stov
us.
Tai m
oter
is ir
tie
, ku
riuos
dele
gitim
avo
ideo
logi
ja.
Mot
ers
figûr
à ji
inte
rpre
tuoj
aLa
cano
þod
þiai
s: „
Mot
eris
nee
gzis
tuoj
a“ r
eiðk
ia,
jog
jiyr
a ne
vis
a(p
as t
oute
), ji
nega
li sa
væs
visi
ðkai
ir g
alut
i-na
i rep
reze
ntuo
ti fa
linëj
e tv
arko
je“
(p.
164)
. Ta
èiau
ne
tik m
oter
is,
bet
ir „j
oks
seks
ualin
is s
anty
kis
neeg
zist
uo-
ja“,
tur
int
omen
yje,
kad
gei
smo
tikro
vë y
ra n
eþen
klið
-ka
. Pa
naði
ai n
eám
anom
i ir
visi
Kiti
rad
ikal
iai a
tstu
mtie
ji.Pa
vyzd
þiui
, G
uant
anam
o ka
linia
i, tie
, ku
rie ið
liko
pobo
mba
rdav
imo,
yra
neá
man
omi d
aikt
ai J
AV
pos
tulu
o-to
s po
karin
ës t
vark
os p
oþiû
riu.
Man
au,
prie
tok
iø n
eá-
man
omø
reik
ëtø
pris
kirt
i ir
daug
iau
ekon
omin
iø ir
pol
i-tin
iø p
abëg
ëliø
bei
neá
galiø
jø,
kurie
net
Lie
tuvo
jeið
lieka
dai
ktai
s ar
ba n
eám
anom
ais,
neá
site
nkan
èiai
s á
ydin
gà li
etuv
iðkà
To
Patie
s fa
ntaz
ijø r
atà.
Gin
taut
as M
aþei
kis
Biblioteka
EEmmiissiijja 220044 –– ÐÐMMCCLLeeiiddëëjjass: ÐÐiiuuoollaiikkiinniioo mmeennoo cceennttrrass,, VViillnniiuuss,, 220055PPuubblliisshheerr: CCoonntteemmppoorrarryy AArrtt CCeennttrree,, VViillnniiuuss,, 22005511440 pp..IISBBNN 998866--95577--2266--55
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Nuo
199
7 m
etø
Art
ûras
Rai
la þ
iûro
vus
ðoki
ruoj
a m
eno
scen
os u
þdar
umà
ryþt
inga
i gria
unan
èiai
s pe
rfor
man
-sa
is,
vide
oins
talia
cijo
mis
ir m
iðriø
med
ijø k
ûrin
iais
. Jo
orga
nizu
otø
akci
jø ir
kitø
„re
gini
ø“ e
pice
ntru
daþ
nai
tam
pa Ð
iuol
aiki
nio
men
o ce
ntra
s V
ilniu
je.
Taèi
au ð
iø„r
egin
iø“
paka
rtoj
imai
ar
net
prem
jero
s vy
ko L
ince
irG
race
Aus
trijo
je,
Turk
u Su
omijo
je b
ei K
roat
ijos,
Latv
ijos,
Est
ijos
ir Vo
kiet
ijos
sost
inës
e, t
aip
pat
ir au
to-
riaus
vai
kyst
ës m
iest
e Li
etuv
os p
rovi
ncijo
je –
Pane
vëþy
je.
2004
met
ais
Han
saba
nko
Raila
i sut
eikt
a pr
emija
paga
liau
tapo
pre
teks
tu ir
gal
imyb
e vi
sà a
ðtuo
neriø
met
ø ve
iklà
ats
pind
ëti l
eidi
nyje
. N
ors
Raila
iki ð
iol n
ëra
iðle
idæs
në
vien
o pe
rson
alin
io k
atal
ogo,
jis
ir ðá
kar
tàne
siëm
ë ið
sam
iai d
okum
entu
oti s
avo
kûry
bos.
Á ka
ta-
logà
ne
tik n
eátr
aukt
i dar
bai i
ki 1
997-
øjø,
kuo
met
visi
ðkai
per
eita
prie
per
form
ansø
ir n
aujø
med
ijø,
bet
irpa
star
øjø
met
ø kû
ryba
pris
taty
ta f
ragm
entið
kai.
Railo
spa
sirin
ktà
leid
inio
kon
cepc
ijà t
iksl
iaus
iai g
alim
a bû
tøap
ibûd
inti
kaip
dar
vie
nà k
ûrin
á – m
enin
inko
kny
gà.
Taèi
au t
ai n
ëra
ir gr
ynas
ðio
þan
ro d
arba
s, n
es s
var-
biau
si p
roje
ktai
kny
goje
pris
tato
mi c
hron
olog
iðka
i ir
gaus
iai d
okum
entu
ojam
i. Ti
esa,
par
inkt
a va
izdi
nëm
edþi
aga
neat
kuria
nuo
sekl
ios
akci
jø e
igos
ar
vide
o-da
rbø
sekv
enci
jø s
ekos
. A
tidar
ymo
scen
oms
ir pu
blik
osnu
otra
ukom
s èi
a sk
irta
tiek
pat
dëm
esio
kie
k ir
paèi
øda
rbø
repr
oduk
cijo
ms.
Kny
goje
pub
likuo
jam
i lab
ai t
rum
pi r
epro
duku
otø
kûrin
iø a
prað
ymai
ang
lø k
alba
, te
lpan
tys
á vie
nà p
usla
pá
– kn
ygos
tur
iná.
Joje
nër
a kr
itikø
tek
stø,
rec
enzi
jø,
patie
s m
enin
inko
pas
isak
ymø.
Vie
toje
jø k
iekv
ieno
pro
-je
kto
vaiz
dinæ
dok
umen
taci
jà ly
di t
uðti
pusl
apia
i, pa
likti
„prir
aðyt
i“ p
aèia
m k
nygo
s va
rtot
ojui
. Þo
dþio
„sk
aity
to-
jas“
nev
arto
ju s
àmon
inga
i, ne
s ak
ivai
zdu,
kad
aut
oriu
stik
isi a
ktyv
aus
knyg
os v
arto
tojo
-þiû
rovo
, ku
ris li
nkæs
kom
entu
oti,
disk
utuo
ti ir
klau
sti.
Raila
èia
pro
voku
oja
pana
ðiai
kai
p ir
savo
kûr
yboj
e, r
eika
laud
amas
uþi
mti
neab
ejin
gà ir
aið
kià
visu
omen
inæ
pozi
cijà
. Be
abe
jo,
visi
ems,
pris
imen
antie
ms
Railo
s pr
ojek
tus,
tai
pad
aryt
ibu
s ne
sunk
u. T
aèia
u kn
yga
nesu
teik
ia g
alim
ybës
ðià
patir
tá pa
pild
yti n
auja
med
þiag
a –
patie
s au
toria
us a
r jo
kûry
bos
þino
vø m
intim
is.
Dar
sun
kiau
bus
tie
ms,
kur
ie p
aim
s kn
ygà
á ran
kas
neþi
noda
mi R
ailo
s kû
rybo
s. J
iem
s ga
li pr
itrûk
ti el
emen
-ta
rios
info
rmac
ijos,
neb
ekal
bant
api
e ga
limyb
æ su
vokt
isu
dëtin
gos
polit
inës
, so
cial
inës
ir m
oral
inës
men
inin
kokû
ryba
i bûd
ingo
s po
lem
ikos
dis
kurs
à. R
aila
sav
o pr
o-je
ktam
s re
nkas
i eks
ploz
ijom
gra
sina
nèia
s te
mas
: m
ar-
gina
liniu
s vi
suom
enës
slu
oksn
ius,
bed
arby
stæ,
naci
onal
istø
judë
jimà.
Jis
kal
ba ir
api
e m
eno
mok
ymo
kriz
es,
tyrin
ëja
ribas
tar
p vi
eðø
men
o in
stitu
cijø
ir a
lter-
naty
viø
kitu
ose
visu
omen
ës s
luok
sniu
ose
besi
vyst
anèi
økû
rybi
niø
raið
kos
form
ø. Ð
i kny
ga p
erne
lyg
frag
men
tið-
ka,
kad
atsk
leis
tø t
okiø
tem
ø ko
mpl
eksi
ðkum
à, o
vaiz
dinë
jos
dalis
nep
ajëg
i atk
urti
spec
ifinë
s Ra
ilos
per-
form
ansa
ms
ir vi
deop
roje
kcijo
ms
bûdi
ngos
agr
esyv
iai
prov
okuo
janè
ios
átam
pos.
Mat
yt,
todë
l ir
pats
aut
oriu
sak
cent
uoja
fra
gmen
tiðkà
kny
gos
sand
aros
pob
ûdá.
Ðikn
yga
atsi
rado
kitø
men
inin
ko k
ûrin
iø p
agrin
du,
ta-
èiau
, no
rs ir
neb
ûdam
a vi
siðk
ai a
uton
omið
ka,
ji vi
s tik
tam
pa ið
raið
king
u sa
vara
nkið
ku m
enin
iu o
bjek
tu.
Ram
inta
Jur
ënai
të
EEggllëë
Rakk
auusskk
aiittëë
eegg
ll??LLee
iiddëëjj
aii:
ÐÐiiuuoo
llaiikk
iinniioo
mmeenn
oo ccee
nnttrra
ss,, AA
IICCAA
LLiiee
ttuuvvoo
ss ssee
kk--ccii
jja,,
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iiuuss,,
2200
55 933
pp..:
220 ss
ppallvv
oottøø
iilliiuuss
ttrracc
iijjøøIIS
BBNN 9
98866--
95577--
2255--77
Eglë
s Ra
kaus
kaitë
s, k
aip
Art
ûro
Railo
s, k
nyga
prik
laus
ota
m p
aèia
m m
enin
inko
kny
gos
þanr
ui.
Taèi
au jo
spa
sirin
ktas
iðei
ties
taðk
as –
kito
ks.
Raka
uska
itës
knyg
o-je
dom
inuo
ja g
ausa
us a
utor
iø b
ûrio
ese
istin
iai t
ekst
ai ir
inte
rviu
, ili
ustr
uoja
mi v
ideo
film
ø ka
drai
s. V
isi 2
000-
2004
met
ais
suku
rti f
ilmai
sud
aro
savo
tiðkà
cik
là,
ku-
riam
e au
torë
, pa
site
lkus
i vai
zdo
kam
erà
ir pa
sirin
kusi
neut
rala
us s
tebë
tojo
poz
icijà
, do
kum
entu
oja
ávai
rius
soci
alin
ius
reið
kini
us.
Film
uoda
ma
ji pr
alei
dþia
die
nàdi
dþia
usio
je B
altij
os ð
aliø
tur
gavi
etëj
e G
ariû
nuos
e, s
tebi
ir ka
rtu
su a
sist
ente
kal
bina
pirk
ëjus
sup
erm
arke
te,
pasa
koja
pra
mog
oms
ir re
klam
ai n
uom
ojam
osbe
þdþi
onës
isto
rijà
ir ga
liaus
iai s
tebi
pat
i sav
e, n
eleg
a-lia
i dirb
anèi
à em
igra
ntæ,
sla
ugan
èià
para
lyþi
uotà
senu
tæ A
mer
ikoj
e.
Kny
goje
ðie
film
ai p
rista
tyti
frag
men
tiðka
i, ne
siek
iant
atsk
leis
ti nu
osek
lios
jø e
igos
, o
didþ
iaus
ias
dëm
esys
sute
lkta
s á p
apild
omà
med
þiag
à, k
uri è
ia t
ampa
pagr
indi
ne.
Raka
uska
itës
kûry
bai s
kirt
i du
esë
–Ra
imun
do M
alað
ausk
o Ba
imës
fakt
oriu
sir
Art
ûro
Tere
ðkin
o D
vigu
bas
mal
onum
as:
apie
sek
imà,
sup
er-
mar
ketà
, þv
ilgsn
á, pa
sipr
ieði
nim
àbe
i Alfo
nso
And
riuðk
eviè
iaus
inte
rviu
su
auto
re.
Mal
aðau
skas
sav
oes
ë na
grin
ëja
ekst
rem
alau
s m
anip
ulia
vim
o þi
ûrov
ais
mec
hani
zmus
rea
lybë
s ðo
u A
mer
ikos
TV
ver
sle
ir te
igia
,ka
d „þ
velg
iant
per
rea
lybë
s TV
ir ð
oko
indu
strij
ospr
izm
æ ga
lima
geria
u su
pras
ti Eg
lës
Raka
uska
itës
vide
odar
bus,
ypa
è jo
s kû
riná M
y A
mer
ica“
. Te
reðk
inas
didþ
iaus
ià d
ëmes
á ski
ria m
enin
inkë
s vi
deof
ilmui
Man
oad
resa
s –
ne n
amas
ir n
e ga
tvë,
man
o ad
resa
s –
prek
y-bo
s ce
ntra
sir
inte
rpre
tuoj
a já
pasi
telk
dam
as M
iche
lioFo
ucau
lt ir
Ann
os F
reid
berg
vei
kalu
s. R
akau
skai
tës
fil-
mav
imà
jis p
rilyg
ina
visa
apim
anèi
am s
ekim
ui ð
iø d
ienø
visu
omen
ës k
asdi
enin
iam
e gy
veni
me
bei p
anað
iem
sga
lios
mec
hani
zmam
s. A
ndriu
ðkev
ièiø
labi
ausi
ai d
omi-
na R
akau
skai
tës
kaip
men
inin
kës
„nom
adiz
mas
“, v
ar-
toja
nt jo
pat
ies
iðsi
reið
kim
à. Ð
á nom
adiz
mà
jis s
upra
nta
kaip
dar
bà k
itose
ðal
yse
ir ka
ip „
bruk
imàs
i“ á
toli
nuo
„nor
mal
ios
kultû
ros“
ir „
norm
alau
s gy
veni
mo“
esan
èias
soc
ialin
es g
rupe
s.
Did
esnæ
kny
gos
teks
tø d
alá s
udar
o pa
èios
men
inin
kës
paim
ti in
terv
iu.
Pana
ðiai
kai
p ka
i kur
iuos
e sa
vo d
arbu
o-se
Rak
ausk
aitë
gru
pei m
oter
ø uþ
davi
nëja
kla
usim
us,
pati
tars
i pas
itrau
kdam
a nu
oðal
ën,
neat
skle
isda
ma
savo
min
èiø
ir em
ocijø
. Sk
aity
toju
i èia
, ka
ip ir
ank
sèia
uþi
ûrov
ui,
palie
kam
a da
ug v
ieto
s sa
vo p
atie
s as
ocia
ci-
jom
s. Ið
tem
ø ir
paðn
ekov
iø p
asiri
nkim
o ai
ðkëj
a, k
ad,
klau
sinë
dam
a ki
tas
mot
eris
, m
enin
inkë
sie
kia
gilia
usu
pras
ti pa
ti sa
ve.
Kny
goje
nër
a (k
o, m
anau
, yp
aèpa
sige
s ne
viet
inis
ska
ityto
jas)
net
ir t
rum
pø k
albi
ntøj
øbi
ogra
fijø.
Taè
iau
visø
jø b
iogr
afija
tur
i net
iesi
ogin
iø,
bet
svar
biø
para
leliø
su
men
inin
ke.
Vis
os jo
s –
Aus
tëja
Èep
ausk
aitë
, Re
nata
Dub
insk
aitë
, Er
ika
Grig
orav
ièie
në,
Laim
a K
reiv
ytë,
Mon
ika
Krið
topa
itytë
, Rû
taM
ikði
onie
në,
Agn
ë N
aruð
ytë,
Gie
dra
Radv
ilavi
èiût
ë,So
nata
Þal
nier
aviè
iûtë
ir,
spëj
u, p
o el
ektr
onin
io p
aðto
adre
su p
ykta
@on
e.lt
besi
slep
ianè
ioji
– gy
vena
Viln
iuje
,di
rba
kultû
ros
srity
je,
kai k
urio
s ta
ip p
at d
aug
kelia
vu-
sios
ir b
andþ
iusi
os u
þsid
irbti
dirb
dam
os n
e pa
gal p
rofe
-si
jà.
Inte
rviu
cik
las
pras
ided
a kl
ausi
mu
„Ar
Viln
ius
–ðv
entë
, ku
ri vi
sada
su
jum
is?“
. Yp
atin
ga,
net
skau
smin
-ga
ðio
s te
mos
sva
rba
paèi
ai m
enin
inke
i ats
iskl
eidþ
ia jo
spo
kalb
yje
su A
ndriu
ðkev
ièiu
mi:
„Man
o su
sidv
ejin
usi
asm
enyb
ë pr
ie V
ilnia
us y
ra p
risiri
ðusi
tik
kai
p pr
ieat
skai
tos
taðk
o“.
Ðis
„tik
“ ne
átiki
na ir
ver
èia
abej
oti,
nes
argi
ats
kaito
s ta
ðkas
gal
i rei
kðti
„tik
“. K
laus
i-në
dam
a ki
tø,
Viln
iuje
gim
usiø
, uþ
augu
siø
ar è
iaat
sikë
lusi
ø m
oter
ø, R
akau
skai
të t
yrin
ëja
ir sa
vo p
aèio
ssa
ntyk
á su
ðiuo
mie
stu.
Á ki
tus
klau
sim
us –
„A
rSM
S’in
imas
tap
s lit
erat
ûros
isto
rijos
dal
imi?
“, „
Ar
teko
tà p
atá s
apnà
sap
nuot
i kel
is k
artu
s?“,
„Je
i suþ
ino-
tum
ëte,
kad
ryt
bus
pas
aulio
pab
aiga
, ka
ip n
ugyv
en-
tum
ëte
ðià
dien
à?“,
„K
okio
je s
ituac
ijoje
maþ
iaus
iai
norë
tum
ëte
bûti
nufo
togr
afuo
ta,
nufil
muo
ta?“
–at
saki
nëja
ma
laba
i asm
enið
kai,
impr
oviz
uoja
nt,
nukr
yp-
stan
t á p
risim
inim
us.
Poet
ines
met
afor
as è
ia la
isva
ike
ièia
soc
iolo
gini
ai p
amàs
tym
ai a
r pa
rado
ksal
ûspa
reið
kim
ai.
Kei
èias
i, ba
nguo
ja ir
pat
s at
saky
mø
tona
s,pe
reid
amas
nuo
dal
ykið
ko p
rie m
elan
chol
iðko
, iro
niðk
oar
tie
siog
link
smo.
Gal
ø ga
le t
ai g
raþi
ese
istin
ë lit
era-
tûra
. Ir
nors
kny
gos
gale
ádët
a Ra
kaus
kaitë
s kû
rybi
nëbi
ogra
fija,
ðis
leid
inys
nep
anað
us n
ei á
kûry
bos
kata
-lo
gà,
nei á
pro
jekt
ø ci
klo
doku
men
taci
jà.
Ir vi
s tik
api
eEg
læ (
egl?
) su
þino
me
daug
, no
rs ji
kai
p vi
sada
iðlie
katy
laus
ste
bëto
jo v
aidm
enyj
e.
Ram
inta
Jur
ënai
të
AArrtt
ûûrrass
Raii
lla
Roollll
OOvvee
rr MM
uusseeuu
mmPPuu
bblliiss
hheerr:
IIBBIIDD
PPrroo
jjeecctt
ss,, VV
iillnniiuu
ss,, 22
0055
33440
pp.. ww
iitthh 88
33 rree
pprroodd
uuccttiioo
nnss iinn
ccooll
oouurr
IISBBNN
9988
66--6666
9--4422
--11
Sinc
e 19
97 A
rtûr
as R
aila
has
bee
n sh
ocki
ng h
is s
pect
a-to
rs w
ith a
who
le r
aft
of d
eter
min
ed p
erfo
rman
ces,
vide
o, v
ideo
inst
alla
tions
, an
d m
ixed
med
ia w
orks
. Th
eC
onte
mpo
rary
Art
Cen
ter
was
usu
ally
the
epi
cent
er o
fhi
s ac
tions
and
oth
er ‘
even
ts’.
At
the
sam
e tim
e re
pe-
titio
ns o
f th
ese
‘act
ions
’ or
eve
n th
eir
prem
iere
s to
ok a
plac
e in
muc
h w
ider
geo
grap
hy b
y re
sett
ing
them
inpa
n-Eu
rope
an lo
catio
ns in
clud
ing:
Lin
z an
d G
raz,
Aus
tria
; Tu
rku,
Fin
land
; th
e C
roat
ian,
Lat
vian
, Es
toni
anan
d G
erm
any
capi
tals
; as
wel
l as
Pane
vëþy
s th
e pr
ovin
-ci
al L
ithua
nian
tow
n of
his
chi
ldho
od.
A p
rize
best
owed
by
Han
saba
nk,
offe
red
pret
ext
and
poss
ibili
ty t
o m
irror
eig
ht y
ears
of
crea
tive
wor
k in
apr
inte
d fo
rm.
Alth
ough
Rai
la s
till h
asn’
t be
en t
he s
ub-
ject
of
a m
onog
raph
ic c
atal
ogue
he
does
not
set
him
-se
lf th
at p
artic
ular
tas
k. H
e do
es n
ot s
eek
a co
mpr
e-he
nsiv
e do
cum
enta
tion
of h
is c
reat
ive
wor
k. H
e ev
enre
noun
ces
his
oeuv
re p
rior
to 1
997
whi
le h
e cr
eate
dsc
ulpt
ures
and
obj
ects
of
scul
ptur
e; o
nly
docu
men
ting
the
tran
sfor
mat
ion
to p
erfo
rman
ce a
nd n
ew m
edia
.Ev
en t
his
is p
rese
nted
in f
ragm
ents
. Th
e co
ncep
tion
ofth
e pu
blic
atio
n is
pro
babl
y be
st d
escr
ibed
as
anot
her
wor
k of
art
– a
n ar
tist’s
boo
k. H
owev
er it
isn’
t st
rictly
repr
esen
tativ
e of
the
gen
re;
as h
is m
ost
impo
rtan
tpr
ojec
ts s
ince
199
7 ar
e pr
esen
ted
chro
nolo
gica
lly a
ndill
ustr
ated
ple
ntifu
lly in
pho
togr
aphs
. Th
e tr
uth
is t
hat
the
way
the
se p
hoto
grap
hs a
re c
hose
n do
es n
ot s
eek
to r
ecre
ate
the
mot
ion
of a
ctio
ns o
r vi
deo
wor
ks in
sequ
ence
. Sc
enes
of
exhi
bitio
n op
enin
gs o
r sc
enes
of
the
publ
ic a
tten
ding
the
m a
re a
war
ded
the
sam
eam
ount
of
atte
ntio
n as
the
rep
rodu
ctio
ns o
f th
e w
orks
of a
rt.
Ther
e ar
e ve
ry s
hort
des
crip
tions
of
proj
ects
, fil
ling
just
one
intr
oduc
tion
page
of
the
book
– t
he c
onte
nt (
ofw
hich
onl
y an
Eng
lish
vers
ion
is g
iven
, w
ithou
t a
Lith
uani
an o
ne).
Ther
e ar
e no
ne o
f th
e us
ual t
extu
alre
quis
ites:
tex
ts b
y cr
itics
, re
view
s or
com
men
ts o
f th
eau
thor
him
self
in t
he b
ook.
Pla
in w
hite
pag
es a
rein
terle
aved
with
the
pho
togr
aphi
c pr
esen
tatio
ns e
ach
blan
k pr
ojec
t se
ctio
n m
ay b
e ‘f
illed
’ by
eac
h ‘u
ser’
of
the
book
(I c
onsc
ious
ly a
void
the
wor
d ‘r
eade
r’).
Raila
mus
t be
hop
ing
for
an a
ctiv
e us
er –
a s
pect
ator
of
the
book
who
is in
clin
ed t
o co
mm
ent,
dis
cuss
or
ques
tion.
Her
e as
wel
l as
in h
is p
erfo
rman
ces
or v
ideo
s Ra
ilapr
ovok
es,
dem
andi
ng h
is a
udie
nce
to t
ake
up a
con
-cr
ete
publ
ic p
ositi
on.
With
out
doub
t an
ybod
y w
ho h
asse
en R
aila
’s pr
ojec
ts w
ill h
ave
it ea
sy a
s th
ere
are
plen
-ty
of
mem
orie
s to
use
. A
t th
e sa
me
time
this
pub
lica-
tion
does
not
giv
e a
chan
ce t
o en
rich
this
exp
erie
nce
thro
ugh
addi
tiona
l mat
eria
l pro
vide
d by
the
aut
hor
him
self
or r
efle
ctio
ns o
f ex
pert
s on
his
cre
ativ
e ou
tput
.
Thos
e w
ho p
ick-
up t
his
book
for
the
firs
t tim
e an
d ar
eno
t fa
mili
ar w
ith R
aila
’s w
ork
will
hav
e an
eve
n a
hard
-er
tim
e. T
hey
may
fin
d a
lack
of
basi
c in
form
atio
n no
tev
en s
peak
ing
abou
t ta
king
a g
rip o
f co
mpl
icat
edpo
litic
al s
ocia
l or
mor
al p
olem
ic d
isco
urse
s. R
aila
choo
ses
expl
osiv
e an
d th
reat
enin
g su
bjec
ts:
mar
gina
lst
rata
of
soci
ety,
une
mpl
oym
ent
and
a [f
asci
stic
]na
tiona
list
mov
emen
t. H
e sp
eaks
of
the
cris
is in
art
teac
hing
and
exp
lore
s bo
unda
ries
betw
een
art
in p
ub-
lic in
stitu
tions
and
dev
elop
ing
form
s of
art
istic
exp
res-
sion
s in
the
alte
rnat
ive
stra
ta o
f so
ciet
y. T
his
book
isto
o fr
agm
ente
d in
its
char
acte
r to
exp
licat
e th
e co
m-
plex
ity o
f su
ch t
hem
es o
r in
dica
te w
hich
is m
ore
impo
rtan
t. P
hoto
grap
hic
docu
men
tatio
n is
not
abl
e to
reco
nstr
uct
the
spec
ific
prov
ocat
ive
tens
ion
of R
aila
’spe
rfor
man
ces
and
vide
o pr
ojec
tions
. Th
e ar
tist
mus
tbe
aw
are
of t
his
as h
e em
phas
izes
the
fra
gmen
ted
char
acte
r of
thi
s vi
sual
mat
eria
l. Th
is b
ook
com
es t
olif
e on
the
bas
is o
f pr
evio
us w
orks
by
the
artis
t –
but
even
if it
isn’
t co
mpl
etel
y au
tono
mou
s –
it is
stil
l an
inde
pend
ent
obje
ct o
f ar
t.
Ram
inta
Jur
ënai
të
EEggllëë
Rakk
auusskk
aiittëë
eegg
ll??PPuu
bblliiss
hheerr:
CCoonn
tteemm
ppoorra
rryy AA
rrtt CC
eennttrr
ee,, AA
IICCAA
LLiitthh
uuannii
annssee
ccttiioo
nn,, VV
iillnniiuu
ss,, 22
0055
933 pp
.. ww
iitthh 22
0 rree
pprroodd
uuccttiioo
nnss iinn
ccooll
oouurr
IISBBNN
9988
66--955
77--2255
--77
Eglë
Rak
ausk
aitë
’s ar
tist’s
boo
k be
long
s to
the
sam
ege
nre
as R
aila
’s. A
t th
e sa
me
time
she
chos
e an
othe
rst
artin
g po
int.
Ess
ayis
tic t
exts
by
seve
ral a
utho
rs a
ndin
terv
iew
s [w
ith t
he a
rtis
t] il
lust
rate
d w
ith s
lips
ofvi
deo
still
s re
pres
enta
tive
of h
er w
orks
dom
inat
eRa
kaus
kaitë
’s bo
ok.
In t
oto,
the
vid
eos
mad
e be
twee
n20
02 a
nd 2
004
com
pose
a k
ind
of c
ycle
whe
re b
yw
ith (
the
help
of)
her
cam
era
Raka
uska
itë v
oyeu
risti-
cally
, do
cum
ente
d va
rious
soc
ial o
ccur
renc
es –
fro
mth
e po
sitio
n of
bys
tand
er.
She
spen
ds a
day
inG
ariû
nai,
the
bigg
est
‘bla
ck’
mar
ket
in t
he B
altic
regi
on,
loca
ted
on t
he V
ilniu
s ci
ty-li
mits
, w
ith h
er c
am-
era.
Em
ploy
ing
the
help
of
an a
ssis
tant
, sh
e su
rvey
ssh
oppe
rs in
a s
uper
mar
ket.
She
tel
ls t
he s
tory
of
am
onke
y w
hich
is u
sed
for
ente
rtai
nmen
t an
d ad
vert
is-
ing.
And
eve
n m
akes
a p
ortr
ait
of h
erse
lf w
orki
ng in
the
role
of
an il
lega
l alie
n; n
ursi
ng a
n el
derly
par
alys
edw
oman
in C
hica
go.
The
still
s of
the
se v
ideo
s ar
e ch
o-se
n ra
ndom
ly,
with
out
trac
ing
of a
con
secu
tive
orde
ror
chr
onol
ogic
al s
eque
nces
; th
e m
ain
atte
ntio
n is
con
-ce
ntra
ted
on s
uppl
emen
tary
mat
eria
l (w
hich
bec
omes
prim
ary
here
).
Ther
e ar
e on
ly t
wo
essa
ys in
the
boo
k –
Fact
or o
f Fe
arby
Rai
mun
das
Mal
aðau
skas
and
Dou
ble
Plea
sure
:A
bout
Pow
er,
Surv
eilla
nce,
and
Per
form
ance
byA
rtûr
as T
ereð
kina
s pl
us a
n in
terv
iew
with
the
art
ist
byse
nior
aca
dem
icia
n A
lfons
as A
ndriu
ðkev
ièiu
s –
the
poin
t is
mor
e th
e cr
eativ
e w
ork
of R
akau
skai
të.
In h
ises
say
Mal
aðau
skas
ana
lyse
s th
e m
echa
nism
s of
the
extr
eme
man
ipul
atio
ns o
f re
ality
TV
vie
wer
s in
the
Uni
ted
Stat
es,
writ
ing
that
, “R
ealit
y TV
cul
ture
and
the
shoc
k in
dust
ry b
rings
eno
ugh
light
to
unde
rsta
nd E
glë
Raka
uska
itë’s
vide
os,
espe
cial
ly M
y A
mer
ica
bett
er“.
Tere
ðkin
as m
ostly
bas
es h
is e
ssay
on
the
new
est
vide
oM
y A
ddre
ss is
nei
ther
a H
ouse
nor
a S
tree
t, M
yA
ddre
ss is
a S
hopp
ing
Cen
ter
and
inte
rpre
ts t
he la
tter
with
the
hel
p of
Mic
hel F
ouca
ult’s
and
Ann
eFr
iedb
erg’
s th
eorie
s. H
e lo
cate
s an
ove
rwhe
lmin
g su
r-ve
illan
ce o
f da
ily li
fe in
con
tem
pora
ry s
ocie
ty a
ndot
her
mec
hani
sms
of p
ower
in R
akau
skai
të’s
wor
ks.
Alfo
nsas
And
riuðk
eviè
ius
is p
redo
min
antly
inte
rest
ed in
Raka
uska
itë’s
“nom
adis
m“
as a
n ar
tist.
He
uses
the
term
to
desc
ribe
the
phen
omen
on o
f ar
tists
wor
king
in o
ther
cou
ntrie
s an
d “f
acin
g to
war
ds s
ocia
l gro
ups
whi
ch a
re f
ar a
way
fro
m t
he ‘
norm
al c
ultu
re’
and
‘nor
-m
al’
life“
.
The
larg
est
port
ion
of t
he b
ook
cons
ists
of
inte
rvie
ws
take
n by
the
art
ist
hers
elf.
Lik
e in
her
vid
eos,
Raka
uska
itë in
an
inte
rvie
w w
ith a
gro
up o
f w
omen
seem
s at
firs
t gl
ace
to s
ides
tep
thei
r qu
estio
ning
not
betr
ayin
g he
r ow
n th
ough
ts a
nd e
mot
ions
. A
t th
esa
me
time
she
leav
es a
lot
of s
pace
for
the
rea
der
(just
like
the
view
er)
to d
evel
op h
is o
r he
r ow
n as
soci
atio
ns.
In t
he w
ay t
hat
the
them
es a
nd q
uest
ions
are
cho
sen
we
feel
tha
t in
que
stio
ning
her
coe
vals
– y
oung
er a
ndol
der
wom
en –
the
art
ist
seek
s to
und
erst
and
hers
elf.
We
won
’t f
ind
any
biog
raph
ies
of t
he p
eopl
e qu
es-
tione
d (w
hich
will
be
sure
ly m
isse
d by
the
for
eign
read
ers)
. H
owev
er a
ll of
the
m:
Aus
tëja
Èep
ausk
aitë
,Re
nata
Dub
insk
aitë
, Er
ika
Grig
orav
ièie
në,
Laim
aK
reiv
ytë,
Mon
ika
Krið
topa
itytë
, Rû
ta M
ikði
onie
në,
Agn
ë N
aruð
ytë,
Gie
dra
Radv
ilavi
èiût
ë, S
onat
aÞa
lnie
ravi
èiût
ë, a
s w
ell a
s th
e on
e hi
ding
und
er t
hein
tern
et a
ddre
ss p
ykta
@on
e.lt,
hav
e in
dire
ct b
utim
port
ant
biog
raph
ic p
aral
lels
with
the
art
ist.
The
y al
lliv
e in
Viln
ius,
wor
k in
the
fie
ld o
f cu
lture
and
som
e of
them
hav
e al
so t
rave
led
a lo
t an
d tr
ied
to e
arn
at le
ast
som
ethi
ng w
hile
doi
ng w
ork
not
conn
ecte
d to
the
irpr
ofes
sion
, m
ostly
in f
ield
s of
med
ical
att
enda
nce
and
serv
ice.
The
inte
rvie
w c
ycle
sta
rts
with
a q
uest
ion
“Do
You
Thin
k V
ilniu
s Is
A M
ovea
ble
Feas
t?“.
The
spe
cial
and
pain
ful i
mpo
rtan
ce o
f th
is t
hem
e to
the
art
ist
her-
self
reve
als
in h
er d
iscu
ssio
n w
ith A
ndriu
ðkev
ièiu
s. S
hesa
ys h
ere,
“M
y do
uble
per
sona
lity
is c
onne
cted
to
Viln
ius
just
as
a st
artin
g po
int“
. Th
is ‘
just
’ do
es n
otso
und
pers
uadi
ng a
nd in
vite
s do
ubt;
can
a s
tart
ing
poin
t be
som
ethi
ng ‘
just
’? B
y qu
estio
ning
oth
er n
ativ
eV
ilniu
s na
tives
/res
iden
ts s
he e
xplo
res
her
own
rela
tion
to t
he c
ity.
Oth
ers
follo
w t
his
inte
rvie
w q
uest
ion,
for
inst
ance
: “W
ill t
he S
MSi
ng B
ecom
e A
Par
t of
Wor
ldLi
tera
ture
?“ “
Hav
e Yo
u Ev
er H
ad t
he S
ame
Dre
amSe
vera
l Tim
es?“
“If
You
Foun
d O
ut T
hat
Tom
orro
w is
The
End
Of
The
Wor
ld,
Toda
y Yo
u W
ould
…?“
“In
Wha
t K
ind
of S
ituat
ion,
Mom
ent
Wou
ld Y
ou L
east
like
Bein
g Ph
otog
raph
ed?“
The
inte
rvie
wee
s re
ply
very
pers
onal
ly,
they
impr
ovis
e an
d dr
ift t
owar
ds e
xhau
stiv
em
emor
ies
and
cons
ider
atio
ns a
s w
ell a
s gi
ve la
coni
can
swer
s. H
ere
poet
ic m
etap
hors
fre
ely
alte
rnat
e w
ithso
ciol
ogic
al c
onsi
dera
tions
and
par
adox
ical
sta
tem
ents
.Th
e to
ne o
f st
atem
ents
is c
hang
ing
and
wav
ing.
Som
etim
es it
is ‘
just
’ bu
sine
ss a
nd a
t ot
her
times
mel
anch
olic
, iro
nic
or ju
st f
unny
. It
is in
tere
stin
g to
read
bec
ause
of
the
expo
sitio
n of
per
sona
l eve
nts
and
the
expe
rienc
e of
fee
lings
. A
fter
all
inte
rvie
ws
are
nice
to r
ead
liter
atur
e. A
lthou
gh a
t th
e en
d of
the
boo
kth
ere
is a
n ar
tist’s
bio
grap
hy,
this
pub
licat
ion
is h
ardl
ysi
mila
r to
a f
ull m
onog
raph
ic c
atal
ogue
or
even
a p
lain
proj
ect
docu
men
tatio
n of
. St
ill w
e le
arn
a lo
t ab
out
Eglë
(eg
l?)
alth
ough
, as
alw
ays,
she
rem
ains
in t
he r
ole
of a
sile
nt o
bser
ver.
Ram
inta
Jur
ënai
të
BibliotekaLibrary
22 23
AAuudd
rroonnëë
ÞÞuukk
auusskk
aiittëë
AAnna
mmoorr
pphhooss
eess:
NNoonn
--FFuunn
ddamm
eenntta
ll PPrroo
bblleemm
ss ooff
PPhhiilloo
ssoopphh
yyPPuu
bblliiss
hheerr:
VVeerr
ssuuss
AAuurr
eeuuss,,
VViillnn
iiuuss,,
2200
552255
66 pp..
IISBBNN
9955
55--660
11--4466
--9
IImmppoo
ssssiibb
llee R
eealliitt
iieess
anndd
““AAnna
mmoorr
pphhooss
eess””
ooff DD
eessiirree
Aud
ronë
Þuk
ausk
aitë
’s A
nam
orph
oses
expl
ains
man
ypr
oble
ms
rais
ed in
her
ear
lier
book
Bey
ond
the
Sign
ifier
Prin
cipl
e: d
econ
stru
ctio
n, p
sych
oana
lysi
s, c
ri-tiq
ue o
f id
eolo
gy (
2001
) an
d, a
t th
e sa
me
time,
ret
ro-
spec
tivel
y de
fines
the
fie
ld s
he h
as b
een
inve
stig
atin
gfo
r m
any
year
s. In
the
new
mon
ogra
ph w
e’ll
mee
t he
rfa
vorit
e he
roes
: de
cons
truc
tion
and
Jacq
ues
Der
rida,
psyc
hoan
alys
is a
nd J
acqu
es L
acan
, cr
itiqu
e of
ideo
lo-
gies
, Lo
uis
Alth
usse
r an
d Sl
avoj
Þiþ
ek,
but
also
new
face
s an
d ne
w c
halle
nges
of
the
wor
ld t
hat
dem
and
philo
soph
er’s
expl
anat
ions
. Th
e to
pics
of
univ
ersa
lity
ofde
sire
and
impo
ssib
ility
of
the
Real
are
exp
lore
d m
ore
deep
ly a
nd f
orem
ost
in r
elat
ion
to g
ende
r. H
ere
the
auth
or c
onsi
sten
tly a
ppea
ls t
o th
e w
ritin
gs o
f Ju
dith
Butle
r an
d Ju
lia K
riste
va.
Mor
eove
r, th
e ne
w b
ook
con-
side
rs c
onte
mpo
rary
art
and
cin
ema
in r
elat
ion
to t
heth
eorie
s of
dou
ble
refle
ctio
n, c
onst
ruct
ion
of a
sub
ject
,tr
ansg
ress
ion
of g
ende
r an
d jo
uiss
ance
. Re
stin
g on
Guy
Deb
ord,
the
aut
hor
show
s ho
w t
he s
ocia
l spe
c-ta
cle,
pro
duce
d by
the
indu
stry
, gr
adua
lly o
ccup
ies
the
varie
ty o
f co
nsum
ers’
vie
ws
with
out
leav
ing
spac
e fo
rw
hat
coul
d be
des
crib
ed w
ith t
he w
ords
of
Raou
lVa
neig
em:
“rev
olut
ion
of t
he e
very
day”
. Bu
t is
n’t
Þuka
uska
itë’s
criti
cism
, ai
med
aga
inst
the
imita
tions
of
man
’s po
wer
, so
ciet
y’s
iden
tific
atio
n w
ith p
rodu
ctio
nof
sig
ns a
nd p
ublic
spe
ctac
les,
mor
e ra
dica
l tha
n th
atof
the
Situ
atio
nist
s, w
ho s
till s
aw t
he p
ossi
bilit
y of
revo
lutio
n an
d ra
dica
l cha
nge?
Reeall
iittyy a
nndd ss
uubbjjee
cctt a
rree cc
rreeatt
eedd a
nndd ee
nnabbll
eedd bb
yy ddii
ss--ccoo
uurrssee
..Fo
llow
ing
Laca
n, Þ
ukau
skai
të m
akes
a c
lear
dist
inct
ion
betw
een
real
ity (
la r
éalit
é) a
nd t
he R
eal (
leré
el).
The
dist
inct
ion
betw
een
real
ity a
nd t
he R
eal c
or-
resp
onds
with
the
bin
ary
oppo
sitio
ns t
hat
the
auth
orem
ploy
s to
dis
cuss
the
rea
lm o
f po
litic
s. R
efer
ring
toM
iche
l Fou
caul
t, s
he m
akes
dis
tinct
ion
betw
een
“zoe
,w
hich
sta
nds
for
a ba
re a
nd s
impl
e fa
ct o
f lif
e, c
om-
mon
for
all
live
bein
gs,
and
bios
, w
hich
indi
cate
s th
efo
rm a
nd m
ode
of li
ving
” (p
.117
). Id
eolo
gy,
polit
ics
and
art
are
way
s to
sep
arat
e on
esel
f fr
om “
bare
liv-
ing”
, to
neg
ate
ones
ow
n zo
e. B
are
livin
g is
nev
erdr
agge
d in
to t
he b
orde
rs o
f sy
mbo
lic s
igni
fican
ce,
but
repl
aced
with
acc
epta
ble
orde
rs o
f si
gns.
But
tod
ay,
whe
n th
e va
les
are
bein
g re
plac
ed b
y pr
oduc
t va
lues
,ba
re li
fe c
ontin
ually
str
ains
to
the
cent
ral p
art
of p
oliti
-ca
l life
, th
e ar
ena,
fro
m it
s m
argi
ns.
Þuka
uska
itë’s
rem
ark
allo
ws
a di
scus
sion
abo
ut c
onte
mpo
rary
pop
u-lis
m,
mar
gina
lia a
nd t
heir
thru
st t
o th
e po
litic
al a
rena
as r
esul
ts o
f th
e co
nsum
eris
t in
dust
ry’s
and
soci
ety’
ssp
ecta
cle.
Þuk
ausk
aitë
rec
alls
the
fig
ure
of h
omo
sace
ran
d ob
serv
es it
s fa
ll, it
s be
com
ing
triv
ial,
its a
rtis
tic,
gend
er a
nd e
cono
mic
dec
line.
CCoonn
cceeall
mmeenn
tt ooff
tthhee
eemm
ppttiinn
eessss
anndd
tthhee
mmyyss
tteerryy
ooff
NNoott
hhiinngg
nneessss
. A
lthus
ser
writ
es t
hat
subj
ect
is a
res
ult
ofdi
scur
sive
inte
rpel
latio
n or
, el
sew
here
, th
at it
is a
n ou
t-co
me
of t
he f
unct
ioni
ng o
f id
eolo
gies
. Þu
kaus
kaitë
stat
es t
hat
“a c
onte
mpo
rary
sub
ject
is n
othi
ng m
ore
than
a s
pect
acle
” (p
. 21
0),
and
I wou
ld a
dd t
hat
som
etim
es it
is a
dra
ma.
Spe
ctac
le,
carn
ival
and
mas
-qu
erad
e cr
eate
bot
h su
bjec
t an
d ob
ject
min
uscu
le a
.Th
e m
oder
n do
uble
mim
esis
(re
petit
ion
of p
lays
), su
b-se
rvie
nce
to t
he m
irror
ref
lect
ion,
loya
lty t
o th
e sc
reen
– al
l of
thes
e ar
e th
e st
rate
gies
of
conc
ealin
g th
eem
ptin
ess.
The
aut
hor
rem
arks
: on
ce w
e di
sclo
se t
hem
yste
ry o
f do
uble
imita
tion,
we
will
be
disa
ppoi
nted
,be
caus
e th
e m
asqu
erad
e hi
des
noth
ing
and
the
spec
-ta
cle
is t
he o
nly
esse
nce
of r
ealit
y. I
belie
ve t
hat
the
dram
a is
rel
ated
to
the
stat
emen
t of
em
ptin
ess,
the
trag
ic e
ffor
t to
sur
mou
nt t
he v
eil o
f id
eolo
gies
,be
caus
e th
e vi
ctor
y on
ly r
evea
ls N
othi
ngne
ss.
Bein
gne
ver
appe
ars
in Þ
ukau
skai
të’s
text
s, a
lthou
gh,
if w
efo
llow
Mar
tin H
eide
gger
and
Arv
ydas
Ðlio
geris
, w
hom
she
cite
s, t
he d
enia
l or
nega
tion
of im
ages
indi
cate
sbe
ing
as it
s ow
n lim
it. T
he a
ppea
ranc
e of
bei
ng w
ould
be a
n in
adm
issi
ble
luxu
ry a
nd w
eakn
ess
that
we
wou
ld h
ardl
y fin
d in
Þuk
ausk
aitë
’s w
ritin
g. H
ardl
y, –
beca
use
time
afte
r tim
e sh
e m
entio
ns r
ealit
y, t
heim
poss
ible
cha
nce,
indi
cate
d by
the
sym
ptom
s th
at d
ono
t ob
ey d
isco
ursi
ve o
rder
s.
Syymm
ppttoomm
ss arr
ee tthh
ee iimm
ppoossss
iibbllee
ppoott
eennttiia
ll ooff
‘‘auutt
hheenntt
iiccii--
ttyy’’..
They
indi
cate
the
inde
term
inat
e Re
al,
the
insa
tiabl
epa
ssio
n. T
he c
hanc
e of
not
bei
ng id
eolo
gica
l or
dis-
cour
sive
is a
ssoc
iate
d w
ith t
he t
actic
of
livin
g. T
he s
ign
indi
cate
d at
leas
t th
ree
dim
ensi
ons:
mea
ning
, or
an
obje
ct;
orde
r of
the
dis
cour
se o
r te
xt;
and,
impl
icitl
y,th
e sy
mpt
om,
or t
he li
mit
of d
isco
urse
. A
ccor
ding
to
Þuka
uska
itë,
“the
sym
ptom
is a
n in
carn
atio
n of
the
Real
,” a
n in
dica
tion
of “
a tr
aum
atic
cor
e” (
p. 1
5) a
ndto
the
cen
tral
impo
ssib
ility
(to
quo
te L
acan
), ar
ound
whi
ch t
he f
ield
of
mea
ning
is b
eing
str
uctu
red.
A p
er-
sona
lity,
acc
ordi
ng t
o Þu
kaus
kaitë
, is
cau
ght
in a
sta
geof
“on
tolo
gica
l dia
sthe
me”
(p.
17)
: be
twee
n di
scou
rse
and
sym
ptom
, be
twee
n re
ality
and
the
Rea
l. Th
is is
aca
use
for
the
dow
nfal
l of
the
subj
ect.
Ont
olog
ical
dia
s-th
eme
hide
s th
e or
igin
s of
tra
gedy
and
the
laug
h fo
rem
pty
hope
s. T
his
is w
hy Þ
ukau
skai
të’s
book
is n
oton
ly ir
onic
al,
but
also
som
etim
es f
unny
for
it’s
ruth
less
-ne
ss.
LLiibbii
ddiinna
ll eeccoo
nnoomm
yy ann
dd tthh
ee ppss
yycchhee
ooff
pprroodd
uuccttiioo
nn..
Þuka
uska
itë r
elie
s on
the
Mar
xist
not
e of
the
con
tem
-po
rary
pos
tmod
erni
sm:
econ
omy
cond
ition
s al
l ide
olo-
gies
, re
ason
ing
of n
eeds
and
res
ourc
es a
nd v
ia t
his,
the
disc
ours
es o
f po
wer
. A
lthou
gh t
he p
rodu
ctio
nits
elf,
as
a m
ater
ial p
roce
ss,
is n
ot a
dis
cour
sive
rea
lity,
it co
nsta
ntly
exp
ands
tow
ards
all
hum
an r
elat
ions
.W
hen
the
psyc
he p
rese
rves
the
per
son’
s re
latio
n w
ithde
sire
, pr
oduc
tion
cons
olid
ates
exi
stin
g fo
rms
ofde
sire
. Su
bjec
t de
sire
s th
at,
whi
ch is
pro
duce
d by
the
ideo
logi
cal e
cono
my.
But
psy
che
is a
lso
rela
ted
to t
hetr
aum
atic
exp
erie
nce
of in
divi
dual
s, s
ocia
l gro
ups
orna
tions
. Tr
aum
a sh
ows
the
non-
disc
ours
ive
real
m o
fsh
eer
desi
re.
It sh
ows
thro
ugh
veile
d w
ords
, ta
boos
,fe
ars,
pau
ses.
I w
ould
like
to
rem
ark
that
the
sup
pres
-si
on o
f th
e 19
41 g
enoc
ide
in t
he L
ithua
nian
pre
ss a
tla
rge
rem
aine
d a
trau
ma
that
con
tinue
s to
pro
duce
ambi
guiti
es.
Þuka
uska
itë’s
writ
ing
is a
bril
liant
met
hod-
ical
ally
for
a c
ritic
ism
of
the
oste
nsib
ly f
air
disc
ours
es.
TThhee
ttrrapp
ooff
TThhee
Samm
ee..D
isco
urse
s an
d id
eolo
gies
gra
ntth
e su
bjec
t po
wer
. W
hen
the
subj
ect
crea
tivel
y re
pre-
sent
s th
e di
scou
rsiv
e or
der,
whe
n, a
s A
lthus
ser
writ
es,
a su
bjec
t w
ith a
min
uscu
le s
beco
mes
a s
ubje
ct w
ith a
capi
talS
, th
en h
is d
ream
s, v
isio
ns,
plan
s an
d ev
en r
e-vo
lutio
ns b
ecom
e th
e re
petit
ions
of
The
Sam
e, p
roje
c-tio
ns o
f th
e sy
mbo
lic e
gois
m.
Ord
er o
f th
e sp
ecta
cle
prod
uces
man
y ne
w a
ltern
ativ
e or
ders
of
the
spec
-ta
cle,
the
mas
quer
ades
dra
w n
ew c
arni
vals
.Re
troa
ctiv
ity c
once
als
the
empt
ines
s of
imag
inat
ion
whe
n th
e fa
ntas
ies
are
all p
rovo
ked
by t
he m
ovie
s,le
gend
s an
d m
yths
. Th
ere
is n
othi
ng b
ehin
d th
e fa
n-ta
sies
of
The
Sam
e, a
lthou
gh t
he e
mpt
ines
s w
hich
they
hid
e –
and
whi
ch is
a t
hrea
t to
ord
er –
is a
tra
u-m
a. T
raum
a is
alw
ays
asso
ciat
ed w
ith t
he in
vasi
on o
f
the
real
, be
caus
e th
e re
al is
nev
er b
eyon
d di
scou
rse,
itis
an
invi
sibl
e co
mpo
nent
of
ever
y si
gn,
the
limit
ofsi
gn.
Thos
e w
ho d
o no
t ex
perie
nce
the
pain
ful c
hang
eof
thi
s bi
ndin
g in
evita
bly
fall
into
the
tra
p of
The
Sam
e, li
ke Þ
ukau
skai
të’s
Nar
ciss
us.
DDeemm
oonniicc
mmeenn
,, cca
rrnniivv
all ww
oommeenn
..In
thi
s bo
ok m
en a
real
way
s de
mon
ised
and
sho
wn
as c
onst
ant
pres
ente
r of
pow
er.
The
pow
er t
o ha
ve a
pha
llus
is t
he r
easo
n fo
rth
is d
emon
isat
ion.
To
the
cont
rary
, w
omen
are
a m
as-
quer
ade
to t
he o
bjec
t of
des
ire –
pha
llus.
The
aut
hor
prob
ably
ass
umes
tha
t fe
min
inity
and
mas
culin
ity a
reth
e in
evita
ble
attr
ibut
es o
f pa
n-de
sire
– b
ecau
seac
cord
ing
to L
acan
and
Þuk
ausk
aitë
, pr
oduc
tion,
soc
ial
orga
nisa
tion
and
cultu
ral a
ctiv
ity a
re a
ll ch
arge
d w
ithth
is p
ulsa
ting
vita
l des
ire.
The
auth
or r
ende
rs t
he ‘
car-
niva
l’ es
senc
e of
fem
inin
ity r
efer
ring
to t
rans
vest
ites,
who
are
a p
aral
lel ‘
mas
quer
ade’
phe
nom
ena.
But
she
does
not
go
deep
into
exi
sten
tial p
robl
ems
of t
hequ
eers
tha
t ar
e ca
used
by
a se
t of
exc
lusi
on m
echa
-ni
sms,
diff
eren
t fr
om t
hose
tha
t af
fect
s a
wom
an,
thus
the
trau
ma
expe
rienc
ed b
y qu
eers
doe
s no
t ha
ve a
spec
ifici
ty/p
ecul
iarit
y in
thi
s bo
ok.
Tran
sves
tites
rem
ain
blur
red.
EEvveerr
yyddayy
wwiitthh
oouutt
iiddeea
llss..
Ever
y pe
rson
rea
cts
to s
itua-
tions
and
cas
ual a
ccid
ents
by
rely
ing
on t
he s
ympt
oms
and
forc
ed b
y id
eolo
gies
and
dis
cour
ses.
Þuk
ausk
aitë
does
not
spe
ak a
bout
cre
ativ
ity a
nd id
eals
tha
t,ac
cord
ing
to a
tra
ditio
n th
at g
oes
back
to
Kan
t,im
plie
s fr
ee c
hoic
e. W
hen
ther
e ar
e no
idea
ls,
the
dive
rsity
is o
nly
mad
e po
ssib
le b
y th
e ch
aos
of t
heev
eryd
ay.
“Eve
ryda
y ac
tions
inco
rpor
ate
shre
wdn
ess,
man
euve
rs,
tric
ks,
sim
ulat
ions
, fa
ke s
ympt
oms
ofw
eakn
ess,
ele
men
ts o
f po
etic
s an
d w
ar [
…]
the
tact
i-ca
l beh
avio
r is
alw
ays
diff
used
, ep
hem
eral
and
sec
ret,
it is
cre
ated
as
an im
prov
ised
res
pons
e to
a p
artic
ular
situ
atio
n” (
p. 4
0).
The
varia
bilit
y of
the
eve
ryda
yim
pels
inst
anta
neou
s ta
ctic
al a
ctio
ns.
Stra
tegy
, on
the
cont
rary
, “s
eeks
to
colo
nise
a p
artic
ular
vis
ible
pla
ceth
at t
hen
beco
mes
a p
latf
orm
to
dem
onst
rate
pow
er”
(p.
41).
Stra
tegy
fac
ilita
tes
a w
ay f
or id
eolo
gies
, di
s-co
urse
s, t
he s
ubje
ct,
real
ity,
‘man
’. St
rate
gy o
ccup
ies
sens
es,
turn
ing
the
sigh
t of
eve
ryda
y in
to f
orm
s of
seei
ng,
into
the
cul
ture
of
obse
rvat
ion.
Spo
ntan
eity
can
thru
st t
hrou
gh t
he n
et o
f no
n-ve
rbal
dis
cour
sive
expe
ctat
ions
, vi
olat
e pe
rson
’s id
eolo
gica
l sel
f-as
sura
nce
but
it ca
nnot
hav
e or
obt
ain
the
cert
aint
y of
its
own.
Isw
oman
a ‘
tact
icia
n’?
BBooddyy
wwiitthh
oouutt
oorrgga
nnss a
nndd tt
hhee ff
llooww
ooff
ddeessii
rree..
The
auth
or p
ays
a lo
t of
her
att
entio
n to
the
crit
icis
m o
far
t an
d, f
irst
of a
ll, c
inem
a, a
lso
allo
win
g sh
ort
excu
r-si
ons
to t
he w
ork
of N
omed
a an
d G
edim
inas
Urb
onas
,Eg
lë R
akau
skai
të a
nd K
ristin
a In
èiûr
aitë
. Sh
e dr
aws
a
Library
bienalëje pasitelkëte neûþaugà, kai jûsø paèiø specialiai google paieðkos sistemai sukurtas þodis „Ultimiere“ galëtø atverti visai kitus kelius? Ar, ieðkodami naujø nieko neveikimo bûdø, nesusidûrëte su kraðtutinumais? Ar mokate kokiø triukø? Ar buvo ámanoma „kuruoti“ trienalæ? Kaip trienalë/bienalë gali tapti paroda?
fasc
inat
ing
para
llel b
etw
een
Ant
onin
Art
aud’
s “b
ody
with
out
orga
ns”
and
Gill
es D
eleu
ze’s
pre-
indi
vidu
al,
pre-
subj
ectiv
e flo
w o
f de
sire
. Bo
dy w
ithou
t or
gans
has
no s
ubst
ance
, it
is o
nly
a te
nden
cy,
pure
pla
stic
ity,
and
the
flow
of
desi
re is
a s
ubst
rate
of
unco
nsci
ousn
ess.
Unc
onsc
ious
ness
is m
ade
of d
esire
like
our
bod
ies
are
mad
e of
the
“bo
dy w
ithou
t or
gans
”. C
onte
mpo
rary
artis
ts r
esis
t th
e in
dust
rial p
rodu
ctio
n of
des
ires.
Dis
embo
dim
ent
is o
ne o
f th
e st
rate
gies
of
cont
empo
-ra
ry a
rt,
and
here
Þuk
ausk
aitë
dis
cuss
es a
rt p
roje
cts
byRa
kaus
kaitë
and
Inèi
ûrai
të.
She
also
con
side
rs t
he t
op-
ics
of b
ody
and
gend
er,
and,
her
ewith
, th
e tr
ansg
res-
sion
s of
sym
bolic
rea
lity
whe
n di
scus
sing
the
cin
e-m
atog
raph
ic w
ork
of P
edro
Alm
odov
ar a
nd L
ars
von
Trie
r. Bu
t ar
e th
ese
art
proj
ects
just
crit
icis
m?
Are
the
yno
t a
part
of
a ne
w c
reat
ive
indu
stry
, a
brea
kthr
ough
of s
hapi
ng t
he p
hysi
calit
y an
d de
sire
?
Seexuu
alliittyy
anndd
iittss
ppoolliitt
iiccall
eeccoo
nnoomm
yy..O
ne o
f th
e m
ost
impo
rtan
t th
emes
of
the
book
is s
exua
lity.
Fol
low
ing
Del
euze
and
Fel
ix G
uatt
ari,
she
cons
ider
s se
xual
ity a
spa
rt o
f th
e m
achi
ne o
f de
sire
. D
esire
is in
corp
orat
edin
to e
very
hum
an a
ctiv
ity a
s st
imul
us a
nd p
ower
, an
dth
is is
why
sex
ualit
y is
a c
ateg
ory
of p
oliti
cal e
cono
my.
Con
tem
pora
ry p
oliti
cal e
cono
my
poin
ts t
o th
e sp
lit o
fpr
oduc
tion
betw
een
varie
ty a
nd h
omog
enei
ty,
betw
een
valu
es a
nd t
he f
act
that
the
val
ues
are
con-
stan
tly t
urne
d in
to r
elat
ive
valu
es.
The
proc
esse
s of
diac
hron
y an
d ac
cele
ratin
g de
man
d re
quire
var
iety
that
is u
sual
ly s
atis
fied
with
var
iatio
ns o
f th
e sa
me
obje
cts.
Sim
ulat
ion
of v
arie
ty is
a w
ay f
or T
he S
ame
toes
cape
the
tro
uble
som
e di
ffer
ence
s; it
als
o ap
plie
s to
sex.
Þuk
ausk
aitë
writ
es:
“sch
izoa
naly
sis
is a
dyn
amic
gend
er a
naly
sis
of t
he s
ubje
ct n
, w
hich
rea
ches
beyo
nd a
nthr
opom
orph
ic r
epre
sent
atio
ns,
impo
sed
byth
e so
ciet
y” (
p. 1
44-1
45).
In p
rinci
ple,
eco
nom
y di
s-pl
aces
ant
hrop
omor
phis
m w
hile
tur
ning
gen
der
into
am
arke
t ne
ed,
an a
rtef
act.
I am
sur
e th
at t
he c
ritic
ism
of a
nthr
opom
orph
ism
of
sex
and
gend
er is
a m
ajor
achi
evem
ent
of t
his
book
. Se
xual
ity,
depr
ived
of
itsan
thro
pom
orph
ic p
atte
rn,
diss
olve
s in
to t
he li
bidi
nal
econ
omy
and
cons
tant
ly r
epea
ts it
s m
achi
nist
ic p
at-
tern
s. N
ever
thel
ess,
the
pro
duct
ion
does
not
libe
rate
from
par
anoi
a or
sch
izop
hren
ia.
Þuka
uska
itë s
earc
hes
for
inve
rsio
ns o
f sc
hizo
phre
nia
in c
onte
mpo
rary
pro
-du
ctio
n. I
wou
ld a
dd t
hat
Jose
ph S
hum
pete
r an
dA
ndre
w G
rove
, th
e re
pres
enta
tives
of
busi
ness
phi
loso
-ph
y, c
onsi
der
crea
tive
dest
ruct
ion
and
para
noia
as
the
core
of
cont
empo
rary
indu
strie
s.
LLiibbee
rrattiioo
nn ooff
tthhee
IImmppoo
ssssiibb
llee OO
tthheerr
ffrroo
mm tt
hhee oo
bbjjeecc
ttmm
iinnuuss
ccuullee
a.. T
he t
opic
of
the
Oth
er o
pens
the
way
to
the
larg
er v
arie
ty o
f di
scou
rses
. Th
e O
ther
fac
ilita
tes
tran
scen
denc
e, w
hich
is r
elat
ed e
ither
to
idea
ls,
radi
-ca
lly d
iver
se s
ymbo
lic w
orld
s or
non
-dis
cour
sive
pre
s-su
re o
f ec
onom
y an
d na
ture
/psy
che.
The
fig
ure
of t
he
Oth
er is
not
def
ined
, be
caus
e it
does
not
fit
into
the
boun
ds o
f bi
nary
opp
ositi
on o
f re
ality
and
the
Rea
l.W
hile
The
Sam
e co
uld
be li
nked
with
dis
cour
sive
iden
-tit
y an
d se
lf-co
nsci
ousn
ess,
col
onis
ed b
y id
eolo
gies
,th
e O
ther
doe
s no
t in
dica
te s
uch
poss
ibili
ty.
The
Oth
eris
rev
eale
d th
roug
h co
ncili
atio
n w
ith t
he n
atur
al e
nvi-
ronm
ent
or t
hrou
gh t
he in
expe
rienc
e of
impe
rativ
es o
fth
e ot
her,
prob
ably
una
ccep
tabl
e, w
orld
s. A
lthou
ghÞu
kaus
kaitë
doe
s no
t ad
dres
s th
e ph
iloso
phy
ofA
lfons
as L
ingi
s or
Alg
is M
ickû
nas
in t
his
book
, th
epa
thos
of
the
Oth
er b
onds
the
tho
ught
s of
the
thr
eeau
thor
s.
I wou
ld s
ay t
hat
the
auth
or c
lass
ifies
the
fie
ld o
f th
eO
ther
into
imag
inar
y, s
ymbo
lic a
nd r
eal.
The
imag
inar
yco
nsis
ts o
f th
e ot
her
refle
ctio
ns o
f Th
e Sa
me;
sym
bolic
cons
ists
of
the
“who
le o
f th
e no
nsub
ject
ive
rule
s”,
and
the
real
is t
he “
impo
ssib
le S
omet
hing
, no
nhum
anpa
rtne
r, w
ith w
hom
no
sym
met
rical
dia
logu
e is
pos
si-
ble”
(p.
142
). Th
e Sa
me
tend
s to
dis
crim
inat
e di
ffer
-en
ce a
nd t
urn
ever
y ra
dica
l Oth
er in
to a
thi
ng,
tode
valu
e it
to t
he d
omai
n of
non
hum
an r
elat
ions
hips
,to
the
obj
ect
of m
anip
ulat
ion.
The
logi
c of
thi
s co
nver
-si
on is
rel
ated
to
the
sym
bolic
ord
er o
f re
pres
enta
tion,
whe
re e
very
Oth
er is
inev
itabl
y re
pres
ente
d by
its
sub-
stitu
tion
– ob
ject
min
iscu
le a
. Th
e O
ther
as
a su
bjec
tm
inis
cule
a b
ecom
es a
thi
ng,
depr
ived
of
cond
ition
of
hom
o sa
crus
.
Þuka
uska
itë n
ames
som
e of
the
impo
ssib
le r
epre
sent
a-tiv
es o
f th
e im
poss
ible
Rea
l. It
is a
wom
an a
nd t
hose
dele
gitim
atis
ed b
y id
eolo
gy.
She
inte
rpre
ts a
fig
ure
ofa
wom
an w
ith L
acan
’s w
ords
: “A
wom
an d
oes
not
exis
t” m
eans
tha
t sh
e is
not
who
le (
pas
tout
e),
she
cann
ot r
epre
sent
her
self
fully
and
com
plet
ely
in t
heph
allic
ord
er”
(p.1
64).
Not
onl
y a
wom
an b
ut a
ny“s
exua
l rel
atio
nshi
p do
es n
ot e
xist
”, c
onsi
derin
g th
atth
e re
ality
of
desi
re d
oes
not
cons
titut
e si
gns.
All
Oth
er r
adic
al o
utca
sts
are
likew
ise
impo
ssib
le.
For
inst
ance
, th
e pr
ison
ers
in G
uant
anam
o, t
hose
who
surv
ive
the
bom
bs a
re im
poss
ible
in t
he p
ostw
ar o
rder
post
ulat
ed b
y th
e U
S. I
supp
ose
that
am
ong
thos
eim
poss
ible
sho
uld
also
app
ear
man
y ot
her
econ
omic
alan
d po
litic
al r
efug
ees
and
disa
bled
, w
ho r
emai
n th
ings
or im
poss
ible
s ev
en in
Lith
uani
a as
the
y do
not
fin
dth
eir
plac
e in
the
fau
lty L
ithua
nian
set
of
fant
asie
s of
The
Sam
e.
Gin
taut
as M
aþei
kis
Did you engage in any illicit activities dur-ing the research period prior of the exhibi-tion?
BMW’s topics don’t seem to be taken fromthe desert neither from a shopping mallnor business parks. Why?
Do you have anything to say about the psy-chology of curators? (when differentiatedselector/curator/carpet cleaner)
Can BMW be a subject ever? (of course nota theme, you are not theme-parkers!)
Is it a coincidence that Vilnius, a schizo-phrenic city per se, was chosen as a stage ofthe project? How many more coincidencesare in BMW?
What is forbidden today? How long is itforbidden? How could you recognise any‘forbidden stuff’ in our western society,from which point of view? Why did youconsciously choose not to locate any ‘specif-ic’ BM content into the show?
Is that show ‘for sale’? Do you consider it asits main future or supposedly so, like ifblack markets and e-bay systems were notso far from each other?
Do you think BMW show can be consideredas a full-scale emergency kit built into one’sbrain, plus a crash course in disaster sur-vival, real and imagined?
New Ways of doing Nothing! How do youthink a society where a large proportion ofpeople will never work, can be run?
Did you find extremes in the quest for newways of doing nothing?
Was it possible to ‘curate’ a triennial?
How a triennial/biennial can become ashow?
Was it easy or not too difficult to curate ashow that seemed to have been recruitedneither straight from Disneyland nor fromidealistic ways of practicing criticism today?
Did you work from our attraction to dan-ger?
Who kissed the frog?
Will the actual exhibition – or similar for-mat you use – present possibilities or spacesfor black markets to exist within it?
Did the frog transform into a prince?
Is imagination still a BM drug?
‘Small quantities, direct networking, nichemarketing and superdistribution’ - whatdoes that mean?
Why did you communicate with a world-wide unclear distribution of logos fromMarch to the activation of a midget inVenice Biennale, with the creation and dis-tribution of a new word (Ultimiere) to begoogled to lead you somewhere else?
How many ghost-artists were invited to theshow? What about the clones?
Why did the guard cry? If this is a piece -then who made it?
How did you manage to loose control andallow parallel structures to happen? Or wasit all carefully planned and staged?
How did you become two? Were you oneor three in the beginning?
Didn’t Sony express any discontent with thefact that Soni and Shanel had their ads inthe publication of the triennial?
Do you think the topics your are approach-ing, for example, from black markets tomagic to the occult, represent an obstaclein the understanding of the Baltic region’spursuit for more open, transparent, demo-cratic endeavors?
BMW=Home?
Claiming that ‘black markets are alwaysagnostic’ are you trying to say that thesame statement applies to the exhibition?And is it true that you are trying to mimickthe logic of operation of black markets?
How did you react to the fact that part ofthe exhibition in London and Vilnius washacked and re-created in Tallinn withoutyour consent? Was it a surprise or just apart of the script?
Have you learned any magic tricks?
Did you sell your souls to the devil?
Will there be works in the exhibition thatcast spells on the audience?
Will audiences be ‘enchanted’ with theworks on exhibition?
Black markets are commonly referred asshadow economies. Will this exhibition castany type of shadows?
I heard through the grapevines that a seriesof weird, un-natural phenomena wouldpotentially haunt the CAC and ICA alikeduring the exhibition period. This soundsweird, but is it true?
Do you remember the first time you gotpaid for it?
Have you ever talked about BMW commu-nities?
The ultimate conceptual car will move sofast, even at rest, as to be invisible. Do youthink artworks, curating practices, demate-rialised work, are concerned by car will?
Does that show can be based on a state-ment like: everything is repackaged intosomething with more consumer appeal (i.e.Black market within the art world andwithout any will of being alternative).
Do you think BMW’s people are newBonnies and Clydes gathered to challengethe suburbian values? Is BMW toxic?
Can we consider that BMW is made of massparanoias about new diseases?
How did BMW (artists, curators, writers)invest the fact that we live in deeply uncer-tain times?
Is BMW an extreme position in curatorialfield?
Do you think BM systems go faster thanentropic ones?
Like Ballard suggested: “if the future is amarriage between Microsoft and the DisneyCorporation, what can the rest of us doabout it?” Do you have any plans from thatshow?
Can a schizoshow become a simultaneousstructure whether contradictory or not, likedescribing some shadow zones and keepingthem activated, having a future and a pastat the same time? Is that the reason whyyou subtitled the triennial a shizoshow?Was it necessary to choose a side?
Is BMW a permanent crisis?
Is BMW because as curators you wanted todeal only with the flux? Like: what will I doand where will I play in five minutes?
Did you finish the show?
Do you think ‘interesting’ curators work isto provoke, challenge, unsettle, questionand offer the viewer the keys to a door heor she has never noticed in a side-corridorof their minds?
Does that ‘BMW shizoshow’ has a future?
Is BMW an endless show?
Were you naive or oblivious to expect thatblack market and shadow networks aren’tas hierarchic as any corporative oligarchy?
Why didn’t anyone talk about alternativeand progressive schemes of exchange pro-vided by artists, theoreticians and streetvendors?
Who stole the show? Vilnius or London?
Does the invention and careful mainte-nance of a secret life lead to freedom?
Is it about being non- transparent or aboutbeing double at least?
1. Jonas Dahlberg2. Sofia Hernandez Chong Cuy3. John Menick, Gabriel Lester,
Marko Lulic4. John Menick, Gabriel Lester,
Marko Lulic5. Ursula Davila, Holly Block,
Carla Herrera-Prats6. Patrick Killoran7. Gabriel Lester8. Mageli Arriola, John Menick9. Alexis, Raimundas, Sofia (CACTV
playing in the background)10. Ursula Davila, Luisa Lagos11. Top: Valerie Tevere. Center:
Linda Park, Patrick Killoran. Below (arms and head): Raimundas Malaðauskas
12. Alexis Vaillant, Yane Calovski13. Yane Calovski14. Jonas Dahlberg,
Adam Pendleton, Luisa Lagos15. Wendy Tronrud,
Alejandro Cesarco16. Sofia Hernandez Chong Cuy,
Joshua Decter17. Patrick Killoran,
Douglas Ross, Anthony Huberman
18. Francois Bucher
19. Linda Park, Raimundas Malaðauskas
20. Anonym21. Andreja Kuluncic22. Alexis Vaillant,
Adam Pendleton23. Marko Lulic24. Marko Lulic25. Maria Garcia Torres26. Armelle Papadrielle27. Carla Herrera-Prats28. Alexis Vaillant,
Armelle Papadrielle29. Sofia Hernandez Chong Cuy
(making some quesadillas! Que deli!)
30. www.ultimiere.com
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On 30 April, 2005 a gathering at Sofia Hernandez’s place in Fort Green, Brooklyn, was organised to initiate the BMW project. Every guest was asked to bring at least one black market item to the party.
The questions below from the future were received by Sofia Hernandez Chong Cuy (NYC), Raimundas Malašauskas (Vilnius) and Alexis Vaillant(Paris), the curators of BMW, the 9th Baltic Triennial of International Art, that took place at CAC Vilnius and ICA London 23 September-16November, 2005.
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kieè
iø g
eopo
litin
ioid
entit
eto
disk
ursà
nuo
XIX
a.
vidu
rio.
Nau
jaus
ios
pub-
likac
ijos:
Lov
e as
a N
ovel
, M
ünch
en:
Fink
, 20
03 ir
Com
mun
icat
ion/
Med
ia/P
ower
, Fr
ankf
urt:
Suh
rkam
p,20
02.
LLiieepp
ooss 11
33,, tt
rreeèèii
addiiee
nniiss,,
1188..
00CC
ssabba
TToott
hh,, S
alldda
iinniinn
ëëss uu
ttooppii
jjooss:
mmeerr
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kkuull
ttûûrra
,,kkll
uubbaii
iirr uu
rrbbann
iissttiinn
ëë eerr
ddvvëë
TTookkii
jjuujjee
Isto
rinia
i lyè
iø a
spek
tai J
apon
ijoje
yra
pak
anka
mai
iðty
rinët
i, ta
èiau
san
tyki
s ta
rp m
ergi
nø k
ultû
ros
irm
iest
o pr
amog
ø da
ugel
iu a
tvej
ø be
veik
ner
efle
k-tu
otas
. K
ritik
a da
þnia
usia
i sie
ja in
fant
ilø „
azija
tës“
mot
ers
seks
ualu
mà
su m
uzik
iniu
nek
ompe
-te
ntin
gum
u ir
gene
ruoj
a ið
naud
otoj
iðkà
„ið
prot
ëju-
sios
“ ir
„nev
aldo
mos
“ ja
unos
mot
ers,
kla
joja
nèio
spo
nak
tines
Tok
ijo g
atve
s, v
aizd
iná.
Teig
èiau
, ka
dhe
tero
geni
ðka
Toki
jo m
ergi
nø k
ultû
ra a
tver
ia ð
iom
ilþin
iðko
met
ropo
lio m
uzik
os ir
stil
iaus
sce
nø b
eiku
ltûrin
ës-e
kono
min
ës g
eogr
afijo
s yp
atum
us.
Pask
aito
je b
us k
alba
ma
apie
mer
ginø
kul
tûrà
ana
-liz
uoja
nt k
elia
s To
kijo
álan
kos
aplin
kas
–an
drog
inið
kà,
gera
i bes
iver
èian
èià
ir ko
smop
oliti
ðkà
Shib
uya,
ðiu
rkðè
ià,
neva
lyvà
, pr
olet
arið
kà S
hinj
uku
irkà
tik
pra
kutu
sià
Shin
kiba
. Re
mia
ntis
ilga
meè
iais
tyrim
ais,
film
ais,
vid
eokl
ipai
s, n
uotr
auko
mis
, in
terv
iube
i etn
ogra
fine
med
þiag
a bu
s an
aliz
uoja
mi T
okijo
klub
inës
kul
tûro
s, t
ipið
kø jo
s va
rtot
ojø
ir jø
tra
ns-
gres
iniø
kul
tûrin
iø p
rakt
ikø
sant
ykia
i. DD
rr.. CC
ssabba
TToott
hh–
Pits
burg
o K
arlo
u un
iver
site
to is
torij
oska
tedr
os v
edëj
as ir
dës
tyto
jas.
Yra
pas
kelb
æs d
aug
stra
ipsn
iø a
pie
gars
o va
idm
ená ð
iuol
aiki
nëje
kul
tûro
je.
Jopu
blik
acijo
s yr
a pa
siro
dæ t
okiø
leid
yklø
ant
olog
ijose
kai
pM
IT P
ress
, St
. M
artin
’s Pr
ess,
San
Fra
ncis
ko m
oder
naus
men
o m
uzie
jaus
leid
ykla
bei
Har
vard
Uni
vers
ity P
ress
(ruo
ðiam
a sp
auda
i). C
saba
Tot
h dë
sto
kurs
à ap
ie ja
ponø
anim
acijà
(yp
atin
gà d
ëmes
á ski
rdam
as f
ilmø
gars
o ta
ke-
liam
s),
o dr
auge
su
muz
ikol
ogu
Ken
anu
Fole
y yr
apa
ruoð
æs k
ursà
Ele
ktro
ninë
kul
tûra
/eks
perim
entin
ëm
uzik
a.
CA
C/C
AFÉ
TTA
LKS
Sinc
e A
pril,
the
CA
C is
org
anis
ing
a se
ries
of t
alks
by
lead
ing
inte
rnat
iona
l int
elle
ctua
ls.
On
the
first
Wed
nesd
ay o
f ev
ery
mon
th c
ome
to t
he C
AC
Caf
é an
djo
in t
he d
iscu
ssio
n ab
out
topi
cal i
nter
natio
nal i
ssue
s in
cultu
re,
econ
omic
s, a
nd p
oliti
cs im
pact
ing
on t
he p
ro-
duct
ion,
pre
sent
atio
n, a
nd r
ecep
tion
of c
onte
mpo
rary
art.
CA
C/C
afé
Talk
s ar
e an
opp
ortu
nity
to
find
out
mor
eab
out
the
expa
nded
fie
ld o
f co
ntem
pora
ry c
ultu
re in
whi
ch t
he C
AC
ope
rate
s.
CA
C/C
afé
Talk
s ar
e V
ilniu
s’ c
oole
st c
lass
room
in w
hich
you
can
eat,
drin
k, li
sten
, and
arg
ue a
bout
art
.C
AC
/Caf
é Ta
lks
is a
par
tner
ship
bet
wee
n th
e C
AC
and
the
CA
C/C
afé.
1188..0
0 WW
eeddnnee
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11 JJ
uunnee
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llss WW
eerrbbee
rr,, R
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pp: TT
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asshhii
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arr iinn
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rree a
tt tthh
ee EEnn
dd ooff
tthhee
MMiillll
eennnnii
uumm
Rece
ntly
, G
erm
an p
op li
tera
ture
has
tak
en o
ver
the
bran
d fe
tishi
sm,
the
amor
al c
ooln
ess
and
exac
t su
perf
icia
lity
of B
ret
East
on E
llis’
nov
els.
The
atte
mpt
s of
the
des
igne
r-cl
ad t
erro
rists
inG
lam
oram
a (E
asto
n El
lis)
follo
w a
con
sist
ent
aes-
thet
ic p
rogr
am,
no e
lem
ent
is le
ft t
o ch
ance
,ev
eryt
hing
is p
lann
ed c
aref
ully
: th
e ou
tfits
, th
eob
ject
, th
e ex
plos
ive
and
its h
idin
g pl
ace,
the
vic
-tim
s. M
odel
s po
pula
te t
he n
ovel
, ev
eryt
hing
fits
in,
whe
n bo
mbs
exp
lode
: a
Gla
mor
ous
pano
ra-
ma.
You
ng G
erm
an a
utho
rs h
ave
impo
rted
thi
spr
ogra
m,
chan
ging
the
set
tings
. It’
s th
e RA
F, t
hete
rror
ist
Red
Arm
y Fa
ctio
n, w
hich
pro
vide
s a
pro-
voki
ng m
ixtu
re o
f po
p, c
ooln
ess,
vio
lenc
e, a
ndfa
shio
n. O
nly
a fe
w r
ecen
t G
erm
an P
op-N
ovel
s ca
nm
ake
it w
ithou
t Ba
ader
, En
sslin
, Ra
spe,
or
Mei
nhof
. Th
eph
enom
enon
of
Ger
man
ter
roris
m is
com
plet
ely
take
nou
t of
its
soci
al a
nd p
oliti
cal c
onte
xt:
pop
cultu
re s
eem
sad
dict
ed t
o en
tert
ainm
ent
who
se ir
onic
and
exp
erie
n-ce
d di
stan
ce c
anno
t be
pro
voke
d by
any
exp
losi
on,
mas
s m
urde
rer,
over
dose
or
porn
. Su
ch p
opul
ariz
ed,
itha
s sh
own
its c
onne
ctab
ility
in m
edia
rel
ated
con
text
slik
e ad
vert
isem
ent,
mov
ies,
tel
evis
ion,
and
fas
hion
. Th
ePo
p-N
ovel
has
mad
e on
ly t
he f
irst
step
into
aes
thet
ics
of t
erro
r in
Ger
man
Med
ia a
nd P
opul
ar C
ultu
re.
DDrr..
NNiiee
llss WW
eerrbbee
rr ho
lds
the
posi
tion
of P
rofe
ssor
of
Soci
al H
isto
ry a
nd C
ultu
re a
t th
e In
stitu
t fü
r G
erm
anis
tikof
the
Uni
vers
ity o
f Ru
hr in
Boc
hum
, G
erm
any.
His
are
asof
spe
cial
isat
ion
incl
ude
hist
ory
of 1
7th
to 2
0th
cent
ury
Ger
man
and
Eur
opea
n lit
erat
ure,
17t
h an
d 18
th c
entu
rypo
etic
s, a
nd a
esth
etic
s of
the
per
iod
arou
nd 1
800.
Mor
e re
cent
ly h
e ha
s be
en r
esea
rchi
ng t
he li
tera
ture
of
new
med
ia e
nviro
nmen
ts (
film
, te
levi
sion
, hy
pert
ext)
,an
d th
e di
scou
rse
of G
erm
an g
eopo
litic
s in
sel
f-de
scrip
-tio
ns s
ince
the
mid
-19t
h ce
ntur
y. H
is la
test
pub
licat
ions
are:
Lov
e as
a N
ovel
,M
ünch
en:
Fink
, 20
03;
and
Com
mun
icat
ion/
Med
ia/P
ower
, Fr
ankf
urt:
Suh
rkam
p,20
02.
1188..0
0 WW
eeddnnee
ssddayy
1133
JJuull
yy CC
ssabba
TToott
hh,, LL
oolllliiPP
ooppUU
ttooppii
ass:
GGiirrll
CCuull
ttuurree
ss,,CC
lluubbbb
iinngg,,
anndd
UUrrbb
annSpp
accee
iinn TT
ookkyyoo
Whi
le h
isto
rical
res
earc
hon
asp
ects
of
gend
er in
Jap
an h
as b
een
exte
nsiv
e, r
ela-
tions
bet
wee
n gi
rl cu
lture
and
urb
an e
nter
tain
men
tsre
mai
ns la
rgel
y un
expl
ored
. Th
e sc
ant
criti
que
usua
llyco
nfla
tes
infa
ntili
zing
imag
es o
f ‘A
sian
’ w
omen
’s se
xual
-ity
with
mus
ical
inco
mpe
tenc
e an
d gi
ves
expl
oita
tive
cove
rage
to
‘cra
zy’
and
‘out
-of-
cont
rol’
youn
g w
omen
roam
ing
the
stre
ets
in t
he T
okyo
nig
ht.
Arg
uabl
y,To
kyo’
s he
tero
gene
ous
girl
cultu
res
prov
ide
clue
s to
thi
sva
st m
etro
polis
’ m
usic
and
sty
le s
cene
s an
d cu
ltura
l-ec
onom
ic g
eogr
aphy
. Th
e le
ctur
e w
ill lo
ok a
t gi
rl cu
l-tu
res
with
in t
he c
onte
xts
of a
ndro
gyno
us,
upsc
ale,
and
cosm
opol
itan
Shib
uya,
the
grit
ty, s
leaz
y, a
nd w
orki
ngcl
ass
Shin
juku
, an
d th
e em
erge
nt S
hink
iba
in T
okyo
Bay
.Ba
sed
on y
ears
of
field
res
earc
h, a
nd w
ith f
ilms,
vid
eocl
ips,
pho
tos,
and
inte
rvie
ws
upda
ted
via
on-f
ield
ethn
ogra
phic
wor
k, t
his
talk
will
exa
min
e th
e in
terp
lay
betw
een
Toky
o’s
club
cul
ture
, its
mos
t vi
sibl
e cu
stom
ers
and
thei
r tr
ansg
ress
ive
cultu
ral p
ract
ices
.DD
rr.. CC
ssabba
TToott
hhis
Pro
fess
or a
nd C
hair
of H
isto
ry a
tC
arlo
w U
nive
rsity
, Pi
ttsb
urgh
. H
e ha
s pu
blis
hed
exte
n-si
vely
on
the
role
of
soun
d in
con
tem
pora
ry c
ultu
ral f
or-
mat
ions
. H
is p
ublic
atio
ns a
ppea
red
amon
g ot
hers
inan
thol
ogie
s by
the
MIT
Pre
ss,
St.
Mar
tin’s
Pres
s, S
anFr
anci
sco
Mus
eum
of
Mod
ern
Art
, an
d H
arva
rdU
nive
rsity
Pre
ss (
fort
hcom
ing)
. H
e ha
s be
en t
each
ing
acl
ass
on J
apan
ese
anim
atio
n (w
ith e
mph
asis
on
soun
d-tr
acks
) an
d, w
ith m
usic
olog
ist
Ken
an F
oley
, is
co-
teac
h-in
g a
cour
se t
itled
Ele
ctro
nic
Cul
ture
/Exp
erim
enta
lM
usic
.
KAVINË
strengthens the reactionary fight againstantidogmatic interpretations. The softwarefor website monitoring, rating and filtering isa form of inquisition. Doesn’t the idea of avirtual space panopticon scare you (forinstance, some groups in certain countriesdemand to introduce the obligatory ID sys-tem for the opening of your e-mail box etc.?DM:But reactionaries can also augment theproduction of heretical texts. Various sectsand alternatives to the ‘real version’ areflourishing (remember the theory of chaos).We do not have to be interested in them anyfurther because religion for a longer time hasalready created no significant product. It cer-tainly has kept some social functions but theanarchy of the virtual space annoys no lessas its opposite ‘orderly’ version. VK:Don’t you think that the ‘performance’of the Pope’s death in the mass media hasextended the concept of liturgy in space aswell as in time? During the live broadcastfrom the Vatican the displaced Holy Masswas transported to the overall space of the
so-called Christian world. Is that the waymass media has played the role of liturgicalmedia?DM:If the broadcast is completely uninter-esting I usually switch to the other channel,and then this event disappears from the fieldof reality. Indeed media as a mirror reflectspreferences, i.e. it works as a mirroring eventserver which replaces the real event. Forinstance the translation of a sports game isnot ‘from’ somewhere, it simply takes placeand happens in the 40 x 60 cm square infront of your eyes. Everybody knows howthe image appears in the ‘box’ but I am surethat the TV viewer does not contemplate onthe ‘displacement’ of the real site. And Ithink that the media is not any kind of medi-ator anymore because it is more interested initself, more directed to itself and its ownmake-up and is often the subject to itself.For instance the new BBC weather broadcastdesign becomes subject of BBC news, andnot only after the fact. The event wasannounced half a year ago and became a
welcome message for the news consumers.The wiggly tongue above the beer glass is amore realistic mediator, I think (though lessinteresting, of course). VK:If you thought about the illustrations for
this text, what would they be? DM:The mediating tractor or ‘Pope’s trac-tor’, which I managed to catch in the yard ofKaunas medical clinics. We have not dis-cussed this subject of the ‘Pope’s car’, andalso this TV image ‘conclave smoke’ is thesubject we have not developed. VK:How would you start the interviewabout the Pope?DM:I would ask for an audience. HisEminence would be interviewed in that case.
Valentinas Klimaðauskas is a curator at theCAC in Vilnius.
Piotr Piotrowski is a head of the Institute ofArt History of the A. Mickiewicz University in
Poznan, Poland.Darius Mikðys is an artist based in Vilnius.
Foto / Photo: Darius M
ikðys, 2005
29ji rinka meno pasaulyje, visiðkai nesiekianti alternatyvios pozicijos)? Kaip manote, galbût BMW þmonës yra naujieji Boni ir Klaidai, susibûræ mesti iððûká miesèio-
and almost nothing critical. I think, however,that it was the beginning of the end of thepower of the Church in Poland, since thePoles usually saw the pope as ‘our pope’.Now, when this national point of referencedisappeared, maybe the politico-religiousbackground will be lost, and the Roman-Catholic Church will be less powerful. Iwould very much welcome a black cardinalas the next pope. It would be a shock inPoland with its strong nationalistic back-ground, so important in this country, andprovide a sort of opportunity to make suchan ideology weaker. Unfortunately, it has nothappen but a German is somehow alsopromising...:)
Parrt IIIVallentinass KKlimaððauuskass:I suggest talkingabout the Pope but still do not know fromwhat point of view. I am not religious and, Isuppose, you as well. Darrius MMikðys:Why do you suppose so?VK:I think you are more of a romantic for anano and mega galactic, meditating gnosti-cian and media shaman than a practicingcatholic. However the question is: are youreligious?DM:But this question is usually given to afilm character at the point where he arrives‘on the edge’. So what actually happened?VK:I believe we are on the edge of theepoch where old institutions (such as theChurch or State) start invading new media… DM:Indeed, the faith needs a ‘message’which unfortunately is not sufficed by thepower of the media. A ‘message’ also needsan idea but we see that the Church does nottranslate any new religious ideas yet whichwould accord with the conception of thecontemporary world. Or maybe it does trans-late ideas but we do not ‘catch’ them or per-haps we would not understand them yet.But most probably we do not produce suchan idea because we are still in the process oflearning its vocabulary and creating tools forits use. Our current/former God is similar tothe distributor of ‘matter code’, so if thiscode becomes ‘open’, the new God willagain be transported behind the new hori-zon. That is why I think that media ‘invades’religion and changes its location on the mapof consciousness, and the State as a fictionalphenomenon is of course created and con-stantly re-created by means of media. VK:...and as well I am not sure if it wereinteresting to talk about sacral art or art andfaith. DM: It would be interesting to talk in an
interesting way.VK:Certainly. I suggest participating inanother interview which we will dedicate towww.bernardinai.lt.DM:bernardinai.com only.VK:Do you think that the virtual space.lt istoo claustrophobic in comparison to the vir-tual space.com?DM:Erdve.com is more claustrophobic, but Isuggest a temporary protest against ‘lt’because of the corruption taking place in thisstate. It hinders artistic communities to act inan environment of rich values. But worst ofall, it obstructs the formation of such com-munities.VK: Let’s return to the subject of the Pope.From the visual perspective I would be mostinterested in the spectacle of Pope John PaulII’s death. Live and other broadcasts from theVatican and Kracow and films about thePope’s life, etc. started early at night. TheVatican keeps very good relations with newmedia: the worlds of SMS and e-mail wereinformed about Pope’s death before thosestanding in St Peter’s Square in Rome. Whatdo you think about this friendship betweenmedia and the conservative Church?DM:I think the same what I think about therelationship between politicians and media.Another interesting area is the white andblack smoke during conclave – the moderni-sation and use of this archaic ‘media’. VK:No doubt, the general benevolence ofthe Church towards the media has a politicaltouch but I am more interested in the sacrali-sation of media that is actively performed bythe Church. The new Pope began his inau-guration from the symbolic consecration ofjournalists, his e-mail addresses wereannounced for correspondence in variouslanguages, and he himself answered the let-ters. Similar processes are taking place withindifferent religions, for instance, the Arabicmobile phones show the direction towardsMecca. I am more interested in this era of anew technological baroque…DM:I think that the Church in Lithuania gen-erally has no credit of ‘sacrality’. Sacralised –crystallised? Crystallised and crystallised thebelievers become converted to the virtue ofmedia. VK:Are you talking about the shrines ofcrystal displays? DM: As well as pocket-sized altars. Air Bus, racing Boeing, offered synagoguesinstalled in the planes for Jews, or, if I amcorrect, mosques for Arabs. I have recentlyread about the patented invention of the‘media tombstone’ – the video system
embedded in a tomb enabling visitors toreview messages, wishes or ratings.Sometime ago I was thinking about themedia that accidentally could save life – saysuddenly you die but your e-mail box in theyahooserver continues to ‘live’. However Ihave not heard about any website whereyou could be consecrated or baptised, norabout any mail server which would circulatethe messages with an advertisement in Latinat its bottom. VK:Evangelical SMS invade not only the TVor radio but also Mass celebrations and wor-ships: in the website http://www.popemes-sage.com/you can order the Pope’s thoughtsfor the day, http://www.ev-jugend-han-nover.de/offers to pray in messages, andBuddhists even consecrate their mobilephones in http://wired-vig.wired.com/news/culture/0,1284,64624,00.html. We couldalso remember the tele-evangelic broadcasts,which provide you the feeling that youundoubtedly are the participant of this medi-ated procession while watching them. Who,according to you, is more the Pope of themedia – the Holy Father or MarshalMcLuhan, or someone else? DM:If we could take no account (or if wehave not read) McLuhan, the Pope wouldcertainly be a figure that is being broadlymediated and mediating. However, he can-not be ‘the Pope of the media’. The Pope’sinstitution settles the canon and performs itsmonitoring and recently it has no success infulfilling this task. It is possible to think thatthe current influence religion has on themedia is the weakest in all its history. If wewould consider Paleolithic cave drawings asparticipants of the rituals that could havebeen an embryo of religion, and if we wouldfollow the influence of religion for ways ofrepresentation and translation up to ourdays, we could state that it was religion thatpractically initiated and created the media.The latter has only recently crumbled intomany media forms and mediators that are‘Popes’ in the zones of their own influence.The artists that produce mediating works aresometimes ‘Popes’ of their artwork, andsometimes they can be Popes not of onlytheir artwork but also other author’s work,or on the contrary, they are Popes neither totheir own nor to other artwork (I think thatMcLuhan is the Pope of his own work and ofthe others’). We could even think that he isthe Pope for this our text about the Pope ifwe imagined that it is already published. VK:Yes, however the possibility to useheretical texts or heretical media only
In the first part of the interview ValentinasKlimaðauskas talks to a renowned Polish arthistorian and critic Piotr Piotrowski on art,media and the Church on the occasion ofthe Popes succession this April. In the secondpart of the interview he discusses with aVilnius-based artist Darius Mikðys, famous forhis original techno-visions, and the interviewtopic becomes its own deconstruction.
Parrt IIVallentinass KKlimaððauuskass:I believe that tradi-tional institutions (such as State and Church)have started to invade new media. There arevoices wanting to make obligatory use of IDwhen obtaining email accounts or SIM cardsfor mobile phones... What is your opinion onthe relationship of new media and thechurch in Poland?Piotr PPiotrowski:The Church (as well as theState) in Poland needs new media in order topromote itself, and to make contact with thepeople, as in any other country, yet at thesame time it complains about ‘liberal cul-ture’, or liberal values broadcasting in themedia. The Polish Roman-Catholic Church,however, was so strong (its political positionis perhaps the strongest among Europeancountries) that it had even forced theParliament to add a sentence to the mediaact stating that the media should respect aChristian value system. Fortunately it’s just arhetorical obligation and does not mean toomuch in social practice. As for the first partof your question, as far as I know, there wasa sort of attempt to extend a state controlover communication, but fortunately it wasnot successful. However, it was not theChurch’s initiative, rather the State’s whodreams (as any other state) to control thepeople.VK:On Sunday (8 May) a new popeBenedictus XVI made a speech dedicated tothe media saying that it should do more tomake positive dialogues between nationsetc. Would positive and ‘moralistic’ massmedia help shape a better world or would itbe only one more technique for censorship?PP:I do not believe that the Church is inter-ested in a real dialog between nations andany other groups. If it does, a new (as wellas an old) Pope is willing to conduct such a
dialog but on the basis of a Christian valuesystem, i.e. it sees itself as a power, which atleast toleratesother subjectsin such a dia-log, but doesnot recognisethem as equalpartners.Definitely, if theChurch wouldhave such apossibility, itwould like tointroduce a sortof censorship. Ihope, however,it will not havesuch a chancein the future.VK:What arethe relationsbetween art,art institutionsand the churchin the father-land of the lateJohn Paul II?PP:This is avery complicat-ed question. Ihave spentmuch time toresearchingsuch a topic,and I amabsolutely con-vinced that hisinfluence inPoland, particu-larly after 1989,was verydestructive in the field of culture and art. Hegave an extreme power to the Church inPoland, combining two tendencies: national-ism and religion, traditional Polish main-stream values. His conservative attitude wasvery influential in this country, which is con-servative by origin and by historical defini-tion. All of the trouble with a censorshipover art (religious, sexual etc.), what I havedescribed in the Populismreader, comes
from that source. VK:What did death of John Paul II mean to
the media and society in Poland? Was it 7/24liturgy on the national level as well as on theprivate, media, virtual and art institutions’levels?PP: After (and even shortly before) his deathPolish media were hysterical. I could noteven imagine how the media was able toneglect all other news, except for that onestory. There were so many nostalgic stories inthe Polish press, so many apologetic articles,
Say what?
Valentinas Klimaðauskas talks toPiotr Piotrowski and Darius Mikðys
30 31niðkoms vertybëms? Ar BMW toksiðkas? Ar galima teigti, kad BMW – tai daugybë masiniø naujø ligø paranojø? Kà BMW (menininkai, kuratoriai, raðytojai) gali pasakyti apie tai, kad ðiais laikais labai daug netikrumo? Ar vaizduotë – vis dar BM narkotikas? Ar kuratoriniame lauke BMW uþima radikalià pozicijà? Ar mano-
leries take part in art fairs. Everybody is in ahurry to buy-and-sell. According to ex-MoMAcurator of painting and New York UniversityProfessor of Art History, Robert Storr, suchevents should already be referred to in termsof ‘spotting’ rather than ‘looking’, and ‘get-ting to know you’ is transformed into ‘love atfirst sight’. These processes seem to changeeven the future of art. AG: Surely, the commercial codes are valid. Ifyou see commercial success in a work of art,you as a gallerist do not care too much,what the reaction of art critics or art institu-tions will be. KI: Certain stereotypes of the art market per-sist: many gallerists have mentioned that it ismuch more difficult to sell videos comparedto the traditional kinds of art – small-scalepaintings and drawings are more popular. AG: Everything follows the law: in a materialworld, very material things are sold. Yet, another question arises: do they buy theartist’s name or the work of art? If the nameis on sale, then it is unimportant whetherthis is a video or a work created in a differ-ent medium. In this case, the Western artmarket is superior to the Lithuanian one,because it has long ago legitimated suchmeans of expression as video, performanceand media art. KI: We have had little contact with the inter-national art market yet, although private gal-leries are increasingly interested in contem-porary Lithuanian art. The situation is muchsadder in Lithuania where contemporary artdoes not have its market. We cannot denythe fact that intellectual production shouldhave its price. If there is no art market, thereis no possibility to find out what the value ofa work of contemporary art is; the status ofcontemporary artists is very vaguely defined– the society does not know how to evaluateartists; an adequate attitude towards the cre-ator of contemporary art. Many still thinkthat we are a group of naive enthusiastswho create art in their free time, and only asmall circle of people can understand us. AG: Not only Lithuanian artists are regardedin this way. I have communicated with manyyoung Western artists whose situation is verysimilar. Only the artist’s status is betterdefined there; more possibilities to use theprivileges provided by the government, sup-port from various private funds, fellowshipsand art residences in centres of the [art]world such as New York or London. KI: The romantic idea of a bohemian artistconceived in the modernist era is still popularin Lithuania. Lithuanian TV programs or mag-
azines focusing on life-style usually presentthe classical artist’s studio; they tell aboutwomen in his life and his wanderings aroundthe world. Such stories about artists areoften mystified – for instance, a story in apopular Lithuanian daily about a Lithuanianartist’s fancy for a cemetery guard’s job. Whydo they receive such attention? Becausemodernist painters are appreciated in oursociety: they have their own local market;their works are sold in traditional Lithuaniangalleries oriented around modern art. If awork of art has a value, the artist who hascreated it is respected in society, and themedia are more and more interested in him.The more they are interested, the higher thevalue of his art rises in the art market. Meanwhile, contemporary art will have towait some more in Lithuania...AG:Will a market for contemporary art everemerge in Lithuania? Is it necessary here?Gintaras Beresnevièius has pointedlydescribed this situation speaking about thedifferent priorities of a ‘try hard’ and a ‘snob’. KI: Perhaps a solution would be to establishsuch galleries of contemporary art in Vilniusthat would participate in the international artmarket. One could use the example of theonly gallery of this type, IBID Projects, run-ning along the itinerary Vilnius-London-inter-national-art-fairs. AG: Yet, the gallery’s geographical locationhas an important role here. As the gallerydoes not need mega-space, it is more like adatabank and the gallery’s shape is reminis-cent of an office. Another reason why theactivities of galleries are orientated towardsthe great centres of the world is the aspectof competitiveness. After all, it is not soimportant what is the size of the office – theimportant thing is what information it accu-mulates and presents both in the gallery’sspace and on the Internet. KI: Such are the advantages of informationsociety. In spite of this, we do not haveenough contemporary art institutions inLithuania where we could show our work.For instance, now I create three or four newfilms per year, which I show only abroad. Itwill sound sad, but the retrospective of myvideos from 2002-2005 planned this year inVilnius should be called a ‘premiere’, for theyhave been seen by only a few people inLithuania. It is ironic that I create works relat-ed to the Lithuanian context, which arerarely presented to the local audience. AG:Thus, we come back to the tightness ofthe Lithuanian market. Nevertheless, weshould pay attention to the local specifics.
The scene of Lithuanian contemporary art istoo closed and too young. It has its ownconsistent identity, but the issue of genera-tions still remains open. KI:Lithuanians are sedentary, and genera-tions are closely related here. Elsewhere,where migration is high, it is difficult to fol-low the evolution of generations, especiallyin megapolis. For instance, Anri Sala startedhis successful artist’s career in Paris where heused and played with his Albanian origin,and when he ‘got his feet’ into the interna-tional art scene, he started to create worksdetached from any reflection of his origin.There are more examples of this kind. AG: Speaking of representation of your owncountry abroad, the scheme seems to beclear: works more or less referring to theLithuanian social reality are presentedabroad. This interest wanes as wanes also –or perhaps has disappeared completely – theinterest in the Balkans, the Central orNorthern parts of Eastern Europe. KI: What future do you imagine for yourself?AG: The change of everything and move-ment are gaining momentum. The under-standing of well-to-do life is changing. Theproblems that existed five years ago are nolonger urgent today; we can look from a his-torical perspective at many things. KI: In Lithuania, social, economical and cul-tural differences are decreasing as comparedto other countries of European Union. In thenear future, when our economy becomeseven stronger, perhaps, we will find itincreasingly difficult to notice differencesbetween generations, for we will not be ableto avoid a more intensive migration. Moreand more immigrants will come to Lithuania.Blood will be mixed.
To find out more about the work of ArûnasGudaitis and Kristina Inèiûraitë (and an
emerging generation of Lithuanian artists)visit the website developed by the Lithuanian
Institute and the Contemporary ArtInformation Office of the Lithuanian Art
Museum: www.youngartists.lt
The new Paris dealer schleicher+langesituat-ed in Marais District at the centre of the cityhas recently presented work by severalLithuanian artists. Exhibitions by ArûnasGudaitis, Kristina Inèiûraitë and GintarasMakarevièius could be considered a jumpinto the international art market. Becausethere is no well-established art market infra-structure in Lithuania this could be seen asthe beginning of a new era of integration forLithuanian art. Arûnas Gudaitis and KristinaInèiûraitë sat down to talk about this andabout potential for the development of anart-system within Lithuania.
Arûnass GGudaiitis: Works of art are not alwaysacquired through the mediation of galleries.For instance, an article with a reproductionof my work in an art magazine or newspa-
per, which has appeared after an exhibition,has encouraged a number of collectors tocontact me via e-mail. Although in this casethe institution that showed the work playedan important role, it is possible to sell worksnot only through galleries. In fact, collectorsare purposefully working in that direction. Kristina IInèiûraiitë: Whatever the case, gal-lerists from Paris are getting interested in theLithuanian art scene; they come to Vilnius,choose artists and a new context opens,which we can enter and present our produc-tion. First of all, I appreciate not only thecommercial advantages of the gallery, butthe fact that I can show my works to the artpublic in Paris and expand my contacts in theart world. AG: Gallerists have emphasised their aim topresent artists whose works have not yetbeen shown in the Paris art scene. Thegallery’s initiative to expand the geographyof the art market deserves a compliment. Wecan only guess why they have chosen Vilnius.Perhaps, this is related to the fact that theyare of German origin and started their activi-ties in Berlin – their socio-cultural heritageand worldview may influence their choice ofartists. KI: An artist from our region can hardlyexpect to be invited to galleries that have
already settled and have clear priorities. Wehave more chances to show in new galleriesthat are still shaping their liberal enoughface. Even the gallerists of schleicher+langehave observed that their gallery is exception-al among other galleries in Paris, inasmuchas French people aren’t running it, and thereare no local artists among their stable. Atthis initial stage, risk comes from varioussides: the specific French context, the galleryand the artists invited from different regions– will everything ‘click’? We can only guessat the beginning of the gallery’s activities. AG: Eventually, clearer criteria crystallise: agallerist may take up a certain position,which will determine the gallery’s relativelyliberal ‘face’. Nonetheless, one cannot avoidcertain commercial interests. Because theyneed a return on the huge amount of energyand resources invested and can’t afford tosenselessly waste time.KI: “Capital goes where it is wanted andstays where it is well-treated” – this remarkby the famous economist and banker WalterWriston accurately reflects the art market asit literally ‘mushrooms’. It is the growth ofthe art market that changes the conceptionand definition of the traditional gallery. InParis, Basel, London, Madrid, New York andother metropolis a countless number of gal-
people to write about your work again. Theyknow already how you work and what itmeans to be an artist: that is that some guysthink you don’t do it for the money. Yeah,right. It’s a great excuse not to pay you shitfor all the things you do. So what the fuckhappens is that you, as a fucking artist, putfucking money into projects that others willshow in their fucking museum, in their shittyKunsthalle, in their sexhibition space, in theirgutter gallery. So you are an investor. Yougive loans nobody will ever repay you. Youtake fucking financial risks. You speculate onyourself as an ‘artistic asset’. Don’t you see?You are a trader! You cannot put all yourmoney into one kind of artistic stocks. So,well, you ‘diversify your activities’, as theywould say. You manage the risks you take.Great. You would say it differently. Don’t tell
me that. You say I suffer from a veryunpleasant schizophrenia; that I have multi-ple personalities. Well yes I am. Didn’t youknow that before? I am a philosopher, butalso a writer. I am an editor of a magazineand I invite people to write for this maga-zine. I occasionally work with artists on proj-ects that end up in exhibitions where I meetpeople who ask me to write about theirwork. Sometimes I do it for free. Becauseyou know how hard things are for an artistthese days. You don’t do it for the money.That is what some people think. It is a greatexcuse not to pay you for all the things youdo. So what happens is that you, as an artist,put money into projects that others willshow in their museum, in their Kunsthalle, intheir exhibition space, in their gallery. So youare an investor. You give loans nobody will
repay you. You take financial risks. You spec-ulate on yourself as an artistic asset. You area trader. You cannot put all your money intoone kind of artistic stocks. So you diversifyyour activities. You manage the risks youtake. You would say it differently. I know,but I don’t use the f-word. You say you suf-fer from a gentle schizophrenia. You aremultiple personalities. I think I understand.
Delivered by Dieter Lesage at the CAC as theinaugural lecture in the CAC/Café Talks on
06/04/2005. This was the ‘performative’ halfof the paper. First published in English in:
Dieter Lesage, Vertoog over verzet. Politiek intijden van globalisering,Amsterdam/Antwerpen:
Meulenhoff/Manteau, 2004, pp. 289-293.
Away
Arûnas Gudaitis and Kristina Inèiûraitë talk about Paris
Arûnas G
udaitis, Susitikimo vieta / The M
eeting Point, 2002-2003, video
Kristina Inèiûraitë, Repeticija / Rehearsal, 2002, video
32 33te, kad BM sistemos greitesnës uþ entropines? Kaip sakë Ballard’as, „jei ateitis yra Microsofto ir Disnëjaus korporacijos vedybos, kà mes, visi likusieji, galime padaryti?“. Ar turite kokiø planø? Ar ðizoparoda gali tapti simultaniðka struktûra, prieðtaringa viduje arba ne, ar ji galëtø apibûdinti tam tikras ðeðëlines zonas
second hand shops or at the flee market to amuseum, you liberate your country from itsbad taste in general, you show a video in agallery and you are the DJ at a dernissage, ora finissage, or whatever it is called, whereyou invite people who make photographsand enjoy writing critiques on the magazine.You want your fellow DJ’s to have a break,it’s your turn now and you take the mike towelcome all the people who came to theparty. You are a re-mediator, you remixrecords and you re-want people to remix,you even remix photographs, and you remixphotographs of people you re-want to remix.You re-photograph the people you re-talk to;you re-talk to other people about photogra-phy, again. There is this T-shirt with T-Ina onit, and there is this funny guy you want toswear to wear your T-shirt when he goes toparties on his own. You are nowhere andyou make people wonder where you mightbe. You are not at home, your answeringmachine is answering for the multiple per-sonalities you are. You just got off, you tooka cab, and you’re wearing fifty pounds ofmaterial from the cab to the airport. You’releaving Berlin. You’re coming back soon.You’re always on the move. You take anoth-
er cab; it takes less time to find your place inIstanbul now you know your way. You makephotographs and you ask others to makephotographs the way you want it. You inter-view the people you asked to make photo-graphs, you transcribe the tapes of the inter-views, you type the transcriptions of theinterviews and get them published in yourmagazine. You invite the people you inter-viewed to the presentation of the magazine,you distribute flyers announcing your partiesat the presentation of your magazine in abookshop, you distribute flyers announcingthe presentation of your magazine in theclub where you are having a party, youannounce the next party at your party, youapologise the people who couldn’t make it,you are sharing addresses, you promise peo-ple to send them invitations. You mediatebetween the media and the artists in theexhibitions you organise, you make arrange-ments for interviews, you invite critics to theopening, you make copies of critiques of theexhibition, you send them to the artists inthe exhibition. You represent yourself assomeone else than you are and you are theway you represent yourself. You pretend andyou are for real. Things may vary. You’re
doing research on the military. You makephotographs of soldiers and you make pho-tographs of artists. You are an artist yourselfand that means it would be nice to get somemoney for all the things you do. Sometimesyou get subsidies, it’s great to get grants,you know this nice guy who might lend yousome more money, you still have that solici-tor who helps you in order to get moneyfrom people who just happen to be very badpeople. You make dinner for people youdon’t need to introduce any more, you dis-cuss publication plans over dinner and thereis still some wine from last time. You ask
Art, ppopulism annd ddemocraccy: III
You are an artist and that means: you don’tdo it for the money. That is what some peo-ple think. It is a great excuse not to pay youfor all the things you do. So what happens isthat you, as an artist, put money into proj-ects that others will show in their museum,in their Kunsthalle, in their exhibition space,in their gallery. So you are an investor. Yougive loans nobody will repay you. You takefinancial risks. You speculate on yourself asan artistic asset. You are a trader. You cannotput all your money into one kind of artisticstocks. So you diversify your activities. Youmanage the risks you take. You would say itdifferently. I know. You say you suffer from agentle schizophrenia. You are multiple per-sonalities. You are a photographer, but also aDJ. You have a magazine, you are a publish-er, but you also organise parties. You takephotos from party people. You throw a partywhen you present a magazine, you makemagazines with photographs of party peo-ple, you throw a party and you are the DJ.You have a DJ collective, so you can walkaround at your own party, you talk to peopleand ask if they want to publish in your ma-gazine, you make CDs, you present themwith a party, you make CD-roms with photo-graphs of party people, you insert CD-romsin your magazine, you want your readers tolisten to your music, you want your partypeople to read your texts, you invite thosewho write in your magazine to come to yourparties, you make installations from photo-graphs. You do interviews with people youmeet, you do interviews with people youwould like to meet, you tell the people youmeet about your magazine. You distributeflyers announcing your parties in the barswhere you meet people for an interview. Youbuy records in flee markets, you distributeflyers announcing parties in the bar whereyou have a coffee after visiting the flee mar-ket, you make videos recording how youdestroy the records you bought at the fleemarket, you liberate your country from itsbad music, you show the video in a galleryand you are a DJ at the vernissage whereyou invite people who wrote for your maga-zine and enjoy the party and being pho-tographed. You invite other DJ’s to DJ withyou, you are an MC and someone else is the
DJ, you welcome the people who came tothe party, you introduce people to oneanother. You are an artist and you are amediator, you mix records and you wantpeople to mix, you even mix photographs,you mix photographs of people you want tomix. You talk to the people you photograph,they invite you to their parties, where youtalk to other people about photography. Youmake T-shirts with your name, you have peo-ple wearing those T-shirts, and you makethem swear to wear your T-shirt when theygo to parties where you are not. You areeverywhere and you make people wonderwhere you are. You are at home, you areworking on your laptop, you are taking upall your e-mail conversations where you leftthem, you are updating people on your proj-ects, you are doing projects all the time. Youcall for tickets, you call for a cab, and you’rewearing two hundred pounds of materialsfrom the cab to the train. You work in differ-ent places. You move. You move from onecity to another, from one country to another.You take another cab; it takes hours to findyour place in Istanbul. You make photo-graphs and you ask others to make photo-graphs the way you want it. You distributeflyers announcing the presentation of themagazine in clubs where you are having aparty, you distribute flyers announcing aparty you are organising at the presentationof the magazine in a bookshop, youannounce another presentation of the samemagazine in another bookshop, you thankpeople for being there, you are introducingpeople you interviewed to one another, youinvite them to come over to the party. Youorganise exhibitions, you invite people topresent their work, you work with people onthe presentation, and you write announce-ments of the exhibition to the media. Youpresent yourself as someone else than youare and you are the way you present your-self. You pretend and you are for real. Yousing. You’re doing research on the swing.You make photographs from photographs,you put magazine covers in your magazine,and you cover songs. You are an artist andthat means it would be nice to get somemoney for all the things you do. You writefor subsidies, you try to get grants, you talkwith nice people who might lend you somemoney, and you have a solicitor to help you
in order to get money from people whoaren’t nice. You make dinner for people youintroduce to one another; you discuss publi-cation plans over dinner. You ask people towrite about your work, you tell them howyou work, and you show them all. Youexplain them the basic facts of a youngartist’s life. That you are an artist and that itmeans: you don’t do it for the money. That iswhat some people think. It is a great excusenot to pay you for all the things you do. Sowhat happens is that you, as an artist, putmoney into projects that others will show intheir museum, in their Kunsthalle, in theirexhibition space, in their gallery. So you arean investor. You give loans nobody will repayyou. You take financial risks. You speculateon yourself as an artistic asset. You are atrader. You cannot put all your money intoone kind of artistic stocks. So you diversifyyour activities. You manage the risks youtake. I would say it differently. You know. Isay you suffer from a gentle schizophrenia.You are multiple personalities. You are a DJ,but also a photographer. You organise par-ties but you have a serious side too that pub-lishes magazines. Just kidding. You give peo-ple photographs at parties. You considermagazines as an excuse for a party – kiddingagain – you collaborate with party people tocreate magazines, you throw a party and theDJ is a girrrrl. You’re lots of girrrrls. You walkaround with no breaks at parties of Femmeswith Fatal Breaks and you are so shy youdon’t even dare to order a drink, you gohome with two hundred pounds of CDs, yousell them at another party, you put photo-graphs of party people on CD-roms youinsert in your magazine, you invite thosewho write in your magazine to come to yourparties, you make photographs of installa-tions, not to mention what you expect fromyour readers and listeners. You meet peoplefor interviews, you do interviews as an alibito meet people, and you tell the people youmeet about your party life. You distribute fly-ers announcing your magazine in the barswhere you meet people for an interview. Youbuy records in second hand shops when it isjust too rainy to go the flee market, you dis-tribute flyers announcing parties in the barwhere you have a nice hot cup of tea aftershopping, you sell the videos recording howyou destroy the records you bought at the
Home
Dieter Lesage on art and parties
Sarah Morris, Los A
ngeles, 2004, video
Phil Collins, the world w
on’t listen, 2005. Courtesy: Phil Collins and Kerlin G
allery
34 35ir kartu jas aktyvuoti, turëti ir ateitá, ir praeitá tuo pat metu? Ar todël antras trienalës pavadinimas yra ðizoparoda? Ar buvo bûtina pasirinkti pozicijà? Ar tvirtin- dami, kad „juodosios rinkos visuomet yra agnostinës“, bandote sakyti, kad tas pats teiginys tinka ir parodai? Ir ar tiesa, kad bandote mëgdþioti juodøjø rinkø
revision of Bolshevik art history?H8W:It wasn’t received as politically as wethought. We talked to the State Secretary inthe Ministry of Culture who responded interms of the 1991 TV tower killings inVilnius. He saw in it a public sculpture thatcould beautify some problem spots in thecity. In general we want to use the project tohighlight the relationship between art andthe State. The next stage is to launch awesite and present posters of the project inthe London Underground, and to involvetechnical universities to detail how it couldbe done. With this knowledge we want tobuild a substantial chunk of the tower soon.So we figure we will end up with a frag-mented and corporate looking version ofTatlin’s Tower that could fit into everynation’s 1% rule! In this sense it will docu-ment and reflect contemporary fundingstrategies… Hopefully the TTproject can alsodevelop to become a hub for exchange ofpeople’s comments and critiques. When youdo something like this you are also forced toremember – whether you like it or not – thatthere was a dream of an international, thatthere was a utopia that was being nurtured.Why is there no such dream now? So the TTproject is at the same time a romanticisation
and a de-romanticisation of the artist’s rolein society, because it has this grass-rootsyidealism to it at the same time as it will laybare what people will put up with, and whattechnical, bureaucratic, economical barrierswe will come up against trying to realise it.LBL:In your video installation Mr. Hysteriayou are applying the psychiatric definition ofhysteria to the political reality of populism. H8W:We talked about how you mightdefine the antithesis to populism – how orwhen are you not a populist? This broughtup the issue of what is defined as reality andas the other of reality. This got us on tothemes such as madness and criminality andthe changing definitions of hysteria: for theancient Greeks, Hysteria was up thereamongst the other goddesses, until themoment of 19th century medical sciencewhen it became a female illness with thewoman basically defined as irrational draw-ing on earlier ideas of a wandering womb.Its contemporary incarnation could be said tobe symptoms without a cause – or a gapbetween consensus and individual percep-tion. So the locations where Mr. Hysteriaisfilmed in – the editorial office of a Berlinnewspaper, a maternity clinic in Berlin, apolice station in Vilnius, and the Berlin Stock
Exchange – all concern a certain flexibility inreality. They are places that live on a softreality, such as the mass media reality or, onthe stock exchange, the part of capitalismthat speculates on the value of things. Thepolice station is perhaps not a particularlysoft reality, but rather the opposite – a placefor reinforcement of dogma and place ofconflict… The maternity clinic is about a shiftin reality between generations; about some-body appearing without a reality. It is basical-ly the place you see first.LBL:All three projects seem to revolvearound themes such as faith and conviction.On more level than one – I mean, also inrelation to your own practice?H8W:We use art to try to do things out of
the ordinary, to make things that are notordinarily there. And – hopefully withoutbeing too tacky – you could also say that welook for the humanity within institutions, forhow much leeway they can give to do otherthings.
Lars Bang Larsen curated the Populismexhi-bition together with Cristina Ricupero and
Nicolaus Schafhausen.
Henry V
III’s Wives, Tatlin’s Tow
er and the World: Poster Proofs for the London U
nderground, 2005
Henriko V
III þmonos, Tatlino bokðtas ir pasaulis: plakatø Londono m
etro stotims pavyzdþiai, 2005
that appears in space installation, designedfor more spatial experiences?CN:Sound installations have very differentstarting point. Performance is very time-framed. Installations are stretched in muchlonger time and have to take effect at anymoment the viewer enters the space.Probably I would never give to installationsthe kind of dynamism and intensity that I
give to performances. There is much morephysics and I try to concentrate on a basicphenomena of sound. TB:Thank you for your interview and thespectacular show.
Tautvydas Bajarkevièius is a sound artist andart critic based in Vilnius.
Carsten Nicolai is also a renowned as aninstallation artist producing works referringto the history of recording technology andexperimental science. Nicolai will have aninstallation in a major touring exhibition
coming to the CAC in Vilnius at the end of2006.
Home
Lars Bang Larsentalks with Henry VIII's Wivesabout PopulismFrom tthe GGrasss-Rooots tto tthe Skky
Under a flimsy spring sun on the Marktplatzin Frankfurt, Lars Bang Larsen talked to theartists group Henry VIII’s Wivesabout thework they did for the Populism exhibitions.Populismopened (almost) simultaneously inVilnius, Oslo, Amsterdam and Frankfurt dur-ing April and May 2005. Henry VIII’s Wives–Rachel Dagnall, Lucy Skaer, Per Sander, SirkoKnüpfer, Simon Polli and Robert Grieve –produced three different yet interrelatedprojects for the four venues: a piece ofTatlin’s tower; a video installation realised onthe road between the four openings; and aten metre long organ pipe in oak that mademore fervent believers of the exhibitionguests at the CAC in Vilnius.
Larrs BBanng LLarrsen:The organ pipe – with thetitle 32 Feet =The Length of a Fingernailgrown since 1730 =8Hz / Subsonic– makesa sound that is barely audible to the humanear. Instead the brain tries to tune in to thesubsonic vibes, which makes you queasy anddizzy and if you listen to it for long enoughit supposedly makes you hallucinate – andmaybe even see God! I guess you could saythat the organ is a kind of proto-populistmedium. Why were you interested in doingthis in Lithuania?Henry VVIII’s WWives:It is a fervently Catholiccountry that is densely populated withchurches. The tradition of the organ doesthat as it is an ingrained and established
form of reality.In this senseour organ pipegoes beyondreligion andcomments onexpression aswell as repres-sion. So there isa play-offbetween theChurch and theSoviet history ofLithuania thatwe were inter-ested in map-ping. And ofcourse the factthat it plays thelowest note inthe registerpoints towardsthe realms ofthe paranormaland theextrasensory…this is also a sort of pun on ‘populism,’which goes for the lowest common denomi-nator. It is a kind of fair ground ride or spec-tacle. It also reflects on its own production:the builder created a network to figure outhow to do it because it has never been builton this scale before. The organ builder com-munity is fairly small in Europe but now thewhole network knows about it because they
have been taken into advice!LBL:With your Tatlin’s Towerproject youpropose to finally construct the tower thatVladimir Tatlin proposed for the 3rdCommunist Internationalin 1920 but neverwas built. You figure that it will take youabout a decade to realise it in full scale, bitby bit, as installations and public sculptures.How did people in Vilnius respond to this
36 37operacinæ logikà? Kaip jûs reagavote á faktà, kad dalis parodos ið Londono ir Vilniaus buvo pagrobta ir perkurta Taline be jûsø sutikimo? Ar tai buvo netikëtu- mas, ar scenarijaus dalis? Ar BMW yra nuolatinë krizë? BMW = namai? Ar BMW atsirado todël, kad jûs kaip kuratoriai norëjote dirbti su grynu srautu? Daugmaþ
So in the end we have refreshed the notionof professionalism. Ryuchi Sakamoto has verysubtle and very professional approach to theinstrument in a classical way and you addthe new, also very precise and professionalquality of musicality that is still called ‘exper-imental’.CN: Yeah, I think in the experimental fieldeverybody educates [himself] in a way that isunique. When you work in electronic musicyou really have to work with the specificsound – it in itself becomes important. And Ifound interesting to merge these two things– classical and a unique approach to sound –and to give space for both to co-exist. RyuchiSakamoto is a real musician – he’s a compos-er actually. I would never consider myself inthose terms. But when Christian Fenneszsays, that there is no longer experimentalmusic – I think he means that experimentalmusic becomes normal, accepted, that weare able to listen to it without limiting our-selves saying ‘this is not music’ or ‘it’s toounusual for me’.TB:It’s still sometimes called ‘sound terror-ism’…CN:Of course there are intensities. But it’sgood that it comes to that point we accept itand really we can see both – experimentaland classical music – in one line on the hori-zon. Things don’t need to be classified thatstrongly. TB:You come from a background that ishighly connected with new musical minimal-ism. In some of your works and concepts wefind the aim to reduce, which sometimesmoves towards the concept ‘less is more,’eliminating unnecessary elements. It becamepart of the concept of Raster Noton. Eventhe name ‘Noton’, which means ‘no tone’ inGerman. We remember your emphasis onatoms and the empty spaces between twopixels. Digital aesthetics facilitates multipleways of conceptualising and provides theconceptual background to minimalism.CN:Sometimes I’m chilling-down this idea ofminimalism. Because sometimes what we aredoing is minimal for one reason: we’re tryingto shift attention to things that you normallywould not hear. So it means you need tomake things minimal around you. I try tomake everything as clean as possible becauseI don’t want to concentrate on unnecessarythings. It’s actually a functional approachmore than a minimal approach. It’s not reallythat I want to play with minimal elements.Actually we want to express ourselves withminimal elements, I mean, to strip the sounddown really. It has a certain openness. I
regard my pieces similar to architecture. Mymusic is very similar to a building that is notreally completed when just the ground struc-ture exists. There’s nothing put on top of it –just the columns and floors. TB:But it seems, things have changed a littlebit – data flows and intensive digital sur-roundings influence digital aesthetics. As wesaw in your performance today – it was veryintense like a matrix of digital waves. CN:Yes, this was one of the points aroundwhich during those years I developed aes-thetics that approaches data structure itself.And I really confront myself with a digitalinstrument – what is the instrument, whatI’m really working with. And when I create‘zero’ – it’s data, it’s text memory, when Icreate silence - it’s data, which is very noisyinside the structure of the instrument. Itbecomes quite dense. This describes also aspeed of our time. Physical speed, like we’rereally inside the moment of data speed. But Ithink with sound you still can force things,quite heavily – it’s still possible to speedthings up. For me there is increasing speedthat I can really hear in music at themoment. And of course we all are adjustingeasily to this. The tunes are getting higher;the rhythms are getting faster as well,because we have an intense rhythm of life.Especially when you come from the East –you really know what increasing speed ofsociety means. TB:I remember your impressions about var-ied experiences with Tarkovsky films. I seethe parallel in terms of time, betweenTarkovsky films and quiet microsound com-positions by Fancisco Lopez or BernhardGunter. They emphasise the concept ofdepicting sounds in time and to not let themdisappear in contemporary intensities. Itseems we have lots of approaches to that –Ryuchi Sakamoto and your collaboration isalso quite meditative.CN: Yes, of course we are longing for quiet-ness and trying to slow down our experi-ences by reacting in the opposite way. WhenI saw Tarkovsky’sStalkerabout ten years ago– the movie was slow. But if I look it now Ifeel it’s incredibly slow – I couldn’t believe Icould watch it that carefully. Then you startto think – our perception of what’s happen-ing in a film has totally changed. The post-Matrix generation has a totally differentexpectation from a film. I think I was spot-ting this because it’s of course a quality – thiskind of slowness.TB:Maybe in this context we can speakabout your specific approach to the sound Carsten N
icolai. Foto / Photo: Uw
e Walter, 2005
38 39– kà að darysiu, kur þaisiu uþ penkiø minuèiø? Ar kada nors uþbaigëte parodà? Ar manote, kad „ádomiø“ kuratoriø darbas yra provokuoti, mesti iððûkius, iðju- dinti, kvestionuoti ir siûlyti þiûrovui raktelius nuo durø, kuriø savo sàmonës ðoniniame koridoriuje jie niekada nebuvo pastebëjæ? Ar ta „BMW ðizoparoda“ turi
Carsten Nicolai aka Alva Notois one of theworld’s most famous sound artists andfounder (in the late 1990s) of the Berlinbased label Raster Noton– which had a longprehistory. Experimental electronics, soundart, post-techno, and post-minimalism underthe strong influence of digital aesthetics arekeywords describing the context in whichCarsten Nicolai works. I talked to CarstenNicolai after his performance in Vilnius, inthe Young Music 2005festival of electronicmusic.
Tauutvydass BBajjarrkevièius:Raster Noton– thelabel and artists (yourself, and co-foundersFrank Bretchneider, Olaf Bender and othersinvolved) – were part of the avant-garderesponsible for the cutting-edge tendenciesof experimental electronics in the 1990s:known for its strong identity and conceptualbackground in the sound art field. In suchcases it’s always curious to think of concep-tual shifts – in your solo project Alva Notoand the label Raster Noton – and to askwhether things have changed since thebreakout of the scene: and if so, in whichway/direction?Carrsten NNicolaii:Of course we’ve changed.We started quite small, and of course it wasa long way to reach a certain audience. Itwas much more important to create a kindof identity for the label first, and the identityof the artists we left as a secondary perspec-tive. And this we did mostly via creatingseries concepts. Artists were being invited toparticipate. And yes, this changed a little bitbecause over the last years people haverecognised the label. We’re focusing muchmore on personalities at the moment as well.We’re still following the concept of series. Inthe beginning we had two, now we havequite a bunch of continuous series, or looseseries. To mention a few, one of thestrongest series at the moment is the raster-postseries, we have people like IlpoVaisanen from Pan Sonic, who runs his littleKangaroolabel, and I think Ryoji Ikeda willhave little side project as well. TB:We all know about tendencies in EasternEurope that were happening in the arts andmusic after the fall of the Berlin Wall. But
maybe it’s even more interesting to remem-ber what was before that, because the situa-tion was a bit similar to ours. You were lis-tening to Laurie Anderson and Steve Reich inChemnitz [Carsten Nicolai’s native town atthat time known as Karl-Marx-Stadt] onBayern Zwei Radio and the middle genera-tion of Lithuanian scene had access to thesame music on Polish radio. The lack ofaccess to music and information and theneed for own ways of expression…CN:Of course we had very limited access tomusic in general. But we were very interest-ed. We couldn’t buy it so we were organis-ing it by tapes, in the early days we simplyhad the tape recorders and it was our maintool for distributing music. And exchanging.It was really the way I started – I was copyingmusic in tape quality but I think this gave mea great impact and a great education. FrankBretschneider, who was the co-founder ofRaster Noton, even had a little tape label. I’mstill using a lot of tape for installations.Talking about the radio, we were quite closeto West Germany and though for us it wasn’ta problem because we speak the same lan-guage and we could receive the frequenciesof the radio station as well. So this was quiteeasy access to the music. But I think we real-ly specialised in specific music because wealways liked to discover new things.TB:Maybe because of the lack of informa-tion? When you lack the access to some par-ticular context or information, you come toyour own approach naturally.CN:Yeah, I think this lack produced an inter-esting situation. And I’m still like this. I willcertainly never follow No.1 hits. I still alwayslook for new things, not following the bigcrowd or trendy brands. This is probably howit all started and we fell in love with music. Ididn’t make music at the time, just experi-mented with sounds and media. It was justmuch later after the wall came down thataccess to production came.TB:Early nineties?CN:Early nineties. I think it started with thepossibility to own a computer for instance,also to afford instruments. TB:Was it the second hand, analog equip-ment – so attractive for experiments at that
time?CN:Of course we tried analog things. Myfirst setup was old found oscillators from theuniversity that they had just thrown out. I’vegot an old Russian and East European oscilla-tor collection. This is how I started and I’mstill using this kind of stuff. More in a digitalway, of course, but this was the startingpoint for me. We liked this abstract idea ofsound. I was really interested in physics, thematerial basis of sound. On the one hand Ideveloped it in my installations, on the otherhand in my musical approaches. It kind ofpeaked in our collaborations with Japanesepianist Ryuchi Sakamoto (Vrioon, Insen),where everything becomes really musicallyarranged. TB:Speaking about Vrioon– it seems that itwas some kind of need to enrich and expandthe forms of musicality based on very con-centrated and minimal esthetics. You get astrong impression of freshness and say:‘Nobody did it before’. It brings very spaceyand very musical experiences. How did youapproach that kind of musicality?CN:I was always interested in natural instru-ments. I cannot play any ‘classical’ instru-ment. Usually, I’m using sounds in terms ofrhythms and frequencies, quite technicallyoriented. When I got an offer to do theseremixes, I stood in front of a variety of possi-bilities. I found pure piano samples andthought this is interesting for me becausethis is something I cannot do with a comput-er. I was interested how both would fittogether – minimal stuff that I’m doing andthis kind of classical instrument that has verystrong background.TB:And also connotations of the traditionaluse, when you have to break the standards?CN:For me it was very easy because I wasnot educated too strongly in this field. TB:As is the case with lots of artists in thearea of experimental music. The notion ofprofessionalism is interesting here. Lots ofartists in the experimental field were break-ing standards, but the experimental move-ment approached the point, as ChristianFennesz says, when it is no longer ‘purely’experimental music. Because we already havenew standards, qualities and approaches.
LJ:The new European Kunsthalle is specifi-cally conceived for Cologne, the city, whichis somehow the heart of German contempo-rary culture. However, you mentioned thatthe mission of the new institution would beto work with cultural differences. How didthis idea become urgent for the cultural eliteof Cologne and you personally?NS:This is exactly something that’s missing inthe present situation in Germany. Talkingabout things that are not coming by defini-tion only from the art market system or theso-called traditional institutional system.Though we will still have to create the exacttools and content for this new mission. Atthe moment I see the possible developmentof the concept of the European KunsthalleCologne in several directions. Firstly, one ofEurope’s universities (we haven’t decidedwhich one) should work on the history ofEuropean art after 1945, not only from theWestern European perspective, but alsoinvestigating East-West/South-North rela-tions. Then a production centre should beestablished following the best recent ideasabout contemporary art institutions inEurope, like Art Angel in London, for exam-ple. The third direction should be the urbanevaluation of the system of art institutions. Inmany cities the system undergoes majorchanges because of influence of privatemoney on city development. That’s the theo-retical part of the European KunsthalleCologne concept.LJ:But the production part is not a theory,is it?NS:No. For developing this part we will lookfor partners, collaborators in Europe andworldwide. We are building an advisoryboard, consisting of personalities who caninfluence European cultural politics on thelarge scale.LJ:Does this mean that the artists and otherculture figures who started this initiativedon’t try to avoid politics by creating a newperfect home for themselves – rather theyreally want to have an active say in today’spolitics…NS:Yes, they want to take part in the politi-cal discussion. LJ:In connection with political engagementand in general – how utopian is the project,and how realistic?NS:I think it is realistic. And generally speak-ing, it is high time to finish the permanentreformation of social/political and cultural lifeand start thinking about steady basic ideas. LJ:I know it too well, as you may know, thisspirit of change and reformation. For more
than 10 years in Lithuania every sphere ofpublic life trumpeted about reforms and peo-ple haven’t really reflected enough abouttheir content and outcome. NS:Exactly – what does it mean, a reform?LJ:Another thing that interests me iswhether you find the collaboration withartists – Das Lochis mainly an artists’ initia-tive – on this new art institution productive.As far as I know your own background isthat of an artist, however, my question ismore prompted by the real tightness of theartists/art institutions’ relationship in contem-porary Lithuania.NS:Yes, my background is as an artist butwhen I started my career as a curator Istopped being an artist. My curatorial prac-tice is not an art project. And speaking aboutthe Cologne artists’ initiative, I never workedin such a situation before; it is completelynew for me too. Interestingly, artists, in gen-
eral and these artists in particular, are sopowerful today and well established in themarket. Some of them, like RosemarieTrockel for instance, are not only artists, theyare cultural political factors. My contract isfor two years. And I see my main missionduring this period of time to build a dis-course about institutional practices related tocultural politics. This is the aim of the DasLochcultural initiative as well. LJ:Do you intend to present art projects dur-ing these two years? How do you plan tocommunicate with the public?NS:There are lots of possibilities to makethings visible. Cologne is also a media/presscity, even if not as powerful as Frankfurt,Berlin or Hamburg. As I’ve said before, Ibelieve in high culture, in the power of intel-lectuals, and this is why we are building upthe group of not only European but alsointernational advisers, which could have realinfluence and even political power. EuropeanKunsthalle Cologne needs power to realiseits ideas. LJ:What is your personal attitude towards acontemporary art institution? Do you see itmore as a platform, which stimulates a dis-course, a laboratory of ideas or rather as a
space that exhibits art works, where artistsrealise projects?NS:Contemporary art institutions cannotonly be laboratories. That does not allowthem to do all the other important thingsthey have to do. A contemporary art institu-tion is also an ordinary exhibition place. I likeexhibitions and I like common visitors toexhibitions with their natural emotionalresponse to art works. I am not interested inestablishing a discourse solely for the artcontext. This is more the domain of universi-ties. Kunsthalles and Kunstvereins are notuniversities. LJ:Do you mean that institutions should tryand be as good examples of a certain modelas they can: a good university should be agood university…?NS:Yes. A library has to be a library, anarchive must be an archive and a museumshould be a museum with a collection like a
collection… LJ:Do you haveany favouritesamong contempo-rary art institution?NS:A number ofinstitutions todaydo a good job anddevelop goodideas. But it’s again
mostly about reformation. I think that at acertain moment one has to stop developingideas, which aren’t contemporary any more. LJ:But we usually associate reformation andchange with revolution and progress – theopposite is conservatism and stagnation. NS:Not necessarily. Europe now goesthrough a conservative revolution andthrough a conservative reformation.
At this point our conversation was cut shortas Nicolaus was bundled into a taxi by col-leagues to avoid being late for his ownopening at the Stedelijk. It is a conversationabout institutional models that I am keen tocontinue… Watch this space.
Lolita Jablonskienë is a chief curator of thenew National Gallery of Art, and is co-com-missioner of the Lithuanian presentation (of
Jonas Mekas) at the 51st Venice Biennale.
Report
Tautvydas Bajarkevièius talks toCarsten Nicolai in Vilnius
40 41ateitá? Ar BMW yra begalinë paroda? Ar pamenate, kada pirmàkart jums uþ tai sumokëjo? Kodël apsauginis verkë? Jei tai kûrinys – kas autorius? Kaip suge- bëjote prarasti kontrolæ ir leisti atsirasti paralelinëms struktûroms? O gal tai buvo tiksliai suplanuota ir sureþisuota? Kaip tapote dviem? Paèioje pradþioje buvote
Seeccoonndd ttiimmee rroouunndd
Thousands of words have been written inreview of sequels, second films, and secondnovels. Critics, and audiences alike, want toknow whether the potential of the firstinstallment has been fulfilled and if theapproach and audience experience is stillfresh: or whether it all feels second-hand.INTERVIU stands at this threshold. Only timewill tell.
We write, as the Contemporary Art Centre isabout to release the major catalogueEmission that is also a second edition ofsorts: as it follows on from the major exhibi-tion and publication Lithuanian Art 1989-1999: The Ten Years. Its focus is seven artistswho belonged to the generation of the1990s from the perspective of the mid-pointof the first decade of the third millennium.Structured around seven monographic pro-jects the Emission catalogue abuts the artists,sets them like dominoes, gives them a littleshove – who can predict how they will fall?
For some reason 2005 seems to be a zeit-geist year. Prophesying – and its other – isusually reserved for decadal shifts. But anumber of events have taken place in quicksuccession at the mid-point of the decadethat make deeper historical analysis palpable:listing a few is easy enough; the death of aPope, the 60th anniversaries of the liberation
of the Nazi death camps and the end of thewar in Europe, the opening of the HolocaustMemorial in Berlin, the process of ratifyingthe EU constitution, the launch of the super-sized Air Bus and Boeing. It is also, depend-ing how you are counting, 15 years since theliberation of a huge proportion of Europe[and Europeans] from the Soviet occupation.And all of this has become the subject of anumber of cultural events, articles, debates,and artworks throughout Europe [and theworld?]
INTERVIU is no different. Lolita Jablonskienëand Nicolaus Schafhausen talk about thenot-too-distant-future from their respectivepositions in charge of cultural institutionsunder construction: their critical perspectivesare honed by experience of two decades.Lithuanian artists Arûnas Gudaitis andKristina Inèiûraitë talk about the art market,which, for Lithuania is the newest institutionof all. Valentinas Klimaðauskas talks to DariusMikðys and Piotr Piotrowski one of Poland’sleading public intellectuals about what KarolWojtyla meant in that country. TautvydasBajarkevièius talks to renowned sound-artistCarsten Nicolai whose interest in experimen-tal music started in the years of the DDR andin relation to outmoded Soviet technologies.Curator Lars Bang Larsen converses with thecollaborative
group Henry VIII’s Wiveson their ongoingproject Tatlin’s Toweraiming to constructVladimir Tatlin’s proposed monument to the3rd Communist International (1920). IsTatlin’s Tower another monument to a failedideal? INTERVIU hopes not.
In the spirit of newness we launch bookreviews and reprint a text performed byphilosopher Dieter Lesage here at the CAC inApril. The reviews are aimed at books pub-lished in Lithuanian, or have appeared inrecent translation, that we predict couldhave an impact on the contextualisation andreception of contemporary art here. A hopethat is in vain if we are to believe DieterLesage’s text about the shiny-plastic-qualityof the current art milieau where nothingcounts. It is truly time to reach for our crystalball – and promise to reveal all in September.
Linara Dovydaitytë, Simon Rees
I met Nicolaus Schafhausen in Amsterdam, acouple of hours before the Populismexhibi-tion opening at the Stedelijk Museum. Thenext day Amsterdam turned into a populistfeast par excellencefor the celebration ofthe 30th anniversary of Queen Beatrix’s coro-nation. A week earlier Populism, curated bySchafhausen, Cristina Ricupero and LarsBang Larsen, opened at the CAC in Vilniusand by the time I arrived in Amsterdam more
than two thousand visitors had been clockedby Superflexand Jens Haaning’s visitors’counter. We started our conversation aboutnew European art institutions in Vilnius, asnews broke that Schafhausen was leavingthe directorship at Frankfurter Kunstverein tolead a nascent institution. Because I amworking on the establishment of a nationalmuseum of modern and contemporary art, Iwas keen to chat about how institutions rise
and define their mission in the complex cul-tural field and how they interact ‘institutionalcritique’ that has developed within contem-porary art practices. Frankly speaking, Iexpected a conversation between two peo-ple ‘standing in front of a foundation pit’and was pleasantly surprised to encounter acompletely different attitude towards found-ing an art institution.
Lolita JJabblonskienë:Shall we start from thebeginning: what is the title of the new institu-tion and when will it open?Nicolauus Scchaffhauusen:I should maybe say afew words about art institutions. If you lookat them, especially at Middle European institu-tions involved in distribution of contemporaryart, you will see that their financial structure,the proportion of public and private funding,their strategic functions in the urban structureof cities has changed dramatically in the lastsix or seven years. At least I think so afterhaving worked as a director, not only as anartistic director but also the director of twodifferent private institutions that had histori-cally been quite powerful in terms of influ-
ence on the discourse within the art system.LJ:You mean the art system in Germany orwider?NS:I mean wider. Though Germany is, ofcourse, one of the centres of Europe, evenafter suffering several economical crises sinceunification. It is an extremely important coun-try when it comes to the reception, distribu-tion and production of contemporary art. Italso has a very interesting history of institu-tions working with contemporary art. A num-ber of institutional models – from Kunstvereinto Kunsthalle, city based, publicly fundedinstitutions, and further to big private andpublic museums – were adopted in manyother European countries and to my opinion
developed in a much more successful way.LJ:Why do you think it happened so?NS:This is one of the basic questions that Ihave to answer while working on the conceptof the European Kunsthalle Cologne.LJ:So this is the official title?NS:Yes, that’s the recently accepted title ofthe project – European (not Europäische)Kunsthalle Cologne, even if it sounds contra-dictory. What does European KunsthalleCologne mean? It is not even clear if it everwill exist as a real physical space. However,when I was invited to apply for the director-ship of this non-existent institution I thought(from a common Middle European perspec-tive) that working on it might be one of the
goals in my work as a curator. I think I havethe necessary experience: I know how towork in the local German and internationalcontexts, how to work with cultural differ-ences; I have worked in other European coun-tries, cities, within different institutional mod-els, etcetera, etcetera. I start [in June 2005which is quite soon] with the support of theprivate initiative called Das Loch. It is an asso-ciation built by the cultural elite of Cologne.People like Rosemarie Trockel, one of themost important German artists, Kasper König,the director of the Ludwig Museum, a well-known gallerist Christian Nagel and theextremely famous actor Udo Kier, and othersfounded the association Das Loch,which
translates as ‘a hole’. When looking at therecent status of Cologne in the European artsystem, one clearly sees that it has lost thepower and influence in writing contemporaryart history which it definitely had, at leastfrom the Western European point of view,from late 1940s to late 1980s. LJ:And what are the aspirations of thisCologne cultural elite now?NS:First of all it does not want to leave thefield of art institutions in the hands of citypoliticians only. Cologne already had aKunsthalle, since 1980, which wasn’t succes-sful for many years and a quite well knownKölnischer Kunstverein recently reopenedafter reconstruction and operates in the newspace. However, both of these spaces are des-tined to be destroyed as the city plans tobuild one new cultural centre, something youfind in many other European cities, in whichmuseums of different fields and various othercultural institutions are brought under oneroof and construct this new institutionalmodel. The plan is to build it in the middle ofthe city, in the centre of Cologne. Thereseems to have not been enough money andpolitical will to develop the concept of thisinstitution, so the activists, this cultural initia-tive tried to approach the political power witha different proposal: declining the offer of thecity to take part in conceiving the culturalcentre and having an idea – only an idea andnot more than that – to work on the conceptof a new institution; the so called EuropeanKunsthalle Cologne. The institution wouldwork on cultural differences and not onlyimplement the visions of city politicians.Personally, I think it is a very interesting move-ment though at the moment nothing is reallyclear or settled. Together with a team that isnot yet built I will start working on the con-cept of the European Kunsthalle Cologne –whatever it will be.LJ:I understand that you’re going to work onthe concept – there’s no piece of land, no realfoundation pit that you would be lookinginto?NS:No. No piece of land, no pit, nothing. LJ:May I ask you something about the back-ground of this initiative? What do you thinkabout the relations between contemporary artand elite(s): in general and in this particularcase?NS:I deeply believe in high culture. We aresurrounded by various kinds of high and lowculture. Contemporary art historically wasalways situated in the system of high culture.So why should we avoid it? Besides it doesnot mean that high culture can’t be popular.
Focus
Lolita Jablonskienë talks to NicolausSchafhausen
42 43vienas ar trys? Kas pavogë parodà? Vilnius ar Londonas? Ar slapto gyvenimo iðradimas ir puoselëjimas veda á laisvæ? Ar tai labiau buvimas neskaidriu, ar dvigubu? Kiek menininkø-vaiduokliø pakviesta dalyvauti parodoje? O kaip ten su klonais? www.blackmarketworlds.lt
2 / 2005: the quarterly conversation about art
Focus: Lolita Jablonskienë talks to Nicolaus Schafhausen
Report: Tautvydas Bajarkevièius talks to Carsten Nicolai in Vilnius
Home: Lars Bang Larsen talks with Henry VIII's Wives about Populism
Dieter Lesage on art and parties
Away: Arûnas Gudaitis and Kristina Inèiûraitë talk about Paris
Say what?: Valentinas Klimaðauskas talks to Piotr Piotrowski and Darius Mikðys
Library: Raminta Jurënaitë and Gintautas Maþeikis
Artist's project: Mirjam Wirz
Contemporary Art Centre, Vilnius www.cac.lt
INTERVIU