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2013-10-20
Politics of Interdisciplinarity?
Skaidra Trilupaitytė
Published in the “In the Graveyards of Interdisciplinarity (?)” catalog, Vilnius, 2013. Republished from cultural weekly “7 meno dienos” No. 15 (937), 15-04-2011
Laima Kreivytė’s manual of interdisciplinary art, published on 1 April (7md, No. 13), as well as Kęstutis Šapoka’s 2010 essay “A Few Notes on Interdisciplinary Art,” reproduced on the website of the Lithuanian Interdisciplinary Artists’ Association attest to what seems to be the usual crystallizing trends in contemporary art. The two art critics have comprehensively described the field of the new genre (or sub-genre), discussed characteristics of interdisciplinary art (Šapoka in a more historic- empirical manner, Kreivytė more theoretically) and there seems hardly anything left to add on the subject. However, the question of interdisciplinary art (IA), which has resurfaced in the public discourse lately, is gripping for reasons other than polished definitions. Both authors state clearly that the need for a new definition grows in proportion to the number of funding applications to the Culture Support Fund for interdisciplinary art projects. Some projects that try to pass for IA in order to secure funding clearly do not belong there, which points to the problem of a “watered-down concept.” According to Šapoka, today “we are talking about this kind of art (field) like an autonomous phenomenon which requires separate funding, even though its very name once meant, at least for a short while, a striving for freedom.”
2013-10-18
User Manual: Interdisciplinary Arts
Laima Kreivytė
Published in the “In the Graveyards of Interdisciplinarity (?)” catalog, Vilnius, 2013. Republished from cultural weekly “7 meno dienos”, No. 13 (935), 01-04-2011
I must confess – this essay was inspired by a phone call. The caller suggested that there should be a clearer definition of interdisciplinary art. I was politely asked to give it some thought. I was given a week and assured that nothing would happen even if I did not come up with anything.
I usually avoid taking part in phone surveys. But the caller was not from a bank or a pizza house, it was an artist whom I respect and whose concern for interdisciplinary art was sparked not by personal ambition but a responsible approach to public duty. That is something rare indeed, almost an anomaly. I have always been impressed by this artist’s conceptuality and appreciation for complex phenomena and theories. Even in this case – the man could simply “follow his heart” or just shrug it off and waste no more time on it. But he takes interest. Because universal shrugging it off is what bears commercial, kitsch, pseudo-conceptual, official, and modern folk art monsters that get filed by culture bureaucrats in the pile of “interdisciplinary art” projects out of sheer inertia (or resignation). This pile has grown so big that it comes to resemble the Augean stables – and no white curtains can cover it up.
2013-10-16
Keywords of the Current Art: Interdisciplinarity, Media, and Relational Aesthetics
Dovilė Tumpytė
Published in the “In the Graveyards of Interdisciplinarity (?)” catalog, Vilnius, 2013. Republished from interdisciplinary online magazine balsas.cc, 17-10-2005.
Art and theory develop through perpetual change. Some art theorists propose a multitude of terms in order to give an objective description of forms and strategies of contemporary artistic practices, criteria for reading art; others critique them. In the Lithuanian art theory discourse, shaped under specific circumstances of art policies, the most common refrain is a binary classification of art into traditional and contemporary, which usually means art pieces produced within the boundaries of a particular branch/discipline on the one hand interdisciplinary art on the other. Such commonly-accepted classification seems to be quite primitive. One needs a more diverse array of instruments to understand art. In order to grasp contemporary art – evolving in whichever direction, progressive or regressive, unable to contain itself in the traditional, linear modernist art history – I choose theoretical keywords that can feel the pulse of artistic practices at different angles: interdisciplinarity, discourse-specific art, postproduction, relational art.
2013-10-11
Legalise contraband1
Saulius Leonavičius, 2013
Notes from Contrabbando* creative workshop, organised by Migrating Art Academies (MigAA) in Nida Art Colony (NAC).
How an object or a text could become a means for a different content? What is the difference between concrete blocks stuffed with cigarets and an activist’s head stuffed with anti-state information? The question which I brought into Contrabbando* workshop in NAC is this: (How) can an institution become a laboratory of sabotage? This in particular concerns an institution situated a few kilometers away from the border of an empire; an institution, which however plays a representative role in cultural field as a white cube or as an academic space. Can ideologically conflicting ideas, radical in relation to any existing norms, be possible within such institution? Can the meaning of an offense be explained and re-evaluated in a situation where only subordinated norms of an institution have been disobeyed. Can such creative workshop become an event the meaning of which would be measured according to the amount of threat?
2013-08-11
Review: 95%…
Alan Smith and Rosalind McLachlan
Review of the 95%… laboratory, organised by the Lithuanian Interdisciplinary Artists’ Association in collaboration with Allenheads Contemporarry Art and Vilnius Academy of Arts.
In Allenheads, a small ex-mining village that sits high in the North Pennines, you are always at the mercy of the elements; the rain feels wetter here, the wind stronger, the winter longer and the midges hungrier.
2013-03-31
The Imaginary BWPWAP Transmediale
By Mindaugas Gapševičius
BWPWAP, the acronym for the 2013 Transmediale festival Back When Pluto Was a Planet, invites the viewer to turn her gaze to the past and daydream about phenomena that happened, about the meaning of science in contemporary world, or to simply reflect on ever-changing processes. Once upon a time, back when Pluto was still considered a planet…
2010-10-30
Kęstutis Šapoka rašo “Keletas pastabų apie tarpdisciplininį meną”
Kęstutis Šapoka publikavo žurnale svarbų tekstą apie tarpdiscipliniškumą – “Keletas pastabų apie tarpdisciplininį meną“.
2010-05-29
Reportažas iš atvirų LTMKS studijų dienų ir LTMKS TV 3
Apie LTMKS atviras studijas gegužės 21-22 dienomis rašo Monika Krikštopaitytė “Truputis materialumo” (7MD). Reportažas iš renginio.
Letmekoo TV 3 (Evaldas Jansas)
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Fotodokumentacija: Vytautas Michelkevičius
2008-08-05
Imaginary Identities In Contemporary Lithuanian Art
By Audronė Žukauskaitė
Art & Research
An earlier version of this paper was published as ‘Vanishing identities in contemporary Lithuanian art’ in Philosophy. Sociology (Filosofija. Sociologija), issue: 3-4 / 2006, pages: 37-41. www.ceeol.com
In this article I intend to discuss how the recent political changes in Eastern Europe relate to the more fundamental changes in the political imagery. When interpreting political imagination we should consider not only imaginary identifications, e.g. imaginary roles, but also take into account its symbolic framework and raise the question who is the Other, for whom the subject is playing his or her role.