Rancière'o iššūkis Lietuvos modernaus meno istorijoms: naujų juslinių struktūrų galimybė.
By analysing Jacques Rancière's conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from...
| Publicado en: | Problems / Problemos Vol. 97; pp. 198 - 209 |
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| Formato: | Artículo |
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Vilnius University
2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=143772242&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 143772242 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13921126 3D4C jtl: Problems / Problemos issn: 13921126 maglogo: N pubinfo: dt: 2020 vid: 97 pid: 16037 pub: Vilnius University artinfo: ui: 143772242 10.15388/Problemos.97.16 ppf: 198 ppct: 11 formats: fmt: @attributes: type: P size: 1.7MB tig: atl: Rancière'o iššūkis Lietuvos modernaus meno istorijoms: naujų juslinių struktūrų galimybė. aug: au: Rybaèiauskaite, Karolina affil: Vilniaus universiteto Filosofijos institutas su: 20th century art Rancière, Jacques, 1940- Historiography Art history Modern history Painting Lithuania sug: subj: Lithuania 20th century art Rancière, Jacques, 1940- Historiography Art history Modern history Painting keyword: art regimes distribution of sensible late modernism politics of aesthetics Rancière silent modernism juslumo padalijimas Kisarauskas meno režimai politinė estetika Rancière'as tylusis modernizmas vėluojantis modernizmas ab: By analysing Jacques Rancière's conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life. Šiame straipsnyje, pasitelkiant Jacques'o Rancière'o meno režimų teoriją bei praktinį Vinco Kisarausko tapybos atvejį, siekiama parodyti, jog, vertinant XX a. modernų meną kaip visų trijų meno režimų susikirtimo vietą, įmanoma atsiriboti nuo daugelio binarinių opozicijų, šiandien vis dar naudojamų mąstant apie modernų meną posovietinėse ir posocialistinėse šalyse, bei išvengti modernaus meno naratyvų, turinčių meno atsilikimo ir neįgalumo potekstę. Rašant modernaus meno istorijas su Rancière'u, galima teigti, kad bent jau dalis Lietuvos meno sovietmečiu nei vėluoja, nei yra tylus, tačiau, veikiant estetiniam meno režimui, tampa naujų tipiškų formų ir bendro juslinio audinio kūrimo vieta. pubtype: Academic Journal doctype: Article src: R language: Lithuanian refInfo: copyright: @attributes: flag: Y custom: Copyright of Problems / Problemos is the property of Vilnius University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Problems / Problemos holder: Vilnius University dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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