Working across a broad range of media, paintings, sculptural objects, installation, performances, film, documentaries and literature (Odė rutinai (Ode to Routine, 2000) Evaldas Jansas is arguably one of the most talented and stimulating contemporary artists. As a student of painting at Vilnius Academy of Arts, he was part of Kęstutis Zapkus' group Good Evils, a member of the creative public association Metastudija, later becoming one of the first members of the Lithuanian Interdisciplinary Artists' Association, assuming, in this century, a role similar to the organization's chronicler. Despite his active professional and public involvement, on the art stage he predominantly manifests himself as an eccentric outsider. According to some critics, the artist's extraordinary personality shapes the perception of his art, yet in claiming so, they seem to presume that one's art does not belong into a personality structure and does not determine ways in which it manifests oneself to the world. Others opted, by virtue of his creative strategies, to define him as enfant terrible who "embodied all the stereotypes of "a modernist" eccentric genius, exploiting them with "postmodern" ingenuity (…) to break them." Without contending the importance of breaking things, I would like to point three major directions in his art: of relationships, sensibility and imagination (visual narrative). Most artists seem to be fully content with one of these. Jansas' art is marked by both painful and brutal transgression – deviant behaviour, insults to humans, operating outside the bounds of common sense – and the joyful Deleuzean elimination of distinctions until no sound entities remain and everything exists in the condition of constant becoming. Evaldas Jansas' creations belong to the pedigree of art that knows one and sole ethical (and political) function: to produce the antidote to totalitarianism, however, in the waters of aesthetics he swims like a fish.
Contemporary world and art emphasise a high-quality result produced within a short period of time. Manual weaving (e.g. by handloom machine or on a vertical loom) is a time-consuming process which is broadly becoming an obsolete practice amongst contemporary textile artists. Although text is a popular form of art, woven text is very rare. This study intends to analyse the syncretic association between weaving and text. The following questions are raised: what are the meanings of this association and what purpose can be derived from it. Woven text, as the study object, has become an assisting instrument in the discussion of a textile artist in contemporary art. A textile artist, who decides to create art by means of weaving, finds himself standing at the crossroads of tradition and contemporary environment. The following study sources were used: interviews with Lithuanian woven text creators, as well as literature, art journalism, articles in periodic publications, and other data which allow finding new meanings of woven text. The objective of the study is to assemble the possible meanings which define the relationship between weaving and text. Meanings found in the study were the following: opposition; time, transience, longevity; escape, isolation, salvation, halt; meditation, empathy; history, tradition; tactility/touch; durability, strength, genuineness; communication, intimacy, reminiscence; sacredness, religion; politics, economics; suffering, complexity, hard work, mastery; identity; luxury. All these meanings can be taken into account when analysing the use of weaving technology in art textile. Discovery of these meanings can also help to adopt a different point of view towards woven text, understand it better, and apply its characteristics in other contexts by taking advantage of the opportunities provided by it. Another important aspect of the art study was to introduce and discover the meanings of woven text in researcher's own creative practices. Several papers that study woven text were described, ...
Lithuanian folk paintings periods during their existence from 17th to 19th and from the second half of the 20th to 21st centuries were isolated and no one has ever tried to compare them. 17th – 19th centuries Lithuanian folk painting defines the phenomenon of everyday life and religion. Both these areas of peasant life, were connected. What is more, it means that they used to influence each other. Holy image was interpreted not only as an aesthetic-based religious object, but also as a liaison between the material and the spiritual world. Periphery church interior used to be decorated with folk art paintings of instructed unprofessional artists, who have had reiterated church paintings. These images became the basis of self-taught artists works Both instructed unprofesionals and self-taught masters painted in strict accordance with the rules of Christian iconography: the saints were recognizable from their characteristic attributes. There were no space for artists imagination. In the beggining of the 20th century folk painting tradition disappeared because of industrial prints. They were "beautiful" and cheep. Folk painting returned in the second half of 20th century. Because of the political situation (the second Soviet occupation of Lithuania had lasted from 1944 to 1990) in the public domain folk paintings have evolved only in conformistic genres: landscape, portrait, genre paintings, or ideological images. Sacral folk painting mostly unfolded in a private space, so they are some kind of secret for the folk art historians. However, it was a living phenomenon which, possibly, was a serious threat to the Soviet system. After the restoration of the Independence religious folk painting scenes return slowly. Moreover, there are no so much folk painters who would normaly depict these themes. Compare to the traditional folk paintings, contemporary folk painting is much more altered. In many cases, created images and scenes were based on a traditional Christian iconography, or the Bible, but there are several ...
Book typography of the beginning of the XX century is very important as a significant cultural heritage. The aim of this work is to analyse XX century beginning book as an art piece. The main tasks were to find books decorated by professional Lithuanian artists; to find out what kind of decorative elements were illustrating book and the relationship between decorated book amount and political-economical situation in country. There is very little research done about book architectonics during 1904-1918. By making an investigation about book art and design of the printings, released in the beginning of the XX century, mostly all books were viewed de visu. Main source of the listing was in 1904-1918 Years Published Books List, taken from Bibliographic and book research centre. Book typography investigations were made on the grounds of famous book art researcher's articles and publications. Research began in the year 1904, after the cancellation of the law that prohibited the press with Lithuanian letters. Years until First World War were very productive for newly established publishing offices. They got a lot of new printing machines, skilled workers started to work there. Zincographies and more type-foundry started appeared in Lithuania cities. Those factors influenced better book typography. 1914-1918 period was distinguished for very few originally illustrated books. By making a research about book architectonics, the printings released during 1904-1918 period, were divided into two parts. In the first part of the work, decorative elements and illustrations created by book authors and famous Lithuanian artists is analysed. Typical books, decorated with standard press cliché of publisher are studied in the second part. Discovered facts helped to detect books, illustrated by professional Lithuanian artists in 1904-1918. Books usually decorated in art noveau manner, illustrations were closely related to the text.
Book typography of the beginning of the XX century is very important as a significant cultural heritage. The aim of this work is to analyse XX century beginning book as an art piece. The main tasks were to find books decorated by professional Lithuanian artists; to find out what kind of decorative elements were illustrating book and the relationship between decorated book amount and political-economical situation in country. There is very little research done about book architectonics during 1904-1918. By making an investigation about book art and design of the printings, released in the beginning of the XX century, mostly all books were viewed de visu. Main source of the listing was in 1904-1918 Years Published Books List, taken from Bibliographic and book research centre. Book typography investigations were made on the grounds of famous book art researcher's articles and publications. Research began in the year 1904, after the cancellation of the law that prohibited the press with Lithuanian letters. Years until First World War were very productive for newly established publishing offices. They got a lot of new printing machines, skilled workers started to work there. Zincographies and more type-foundry started appeared in Lithuania cities. Those factors influenced better book typography. 1914-1918 period was distinguished for very few originally illustrated books. By making a research about book architectonics, the printings released during 1904-1918 period, were divided into two parts. In the first part of the work, decorative elements and illustrations created by book authors and famous Lithuanian artists is analysed. Typical books, decorated with standard press cliché of publisher are studied in the second part. Discovered facts helped to detect books, illustrated by professional Lithuanian artists in 1904-1918. Books usually decorated in art noveau manner, illustrations were closely related to the text.
Book typography of the beginning of the XX century is very important as a significant cultural heritage. The aim of this work is to analyse XX century beginning book as an art piece. The main tasks were to find books decorated by professional Lithuanian artists; to find out what kind of decorative elements were illustrating book and the relationship between decorated book amount and political-economical situation in country. There is very little research done about book architectonics during 1904-1918. By making an investigation about book art and design of the printings, released in the beginning of the XX century, mostly all books were viewed de visu. Main source of the listing was in 1904-1918 Years Published Books List, taken from Bibliographic and book research centre. Book typography investigations were made on the grounds of famous book art researcher's articles and publications. Research began in the year 1904, after the cancellation of the law that prohibited the press with Lithuanian letters. Years until First World War were very productive for newly established publishing offices. They got a lot of new printing machines, skilled workers started to work there. Zincographies and more type-foundry started appeared in Lithuania cities. Those factors influenced better book typography. 1914-1918 period was distinguished for very few originally illustrated books. By making a research about book architectonics, the printings released during 1904-1918 period, were divided into two parts. In the first part of the work, decorative elements and illustrations created by book authors and famous Lithuanian artists is analysed. Typical books, decorated with standard press cliché of publisher are studied in the second part. Discovered facts helped to detect books, illustrated by professional Lithuanian artists in 1904-1918. Books usually decorated in art noveau manner, illustrations were closely related to the text.
Book typography of the beginning of the XX century is very important as a significant cultural heritage. The aim of this work is to analyse XX century beginning book as an art piece. The main tasks were to find books decorated by professional Lithuanian artists; to find out what kind of decorative elements were illustrating book and the relationship between decorated book amount and political-economical situation in country. There is very little research done about book architectonics during 1904-1918. By making an investigation about book art and design of the printings, released in the beginning of the XX century, mostly all books were viewed de visu. Main source of the listing was in 1904-1918 Years Published Books List, taken from Bibliographic and book research centre. Book typography investigations were made on the grounds of famous book art researcher's articles and publications. Research began in the year 1904, after the cancellation of the law that prohibited the press with Lithuanian letters. Years until First World War were very productive for newly established publishing offices. They got a lot of new printing machines, skilled workers started to work there. Zincographies and more type-foundry started appeared in Lithuania cities. Those factors influenced better book typography. 1914-1918 period was distinguished for very few originally illustrated books. By making a research about book architectonics, the printings released during 1904-1918 period, were divided into two parts. In the first part of the work, decorative elements and illustrations created by book authors and famous Lithuanian artists is analysed. Typical books, decorated with standard press cliché of publisher are studied in the second part. Discovered facts helped to detect books, illustrated by professional Lithuanian artists in 1904-1918. Books usually decorated in art noveau manner, illustrations were closely related to the text.
Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the ideological nature of modernist art in the postsoviet society; to define the ideological attitudes of the main art institutions; to disclose the character and reasons of the ideological collisions of the institutions; to make a thorough analysis of the most significant exhibitions and to reveal the ideological implications of the narratives being constructed by them; to reveal the most important mechanisms of art legitimization, which were implanted in the cultural periodicals of this period; to make a thorough analysis of strongly ideologically engaged discourses and the connections of ideological collisions with the politics of institutional domination.
Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the ideological nature of modernist art in the postsoviet society; to define the ideological attitudes of the main art institutions; to disclose the character and reasons of the ideological collisions of the institutions; to make a thorough analysis of the most significant exhibitions and to reveal the ideological implications of the narratives being constructed by them; to reveal the most important mechanisms of art legitimization, which were implanted in the cultural periodicals of this period; to make a thorough analysis of strongly ideologically engaged discourses and the connections of ideological collisions with the politics of institutional domination.
Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the ideological nature of modernist art in the postsoviet society; to define the ideological attitudes of the main art institutions; to disclose the character and reasons of the ideological collisions of the institutions; to make a thorough analysis of the most significant exhibitions and to reveal the ideological implications of the narratives being constructed by them; to reveal the most important mechanisms of art legitimization, which were implanted in the cultural periodicals of this period; to make a thorough analysis of strongly ideologically engaged discourses and the connections of ideological collisions with the politics of institutional domination.
In Ukrainian modern social sphere there is a trend of development towards democracy. This trend , as well as any change in the world , is reflected in art. Europe could be a good example for both. But transition from one value system in to another can not occure immediately, as transformation of society and its values is required. Art, in this case, acts as a catalyst for such process. Transformation in the works of modern Ukrainian artists is research object of this work.
This paper analyzes the possibilities of generating creative tools for Social Practice Art (SPA) to be used at Migrating Academy. The research focuses on the concept of social practice art in the international context, analyses creative forms and their potential development. The goals and objectives of the activity are clearly defined, and the possibilities to generate new forms of art and education at Migrating Academy are presented. The aim of the research is to analyse the possibilities of generating creative tools for social practice art. To achieve this aim, the following objectives have been set: to analyse the concept of social practice art, its origin and development, to define different forms of social practice art and their future prospects, to discuss the peculiarities of their generation at Migrating Academy and to investigate the possibilities to generate creative tools of social practice art by carrying out a qualitative research. The hypothesis in the thesis is that the generation of creative tools for social practice art through the development and implementation of social and education policy at Migrating Academy as a social and institutional process opens opportunities for social, cultural and political changes in society. In order to analyse the possibilities of generating creative tools for art of social practice at Migrating Academy, a research was carried out by using a qualitative research strategy as well as the interview method. The survey included 9 informants-experts from nine countries (Lithuania, Italy, the UK, Bangladesh, Indonesia, the USA, Canada, Nigeria and Mexico): 5 females and 3 males. The selected age group was from 30 to 65 years. The respondents from Italy, Mexico, and Nigeria are experts who have PhD degrees in Arts, are working in higher education and create works in the sphere of SPA. The Bangladesh-UK respondent is a PhD student who is studying in the UK and working for the Bangladesh Ministry of Education. The respondents from Lithuania, Indonesia, Canada, the USA are artists or activists in the SPA area. The traditional method of qualitative content analysis was used for the analysis of the research data. The analysis of scientific literature and documents confirmed that both social practice art and Migrating Academy have a significant impact on the generation of creative tools for social practice art in the international context, on the expansion of artistic views and horizons going beyond the usual perception and covering all possible areas from politics, economics to fast-growing technological advances and neuroscience achievements. The results of the research showed that Migrating Academy may offer significant opportunities to generate tools for social practice art and education. This is clearly proved by the experts' opinions which have been collected and processed by qualitative research tools, and they provide strong arguments that: - the boundary separating social practice from social practice art is dynamic so the opportunities to participate in SPA activities will increase in the future. This would depend on the artists' creativity and their ability to develop the scope of their creative activities and their outcomes through the variety of organized projects; - the United States of America with its neighbouring countries on the continent remains the epicentre of SPA. A great variety of SPA projects is also noticeable in the countries with high class exclusion and multinational culture, as well as in the countries where the state funding is provided for project implementation; - by promoting the active involvement of social groups and solving their problems, artists and groups of artists can become leaders who will offer their innovative ideas and problem-solving techniques; - innovative, sometimes unconventional but clearly defined methods are required to establish contacts between artists and communities or social groups, to deal with difficult situations and build mutual trust; - most artists use the principles of traditional pedagogy to create SPA, however, they intuitively feel that it is not enough for their projects. Consequently, they start to create innovative forms. The pedagogical principles of SPA projects are developing and changing, because the form of this art itself is very dynamic and flexible, dependent on the environment and its problems; - SPA activities are gradually eliminating the boundaries between disciplines, leading to the development of a new form of art that is not oriented to the production of artistic products, but to the social process which stimulates social changes through art. This process is only possible through unique forms of expression, including pedagogical ones, because pedagogy which is affected radically by SPA has to develop new forms and completely new quality; - social practice art itself includes great opportunities which allow artists to generate new skills, knowledge and art forms. New project opportunities allow to create innovative creative spaces and new thinking strategy. The stereotypical perception of art and its academic model are changing; - migrating academy is becoming a continually pulsating and changing world culture that makes information accessible to everybody and provides opportunities to perform not only online but also in real life with real people. Migrating academy can provide its students with work and creative tools that will be impossible if only traditional models of perception of art and creativity are used. The respondents' statements investigated by the means of qualitative research confirmed the hypothesis that the generation of creative tools for social practice art through the development and implementation of social and education policy at migrating academy as a social and institutional process opens opportunities for social, cultural and political changes in society.
This paper analyzes the possibilities of generating creative tools for Social Practice Art (SPA) to be used at Migrating Academy. The research focuses on the concept of social practice art in the international context, analyses creative forms and their potential development. The goals and objectives of the activity are clearly defined, and the possibilities to generate new forms of art and education at Migrating Academy are presented. The aim of the research is to analyse the possibilities of generating creative tools for social practice art. To achieve this aim, the following objectives have been set: to analyse the concept of social practice art, its origin and development, to define different forms of social practice art and their future prospects, to discuss the peculiarities of their generation at Migrating Academy and to investigate the possibilities to generate creative tools of social practice art by carrying out a qualitative research. The hypothesis in the thesis is that the generation of creative tools for social practice art through the development and implementation of social and education policy at Migrating Academy as a social and institutional process opens opportunities for social, cultural and political changes in society. In order to analyse the possibilities of generating creative tools for art of social practice at Migrating Academy, a research was carried out by using a qualitative research strategy as well as the interview method. The survey included 9 informants-experts from nine countries (Lithuania, Italy, the UK, Bangladesh, Indonesia, the USA, Canada, Nigeria and Mexico): 5 females and 3 males. The selected age group was from 30 to 65 years. The respondents from Italy, Mexico, and Nigeria are experts who have PhD degrees in Arts, are working in higher education and create works in the sphere of SPA. The Bangladesh-UK respondent is a PhD student who is studying in the UK and working for the Bangladesh Ministry of Education. The respondents from Lithuania, Indonesia, Canada, the USA are artists or activists in the SPA area. The traditional method of qualitative content analysis was used for the analysis of the research data. The analysis of scientific literature and documents confirmed that both social practice art and Migrating Academy have a significant impact on the generation of creative tools for social practice art in the international context, on the expansion of artistic views and horizons going beyond the usual perception and covering all possible areas from politics, economics to fast-growing technological advances and neuroscience achievements. The results of the research showed that Migrating Academy may offer significant opportunities to generate tools for social practice art and education. This is clearly proved by the experts' opinions which have been collected and processed by qualitative research tools, and they provide strong arguments that: - the boundary separating social practice from social practice art is dynamic so the opportunities to participate in SPA activities will increase in the future. This would depend on the artists' creativity and their ability to develop the scope of their creative activities and their outcomes through the variety of organized projects; - the United States of America with its neighbouring countries on the continent remains the epicentre of SPA. A great variety of SPA projects is also noticeable in the countries with high class exclusion and multinational culture, as well as in the countries where the state funding is provided for project implementation; - by promoting the active involvement of social groups and solving their problems, artists and groups of artists can become leaders who will offer their innovative ideas and problem-solving techniques; - innovative, sometimes unconventional but clearly defined methods are required to establish contacts between artists and communities or social groups, to deal with difficult situations and build mutual trust; - most artists use the principles of traditional pedagogy to create SPA, however, they intuitively feel that it is not enough for their projects. Consequently, they start to create innovative forms. The pedagogical principles of SPA projects are developing and changing, because the form of this art itself is very dynamic and flexible, dependent on the environment and its problems; - SPA activities are gradually eliminating the boundaries between disciplines, leading to the development of a new form of art that is not oriented to the production of artistic products, but to the social process which stimulates social changes through art. This process is only possible through unique forms of expression, including pedagogical ones, because pedagogy which is affected radically by SPA has to develop new forms and completely new quality; - social practice art itself includes great opportunities which allow artists to generate new skills, knowledge and art forms. New project opportunities allow to create innovative creative spaces and new thinking strategy. The stereotypical perception of art and its academic model are changing; - migrating academy is becoming a continually pulsating and changing world culture that makes information accessible to everybody and provides opportunities to perform not only online but also in real life with real people. Migrating academy can provide its students with work and creative tools that will be impossible if only traditional models of perception of art and creativity are used. The respondents' statements investigated by the means of qualitative research confirmed the hypothesis that the generation of creative tools for social practice art through the development and implementation of social and education policy at migrating academy as a social and institutional process opens opportunities for social, cultural and political changes in society.
The purpose of this M.A. thesis is to research a hypothetical possibillity of building a metropolitan system in the city of Vilnius. For many years the idea of Vilnius Metro has been already escalated from engineerical, economical, ecological, political point of views, nethertheless, there is no data about Lithuanian artists showing major interest in this theme. Metro stations still are unseen kind of public spaces in Lithuania, that's why a newly built metro could possibly foster our artists' imagination. During my M.A. research I was trying to find new aspects of this phenomenon who could give an additional impulse to the artists of various fields. A metro system is about permanent transit which continouos energy stream is created by people, traffic participants. Moving masses create a common – mass – emotion and they are impacted by a distinctive esthetics and ruled by the sum of signs. Basing myself upon Michele Foucoult space philosphy ideas, the interpretation of symbol language by Ernst Gombrich, Paul Johaness Tillich and other authors, also by deep rooted collective experience, which historically could be explained by a Christian theology narrative, I was looking for my own senses and resources of artistical expressions under the ground. By disclosing the best metro examples and my own theoretical considerations I am trying to prove that a metro system is a society's mirror and the reflectors are underground platforms, stations and visual expressions of metro entries. There are innumerable objective and subjective connections in a metro system, but my major survey method is an empirical study, id est observing of already existing objects and analysing them, searching for relevant and common aspects and derivative interactions (?). In order to comprehend how metro systems are created, developed and later on kept on functioning I have analysed several metropolitans in different countries and found out that a metro is a very sensitive system, reflecting economical, social and cultural aspects of a society. I am glad I have managed to percieve its universal problems and their solutions. Those countries have inspiringly huge amount of artworks in their public metro spaces and one should notice the abundance of ideas and the quality of their implementations there. So there is no wonder that those countries with such metros usually have a special organization taking care of a city's metro and its public spaces. In my M.A. thesis I discuss the best example of such an organization that is, in my consideration, the Metropolitan Transportation Authority in New York. At the end of XX century it was created mainly to help NY Subway system to get rid of its negative image and save this rapid transit system from collapsing. The heads of MTA very early understood that it was a good idea invest not only in design but art, as well. Since 1985 MTA's Arts and Design Program has invited almost three hundred young and prominent artists to put into reality their creative ideas in 260, almost a half of all NY metro stations. That is why NY Subway has a right now to present itself as the world's biggest public art museum under the ground. Another inspiring example is Stokholm. At the second half of XX century Swedish artists successfully managed a completely new project to them in Stokholm underground and proudly proved that art can be very democratic and artists can work in collaboration with other specialists as engineers, architects and workers. Decades after decades Stokholm metro slowly built a 110 km length underground art gallery. Stokholm metro art no longer belongs exceptionally to the Swedes, the sound of their capital's unique underground system and its images has already spread all over the globe. It has to be said – the winners of Stokholm's metro are all Swedes and every artist in this country. Swedish art curator Göran Söderström in his book Art Goes Uderground, which I can already name as my basic table book, calls Stokholm metro "a utilitarian, literally". He along all the authors of this book explain every aspect of Stokholm metro: from a need to build it, as well as planning and engineering it, to a society's needs and opinions and detailed descriptions of all stations with artworks and presentation of their creating history and philosophy. Utilitarian point of view is very distinct in all the examples presented in my M.A. thesis. One couldn't find a negative artwork or negative context anywhere in metros. Perhaps it is a common secret publicly kept in silence. If somebody decided to come up with a destructive idea, probably it would be rejected because of responsibility for a huge audience, millions of people everyday travelling rapid transit trains. Open, anonymous, unregulated public spaces naturally become a scene for social expression, especially it is true in transit zone spaces. If I discuss the esthetics in art decorated metro stations, I should discuss the space before the occurance of this estethics, I guess. My opionion of graffiti, at times irritating, at times positive phenomenon for me, is very well represented in a book about graffiti's (im)propriety called Inopinatum, written by young scholars in Rome. I could only admit that the works of street artists as Banksy, Blu, Os Gemeos become organic part of a facade and immediately create an urban value to it. And on the contrary, messy, dirty, damaged and tagged public metro space is inducing so called broken windows syndrome. My object of interest – Vilnius Metro – does not exist. Its inexestance or, in other words, the imaginery existance, became the major problem of my M.A. survey. My interest in possibility to build Vilnius metropolitan started with already existing strategy of the city. M. De Certeau ideas prompted me that my metro could be reflected from the point of view of a tactitian. Vilnius metro idea creators already have several schemes and metro line junctions. It was interesting to study them and evaluating their correspondence with my expectations as a tactitian. An organic metro line net reminds me of a plant root system, a huge battery placed under the city and providing it with energy. Cities with metros remind me of a human body that is vital, vibrant and forever young. My meeting with Vilnius metro planners and conversations with them could have become a small play of its own or extend the practical part of my M.A. thesis. Sadly, I have to admit that very important topic of Vilnius city landed in the hands of lobbyists and their "life mission" to build a metro is nothing more as a selfish search for a lucrative way to dig under Vilnius ground. As soon as I found it, I decided to look for data of this subject by myself and stop using the data supplied from the Destorted Looking-Glass Land of Vilnius metro lobbyists. For months attentively studying Vilnius city structure and its maps I have built a Vilnius metro scheme of my own. Along these studies I have been reading Tomas Venclova books. I trusted this Vilnius researcher, as well as his experience and insights. His idea about Vilnius, which fascinated me the most, was that Vilnius old town reminded anatomical heart. So I looked precisely at the contor map of Vilnius old town made by Vilnius municipality and I was astonished at how right and precise Tomas Venclova was, only several percent of the old town had not fitted into the contour. And not only this, Vilnius old town resembled an actual anatomical heart with its venous and arterial blood vessels taking all nutrients needed form the rivers Neris and Vilnelė. So that is how my city started – from the heart. Vilnius city anatomy with metro stations, that are still waiting for being created and given significance. It seems quite a good idea to me.
The purpose of this M.A. thesis is to research a hypothetical possibillity of building a metropolitan system in the city of Vilnius. For many years the idea of Vilnius Metro has been already escalated from engineerical, economical, ecological, political point of views, nethertheless, there is no data about Lithuanian artists showing major interest in this theme. Metro stations still are unseen kind of public spaces in Lithuania, that's why a newly built metro could possibly foster our artists' imagination. During my M.A. research I was trying to find new aspects of this phenomenon who could give an additional impulse to the artists of various fields. A metro system is about permanent transit which continouos energy stream is created by people, traffic participants. Moving masses create a common – mass – emotion and they are impacted by a distinctive esthetics and ruled by the sum of signs. Basing myself upon Michele Foucoult space philosphy ideas, the interpretation of symbol language by Ernst Gombrich, Paul Johaness Tillich and other authors, also by deep rooted collective experience, which historically could be explained by a Christian theology narrative, I was looking for my own senses and resources of artistical expressions under the ground. By disclosing the best metro examples and my own theoretical considerations I am trying to prove that a metro system is a society's mirror and the reflectors are underground platforms, stations and visual expressions of metro entries. There are innumerable objective and subjective connections in a metro system, but my major survey method is an empirical study, id est observing of already existing objects and analysing them, searching for relevant and common aspects and derivative interactions (?). In order to comprehend how metro systems are created, developed and later on kept on functioning I have analysed several metropolitans in different countries and found out that a metro is a very sensitive system, reflecting economical, social and cultural aspects of a society. I am glad I have managed to percieve its universal problems and their solutions. Those countries have inspiringly huge amount of artworks in their public metro spaces and one should notice the abundance of ideas and the quality of their implementations there. So there is no wonder that those countries with such metros usually have a special organization taking care of a city's metro and its public spaces. In my M.A. thesis I discuss the best example of such an organization that is, in my consideration, the Metropolitan Transportation Authority in New York. At the end of XX century it was created mainly to help NY Subway system to get rid of its negative image and save this rapid transit system from collapsing. The heads of MTA very early understood that it was a good idea invest not only in design but art, as well. Since 1985 MTA's Arts and Design Program has invited almost three hundred young and prominent artists to put into reality their creative ideas in 260, almost a half of all NY metro stations. That is why NY Subway has a right now to present itself as the world's biggest public art museum under the ground. Another inspiring example is Stokholm. At the second half of XX century Swedish artists successfully managed a completely new project to them in Stokholm underground and proudly proved that art can be very democratic and artists can work in collaboration with other specialists as engineers, architects and workers. Decades after decades Stokholm metro slowly built a 110 km length underground art gallery. Stokholm metro art no longer belongs exceptionally to the Swedes, the sound of their capital's unique underground system and its images has already spread all over the globe. It has to be said – the winners of Stokholm's metro are all Swedes and every artist in this country. Swedish art curator Göran Söderström in his book Art Goes Uderground, which I can already name as my basic table book, calls Stokholm metro "a utilitarian, literally". He along all the authors of this book explain every aspect of Stokholm metro: from a need to build it, as well as planning and engineering it, to a society's needs and opinions and detailed descriptions of all stations with artworks and presentation of their creating history and philosophy. Utilitarian point of view is very distinct in all the examples presented in my M.A. thesis. One couldn't find a negative artwork or negative context anywhere in metros. Perhaps it is a common secret publicly kept in silence. If somebody decided to come up with a destructive idea, probably it would be rejected because of responsibility for a huge audience, millions of people everyday travelling rapid transit trains. Open, anonymous, unregulated public spaces naturally become a scene for social expression, especially it is true in transit zone spaces. If I discuss the esthetics in art decorated metro stations, I should discuss the space before the occurance of this estethics, I guess. My opionion of graffiti, at times irritating, at times positive phenomenon for me, is very well represented in a book about graffiti's (im)propriety called Inopinatum, written by young scholars in Rome. I could only admit that the works of street artists as Banksy, Blu, Os Gemeos become organic part of a facade and immediately create an urban value to it. And on the contrary, messy, dirty, damaged and tagged public metro space is inducing so called broken windows syndrome. My object of interest – Vilnius Metro – does not exist. Its inexestance or, in other words, the imaginery existance, became the major problem of my M.A. survey. My interest in possibility to build Vilnius metropolitan started with already existing strategy of the city. M. De Certeau ideas prompted me that my metro could be reflected from the point of view of a tactitian. Vilnius metro idea creators already have several schemes and metro line junctions. It was interesting to study them and evaluating their correspondence with my expectations as a tactitian. An organic metro line net reminds me of a plant root system, a huge battery placed under the city and providing it with energy. Cities with metros remind me of a human body that is vital, vibrant and forever young. My meeting with Vilnius metro planners and conversations with them could have become a small play of its own or extend the practical part of my M.A. thesis. Sadly, I have to admit that very important topic of Vilnius city landed in the hands of lobbyists and their "life mission" to build a metro is nothing more as a selfish search for a lucrative way to dig under Vilnius ground. As soon as I found it, I decided to look for data of this subject by myself and stop using the data supplied from the Destorted Looking-Glass Land of Vilnius metro lobbyists. For months attentively studying Vilnius city structure and its maps I have built a Vilnius metro scheme of my own. Along these studies I have been reading Tomas Venclova books. I trusted this Vilnius researcher, as well as his experience and insights. His idea about Vilnius, which fascinated me the most, was that Vilnius old town reminded anatomical heart. So I looked precisely at the contor map of Vilnius old town made by Vilnius municipality and I was astonished at how right and precise Tomas Venclova was, only several percent of the old town had not fitted into the contour. And not only this, Vilnius old town resembled an actual anatomical heart with its venous and arterial blood vessels taking all nutrients needed form the rivers Neris and Vilnelė. So that is how my city started – from the heart. Vilnius city anatomy with metro stations, that are still waiting for being created and given significance. It seems quite a good idea to me.
