Suchergebnisse

All citizens of the Republic of Lithuania over 16 years of age have the right to insure with voluntary social insurance. There are two types of insurance – voluntary pension insurance and voluntary social insurance for sickness and motherhood allowances. In the case of pension insurance, contributions are paid quarterly, and those contributions are 50 percent of the basic pension, while sickness and maternity contributions are paid at least once per quarter and the sum of the contribution can vary from 10 to 200 Litas per month. Social guarantees for artists constitute a specific sphere of regulation. The main problem is that artists in accordance with their work specifics do not have a stable income, and their nature of work is not defined as regards work time, work place, work tools, and an employment contract itself. For instance, a sculptor can work at home (workshop) at the time suitable for his creative inspiration (day or night), using his own work instruments, and the work may take a few years. Payment for a concluded work can be done in advance (provided that there is a contract-giver) and after the conclusion of works. This and other reasons complicate the relations of artists and Sodra, the State Social Insurance Fund Board of the Republic of Lithuania (e. g., issues on how many months per year an artist is working, what is his length of service, income, the problem of contribution periodicity, etc.). Therefore, it is hard to solve the administrative difficulties that are connected with applying Sodra's tax to artists. Even if these problems are solved, there still arises a problem of great importance taking into account the future problems of Sodra, i. e. the problem of the reality of earned pensions to all insurants, especially to the artists, whose legal status in case of pension receiving is not strictly defined. The article analyzes the experience of other European Union member states in the field of artists' social guarantees.

All citizens of the Republic of Lithuania over 16 years of age have the right to insure with voluntary social insurance. There are two types of insurance – voluntary pension insurance and voluntary social insurance for sickness and motherhood allowances. In the case of pension insurance, contributions are paid quarterly, and those contributions are 50 percent of the basic pension, while sickness and maternity contributions are paid at least once per quarter and the sum of the contribution can vary from 10 to 200 Litas per month. Social guarantees for artists constitute a specific sphere of regulation. The main problem is that artists in accordance with their work specifics do not have a stable income, and their nature of work is not defined as regards work time, work place, work tools, and an employment contract itself. For instance, a sculptor can work at home (workshop) at the time suitable for his creative inspiration (day or night), using his own work instruments, and the work may take a few years. Payment for a concluded work can be done in advance (provided that there is a contract-giver) and after the conclusion of works. This and other reasons complicate the relations of artists and Sodra, the State Social Insurance Fund Board of the Republic of Lithuania (e. g., issues on how many months per year an artist is working, what is his length of service, income, the problem of contribution periodicity, etc.). Therefore, it is hard to solve the administrative difficulties that are connected with applying Sodra's tax to artists. Even if these problems are solved, there still arises a problem of great importance taking into account the future problems of Sodra, i. e. the problem of the reality of earned pensions to all insurants, especially to the artists, whose legal status in case of pension receiving is not strictly defined. The article analyzes the experience of other European Union member states in the field of artists' social guarantees.

The goal of my thesis - to emphasise the main methods of art censorship, for instance the biggest \"sins\" of the greatest artist for the system. Furthermore ,to overlook personalities directly responsable for art cenzorship and to discuss why there were no bigger resistance for ideological pressure and what kind of relation was there with the censors in the Baltic states ( e. c. Estonia). Here i also distinguish the main overcoming methods used by censors. The thesis is divided into six chapters: 1. Introduction. 2. Censors and their action methods. 3. Typology of \"sins\"/ Features of censorship. 4. Censors' overcoming methods. 5. Emigration and its connections with abroad 6 .Conclusion. Main body of the thesis starts with overlooking the general situation in the early 70's and the case of Kisarauskai ( 1960 date is symbolic due to the beginning of confrontation between Kisarauskas and the government ). Then the censors are described. People responsible for the exhibitions' policy , for instance, Pranas Gudynas and those in high government positions , like Genrikas Zimanas, are also included in this category. Later the main \"sins\" of the artists' are being overlooked. Six major \"faults\" are emphasised : 1. Abstractionism / Formalism 2. Religious motifs. 3. Social parasitism 4. Disregarding hierarchy of genres. 5. Imoderate deformation. 6. \"Wrong\" depiction of party members. While inrpreting the main \"deviations\" the concept of socialrealism is being discussed, a short excursion is being made overlooking Estonian painters' situation during soviet period. Then i overview if relations between Estonia, the union centre and the dissidents was influencing the radical artists' positions. Despite the exclusion of \"sins\" the major censors overcoming methods , based on Tomas Venclova text in \"Akiračiai\", are described: 1. Metonymy 2. Metaphor 3. \"Encoding\" of meaning 4. \"Reversed\" tactics using an antagonist. 5. Tactics of official name. Examples are given to describe each method. The relations between ...

In a democratic system of government the politicisation of art can be defined as a process when art enters the field of politics and becomes an instrument capable of influencing or even changing the social political reality. In the modern day, both art and politics acquired an autonomy which was determined by their close interaction. According to the philosopher Boris Groys, the radical autonomy of art is shown precisely through radical political engagement. But only that which is absolutely free and autonomous can engage in something. It is not by accident that the concept of political engagement came into being in the context of French existentialism, which declared the individual's freedom from social and political violence. But art cannot be politically engaged if it is already political. There was little difference between real non-conformist iconography and the European art of the 20th century. Motifs of violence or confinement were frequently represented, as were monsters or colossi; fantastic beasts, which in European art often represented the horrors of war, became allegories of the Soviet regime in non-conformist art. Motifs of Christian iconography, which expressed "internal emigration" in European art during periods of dictatorship, were also common.36 According to von Beyme, the struggle for abstraction, together with archaism, exotism, or infantilism in certain circumstances can also be understood as a protest against the regime. It was exactly these forms of. [to full text]

In a democratic system of government the politicisation of art can be defined as a process when art enters the field of politics and becomes an instrument capable of influencing or even changing the social political reality. In the modern day, both art and politics acquired an autonomy which was determined by their close interaction. According to the philosopher Boris Groys, the radical autonomy of art is shown precisely through radical political engagement. But only that which is absolutely free and autonomous can engage in something. It is not by accident that the concept of political engagement came into being in the context of French existentialism, which declared the individual's freedom from social and political violence. But art cannot be politically engaged if it is already political. There was little difference between real non-conformist iconography and the European art of the 20th century. Motifs of violence or confinement were frequently represented, as were monsters or colossi; fantastic beasts, which in European art often represented the horrors of war, became allegories of the Soviet regime in non-conformist art. Motifs of Christian iconography, which expressed "internal emigration" in European art during periods of dictatorship, were also common.36 According to von Beyme, the struggle for abstraction, together with archaism, exotism, or infantilism in certain circumstances can also be understood as a protest against the regime. It was exactly these forms of. [to full text]

In a democratic system of government the politicisation of art can be defined as a process when art enters the field of politics and becomes an instrument capable of influencing or even changing the social political reality. In the modern day, both art and politics acquired an autonomy which was determined by their close interaction. According to the philosopher Boris Groys, the radical autonomy of art is shown precisely through radical political engagement. But only that which is absolutely free and autonomous can engage in something. It is not by accident that the concept of political engagement came into being in the context of French existentialism, which declared the individual's freedom from social and political violence. But art cannot be politically engaged if it is already political. There was little difference between real non-conformist iconography and the European art of the 20th century. Motifs of violence or confinement were frequently represented, as were monsters or colossi; fantastic beasts, which in European art often represented the horrors of war, became allegories of the Soviet regime in non-conformist art. Motifs of Christian iconography, which expressed "internal emigration" in European art during periods of dictatorship, were also common.36 According to von Beyme, the struggle for abstraction, together with archaism, exotism, or infantilism in certain circumstances can also be understood as a protest against the regime. It was exactly these forms of. [to full text]

In a democratic system of government the politicisation of art can be defined as a process when art enters the field of politics and becomes an instrument capable of influencing or even changing the social political reality. In the modern day, both art and politics acquired an autonomy which was determined by their close interaction. According to the philosopher Boris Groys, the radical autonomy of art is shown precisely through radical political engagement. But only that which is absolutely free and autonomous can engage in something. It is not by accident that the concept of political engagement came into being in the context of French existentialism, which declared the individual's freedom from social and political violence. But art cannot be politically engaged if it is already political. There was little difference between real non-conformist iconography and the European art of the 20th century. Motifs of violence or confinement were frequently represented, as were monsters or colossi; fantastic beasts, which in European art often represented the horrors of war, became allegories of the Soviet regime in non-conformist art. Motifs of Christian iconography, which expressed "internal emigration" in European art during periods of dictatorship, were also common.36 According to von Beyme, the struggle for abstraction, together with archaism, exotism, or infantilism in certain circumstances can also be understood as a protest against the regime. It was exactly these forms of. [to full text]

The essence of the artistic project is the written text that created a work of art. The writer of the text manifests himself in the presence of this work as a research associate and co-author whose verbal/written experience is limited in comparison to his visual erudition. The position of the artist who refrains from producing individual works concentrates here on the search for structures and their interrelations, which allow to identify broader trends and the possibilities of moving in more diverse trajectories. The work is presented as a gift that unfolds not as science derived from art, but instead as art extracted from science. Although the study process noticeably focuses on the written research work, the purpose of this artistic project is to ensure that art is not neglected. The research part is integrated into the creative artistic one, and vice versa. The bookmark, which materialises from aestheticised conclusions, is the artistic expression of the written text. The entire text can be considered the author of and a long signature under this work. As war is only staged rather than actually fought in a military academy, art in the academic context can likewise be perceived as imitation. Although this imitation does not lead where it is expected to, the present book with a bookmark can function as a work of art simply because it sticks to what is visual and beautiful.

The essence of the artistic project is the written text that created a work of art. The writer of the text manifests himself in the presence of this work as a research associate and co-author whose verbal/written experience is limited in comparison to his visual erudition. The position of the artist who refrains from producing individual works concentrates here on the search for structures and their interrelations, which allow to identify broader trends and the possibilities of moving in more diverse trajectories. The work is presented as a gift that unfolds not as science derived from art, but instead as art extracted from science. Although the study process noticeably focuses on the written research work, the purpose of this artistic project is to ensure that art is not neglected. The research part is integrated into the creative artistic one, and vice versa. The bookmark, which materialises from aestheticised conclusions, is the artistic expression of the written text. The entire text can be considered the author of and a long signature under this work. As war is only staged rather than actually fought in a military academy, art in the academic context can likewise be perceived as imitation. Although this imitation does not lead where it is expected to, the present book with a bookmark can function as a work of art simply because it sticks to what is visual and beautiful.

The essence of the artistic project is the written text that created a work of art. The writer of the text manifests himself in the presence of this work as a research associate and co-author whose verbal/written experience is limited in comparison to his visual erudition. The position of the artist who refrains from producing individual works concentrates here on the search for structures and their interrelations, which allow to identify broader trends and the possibilities of moving in more diverse trajectories. The work is presented as a gift that unfolds not as science derived from art, but instead as art extracted from science. Although the study process noticeably focuses on the written research work, the purpose of this artistic project is to ensure that art is not neglected. The research part is integrated into the creative artistic one, and vice versa. The bookmark, which materialises from aestheticised conclusions, is the artistic expression of the written text. The entire text can be considered the author of and a long signature under this work. As war is only staged rather than actually fought in a military academy, art in the academic context can likewise be perceived as imitation. Although this imitation does not lead where it is expected to, the present book with a bookmark can function as a work of art simply because it sticks to what is visual and beautiful.

The essence of the artistic project is the written text that created a work of art. The writer of the text manifests himself in the presence of this work as a research associate and co-author whose verbal/written experience is limited in comparison to his visual erudition. The position of the artist who refrains from producing individual works concentrates here on the search for structures and their interrelations, which allow to identify broader trends and the possibilities of moving in more diverse trajectories. The work is presented as a gift that unfolds not as science derived from art, but instead as art extracted from science. Although the study process noticeably focuses on the written research work, the purpose of this artistic project is to ensure that art is not neglected. The research part is integrated into the creative artistic one, and vice versa. The bookmark, which materialises from aestheticised conclusions, is the artistic expression of the written text. The entire text can be considered the author of and a long signature under this work. As war is only staged rather than actually fought in a military academy, art in the academic context can likewise be perceived as imitation. Although this imitation does not lead where it is expected to, the present book with a bookmark can function as a work of art simply because it sticks to what is visual and beautiful.

The essence of the artistic project is the written text that created a work of art. The writer of the text manifests himself in the presence of this work as a research associate and co-author whose verbal/written experience is limited in comparison to his visual erudition. The position of the artist who refrains from producing individual works concentrates here on the search for structures and their interrelations, which allow to identify broader trends and the possibilities of moving in more diverse trajectories. The work is presented as a gift that unfolds not as science derived from art, but instead as art extracted from science. Although the study process noticeably focuses on the written research work, the purpose of this artistic project is to ensure that art is not neglected. The research part is integrated into the creative artistic one, and vice versa. The bookmark, which materialises from aestheticised conclusions, is the artistic expression of the written text. The entire text can be considered the author of and a long signature under this work. As war is only staged rather than actually fought in a military academy, art in the academic context can likewise be perceived as imitation. Although this imitation does not lead where it is expected to, the present book with a bookmark can function as a work of art simply because it sticks to what is visual and beautiful.

The essence of the artistic project is the written text that created a work of art. The writer of the text manifests himself in the presence of this work as a research associate and co-author whose verbal/written experience is limited in comparison to his visual erudition. The position of the artist who refrains from producing individual works concentrates here on the search for structures and their interrelations, which allow to identify broader trends and the possibilities of moving in more diverse trajectories. The work is presented as a gift that unfolds not as science derived from art, but instead as art extracted from science. Although the study process noticeably focuses on the written research work, the purpose of this artistic project is to ensure that art is not neglected. The research part is integrated into the creative artistic one, and vice versa. The bookmark, which materialises from aestheticised conclusions, is the artistic expression of the written text. The entire text can be considered the author of and a long signature under this work. As war is only staged rather than actually fought in a military academy, art in the academic context can likewise be perceived as imitation. Although this imitation does not lead where it is expected to, the present book with a bookmark can function as a work of art simply because it sticks to what is visual and beautiful.

,, My Manifesto \"- is text written on the principle of self-analysis. This paper investigates the phenomenon of manifesto, and his ability to communicate artist group position, but more relevant to me, for that reason more so analyzed the artist's personal position. In the text I discuss the manifesto and the artist manifesto as a phenomenon and its historical development. The paper investigates the manifesto of contemporary art, discuss the context of Lithuania. Also presented and briefly discuss the greatest impact I had as an artist from considered famous artists manifests, as well as contemporary authors who use the manifest as a way to communicate with the audience or as sovereign element in their art work. The major part of the paper consists of my personal manifestos that are associated with my evolving visual works. They were written regularly, but not consistently. None of them is linked with each other, they do not develop an overall, coherent ideology. This principle is based on more diary writing strategy in which the date of the opinion, mood, influenced by the conversation, article, exhibition, art work or weather conditions led to overall manifesto content. Manifest appears when there is academicism, boredom, repetition, elitism, centralization. This is a great way to announce an artist or artistic group emitted a message ultimatum position. Manifest also has a political, historical overtones, which realatets it self with futurism, utopianism, leftism, modernism, revolutionism. The whole text reveals my personal relationship with artistic manifesto, as a phenomenon as well as a genre in which I communicate as an artist.

,, My Manifesto \"- is text written on the principle of self-analysis. This paper investigates the phenomenon of manifesto, and his ability to communicate artist group position, but more relevant to me, for that reason more so analyzed the artist's personal position. In the text I discuss the manifesto and the artist manifesto as a phenomenon and its historical development. The paper investigates the manifesto of contemporary art, discuss the context of Lithuania. Also presented and briefly discuss the greatest impact I had as an artist from considered famous artists manifests, as well as contemporary authors who use the manifest as a way to communicate with the audience or as sovereign element in their art work. The major part of the paper consists of my personal manifestos that are associated with my evolving visual works. They were written regularly, but not consistently. None of them is linked with each other, they do not develop an overall, coherent ideology. This principle is based on more diary writing strategy in which the date of the opinion, mood, influenced by the conversation, article, exhibition, art work or weather conditions led to overall manifesto content. Manifest appears when there is academicism, boredom, repetition, elitism, centralization. This is a great way to announce an artist or artistic group emitted a message ultimatum position. Manifest also has a political, historical overtones, which realatets it self with futurism, utopianism, leftism, modernism, revolutionism. The whole text reveals my personal relationship with artistic manifesto, as a phenomenon as well as a genre in which I communicate as an artist.