L'article étudie les dissidents lituaniens et russes et les transferts culturels et intellectuels à l'est du Rideau de fer. Les échanges ont contribué à produire des archives de la dissidence artistique lituanienne. Les archives du poète dissident lituanien Tomas Venclova permettent de réinterpréter le concept de censure externe et interne. Tandis que les archives de Vladimir Tarasov, données en 2020 au Radvila Palace Museum of Art (Vilnius), donnent à voir le contexte de Diktat idéologique dans lequel les artistes ont dû travailler dans les années 1960 à 1980.
Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border's closures. The border's visuality becomes a supporting argument for dissent and protest, giving the 'visual evidence' of the extremely quick border's re-territoriality. As a result, important events allow one 'to extracts sameness even from what is unique' (W. Benjamin). The mass migration and the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an 'alien body', and in the pandemic, with an 'infected or sick body'. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell's metaphor of 'live images' help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence.
<p>Granice i regiony przygraniczne to szczególnie ważne miejsca dla badań społecznych, zwłaszcza w erze postępującej globalizacji oraz rozwoju regionów ponadpaństwowych, takich jak Unia Europejska (UE). Migracyjny kryzys Europy wymusił aktualną refleksję na temat bezpieczeństwa granic. Wszystko to natychmiast znalazło odbicie w literaturze badawczej, która oferuje krytyczne spojrzenie na bieżąca politykę migracyjną dotyczącą zatrzymań, deportacji i kontroli granicznej w trakcie ostatnich lat. Poprzez paradygmat aksjologiczny nowego materializmu oraz krytycznej i radykalnej geografii spróbuję porównać koncepcje granic z lat 90ch (É. Balibar, A. Paasi, H. Donnan i Th.M. Wilson) z koncepcjami z pierwszych dziesięcioleci XXI wieku, które reprezentują nowy sposób myślenia o granicach Europy poprzez takie definicje, jak <em>wahanie granic, dyfrakcja, dehumanizacja</em> i <em>animalizacja migrantów, biopolityczne bezpieczeństwo</em>. Artykuł pokazuje, w jaki sposób powstała w ostatnich latach sytuacja na europejskich granicach wpływa na hierarchię wartości europejskich, uwidoczniającą się w mediach i internetowych sieciach społecznych. Ponadto w artykule mowa jest o moralnych kwestiach kryzysu środowiska i zmiany klimatu.</p>
Die Grenzen und Grenzregionen bilden besonders wichtige Standorte für soziale Forschungen, zumal im Zeitalter der fortschreitenden Globalisierung und der Entwicklung solcher staatsübergreifenden Regionen wie die Europäische Union. Die Migrationskrise in Europa ließ auch eine neue Reflexion über die Sicherheit der Grenzen aufkommen. All das fand sofort seine Widerspiegelung in der Forschungsliteratur, die eine kritische Sicht auf die aktuelle Migrationspolitik, Festnahmen, Abschiebungen und Grenzkontrollen in den letzten Jahren präsentiert. Unter Anwendung des axiologischen Paradigmas des neuen Materialismus und der kritischen Geographie versuche ich die Grenzkonzepte der 1990er Jahre (É. Balibar, A. Paasi, H. Donnan und Th.M. Wilson) mit den Entwürfen der ersten Jahrzehnte des 21. Jahrhunderts zu vergleichen. Diese Entwürfe vertreten eine neue Denkweise über die Grenzen Europas anhand solcher Definitionen wie Grenzschwankung, Diffraktion, Entmenschlichung und Animalisierung der Einwanderer, biopolitische Sicherheit. Der Artikel zeigt, wie die in den letzten Jahren entstandene Situation an den europäischen Grenzen die Hierarchie der europäischen Werte beeinflusst, die in Medien und in sozialen Netzwerken im Internet zum Vorschein kommt. Es werden zusätzlich die moralischen Aspekte der Umweltkrise und des Klimawandels behandelt. ; Borders and border regions have become particularly topical subjects for social studies, and especially so in the present days of growing globalization, and the development of supra-state regions such as the European Union (EU). The new way of thinking about Europe's borders has also been inspired by the ongoing ruminations on border security and the migration crisis on this Continent. All of that has been promptly echoed in research literature and its critical analysis of current migration policies as well as detentions, deportations and border checks in recent years. Taking an axiological approach the author analyzes the new paradigm of thinking about European borders using definitions such as the vacillation of borders, diffraction, dehumanization and animalization of migrants, biopolitical security. He shows how the situation developing on European borders in recent years has influenced the hierarchy of European values as is evident in the media and social networking sites. ; Granice i regiony przygraniczne to szczególnie ważne miejsca dla badań społecznych, zwłaszcza w erze postępującej globalizacji oraz rozwoju regionów ponadpaństwowych, takich jak Unia Europejska (UE). Migracyjny kryzys Europy wymusił aktualną refleksję na temat bezpieczeństwa granic. Wszystko to natychmiast znalazło odbicie w literaturze badawczej, która oferuje krytyczne spojrzenie na bieżąca politykę migracyjną dotyczącą zatrzymań, deportacji i kontroli granicznej w trakcie ostatnich lat. Poprzez paradygmat aksjologiczny nowego materializmu oraz krytycznej i radykalnej geografii spróbuję porównać koncepcje granic z lat 90ch (É. Balibar, A. Paasi, H. Donnan i Th.M. Wilson) z koncepcjami z pierwszych dziesięcioleci XXI wieku, które reprezentują nowy sposób myślenia o granicach Europy poprzez takie definicje, jak wahanie granic, dyfrakcja, dehumanizacja i animalizacja migrantów, biopolityczne bezpieczeństwo. Artykuł pokazuje, w jaki sposób powstała w ostatnich latach sytuacja na europejskich granicach wpływa na hierarchię wartości europejskich, uwidoczniającą się w mediach i internetowych sieciach społecznych. Ponadto w artykule mowa jest o moralnych kwestiach kryzysu środowiska i zmiany klimatu.
For those engaged in the visual arts, the notion of the border is not just a physical reality imposed on the landscape by historical circumstances and political forces; it is also the subject of imagination, representation and visualization. For European artists, how migration, refugees and new ethnic and religious communities continue to develop is of particular importance. This essay examines the relativities between the so-called re-territorialization of borders and their materialized visual image. In doing so it seeks to reflect the balance between claims of difference and sameness, and also the dynamics that exist between dominant perceptions and self-representations of the refugees themselves. Over the last decade the notion of border has been fixed and consolidated in the artistic consciousness, especially how this phenomenon – barrier, walls or fences – can divide. With the crisis of mass migration in recent years, there has been an accompanying sense of dread, horror, a fear of death and the loss of family. The experience and ideas of the Lithuanian artist, Sigita Maslauskaitė-Mažylienė, is useful because it sheds light on the interconnections between new discourses and art practices, and may help us to better understand how Lithuanian people perceive the process of migration and its accompanying problems and issues.
For those engaged in the visual arts, the notion of the border is not just a physical reality imposed on the landscape by historical circumstances and political forces; it is also the subject of imagination, representation and visualization. For European artists, how migration, refugees and new ethnic and religious communities continue to develop is of particular importance. This essay examines the relativities between the so-called re-territorialization of borders and their materialized visual image. In doing so it seeks to reflect the balance between claims of difference and sameness, and also the dynamics that exist between dominant perceptions and self-representations of the refugees themselves. Over the last decade the notion of border has been fixed and consolidated in the artistic consciousness, especially how this phenomenon – barrier, walls or fences – can divide. With the crisis of mass migration in recent years, there has been an accompanying sense of dread, horror, a fear of death and the loss of family. The experience and ideas of the Lithuanian artist, Sigita Maslauskaitė-Mažylienė, is useful because it sheds light on the interconnections between new discourses and art practices, and may help us to better understand how Lithuanian people perceive the process of migration and its accompanying problems and issues.
For those engaged in the visual arts, the notion of the border is not just a physical reality imposed on the landscape by historical circumstances and political forces; it is also the subject of imagination, representation and visualization. For European artists, how migration, refugees and new ethnic and religious communities continue to develop is of particular importance. This essay examines the relativities between the so-called re-territorialization of borders and their materialized visual image. In doing so it seeks to reflect the balance between claims of difference and sameness, and also the dynamics that exist between dominant perceptions and self-representations of the refugees themselves. Over the last decade the notion of border has been fixed and consolidated in the artistic consciousness, especially how this phenomenon – barrier, walls or fences – can divide. With the crisis of mass migration in recent years, there has been an accompanying sense of dread, horror, a fear of death and the loss of family. The experience and ideas of the Lithuanian artist, Sigita Maslauskaitė-Mažylienė, is useful because it sheds light on the interconnections between new discourses and art practices, and may help us to better understand how Lithuanian people perceive the process of migration and its accompanying problems and issues.
New book "Trajectories of Memory and Glance: a Reflection on Visual Culture" is an important contribution to the field of memory studies, which opens up a discussion about memory and visuality as two significant trajectories within the present world that have caused a culture change. This book aims to show how visual plane of memory actually covers a wide field and why memory and visuality are two "signatures" of our epoch, transforming the collective mindset. The structure of Trajectories of Memory and Glance is not linear: it works through the personal and collective categories of memory, nostalgia, art, culture and media, focusing on different groups and societies. The book consists of nine chapters that include such issues as interplay between memory and image, longing and communication, nostalgia and global consumer culture, topography of culture and memory, place and non-place, memory of Holocaust, paradigms of visibility and visuality, and others.
To artists, border is not just a physical reality imposed on the landscape by political forces, but also a subject for imagination and creativity, representation and visualization. Presentation of migration, refugees and growing new ethnic and religious communities is important for visual arts. Our task is to discuss the correlativeness between the new form of city bordering and reterritorialization and their materialized visual image, to reflect the balance between claims of difference and sameness and the dynamics between dominant perceptions and refugees' self-representations. Nowadays in the media, we deal with the Debordian spectacle which reduces reality to an endless fragmentation, while encouraging us to focus on appearances. Thomas Neil notes that the migrant has become the political figure of our time, and migrant phenomena invite us to rethink the fundamental political, cultural and art philosophy. It is important to reveal the interconnections between new discourses and art practices, reflecting on the local Lithuanian image of the migration process. Thus, the case study of the research represents an analysis of Sigita Maslauskaitė-Mažylienė (Lithuania) artworks and artistic practices as important discursive processes and cultural meanings.
To artists, border is not just a physical reality imposed on the landscape by political forces, but also a subject for imagination and creativity, representation and visualization. Presentation of migration, refugees and growing new ethnic and religious communities is important for visual arts. Our task is to discuss the correlativeness between the new form of city bordering and reterritorialization and their materialized visual image, to reflect the balance between claims of difference and sameness and the dynamics between dominant perceptions and refugees' self-representations. Nowadays in the media, we deal with the Debordian spectacle which reduces reality to an endless fragmentation, while encouraging us to focus on appearances. Thomas Neil notes that the migrant has become the political figure of our time, and migrant phenomena invite us to rethink the fundamental political, cultural and art philosophy. It is important to reveal the interconnections between new discourses and art practices, reflecting on the local Lithuanian image of the migration process. Thus, the case study of the research represents an analysis of Sigita Maslauskaitė-Mažylienė (Lithuania) artworks and artistic practices as important discursive processes and cultural meanings. Article in English. Europietiškojo posthumanistinio paribio įvaizdis: performatyvumas, kūrybiškumas ir anapus Santrauka Menininkų supratimu, paribys– tai ne tik fizinė realybė, landšaftui primesta politinių jėgų, bet ir vaizduotės bei kūrybiškumo, reprezentacijos ir vizualizacijos subjektas. Vizualiesiems menams yra svarbu pristatyti migraciją, pabėgėlius bei augančias naujas etnines ir religines bendruomenes. Mūsų užduotis– apsvarstyti koreliatyvumą tarp naujos miesto paribio formos ir reteritorizacijos bei jų materializuoto vizualinio įvaizdžio, reflektuoti pusiausvyrą tarp pretenzijų į skirtumą ir vienodumą bei dinamiką tarp vyraujančio supratimo apie tai, kaip pabėgėliai reprezentuoja pačius save. Šiais laikais medijose susiduriame su deboriškuoju spektakliu, redukuojančiu realybę į begalinę fragmentaciją, skatinančią mus susitelkti į regimybes. Thomasas Neilas pažymi, kad migrantas tapo politine mūsų laikų figūra, o migranto fenomenas ragina mus iš naujo apmąstyti fundamentalią politinę, kultūros ir meno filosofiją. Svarbu atskleisti naujųjų diskursų ir meno praktikų tarpusavio ryšius, reflektuojant vietinį lietuviškąjį migravimo proceso įvaizdį. Tad straipsnyje plėtojamame atvejo tyrime pristatoma Sigitos Maslauskaitės-Mažylienės meno darbų analizė bei meno praktikos kaip svarbūs diskursyvūs procesai ir kultūrinės reikšmės. Reikšminiai žodžiai:paribys, kūrybiškumas, įvaizdis, migracija, reprezentacija, reteritorizacija, vizualieji menai.
To artists, border is not just a physical reality imposed on the landscape by political forces, but also a subject for imagination and creativity, representation and visualization. Presentation of migration, refugees and growing new ethnic and religious communities is important for visual arts. Our task is to discuss the correlativeness between the new form of city bordering and reterritorialization and their materialized visual image, to reflect the balance between claims of difference and sameness and the dynamics between dominant perceptions and refugees' self-representations. Nowadays in the media, we deal with the Debordian spectacle which reduces reality to an endless fragmentation, while encouraging us to focus on appearances. Thomas Neil notes that the migrant has become the political figure of our time, and migrant phenomena invite us to rethink the fundamental political, cultural and art philosophy. It is important to reveal the interconnections between new discourses and art practices, reflecting on the local Lithuanian image of the migration process. Thus, the case study of the research represents an analysis of Sigita Maslauskaitė-Mažylienė (Lithuania) artworks and artistic practices as important discursive processes and cultural meanings. Santrauka Menininkų supratimu, paribys– tai ne tik fizinė realybė, landšaftui primesta politinių jėgų, bet ir vaizduotės bei kūrybiškumo, reprezentacijos ir vizualizacijos subjektas. Vizualiesiems menams yra svarbu pristatyti migraciją, pabėgėlius bei augančias naujas etnines ir religines bendruomenes. Mūsų užduotis– apsvarstyti koreliatyvumą tarp naujos miesto paribio formos ir reteritorizacijos bei jų materializuoto vizualinio įvaizdžio, reflektuoti pusiausvyrą tarp pretenzijų į skirtumą ir vienodumą bei dinamiką tarp vyraujančio supratimo apie tai, kaip pabėgėliai reprezentuoja pačius save. Šiais laikais medijose susiduriame su deboriškuoju spektakliu, redukuojančiu realybę į begalinę fragmentaciją, skatinančią mus susitelkti į regimybes. Thomasas Neilas pažymi, kad migrantas tapo politine mūsų laikų figūra, o migranto fenomenas ragina mus iš naujo apmąstyti fundamentalią politinę, kultūros ir meno filosofiją. Svarbu atskleisti naujųjų diskursų ir meno praktikų tarpusavio ryšius, reflektuojant vietinį lietuviškąjį migravimo proceso įvaizdį. Tad straipsnyje plėtojamame atvejo tyrime pristatoma Sigitos Maslauskaitės-Mažylienės meno darbų analizė bei meno praktikos kaip svarbūs diskursyvūs procesai ir kultūrinės reikšmės. Reikšminiai žodžiai:paribys, kūrybiškumas, įvaizdis, migracija, reprezentacija, reteritorizacija, vizualieji menai.
