"Eliminated" man ; Išmestas žmogus: trauminės tapatybės slinktys posovietinės Lietuvos mene
As in many countries which experienced undemocratic regimes and a policy of denationalisation, politicisation in 20th century Lithuanian art was not a random phenomenon. At the beginning of the 20th century, the country was being developed within a framework which prohibited its national written and spoken language.1 It is no wonder that after Lithuania became independent, art and culture were considered its most important national milestones. A model of Lithuanian national identity was created on the basis of the writings, speeches and points of view of famous interwar (1918-1940) Lithuanian thinkers such as Jonas Basanavičius, Antanas Maceina, Stasys Šalkauskas, etc. Its focal points, which embraced a rural/agricultural/natureromanticising culture (a strong relationship with one's land, traditions, crafts, folklore and religion), and lyricism, were consolidated as the psychological imperative of a Lithuanian. In conclusion, author highlights the ideological shifts vis-a-vis identity expression in post-Soviet Lithuanian art, and the means chosen to render the desired message. The expression of self-comprehension and identity has changed strategy a number of times during the rather short interval (ca. 1987 to now) of the post-Soviet period. The first shift – from mournful lyricism towards acute introspection – is related to the early period. Art manifestos, transfused with public criticism born in the face of a changing political and moral situation, outraged, and were. [to full text]