Summary The article is devoted to the analysis of chosen examples of counterfactual narratives which diverge from the typical alternative accounts of history written in the “what if” mode. It focuses on counterfactual representations of space flight and moon landing as crucial historical events of the 20th century. The point of departure for the text is provided by the New Historicist understanding of historical fact and historical event, with particular attention paid to Hayden White’s concept of metahistory. However, to identify the possible functions of the new counterfactuals, I go beyond the binary of past and present which lies at the core of White’s concept. To this end, I employ Jacques Derrida’s concept of artifactuality, which describes the process of the production of facts about current events. I apply this concept to analyse two examples of counterfactual films about space flight: the comedy Moonwalkers (dir. Alain Bardou-Jacquet, 2015) and a mockumentary First on the Moon (dir. Aleksey Fedorchenko, 2005). In these examples, I identify strategies of deconstruction of fact-making which Derrida recommended in his essay. In the concluding part, I introduce the third example of counterfactual narrative, which not so much deconstructs factuality but, rather, counteracts the process of cultural oblivion. In Hidden Figures (2016), Margo Lee Shetterly reconstructed the role that African-American women played in the space race, introducing them into the official historical narrative. In this case, I also compare the book with its cinematic rendition to argue that counterfactuals introduce a new model of thinking of collective relationship with the past.
本文致力于分析一些反事实叙事的例子，这些例子与以“如果”模式撰写的典型的另类历史叙述不同。它侧重于将太空飞行和登月作为20世纪重要历史事件的反事实表述。本文的出发点是新历史主义对历史事实和历史事件的理解，特别关注海登·怀特的元历史概念。然而，为了识别新的反事实的可能功能，我超越了过去和现在的二元对立，这是怀特概念的核心。为此，我采用了雅克·德里达(Jacques Derrida)的人造概念，它描述了关于当前事件的事实的生产过程。我用这个概念来分析两部关于太空飞行的反事实电影:喜剧《月球漫步者》(Moonwalkers)。阿兰·巴尔杜-雅凯(Alain Bardou-Jacquet)， 2015年)和一部伪纪录片《首次登上月球》(导演)。阿列克谢·费奥多琴科，2005)。在这些例子中，我确定了德里达在他的文章中推荐的解构事实制作的策略。在结语部分，我介绍了反事实叙事的第三个例子，它不是解构事实，而是抵消文化遗忘的过程。在2016年的《隐藏人物》(Hidden Figures)中，玛戈·李·谢特利(Margo Lee shetley)重构了非裔美国女性在太空竞赛中扮演的角色，将她们引入了官方的历史叙事。在这种情况下，我还将这本书与其电影版本进行了比较，认为反事实引入了一种新的思考模式，即与过去的集体关系。
{"title":"Counterfactual Histories of Moon Landing","authors":"M. Borowski","doi":"10.2478/mik-2018-0002","DOIUrl":"https://doi.org/10.2478/mik-2018-0002","url":null,"abstract":"Summary The article is devoted to the analysis of chosen examples of counterfactual narratives which diverge from the typical alternative accounts of history written in the “what if” mode. It focuses on counterfactual representations of space flight and moon landing as crucial historical events of the 20th century. The point of departure for the text is provided by the New Historicist understanding of historical fact and historical event, with particular attention paid to Hayden White’s concept of metahistory. However, to identify the possible functions of the new counterfactuals, I go beyond the binary of past and present which lies at the core of White’s concept. To this end, I employ Jacques Derrida’s concept of artifactuality, which describes the process of the production of facts about current events. I apply this concept to analyse two examples of counterfactual films about space flight: the comedy Moonwalkers (dir. Alain Bardou-Jacquet, 2015) and a mockumentary First on the Moon (dir. Aleksey Fedorchenko, 2005). In these examples, I identify strategies of deconstruction of fact-making which Derrida recommended in his essay. In the concluding part, I introduce the third example of counterfactual narrative, which not so much deconstructs factuality but, rather, counteracts the process of cultural oblivion. In Hidden Figures (2016), Margo Lee Shetterly reconstructed the role that African-American women played in the space race, introducing them into the official historical narrative. In this case, I also compare the book with its cinematic rendition to argue that counterfactuals introduce a new model of thinking of collective relationship with the past.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"2 1","pages":"16 - 27"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76227376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Published in late 2016, the volume of two bulky books of large format marks the end of the project on the 1900–2000 history of European photography of the Central European House of Photography (Stredoeurópsky dom fotografie) born in Bratislava and Vienna. The previous volumes dedicated to the periods 1900–19381 and 1939–19692 came out in 2010 and 2014 respectively. The rationale of the project is explained by the simple fact that there has not been a single publication to date which would incorporate the histories of photography of all present-day European countries. For example, the Encyclopaedia of Twentieth Century Photography puts the photography of Eastern Europe at a disadvantage with a mere eight pages of text.3 Not only East European but also other smaller European countries could also feel that they were being represented inadequately in the narrative on the history of European photography.
2016年底出版的两本大画幅书籍标志着中欧摄影之家(Stredoeurópsky dom fotografie) 1900-2000年欧洲摄影历史项目的结束，该摄影之家位于布拉迪斯拉发和维也纳。前两卷分别于2010年和2014年出版，分别是1900-19381年和1939-19692年。该项目的基本原理可以用一个简单的事实来解释，即迄今为止还没有一种出版物将所有当今欧洲国家的摄影历史纳入其中。例如，《二十世纪摄影百科全书》仅用八页的文字就把东欧的摄影置于不利地位不仅是东欧，其他较小的欧洲国家也会感到，他们在欧洲摄影史的叙述中没有得到充分的代表。
{"title":"The History of European Photography, Volume III. 1970–2000","authors":"D. Junevičius","doi":"10.1515/MIK-2017-0010","DOIUrl":"https://doi.org/10.1515/MIK-2017-0010","url":null,"abstract":"Published in late 2016, the volume of two bulky books of large format marks the end of the project on the 1900–2000 history of European photography of the Central European House of Photography (Stredoeurópsky dom fotografie) born in Bratislava and Vienna. The previous volumes dedicated to the periods 1900–19381 and 1939–19692 came out in 2010 and 2014 respectively. The rationale of the project is explained by the simple fact that there has not been a single publication to date which would incorporate the histories of photography of all present-day European countries. For example, the Encyclopaedia of Twentieth Century Photography puts the photography of Eastern Europe at a disadvantage with a mere eight pages of text.3 Not only East European but also other smaller European countries could also feel that they were being represented inadequately in the narrative on the history of European photography.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"41 1","pages":"135 - 137"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85671737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary We present the application of dendrochronological dating of the renovation and construction works of churches in the Kaunas and Vilnius regions of Lithuania. The model for the estimation of the missing rings of Scots pine was used in Lithuania for the first time. We have assessed 18 timber cross-sections from nine churches, which were used for the constructions from the second half of the 17th to 19th c. The oldest wood samples were dated from St. Michael’s Church in Vilnius (1668±4) and St. George, the Martyr, (Bernardine) Church in Kaunas (1693±3). The aim of this study was to compare the results of the investigation of timber samples from 9 churches with archival sources and literature data and to reveal the renovation history of the buildings. The study of written historical sources has revealed a lack of recorded building and reconstruction phases of the churches. This fact was later confirmed by the results of dendrochronological dating. The dating of the timber revealed undocumented reconstruction dates in Zapyškis church (1791±3), St. George, the Martyr, (Bernardine) Church in Kaunas (1711±4), St. Anne Church in Skaruliai (1693±3) and Vilnius Cathedral (1814±4).
{"title":"The Building and Renovation History of Vilnius and Kaunas Churches: Dendrochronological Dating and Historical Sources","authors":"Gabija Surdokaitė-Vitienė, A. Vitas","doi":"10.1515/mik-2017-0002","DOIUrl":"https://doi.org/10.1515/mik-2017-0002","url":null,"abstract":"Summary We present the application of dendrochronological dating of the renovation and construction works of churches in the Kaunas and Vilnius regions of Lithuania. The model for the estimation of the missing rings of Scots pine was used in Lithuania for the first time. We have assessed 18 timber cross-sections from nine churches, which were used for the constructions from the second half of the 17th to 19th c. The oldest wood samples were dated from St. Michael’s Church in Vilnius (1668±4) and St. George, the Martyr, (Bernardine) Church in Kaunas (1693±3). The aim of this study was to compare the results of the investigation of timber samples from 9 churches with archival sources and literature data and to reveal the renovation history of the buildings. The study of written historical sources has revealed a lack of recorded building and reconstruction phases of the churches. This fact was later confirmed by the results of dendrochronological dating. The dating of the timber revealed undocumented reconstruction dates in Zapyškis church (1791±3), St. George, the Martyr, (Bernardine) Church in Kaunas (1711±4), St. Anne Church in Skaruliai (1693±3) and Vilnius Cathedral (1814±4).","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"95 1","pages":"18 - 28"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78959836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public to the presentation of contemporary German sculpture within the context of traditionalist ideology which was promulgated in Poland as much as across Europe in the decades between the two world wars. Drawing on traditionalism, which heralded a prevalence of national cultural values strongly anchored in the past, I will question the relevance of its rhetoric to the artistic phenomena evolving under political pressure. It seems intriguing to juxtapose the accounts provided by Polish and German authorities from the art world in an attempt to grasp the semantic content of such categories as “the genius of the race”, as reflected in the 1930s’ critical discourse. Moreover, in order to reflect upon the concept of propaganda art – another key notion of the time – it is worth considering the response of Polish commentators to official exhibitions of other nation-states held in Warsaw in the 1930s.
本文主要关注1938年4月23日在华沙艺术宣传学院举行的“德意志bildhaer der Gegenwart”展览的接待情况，该机构的展厅被认为是波兰国家文化政策至关重要的场所。该展览是在波兰和德国之间的文化交流框架下组织的，该文化交流是由1935年在柏林Preußischen Akademie der k nste举办的波兰当代艺术展发起的。我将展示华沙公众对当代德国雕塑的反应，这些雕塑是在两次世界大战之间的几十年里在波兰和整个欧洲传播的传统主义意识形态的背景下呈现的。传统主义预示着过去根深蒂固的民族文化价值观的盛行，我将质疑其修辞与政治压力下发展的艺术现象的相关性。将波兰和德国艺术界权威提供的描述并列起来，试图把握“种族天才”等类别的语义内容，这似乎很有趣，正如20世纪30年代的批评话语所反映的那样。此外，为了反思宣传艺术的概念——这个时代的另一个关键概念——值得考虑波兰评论家对20世纪30年代在华沙举行的其他民族国家官方展览的反应。
{"title":"Politicized Aesthetics: German Art in Warsaw of 1938","authors":"I. Kossowska","doi":"10.1515/mik-2017-0003","DOIUrl":"https://doi.org/10.1515/mik-2017-0003","url":null,"abstract":"Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public to the presentation of contemporary German sculpture within the context of traditionalist ideology which was promulgated in Poland as much as across Europe in the decades between the two world wars. Drawing on traditionalism, which heralded a prevalence of national cultural values strongly anchored in the past, I will question the relevance of its rhetoric to the artistic phenomena evolving under political pressure. It seems intriguing to juxtapose the accounts provided by Polish and German authorities from the art world in an attempt to grasp the semantic content of such categories as “the genius of the race”, as reflected in the 1930s’ critical discourse. Moreover, in order to reflect upon the concept of propaganda art – another key notion of the time – it is worth considering the response of Polish commentators to official exhibitions of other nation-states held in Warsaw in the 1930s.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"10 1","pages":"29 - 41"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85701591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary Cruising can be defined as an activity where subjects look for sex in public spaces and is usually called cruising for sex. Authors like Humphrey and Delph emphasize that non-verbal communication, such as eye contact, body language, way of walking, etc., is used to make first contacts that eventually lead to sex. Despite the sexuality of cruising, authors like T. Dean or Turner note that besides public sex, cruising also defines a way of life or indicates a pastime. When discussing cruising, T. Dean emphasizes that contacts, superficial conversations and a playful relaxing atmosphere are characteristic to cruising. The context of cruising not only involves pleasing sexual impulses but also focuses on hospitality and friendliness towards strangers. It notes that this practise is used to establish contacts, engage in a meaningless conversation and start relations for the goal of pleasure, however the identity ego remains free. Furthermore, cruising for sex is often considered to be a negative activity for immoral behaviour in public and the risk to contract sexually transmitted diseases. Men who cruise often stigmatize themselves and assign deviational meanings to cruising. Contacts established while cruising as an open and an unregulated activity are managed entirely by pleasure produced by playfulness of randomness.
{"title":"Multiplicity of Cruising: Interactions with the Unknown and Realisation of Cruising for Sex in A. K. Campbell’S the Pride","authors":"G. Narauskaitė","doi":"10.1515/mik-2017-0009","DOIUrl":"https://doi.org/10.1515/mik-2017-0009","url":null,"abstract":"Summary Cruising can be defined as an activity where subjects look for sex in public spaces and is usually called cruising for sex. Authors like Humphrey and Delph emphasize that non-verbal communication, such as eye contact, body language, way of walking, etc., is used to make first contacts that eventually lead to sex. Despite the sexuality of cruising, authors like T. Dean or Turner note that besides public sex, cruising also defines a way of life or indicates a pastime. When discussing cruising, T. Dean emphasizes that contacts, superficial conversations and a playful relaxing atmosphere are characteristic to cruising. The context of cruising not only involves pleasing sexual impulses but also focuses on hospitality and friendliness towards strangers. It notes that this practise is used to establish contacts, engage in a meaningless conversation and start relations for the goal of pleasure, however the identity ego remains free. Furthermore, cruising for sex is often considered to be a negative activity for immoral behaviour in public and the risk to contract sexually transmitted diseases. Men who cruise often stigmatize themselves and assign deviational meanings to cruising. Contacts established while cruising as an open and an unregulated activity are managed entirely by pleasure produced by playfulness of randomness.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"98 1","pages":"123 - 134"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75707062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary In the history of Lithuanian architecture, the period of soviet modernism has made very problematical mark. The architectural and urbanist changes that were made in Lithuanian cities during this period are linked with the beginning and development of modern building practice. Many discussions causes the changes in the city centres that were made from the 1960s. New modern buildings that were built in the historic context changed its individuality and singularity. This article analyses architectural changes that were made from 1960s to1990s in the historic context of Vilnius and Panevėžys centres. The article suggests that during different decades of the soviet modernism period, the new architecture had a different approach to the historic context. To prove this suggestion, the article presents the most distinctive buildings that were built in the historic context of the selected city centres.
{"title":"Soviet Modernism in the Historic Context. The Cases of Vilnius and Panevėžys City Centers","authors":"Evaldas Vilkončius","doi":"10.1515/mik-2017-0005","DOIUrl":"https://doi.org/10.1515/mik-2017-0005","url":null,"abstract":"Summary In the history of Lithuanian architecture, the period of soviet modernism has made very problematical mark. The architectural and urbanist changes that were made in Lithuanian cities during this period are linked with the beginning and development of modern building practice. Many discussions causes the changes in the city centres that were made from the 1960s. New modern buildings that were built in the historic context changed its individuality and singularity. This article analyses architectural changes that were made from 1960s to1990s in the historic context of Vilnius and Panevėžys centres. The article suggests that during different decades of the soviet modernism period, the new architecture had a different approach to the historic context. To prove this suggestion, the article presents the most distinctive buildings that were built in the historic context of the selected city centres.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"1 1","pages":"58 - 75"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83087600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
{"title":"Contemporary Lithuanian Artists: Career Opportunities","authors":"Vilma Mačianskaitė","doi":"10.1515/mik-2017-0007","DOIUrl":"https://doi.org/10.1515/mik-2017-0007","url":null,"abstract":"Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"7 1","pages":"110 - 88"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90517869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theory and its historiography, including main authors, who have contributed to the formation and development of the ‘new’ theory. The second part presents an overview of different methods of display, including aesthetic, contextual/educational and white cube models. The third part shows how a recent establishment of the National Gallery of Art (NGA) in Lithuania completely ignored the New Museology theory and was based on the modernist view of art history, made popular in the Soviet period. Thus, it comes as no surprise, that the permanent collection display at the NGA has received a lot of criticism from various cultural and art historians and other academics. It is expected that the presentation of the main aspects of the New Museology theory and an assessment of a permanent collection display at the National Gallery of Art will help inform Lithuanian museum practice and form a basis for further studies in Lithuanian museological research.
{"title":"Tension Between Everyday Practice and the New Museology Theory: A Case of the National Gallery of Art in Vilnius","authors":"Neringa Stoškutė","doi":"10.1515/mik-2017-0006","DOIUrl":"https://doi.org/10.1515/mik-2017-0006","url":null,"abstract":"Summary This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theory and its historiography, including main authors, who have contributed to the formation and development of the ‘new’ theory. The second part presents an overview of different methods of display, including aesthetic, contextual/educational and white cube models. The third part shows how a recent establishment of the National Gallery of Art (NGA) in Lithuania completely ignored the New Museology theory and was based on the modernist view of art history, made popular in the Soviet period. Thus, it comes as no surprise, that the permanent collection display at the NGA has received a lot of criticism from various cultural and art historians and other academics. It is expected that the presentation of the main aspects of the New Museology theory and an assessment of a permanent collection display at the National Gallery of Art will help inform Lithuanian museum practice and form a basis for further studies in Lithuanian museological research.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"76 1","pages":"76 - 87"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79204720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.
{"title":"Thomas Shadwell’s the Virtuoso as an Assemblage Laboratory. A View from Installation Art","authors":"M. Chaberski","doi":"10.1515/mik-2017-0008","DOIUrl":"https://doi.org/10.1515/mik-2017-0008","url":null,"abstract":"Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"7 1","pages":"111 - 122"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81171425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary The Cold War that shaped the societies of late modernity had penetrated everyday life with constant messages about the nuclear threat and demonstrations of military power. On the one hand, Soviet republics such as Lithuania were occupied by the enemy of Western democracies, and the nuclear threat would apply to their territory as well. On the other hand, many people secretly sided with the West. But information about the world behind the Iron Curtain was filtered ideologically. Images of Vietnam War and civil unrest in Western countries were broadcasted by the state controlled media as a counterpoint to the orderly and optimistic Soviet life idealised in chronicles and photographs. This positive image was shown to rest on the victory of the Great Patriotic War as well as October Revolution. Those events were represented by iconic monuments in the public space as well as by memorialization rituals taking place every half-year. Their visual documentation was an important part of Soviet culture. Photo journalists like Ilja Fišeris were assigned to record the parades of May the 1st, the 9th and November the 7th. Art photographers treated such images as a tribute to authorities exchanged for a measure of artistic freedom. But in the 1980s, the memorialization rituals, the monuments and other ideological signs became the focus of “rogue” art photographers and cinematographers: Artūras Barysas-Baras, Vytautas Balčytis, Vitas Luckus, Alfonsas Maldutis, Algirdas Šeškus, Remigijus Pačėsa and Gintaras Zinkevičius. Their ironic and reflective images worked as dislocating counter-memorials against the stale reconstructions of the past. Referring to theories of Svetlana Boym, Verónica Tello and Ariella Azoulay, the paper discusses the complicated relationships between the different memorializations of war, including the absence of the Holocaust in collective memory.
{"title":"Dislocation: The Conflict of Photographic and Cinematographic Representations of War in Soviet Lithuania","authors":"Agnė Narušytė","doi":"10.1515/mik-2017-0004","DOIUrl":"https://doi.org/10.1515/mik-2017-0004","url":null,"abstract":"Summary The Cold War that shaped the societies of late modernity had penetrated everyday life with constant messages about the nuclear threat and demonstrations of military power. On the one hand, Soviet republics such as Lithuania were occupied by the enemy of Western democracies, and the nuclear threat would apply to their territory as well. On the other hand, many people secretly sided with the West. But information about the world behind the Iron Curtain was filtered ideologically. Images of Vietnam War and civil unrest in Western countries were broadcasted by the state controlled media as a counterpoint to the orderly and optimistic Soviet life idealised in chronicles and photographs. This positive image was shown to rest on the victory of the Great Patriotic War as well as October Revolution. Those events were represented by iconic monuments in the public space as well as by memorialization rituals taking place every half-year. Their visual documentation was an important part of Soviet culture. Photo journalists like Ilja Fišeris were assigned to record the parades of May the 1st, the 9th and November the 7th. Art photographers treated such images as a tribute to authorities exchanged for a measure of artistic freedom. But in the 1980s, the memorialization rituals, the monuments and other ideological signs became the focus of “rogue” art photographers and cinematographers: Artūras Barysas-Baras, Vytautas Balčytis, Vitas Luckus, Alfonsas Maldutis, Algirdas Šeškus, Remigijus Pačėsa and Gintaras Zinkevičius. Their ironic and reflective images worked as dislocating counter-memorials against the stale reconstructions of the past. Referring to theories of Svetlana Boym, Verónica Tello and Ariella Azoulay, the paper discusses the complicated relationships between the different memorializations of war, including the absence of the Holocaust in collective memory.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"131 1","pages":"42 - 57"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76105636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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