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Plati ir neaprėpiama konferencijos tema „Kaip papasakoti apie meną“ susiaurės kiekvieno pasakotojo naratyve bei praktikose. Svarbu pasidžiaugti, kad Vilniaus dailės akademija (toliau – VDA) pakvietė dalyvauti ne tik mokslo darbuotojus ir teoretikus, bet ir neinstitucinius meno kūrėjus. Vienas mano pirminių impulsų dalyvauti buvo amžinas rašančių menininkų siekis neatiduoti upės plaukimo atsitiktinumams, institucijoms ir neperiodiškai pasirodančioms menininkų knygoms ar straipsnių rinkiniams. Sulaukusi 40 metų amžiaus, aš manau, kad menininkui svarbiausia yra turėti savo knygą, nesvarbu, kokiais būdais ir metodais ją išleisti, nesvarbu, kokiam velniui parsiduoti, nes kapitalizmo labirintuose „tikslas pateisina priemones“. Reikšminiai žodžiai: kūrėjo balsas, menininko knyga, nerašymas, gulbės giesmė, kontekstas, galia. The text analyses the specific forms and channels of artwork development, namely, it looks into the storytelling potential of the physical space (the closedness of interiors and openness of exteriors), the digital space, and the space of paper publication. While respecing the artistic freedom, the paper stresses the importance of the permanently changing context, although even the most recognised art professionals can forget that, which often produces a comical effect. The research involves some seemingly unrelated topics and a few concrete objects: 1. artwork distribution, 2. the entrenchment of architects in the fabric of exhibition, 3. unseen contexts, and 4. the analysis/slam of exhibition titles from a particular historical period. The paper uses the comparative method that is rich both with references and personal remarks, and its style is close to that of a writer-artist rather than an academic. It aims to show the artworld as being slightly rough-around-the-edges, governed by distinct sources of power, and rich with absurdity. The research also uses dedicated illustrations to comment on the topical issues and various tragicomical situations related to them. Along with its visual component, irony temporarily relieves us of tensions and enriches the text companion. The research method is based on the practice of observation of the art field, and the analysis of its exhibition spaces along with individual artists, publishing platforms, and their intersections in the art critical publications, conferences and the internet. The paper tries to study the role of the new participants, specifically exhibition architects, in the exhibition context, while subjectively highlighting both successful and unsuccessful examples. The third part presents the analysis as a clash between randomly picked material (e.g., exhibition titles) on the one hand, and the material of a distinctly different genre (e.g., slam comments) on the other, thus deliberately rejecting the entire sociology of art. Because, when preparing to their exhibitions, artists fall prey to various word games when coming up with their project titles, and end up being torn between family, friends, art theorists and art centre directors on the one hand, and their intimate desire to express themselves on the other. This is also why the third part comes without any conclusions. The author is happy to live in such a structurally obscure environment (what’s the difference whether you’re self-taught or you’ve got a degree in art management; after all, life is but collection of exceptions), as long as one has the power of an individual voice. The author is but a text, while the polyphony of other people, historical events and texts is but a context, and the latter is always bigger than the former. The voice, in which we tell our stories of art, will be most successful not only when it is unique, but also when it comes out as a scream. One is thus bound to scream loudly and end one’s life with a book. Keywords: creator‘s voice, artist‘s book, non-writing, swan‘s song, context, power.

rrengti To understand what is happening in our country, it is necessary to look at analogous processes in other countries. Let’s take a look at the common things in the historical process. What is happening in our country, when all the proclaimers of independence are smeared, starting with the underground workers, who proposed the idea of independence and thought that independence under current conditions could be restored only by unarmed resistance, and ending with the progressive-minded persons of Sąjūdis (Reform Movement of Lithuania), whose intelligence restored Lithuanian statehood. Nothing happens anywhere until a significant part of the society is convinced that it is not possible to live longer in such a way and that it is possible to change their life. That’s what took place in Europe. That’s what took place in Lithuania too.

Amerikiečių kultūros ir medijų tyrėjos Genevieve Yue publikacija apie Joną Meką pirmą kartą buvo išspausdinta viename pirmųjų internetinių kino žurnalų, nuo 1999 metų leidžiamame Melburne, Australijoje, Senses of Cinema 2005 metais, vasario numeryje, skyrelyje „Didieji režisieriai". Tyrimo objektu pasirinkusi nepriklausomo menininko, kilusio iš Lietuvos, kūrybą iki skaitmeninio posūkio, mokslininkė gilinasi į istorijos, tapatybės ir kūrybos dilemas sudėtingame dvidešimtajame amžiuje, kupiname avangardinių judėjimų, meninių ieškojimų ir vizualinių transformacijų. Tapęs neatsiejama Niujorko dalimi, Mekas ilgėjosi Lietuvos, šios reminiscencijos atsispindi ir jo filmuose. Parengta filmografinė ir bibliografinė medžiaga šiai publikacijai buvo papildyta naujausia su Jonu Meku susijusia medžiaga.

Menotyrininkė Raminta Bumbulytė tyrinėja 2012–2016 metais sukurtus šiuolaikinio šokio spektaklių kostiumus. Analizuodama surinktą statistinę medžiagą, autorė išskiria kelias kostiumų kūrėjų grupes: scenografus, kostiumų dizainerius, įvaizdžio stilistus, choreografus, taip pat pamini ir tuos atvejus, kai kostiumų kūrėjai spektaklių programose nenurodyti. Apibendrinta medžiaga atskleidžia kostiumų, kuriamų teatro ir šokio spektakliams, skirtumus, kasdienės aprangos ir mados derinius, meno ir komercijos, aukštosios ir žemosios kultūros sampynas, autorystės klausimą postmoderniojoje kūryboje, (savi)cenzūros apraiškas ne tik kuriant kostiumus, bet ir suvokiant juos. The article by the art historian Raminta Bumbulytė presents original statistical data on costume design in contemporary Lithuanian dance from 2012 to 2016. The pr ofessional backgrounds of the designers are sorted into several groups: scenographers, clothes designers, image stylists, choreographers, others, and unidentified. The information draws our attention to pr oblematic areas, such as the separation of theatr e and dance costumes, interlaced clothing, fashion and costume design, the mer ging of art and commerce, high and low culture, the vague notion of authorship in postmodern creative practice, the inevitable presence of the costume, and (self-)censorship, which manifests itself n ot only in the creation of the costume but also in its r eception.

Straipsnio objektas - vėlyvosios lietuvių karinės-istorinės dainos, sukurtos (ar perkurtos senųjų dainų pagrindu) maždaug XIX a. pab.-XX a. pirmojoje pusėje. Lyginant jas su senuoju karinių-istorinių dainų žanro klodu bei panašiu laiku gyvavusiomis kitų žanrų dainomis, bandoma pasekti vieno reikšmingo folklorinės tradicijos kaitos aspekto - kūrėjų pasikeitimo sklaidą. Analizuojama, papildoma ir pagrindžiama jau ir anksčiau kai kurių tautosakos tyrinėtojų (Jono Balio, Pranės Jokimaitienės) iškelta prielaida, kad vėlyvųjų karinių-istorinių dainų kūrėjais, skirtingai nuo senųjų dainų, dažniau būdavo vyrai negu moterys. Straipsnyje, pasitelkiant teksto analizės bei lyginamąjį metodus, mėginama atskleisti būdingiausius vėlyvųjų karinių-istorinių dainų kūrybos ypatumus, susijusius su minėtu kūrėjų pasikeitimu; taip pat aptariami šių dainų įsitvirtinimo (o kai kuriais atvejais, priešingai, - atmetimo) būdai lietuvių dainuojamojoje tautosakoje, jų sąsajos su rašto kultūra. The article deals with Lithuanian war and historical folk songs of the late period, i.e. those created approximately in the end of the 19th and during the first half of the 20th century. Whereas the old Lithuanian war and historical folk songs, as well as folk songs of other genres, were created almost entirely by women, these late songs in question were composed by men, who had fought in the World War I, or served in Lithuanian army. The open and detailed descriptions of the battles and all the war events, and naturalistic way of representation are the main features of these songs. Most of them were first composed in writing, as poems, and only subsequently transformed into folk songs. The way of transmission of these songs is another factor distinguishing them from the rest of Lithuanian folklore tradition, as they were more frequently copied on paper than learned by heart. The author of the article makes an assumption that in Lithuanian folklore only those of these new war and historical songs took root and survived, which still had connections and similarities to the old traditional folk songs. Presumably, thanks to the women - the tenders and transmitters of the folk tradition, these songs were enriched by motives from the old folk songs, and thus became part of the traditional Lithuanian culture. The late war and historical folk songs present a natural development and continuation of this Lithuanian folk song genre.