Alytaus avangardizmas kaip savi(de)kolonizacija. Reiškinio genezė, sklaida, reikšmė

LTStraipsnyje apžvelgiami Alytaus miesto kūrybinės vaizduotės modernizacijos ir kiti sąmonėjimo bei saviorganizacijos procesai dailės srityje maždaug nuo 1977 iki 2015 m. „Alytaus modernizmu“ juos 2014 m. įvardijo dailės kritikas Kęstutis Šapoka, bene nuosekliausiai iš „išorės“ tyrinėjęs šį fenomeną. Atskleidžiami radikalių idėjų patekimo į provincijos miestelį arba jų generavimo vietoje mechanizmai, tokių procesų poveikis vietos kūrėjų (o ir gyventojų) sąmonei bei nuolat kylančių reakcionizmo bangų neišvengiamumas. Autorius kelia hipotezę, kad ypatingą vaidmenį Alytaus avangardizmo genezėje suvaidino glaudžios sąsajos su edukaciniu procesu - Dailės mokykla, kurios darbuotojų (ir pačių mokinių) galvose nuolat sukosi vis naujas kartas konsoliduojančios idėjos. Bus klausiama, kiek iš išorės atkeliaujančios idėjos yra kolonizuojančios vietos mentalitetą ir kokiu būdu (-ais) galėtų vykti dekolonizacija. Raktažodžiai: reakcionizmas, standartų mimikrija, saviorganizacija, psichostreikas, reproletarizacija.

ENIn 2014 an art critic Kęstutis Šapoka defined the term “Alytus Avant-Garde” as the collective imagination, modernization and other processes of consciousness of Alytus city in the field of art between 1977 and 2015. The term “avant-garde” designates the phenomena that consciously balance between “art” and “politics”, but do not become either of them, while reactionism refers to the actions of systemic self-preservation, which are often the logical continuation of the so-called avant-garde. In 1960, the industrialization of Alytus stimulated the processes of modernization of imagination, which were carried out by “higher quality” artists from the capital. Such a colonialist model of centralism was adopted from models of political organization and/or urban development. During 1977-1984 modernist frescoes, mosaics, metal plastic sculptures appeared in Alytus. The change had a dual effect on local artists: it encouraged them to unite (organization of the first joint exhibition, establishment of the Art School) and at the same time, gave birth to the first artistic reactionism in the history of Alytus: paralyzed the avant-garde expression of the “colonists” by intrigues, and condemned the artistic life of the town to a provincial routine. More radical activists switched to the Resistance political activity, which in 1988 turned into a revolutionary movement Sąjūdis.Since 1990 after finishing their studies, the generation ignited by the modernist ideas of the Art School started coming back to Alytus and manifested itself in 1993-1996 art events the Tiesė. Pjūvis (Straight. Section) that local artists ignored. The young generation raised political questions about the purpose of the public space and class dependence of culture, and distanced itself from the elite “serious culture”. At the same time, the internal reactionism of the participants was growing and strengthening: individualism, careerism, hating the “common cause” and the environment of “low artistic level”. At the same time, in 1994-1996 the Elite festivals of a similar nature were organized in Vilnius which attracted some of the participants away from Alytus. The Tiesė. Pjūvis remained ostentatiously low brow, and its organizers were put under pressure to “become normal”. Part of the political aspects of Alytus avant-gardism was implemented in 1996 through the newly founded Alytus Council of Culture and Art (KMT), which at certain stages was usurped by “avant-garde” artists and could cross the boundaries of the “art bubble”. In 2005 Alytus Biennale started. The “avant-garde” artists, who matured in the international anarchist environment, used the opportunity to participate in the initiative of the city officials to have a pseudo-avant-garde performance, and declared decentralization at all levels: they refused to cooperate with the institutions and artists from the capital, and constructed the situations to “de- elitize” the governmental structures of the city.In 2007 Alytus Biennale became a manifestation of the second generation of the School of Art, which, although using mimicry of the standards of contemporary art, managed to blur the line between art and activism and announce Alytus Art Strike of 2009 directed against the project VEKS (Vilnius - European Capital of Culture). The culmination of the Art Strike became the establishment of the DAta Miners & Travalleurs Psychique (DAMTP) to avoid the limitations of the Art Strike and shift the levers from the critique of the ruling class culture to the mental activism of the working class. Since 2011, Alytus Biennale, which was called a psychic strike, has been raising questions of the re-proletarianization of consciousness and floating away from the avant-garde attitudes. Psychic-reproletarianization was perceived as transcending of the art space-time and creating the meaning in the dimensions of space, time, and class. Thus the “avant-garde” artists became psychic-workers. Since 2012 they emphasized the decolonization of consciousness, establish the differences between the concepts of identity, nationalism, race, and class. After 2017, due to internal intrigues, psychic-workers started splitting into fractions and spreading worldwide.