Modernioji ir šiuolaikinė taikomoji dailė muziejuose

LTStraipsnyje aptariami keleto Europos taikomosios dailės ir dizaino muziejų veiklos modeliai. Siekiama atskleisti, pagal kokius pagrindinius principus kaupiant juose kaupiamos moderniosios ir šiuolaikinės taikomosios dailės kolekcijos bei vykdoma parodinė programa. Manoma, kad užsienio muziejų patirtis gali būti vertinga Lietuvoje ieškant naujų, šiuolaikiškesnių, platesnio meno konteksto ir labiau integruotų taikomosios dailės pristatymo muziejuose būdų. Raktažodžiai: modernioji ir šiuolaikinė taikomoji dailė, dizainas, dekoratyvinis menas, muziejus, rinkinys, paroda, „Muziejaus bičiuliai", keramika, tekstilė, juvelyrika, stiklas, oda.

ENModem and contemporary applied art in Lithuania still lacks its thorough investigation. То date, the greatest at tention was paid to its coherent laws of stylistic evolu tion. The aim of this article is to analyze the tenden cies of museumification of modem and contemporary crafts. By way of comparison between different models of West European and Nordic museums an attempt is made to unfold the major principles which serve as the basis for the accumulation of modem and contempora ry craft collections and for the realization of exhibition programs. In the Baltie countries the applied art museums ori ent their activities to the representation of the national heritage and national modem culture, whereas in the majority of other European countries collections are amassed bringing out not only a local, but also a wi der international context of this sphere. The Museum of Art and Design in Ghent (Belgium), apart from works by local artists, collects those by Worldwide prominent artists. On the other hand, Nordic museums such as Röhsska Museum of Arts and Crafts in Gothenburg (Sweden) concentrate their work on the reflection of re gional tendencies. The fourth, though least populär but promising way indeed, is followed by the Stedelijk Mu seum in Amsterdam: modem and contemporary applied art is collected and shown alongside the 20th-century fine art. It is not the specialization of museums, but ra ther a contrary aspiration for integration that should serve as a stimulus to orient the activities of the Lithuanian Art Museum, directing its exhibition programs towards the analytical projects composed of the collec tions from different museum departments. A search for mutual contacts between applied and fine arts could make it possible to perceive them not as separate spheres, but as part of common processes peculiar to contemporary culture on the whole.