Neinstitucinė veikla instituciškai ir institucija kaip neformali veikla

LTVienas iš šiuolaikinio lietuvių meno mitų sietinas su "neinstitucinio meno" ar "alternatyvaus meno" sąvokomis. Tai, kad tokios sąvokos paprastai nėra aiškiau artikuliuojamos, tik padeda mitams tarpti toliau ir, savo ruožtu, institucionalizuotis. Neegzistuojant nei apibrėžtiems antiinstituciniems naratyvams, nei kokiai nors neinstitucinės veiklos institucijai, gali pasirodyti, jog neistitucinė dailė yra tiesiog ta, kuri eksponuojama senamiesčio griuvėsiuose arba yra kuriama vargšų studentų iš jiems prieinamų resursų. Paanalizavus narystės, atstovavimo ir kitokius institucinio "atskyrimo" principus, dar labiau išryškėja to paties reiškinio skirtingos - meninė, socialinė, etc. - vertinimo galimybės. Nieko nuostabaus, jog daug Lietuvos dailininkų sąjungos narių gavo paramą iš Šorošo Šiuolaikinio meno centro ar eksponavo darbus ŠMC, nors tradiciškai meno pasaulyje esame įpratę girdėti tik apie ŠMC ir LDS priešpriešą ar bent jau skirtingas įtakos sferas.Reikšminiai žodžiai: šiuolaikinis lietuvių menas; Institucija ir menas; Neinstitucinė veikla.

ENOne of the myths in the Lithuanian contemporary art relates to the idea of "non-institutional" or "alternative" activities. This phenomenon is not articulated in a more conceptual way in contemporary art research and this is exactly what helps myths to evolve and eventually become institutionalized. On the other hand, many art critics acknowledged already in the middle of the last decade that real alternatives to the establishment didn't exist in Lithuanian art. Categories of "young", "contemporary" or "non-traditional" art would be of another kind. The article argues that the exhibition "Ten Years of Non-institutional Activity" that was organized at the Vilnius Contemporary Art Center in 2004 gives some unintended by the organizers answers about contemporary politics of real cultural marginalization. It is important to ascertain that the exhibition, which supposedly represented a decade of Lithuanian noninstitutional artistic endeavours, in fact only established the historical estimation of yet another central institution - the Lithuanian Interdisciplinary Artists' Association. At the same time a variety of other less visible initiatives in Vilnius were ignored. A "non-initiated" visitor to this exhibition could only admit an intentionally anti-historic and seemingly attractive visual play of the curator. Those who did not want to confirm to mealy-mouthed arrangements of such an anniversary could have inquired historical circumstances themselves for making their own definitions of "non-institutional" activities. [From the publication]