Paveikslas kaip ekranas: psichoanalitinis ir kinematografinis požiūriai

LTStraipsnyje analizuojama šiuolaikinė Lietuvos tapyba paveikslo, kaip ekrano, aspektu. „Ekrano“ sąvoka taikoma dviem požiūriais - kinematografiniu (įvardijami nutapyto vaizdo bruožai, kuriuos menininkai konceptualizuoja) ir psichoanalitiniu (aiškinamas tapybos kūrinių turinys). Straipsnyje remiamasi Jacques'o Lacano žvilgsnio teorija, jo interpretatorių tekstais, taip pat šiuolaikinės tapybos kūrėjo ir mąstytojo Luco Tuymanso teorinėmis įžvalgomis.

ENContemporary Lithuanian painting tends to display a model of painting as screen which functions through associations with cinematography and psychoanalysis. When in the context of painting, the concept of screen receives equivocal interpretation. The model of paintwork as screen relates to cinematography through deconstruction of a static image and the emergence of an ephemeral, off-centred composition which "explodes" from the prison of the frame. The emphasis is placed on the façade quality of representation; what is painted, appears frontal and rather flat. These are strategies consciously employed by the artists as such basic presentation of the image as identifiable by the perceiver is believed to activate his memory. The idea of archetype explored in painting founds the common ground between cinematography and psychoanalysis. In order to elicit the content hidden behind the representational façade or mask, psychoanalytical approach is applied.Therefore painting is not identified with projection - the key process in psychoanalysis - when a patient projects images of his unconscious on an impersonal screen. Such an approach would be too shallow for the contemporary painting. The painted image, like a mask, hides the things ignored by the subject of melancholia (traumas, failures in painting, in representing reality) and the glance. One of the types of a glance identifies by Jacques Lacan is the glance of a painter, related, according to Lacan, to the stylistics of painting and self-portraying. It does not appear part of the painting's structure. The analysis of contemporary paintwork expands the idea of the painter's glance as manifested also through other aspects like strong colour codes, the artist's authentically formulated content (which is of importance for the artist only and encourages the spectator to find out what is hidden behind it). The painted image coincides with the screen. Its function within the structural arrangement of the painting is to offer protection to the viewer from the actual encounter of the glance.