Kai(p) idėja (ne)tampa kūriniu: pabėgimo būdai

LTStraipsnyje gilinamasi į idėjos ir (meno) kūrinio santykį. Kalbama apie tuos atvejus, kai „meno kūrinys“ turi keletą lygmenų ir jį sunku aiškiai apibrėžti ir kvalifikuoti vadinamojoje institucinėje meno sistemoje. Tai tarsi kūrinys, tačiau tuo pat metu kažkas, kas išsprūsta iš „meno kūrinio“ griežtąja prasme apibrėžties, susipina su socioideologine terpe, veikia joje. Tekste analizuojami tokie pavyzdžiai, kuriems patekimas į „meno“ siaurąja prasme (institucinę) erdvę nėra aktualus. Tačiau tuo pat metu iš dalies koketuojama su meno sistema tam, kad kūrinys įgautų kūrinio definicijas, kurias vėliau galima būtų (iš dalies) vėl panaikinti. Aptariamos Konstantino Bogdano (jaun.), Sauliaus Leonavičiaus, Benignos Kasparavičiūtės ir kai kurios pusiau anoniminės kūrybinės taktikos.

ENIt is often the case that an idea which has been turned into a "work of art" and displayed in a gallery or, even worse, in a museum, becomes nothing but a "castrated" version of its former self because the "work of art" and the institutionalized context to which it is exposed puts a harness on this idea by taming and repressing it. The article seeks to explore the relationship between an idea and a work of art without building a hierarchical pyramid, i.e. without prioritizing one category over another. Sometimes it is the artwork and sometimes the idea that holds the leading position. Nonetheless, the article discusses the more or less "borderline" cases when an idea fails to transform itself into a work of art, when there are no intentions to create a "work of art", or when a "work of art" does not fully achieve the status of a work of art and lacks certain, though minor, finishing touches that make it acquire the features of a "true and finished work of art". The article also discusses the cases when a "work of art" has several levels and it is difficult to define and qualify it within an institutionalised art system. Therefore, within the scope of this article, it is not very important whether the case at hand is legitimised in the so-called art system or not. It is not very important whether some idea, or a "work of art", aims to become part of the “art system” and to be qualified as "art". The text uses several examples that are more or less related to the definitions of the work of art in a narrow sense. It also includes examples where deliberate attempts are made to break free from the system or where acceptance into the "realm of art" (in a narrow sense) is not relevant. All the discussed examples share the use of the verbal medium and an interest in the definitions of "the context" and "contextuality".The text discusses the creative tactics of Konstantinas Bogdanas (Junior), Saulius Leonavičius, Benigna Kasparavičiūtė as well as those of semi-anonymous authors.