"Trauminės" tapatybės vaizdiniai

ENBy researching the trauma language in artworks there is made an attempt to verify postmodern phenomena from post-totalitarian point of view. The assumption is that the trauma language is the result of change of dichotomies occurring when the speed of change exceeds that of adaptation. The trauma and litany motives are closely linked with the terms 'identity' and 'victimization'. Identity reminds functioning of cultural chain and representation stereotypes, while at the same time it controversially vanishes in postmodern indclermi- nations. As identity is based on difference, opposition of pathology/ normality turns up, prompting a question of adequacy of the terms. Identity in terms of identification and trauma as a deferred action uncover the psychoanalytical aspects of the issue that refer to leakage and abuse at once. Artworks of Lithuanian artists created over the last, 'transitional' decade serve as indicators: in the first half of the decade a metaphorically impressive form of complaint dominates, while at the end of the period 'analytical litany' and rituals of identity presentation come up. Victimization obtains a tint of resistant passivity, however it produces value: adoration of 'nonconformist' modernist art in the postcommunist period and securing the place in the international art market for the younger generation artists of the 1990s.Volatility of the 'transition' is reflected in the artworks of contemporary Lithuanian artists: when factor as prevailing is changed by the later predominant structure, artist's relation with the imaginary Western art consumer changes. Positions polarize into two versions: segregational and inclusive, reflecting two types of political art, so important in the 1990s. Postmodernism as transition is also distinguished by trauma rhetoric and lament both in artworks and in art theory. These symptoms become even more intensive when accompanied by geo-political variation.