Lyties identiteto aspektai šio dešimtmečio lietuvių moterų dailėje

ENIt is rather a risky matter to speak of the feminist creative features in the fine arts of today’s Lithuania. Throughout the international arena of art the differences in the expression of men/women do not serve the attention as compared to that of the previous period, whereas the fact not once mentioned in Lithuanian art criticism is that of not taking the roots by the last decades western movements in fine arts such as feminism. Therefore, the article is not aimed at embracing the activities of all the noted artists or “discovering” the non-existing movements. On the contrary, it is meant for drawing attention to the aspects of the artistic life that with not any difficulty could be characterized as feminist impulses in Lithuanian fine arts. In this case the notion for feminism is not ultimately analogical to the western artistic context as it has already been mentioned since peculiar movements or groups have not been formed in Lithuanian fine arts and feminist declarations have not been proclaimed. In the Lithuanian fine arts of this decade the criticism of the previous academic tradition coinciding with the raise of the new postmodernistic self-comprehension is evident rather than that of the “male” representation. Throughout the context of postmodernistic changes that are conditionally characterized as the “previous” and the “matured” stages the female creation is also reviewed. Peculiar images commenting the comprehension of “maleness” and “femaleness” are attempted to be fixed in it. Whereas the actualization of the traditional “female” activity or the characterization of the peculiar expression serves merely as a supplementary element to the representation of the image. By the virtue of it the phenomenon of the academism or the stereotypes of “female” or “male” specialization can be spoken of.Since not only the Soviet culture but also that of the post-war period are characteristic of the antifeminist position the occurrences of the creative conditions with regard to a sex was bearing a paradoxical attitude in the Soviet period - more “moderate” and “female” specialities of applied arts were overclouded by the authoritative specialities such as painting and sculpture; to this day it is reflected by the academic contingent and the “femaleness” of some branches of art, for example, the graphic arts. The other way round, it would be a mistake to think that the notion of feminism never having taken root in Lithuanian have never had any interest with art critics. It has actually been mentioned on the basis of the “male” position. Mid-decade fine arts distinguishable by the violations of moral taboo characteristic of body art related to the denial of the representation of traditional canons and the intensive activities of the curators rather that political implications. A peculiar phenomenon of the “family” creation could be spoken of with regard to the contemporary Lithuanian fine arts which is virtually opposed to the modernistic idea of the individual self-expression. The above - mentioned peculiarities determining the identity of the sex are formed as if independently from the general situation of the late modernism and “more matured” postmodernism though hardly without any touching points of. The crisis of the representation in female art was not linked with the commentaries on the realities of the post-Soviet woman lifetime, yet the iconography creation of Lithuanian painters. It is not being conceptualized since most frequently not the text but the visionally articulated irony with regard to the “woman as an object” becomes the basic weapons in visual criticism. It is not a rare case when the ironical attitude is expressed by the surrealistic mode of painting and, thereafter, by the means of numerical graphic arts, the.