Kūrėja: "Moters laikas" Akvilės Anglickaitės ir Dalios Mikonytės fotoinstaliacijose

LTJulia Kristeva esė „Moterų laikas“ („Women’s Time“) susiejo feministinio judėjimo virsmus su linijinio, ciklinio ir monumentalaus laiko modeliais, atskleisdama kūrėjos tapatybės ir laiko ryšį. Lietuvos menininkės taip pat interpretuoja „moters laiką“ papildydamos teorinius svarstymus vizualinėmis patirtimis. Straipsnyje analizuojamos dviejų jaunosios kartos menininkių fotoinstaliacijos, reflektuojančios reprodukcijos ir moters tapsmo temas: Akvilės Anglickaitės instaliacija „JI arba yra“ (2010) ir Dalios Mikonytės „Žaidimas ženklais“ (2013). [Iš leidinio]Reikšminiai žodžiai: Fotoinstaliacija; Moters laikas; Feminizmas; Tapatybė; Akvilė Anglickaitė; Dalia Mikonytė; Photo installation; Woman’s time; Feminism; Identity; Akvilė Anglickaitė; Dalia Mikonytė.

ENIn her essay “Women’s Time”, Julia Kristeva related the changes in the feminist movement to the models of linear, cyclic and monumental time, thus revealing the temporal dimension of the female creator’s identity. At the end of her essay, she predicted that the emerging third wave of feminists would raise the issue of fluid identity even more radically, would refuse the struggle for women’s rights and internalize the split founding the symbolical order into women’s identity as the basis for self-creation and art. The time required for such identity would take a spatial form where all three models of time would coexist in the same historical period. There are many women artists in Lithuania, and quite a few of them – Laima Kreivytė, Laisvydė Šalčiūtė, Akvilė Anglickaitė, Paulina Eglė Pukytė, Marta Vosyliūtė, Kristina Inčiūraitė, Jurga Barilaitė, Laura Garbštienė etc. – explore women’s experiences as well as identity and its fluctuation in time. Thus, it is important to analyse women’s works as visual interpretations of “woman’s time” that supplement theoretical debates with intuitions available to visual sensibility. They discover new insights and include other theories into their reflections. The paper analyses two images of woman’s time created by two artists of the young generation in their photo installations: SHE or Is by Akvilė Anglickaitė (2010) and Play with Signs by Dalia Mikonytė (2013). Their work follows the same artistic principles: they both carry the meaning beyond the image, into the expanded field of photography, they include the philosophical discourse, they focus on the topic of reproduction and they reflect on the crisis of the photographic medium.Both Anglickaitė and Mikonytė transform the cyclic time of reproduction, traditionally associated with women, into the linear story time and monumental time of history, and all three coexist in the spaces of their installations. In Anglickaitė’s installation SHE or Is, the system of scattered photographs accompanies the theme of woman’s time suggested by two portraits by linking it to the powers, durations, rhythms and frequencies regulating the movements of cosmos, and unlink the concept of motherhood from any known statements. The installation conveys “bodily vibrations” during the time of pregnancy and visualises the “vertical temporality” of being in the world. The seven photographs of Mikonytė’s Playing with Signs form a time interval, in which she stages the becoming of personality realised by appropriating, connecting, mixing and rejecting various contexts. The time of growth, like the time of pregnancy (growing), is marked by the split in the subject and appropriation of the other, whilst creating the phantasy of the self as a whole. In both cases, the act of creation is linked to becoming, which is triggered by loosening certainties and stabilities. The artists oppose the roles imposed by the patriarchal culture in order to prove that women can and must raise fundamental existential questions. Such transformations may be related to the new generation of feminists who, as predicted by Kristeva, has grown by rejecting the Woman. Having joined the youth counterculture and inspired by the philosophy of protest and artistic alternatives, this generation has broken away from the definitions of the past. [From the publication]