Tarp gyvo ir negyvo kūno. Devintojo - dešimtojo dešimtmečių sandūros lietuvių akcionizmo ypatumai

ENIn Lithuania the wave of actionism of the ninth and tenth decades correlated with the activities of the groups Post Ars (founded in 1989 in Kaunas, members of the group Česlovas Lukenskas, Robertas Antinis, Aleksas Andriuškevičius, Gintaras Zinkevičius) and Žalias Lapas (1988-1991, members - Gediminas Urbonas, Aidas Bareikis, Julius Liudavičius, Arvydas Vadopalas, Džiugas Katinas, Artūras Makštulis, Gintaras Sodeika) in terms of social, anthropological and historical-artistic attitude has the analogy with the living art of the West of the early sixth-seventh decades. These diverse phenomena are connected by the striving for copulating art and every day life, also by the fact that antimimetic processes, the matter and spontaneous actions are replaced by the representational image in the creative work and particularly by the return of a human being’s body, living, sensing and acting. The period of the appearance of actionism in the West and in Lithuania are alike by the activity in social life, by the vast majority of political manipulations, by the radical overestimation of the artistic heritage and also by the media revolution Peculiar themes (erotic, aggression etc.) have not been developed by Lithuanian actionist, eccentric psychophysical naturalism; the liberation from instincts are not characteristic of them, they (by the way, likwise the representatives of the feminist actionism) were craving for the rehabilitation of the body and senses from the power of disciplined discourses making them not the objects of compulsion but ths subjects of their own history.The artistic practice of Lithuanian actionists is based upon a twofold understanding with regard to the body: first, the notion of the bodily subject is close to them, it is related to mid-twentieth century phylosophical anthropology (Plessner, Merlean-Ponty etc.) according to which a human being is treated as a processal changeable unity of physical and psychical phenomena, and where the consciousness is derived from the body, and the aesthetic factor of the human existence is emphasised, and, on the other hand, the metaphysical, platonic understanding of the body as spiritual medium is not alien as well. The tension between the unspeakable mode of the discourse is characteristic of bodily actions, the tension may be considered as the continuity of the twofold bodily consciousness (the difference in the understanding as far as the inner objective body and that of the outward one, i. e. the own body are concerned) and of the difference between the planned and the spontaneous action (giving an opportunity of manipulating one’s body and life with regard to an artist). The distance with regard to one’s own body often acquires the metaphysical dimension, the body is used by a painter as the matter, an implement or the means of communication, the body is made a thing and it is converted into a passive deformed object indicating to anything else but not to the body as the vital psychophysical system. A peculiar self — indetermination, the balance between the pretension and representation, between the existence and the ritual and between the living and the dead are characteristic of Lithuanian painters who have no linking to extremes.Lithuanian actionism likewise that of the West is originated from the painting of neo- dadaistic rebel and action. Differently from the western movement, however, the strategies of bringing together art and life have been paradoxically coordinated with the preservation (it is characteristic of the disinterested art of Žalias Lapas) of the sovereignity of artistic practice in Lithuanian actionism. In explaining the dispersion of subject matters with regard to their somatic origin, the ways of copulating/separating the body and the creative work three basic themes can be distinguished in Lithuanian actionism: burial modes (which are conditioned by the correlation between the actionism and the art of the earth, by the interrelation of the bodily notion with the remains of the dead rather than with sexuality making the body as a thing — the burying, its imprisonment, restraint, deportation, throwing out, the foresees ruination), the bounds of the liberated energy (the economy of the peculiar Dionysian anger, destruction as way of expression granting the opportunity of the remaining within the bounds of aestheticism and providing conditions for the metamorphosis of the expression rather than transition of the authentic gesture into naturalistic aggression, for example, the transformation of the action into the sound) and witty naturalism (comic mode of the acts or psychophysical naturalism which could be related even with the medieval culture of a joke). A strict contract between the action itself being suitable to the historical occasion or to the event from the biography and its photo or videofixation (existential processes and their geometrization) is characteristic of Lithuanian actionists of the turn of the ninthtenth decades. Somewhat different and more integrated relationship between the body and the reproductive image is characteristic of the creation of the painters from the junior generation.