Lietuvos meno legitimacijos kaita XX amžiaus II pusėje

ENIn speaking of the changes in the legitimation of Lithuanian art in the second half of the twentieth century it could be noted that in Lithuania the alteration in the legitimation strategy is directly connected with essential political changes, therefore, three periods (those of post-war, that, of the warmer time, of the restoration of the independence of the Republic of Lithuania) are being discussed. They could be treated as the most striking instances in the change of the legitimation of art. In discussing these periods, the aspects of the creator, the work of art, the art institution are marked out, and the attempt is made in pointing out the fact on arising a different relationship between the work of art, the creator and the art institution with each historical period (after the radical changes in the field of the power) because of their (depending on the degree of the autonomy of the artistic field) inclusion into the process of art legitimation on unequal rights. In the post-war period the artistic field has lost its autonomy because of the rude intrusion of the political agent from the political field and because of their disposition on the work of art and the art institution. That is why the hope for the recreation became directed toward the creator. Whereas during the period of the thaw the work of art became the axis of the legitimate discourse as the restoration of the autonomy of the artistic field was related to the legitimation of a peculiar (non-verbal) language of the work of art.This kind of perception of the work of art was in the need of the outside position (in other words, of the creating of the respective image) with regard to the painter and of the alternative for the institution controlled by the agents from the political field - the workshop of the post-war artist became the one. However, after the restoration of the independence of the Republic of Lithuania particularly the institution began to perform a very important role in maintaining the autonomy of the artistic field, and due to this the significance of it has radically grown up in the discourse of legitimacy. Thus, that is a condition on the basis of which the non-verbal legitimacy is changed by the oral legitimation, according to which the relationship of the work of art - the creator - the institution, is virtually put upside down: since artist and their productions are exceptionally legitimatized at their workshops, it becomes evident that the field of power (not interfering openly with the autonomy of the artistic field) based on political and economic laws is able to interfere with its reglamentations on him in a more subtle and active way rather than in the post-war period.