Dailės kritikas - individualaus vartojimo autorius

LTŠiame tekste dailės kritikos kaitą ir naujų metodologijų radimąsi bandoma sieti su postmodernistinio diskurso formavimusi ir naujų raiškos formų įsigalėjimu. Minėti veiksniai lėmė meno vartotojo, meno kūrinio ir vartojimo erdvės santykio kaitą. Dailės kritiko ir meno kūrinio santykis čia apibūdinamas remiantis Boriso Groyso „individualaus vartojimo“ metodologine sąvoka [p. 15].

ENThe analysis of art criticism in this text is based on Boris Groys’ methodological concept o f “ individual consumption” . The relativism of evaluative criteria in Lithuanian art criticism was strongly influenced by the critics’ interest in postmodern theories. In contemporary consumer society, art criticism is not restricted only to the labelling o f “good” or “bad” art. The critic refuses his role o f an intermediary between art and society - he writes to him self or to those like himself. He does not attempt to evaluate the work of art, but demonstrates his own chosen or created method o f its consumption, thus suggesting and even thrusting such consumption on the reader. Boris Groys suggests to evaluate artistic system as a demonstrative system o f consumption having many similarities to other systems o f consumption - fashion, tourism, sport, but much more individualised. He compares the act o f understanding the work o f art to the original and individual consumption. Traditional art criticism, as published in the cultural press, preserves its informational function only as much as it informs the art consumer about the most recent phenomena of artistic life and suggests their interpretation. Such an understanding o f art criticism is close to all texts presenting other systems o f consumption (sports, cinema, music, etc.). One could treat such a text as a correct commentary which best corresponds to the audience’s expectations. However, the critic is no longer bothered about the audience’s expectations. None of the demonstrations of the ways to consume art is a consistent.None of the demonstrations of the ways to consume art is a consistent instruction how to consume it. In their texts, art critics inform not so much about the artistic phenomena as about possible ways to consume them. In this case, the text o f art criticism itself is an experimental example o f such a consumption of art. An artistic system becomes a demonstrative system of consumption, where the consumption itself is consumed. An active, individualised and creative act of consumption performed by an art critic is decisive in his role as the “owner” o f a subjective impression or “the author o f consumption” in this process. Variety o f contexts allows the art critic to combine and connect fragments of most diverse theories, scientific, intellectual digressions, personal, intimate experiences from all areas in a text. Due to this reason the principle o f “text for the sake o f text” is best perceived precisely in art criticism.