Dviejų parodų, susijusių su požiūrio ir formos rekonstravimu, atvejai

LTStraipsnyje, pasitelkus aprašomąjį, analitinį bei lyginamąjį metodus, analizuojami dviejų 2013 metais Italijoje (Venecijoje) ir Lietuvoje (Vilniuje) rekonstruotų parodų pavyzdžiai. Visos parodos rekonstravimas, tiek kuratorinėje, tiek restauravimo (konservavimo) praktikose, iki šiol yra išskirtinai retas atvejis. Straipsnyje aptariami ne tik rekonstruotų parodų skirtumai, bet ir panašumui, susiję su jose eksponuotų (šiuolaikinio) meno kūrinių restauravimo specifika bei ypatumais.

ENThe author of the article analyses two cases of exhibition reconstructions: the exhibition Live in your Head: When Attitudes Become Form. Works – Concepts – Processes – Situations – Information curated by Harald Szeemann (1933–2005), originally held in Kunsthalle Bern (Switzerland) in 1969 and reconstructed on the initiative of Fondazione Prada in Venice in 2013, and the exhibition of works by six Lithuanian sculptors Small-Scale Sculptures. Drawings, originally presented at the Gallery of Soviet Art in 1984 and reconstructed at the National Gallery of Art in Vilnius. In this case study, descriptive, analytical and comparative methods are applied, and its main problematics is the still rarely encountered phenomenon of reconstructing an entire exhibition and features of conservation of (complex) artworks related to the reconstruction process. The article consists of three parts: in the first and the second parts, the participants and works of, accordingly, the 1969 Bern exhibition and the 1984 Vilnius exhibition, as well as the period circumstances are presented, along with the course and problems of reconstructing these exhibitions and the conservation of works in 2013 – the goals of authenticity of works / exhibition and the intentions of an artist / curator; in the third part, the author discusses the importance of documentary material, which provides information helping to convey the artists’ approach to art forms and creative thinking typical of that time and highly valuable for specialists in restoration (conservation) of artworks, and also aims to prove that it is becoming the main means of (complex) artwork conservation and reconstruction of exhibitions.