Visuality of memory as a feature of Lithuanian subculture
ENSince the sixties and seventies in Western humanistics, with the introduction of new, valuable, non-hierarchical and decentralised societal and cultural concepts, the recognition of the equivalence of all social and cultural components, the elimination of the positions of high and low culture and the meltdown of their boundaries, the subculture begins to represent the fragmentation in the sociocultural universe, the search for the identity of individuals and the internal dynamics of human activity. In this article, some of the rapprochements of modern art and subculture through the visual strategies of memory will be briefly reviewed. 1. Therefore, activities and manifestations of subcultures may appear and become established in the contemporary art, broadly speaking, in the world of art, which has become a normative socio-cultural formation. 2. The versatile visuality of subcultures in Lithuania is closely linked to the heterogeneous experiences of contemporary art, cultural change and new social movements. 3. Derivatives of the visual subculture can be regarded not only and not so much the specific works of subcultures without valuable accents or any products of activities but also any professional or popular cultural production, which is directly or indirectly focused on surveying certain public positions. The visual forms, assigned to the memory of a separate individual or the whole socium, often arise not from the normative structures of society but the alternative microsocial space accordingly to the Durkheim’s concept. These inner “memorials” of the socium, mediated by the emotionally important and vivid historical material or controversial facts of social shifts, encounter the solid artistic and political formations.
