Fotografijos kaupimo valstybinėse saugyklose strategijos
LTMuziejininkų, bibliotekininkų, archyvarų žvilgsnis yra nukreiptas į praeitį, tačiau ne mažiau svarbu, kad valstybės paveldo saugotojai mąstytų ir apie ateitį – vizionieriškai numatytų ateities visuomenės poreikius ir savo iniciatyvų pasėkmes, veiklą grįstų ilgalaikiais strateginiais planais. Strategija yra formuojama remiantis daugiaaspekte teisinės, finansinės, kultūrinės situacijos analize, problemų diagnoze, kultūros ir meno tendencijų išaiškinimu, kūrybinių bei mokslinių poreikių prognozėmis. Tik kompleksinis tyrimas gali garantuoti, kad strateginiuose planuose iškelti orientaciniai tikslai bus sėkmingai įgyvendinti. Tikslingo fotografijos kaupimo orientyras yra bazinės žinios apie objektą. Svarbu teisingai suformuluoti klausimą – ne tik apibrėžti, kas yra fotografija ar kokia fotografija buvo vakar, bet ir kokios fotografijos medijos išraiškos yra šiandien. Chrestomatinės sąvokos semantika apibrėžia vaizdo gavimo procesą ir jo rezultatą – atvaizdą. Valstybinėse saugyklose kaupiamą fotografijos paveldą sudaro materialios vertybės: fotografijos technika, analogine technologija išgaunami pozityvai ir negatyvai, atminties kaupikliuose saugoma skaitmeninė fotografija (tokia praktika taikoma formuoti ne tik dokumentinės fotografijos rinkiniams, bet ir šiuolaikinio meno kolekcijoms – taip reprezentuojama postfotografijos kryptis). [Iš straipsnio, p. 8]
ENMuseologists, librarians, and archivists focus their attention on the past. However, it is important that state heritage custodians would think about the future as well – would visionary foresee society’s needs and the consequences of their own initiatives, would substantiate their own activity with long-term strategic plans. The pivot of purposeful accumulation of photography is the basic knowledge of an object, however, it is worth not only to define what photography is or what photography was like in the past, but also what expressions of photographic media are today. The relationship with photography, as cultural heritage that has enduring value, is expressed by legal regulation. The article analyses what the basic legal acts declare, whether they comply with current issues, whether state institutions accumulating and preserving photography develop their activity in accordance with the law, whether existing legal basis correlates with modern concept of photography values and accumulation strategies. Unfortunately, no special document, which would assist to memory institutions, especially museums, in the process of movable heritage selection has been prepared so far. Photography is usually accumulated retrospectively, orienting towards “clear” criteria and recognizable features. That this is insufficient, it is possible to understand having a look at the list of photography genres or reviewing the areas of photography application. A lot of photos do not reach state repositories: photojournalism, fashion, nature, science photography, the use of new technologies.In the 21st century, after communication has significantly changed and observing excessive photographic production, to select and include photography objects in collections is worthwhile now, while one or another phenomenon is in “visible” zone. It is important to evaluate both national and global needs of the future – whether photographic heritage today accumulated in Lithuanian state repositories will accommodate them in the future? Purposeful and covering all panorama of photographic expression heritage activity could be discussed by joint convention of photography accumulation and preservation of memory institutions, which would emphasize the guidelines of universal and unique, unified and specialized, national and local accumulative activity, would highlight the infrastructure of potential custodians, harmonize the network of interests, purify the criteria of selection. [From the publication]
