{"id":1857,"date":"2024-07-24T13:31:20","date_gmt":"2024-07-24T10:31:20","guid":{"rendered":"https:\/\/www.arthistorystudies.lt\/?page_id=1857"},"modified":"2024-07-24T13:48:06","modified_gmt":"2024-07-24T10:48:06","slug":"kuratoryste-kaip-vaizdu-tvarkos-praktika-alfonso-andriuskeviciaus-parodos-mitas-dabarties-tapyboje-santrauka-1988-ir-nakties-ir-dienos-tapyba-1990","status":"publish","type":"page","link":"https:\/\/www.arthistorystudies.lt\/en\/turinys-t-6\/kuratoryste-kaip-vaizdu-tvarkos-praktika-alfonso-andriuskeviciaus-parodos-mitas-dabarties-tapyboje-santrauka-1988-ir-nakties-ir-dienos-tapyba-1990\/","title":{"rendered":"Curatorial Practice as the Order of Images: The Myth in Painting Today (1988) and Day and Night Painting (1990) by Alfonsas Andriu\u0161kevi\u010dius (Summary)"},"content":{"rendered":"<p><strong>Julija Fomina <a href=\"https:\/\/www.arthistorystudies.lt\/wp-content\/uploads\/2022\/12\/DIS-6_2014_p.245-265_compressed.pdf\" target=\"_blank\" rel=\"noopener\">(PDF)<\/a><\/strong><br \/>\n<a href=\"https:\/\/www.arthistorystudies.lt\/wp-content\/uploads\/2022\/12\/DIS-6_2014_p.245-265_compressed.pdf\" target=\"_blank\" rel=\"noopener\"><strong>https:\/\/doi.org\/10.53631\/DIS\/2014.6.12<\/strong><\/a><\/p>\n<p>The history of curated art exhibitions in Lithuania began in the late 1980s. The emerging curatorial practice is disguised as \u2018concept-based exhibitions\u2019. It was a way for art critics to show their peculiar approach to actual art processes and art heritage. It intended to create an alternative to surveys or \u2018national\u2019 and other than ordinary art expositions, promote visual art, define its value criteria and attract larger intellectual audiences outside art circles.<\/p>\n<p>Art critic Alfonsas Andriu\u0161kevi\u010dius pioneered exhibitions based on a clear concept and compiled artworks of high quality and artistic value. Using a structuralist approach, he searched for eternal, universal meanings and their most accurate signifiers in Lithuanian painting. Against a background of grand political changes, Andriu\u0161kevi\u010dius seemingly endeavoured to establish a particular, unofficial part of \u2018nonconformist\u2019 art from the Soviet period, to present it not as a historical heritage of questionable value but as an integral part of the present art and culture.<\/p>\n<p>From today\u2019s perspective, both exhibitions curated by Andriu\u0161kevi\u010dius hold a momentous position in the landscape of Lithuanian art at the end of the previous century. They conditioned a novel approach to exhibition-making as a creative and scholarly practice by art critics, which fostered new attitudes towards art history and the present.<\/p>\n<p><strong>Keywords<\/strong>: art field, exhibition, curation, <strong>structuralism<\/strong>, concept<\/p>","protected":false},"excerpt":{"rendered":"<p>Julija Fomina (PDF) https:\/\/doi.org\/10.53631\/DIS\/2014.6.12 The history of curated art exhibitions in Lithuania began in the late 1980s. The emerging curatorial practice is disguised as \u2018concept-based exhibitions\u2019. It was a way for art critics to show their peculiar approach to actual art processes and art heritage. It intended to create an alternative to surveys or \u2018national\u2019<a href=\"https:\/\/www.arthistorystudies.lt\/en\/turinys-t-6\/kuratoryste-kaip-vaizdu-tvarkos-praktika-alfonso-andriuskeviciaus-parodos-mitas-dabarties-tapyboje-santrauka-1988-ir-nakties-ir-dienos-tapyba-1990\/\">[&#8230;]<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":666,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1857","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/1857","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/comments?post=1857"}],"version-history":[{"count":4,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/1857\/revisions"}],"predecessor-version":[{"id":1877,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/1857\/revisions\/1877"}],"up":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/666"}],"wp:attachment":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/media?parent=1857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}