The 12th Baltic states International biennale of Graphic Art “Kaliningrad-Koenigsberg 2015”, Russia
Having received a proposal to curate the exposition of Lithuania graphic artists in the international Kaliningrad graphic biennale I had a dual feeling. On the one hand, dividing art into art areas, roughly speaking- technologies, to my mind is absolutely useless. On the other hand, art works created using non chrestomathy graphic art technologies, manners and principles in some specific field context acquire unexpected, peculiar aspects and at the same time expand the boundaries of the field itself; bring in positive pluralism, shape (offer) innovative researches, fields of dissemination and action. Mutual exchange, leading to the advent of something different, has been going on. One more aspect- “non- graphics” in the exhibition (collection) of graphic art is analyzed through the prism of graphics. In my opinion, everything is graphics or everything is painting, photography and etc. Everything could be unfolded employing technological experiences and conceptual decisions.
I will briefly present Lithuanian collection. I will explain how the works you see came to life. Basically, it is a miniature analysis of graphic art nature, proof of the above mentioned aspects. Technological graphic art processes and expression elements are conceptualized in the collection; the nature/purpose of print has been changed. And at the same time everything is very simple. Artists are just creating.
Rimvydas Kepežinskas was awarded the highest state reward for his graphic works. Now he is painting. However, I succeed look at his works only through the prism of graphic art. The main element of the composition is a line-in ballpoint pen or brush, dipped in oil paint-but a line. The ‘profession ‘of graphic artist comes forth whatever he does. If he wanted or it was necessary- he would transform his painting into engraving. But there is no need.
Petras Saulėnas is a professional photographer. His direct cyanotype prints are perfect specimens of graphics aesthetics. Moreover, we can talk about them like the prints (graphics) from the technological viewpoint. Photographic plate- like zinc or any other plate- transfers the image on the paper in the manner of the press. After the invention of the photopolymer, graphics adopted all aspects of photography art and at the same time, enriching it, developed photography as well.
Vytenis Tolutis collects and makes the prints of reality. He cannot stand scales, he does not remake, and he just takes. Environment is his, a graphic artist’s plate. The viewer’s position determines whether the prints are reflected like symbols or like documents.
Matas Dūda, while creating his engravings, at the same time he “ collects” the surfaces of graphic art studio according gravure principles – i.e. rubs in dye, cleans, moisturizes paper, lets it through etching press, glues the print on the board and dries. Moreover, without the “explanatory “workshop prints personal points of view, in this case, become humdrum and too sentimental.
Marija Marcelionytė - Paliukas also does not create the image on the plate, as it is usual in graphic art. She takes already made and used for the intended purpose items and “transferring “them through graphics tools creates a picture that is beautiful for her , where all the principles of " correct " print are valid , and the name is created by the former content of the items/things.
Jurgis Bernatonis installs and closes to the catacombs his sketches as well as engravings drafts for future originals , graphic prints; in such way attaching to them significance and giving them the status of the artwork in advance. At the same time, these installations are the artist's book, where the flap, cover and content swap the positions and therefore, it cannot be otherwise.
In Jolanta Mikulskytė’s installations pure engravings are extended by the reflection of the environment in the mirror, reflections, that act like graphics prints, where right becomes left and vice versa. The artwork changes depending on the environment and it is never completed.
Meanwhile, Elenos Grudzinskaitės pictures created with a dry point reflect only themselves and at the same time they create the universe. The viewer, bumping into the finite, starts creating and finds himself again.
Dovilio Paliuko letters written by typewriter “embodies” all the elements of graphic art creation. A letter - like a plate, form, which, while contemplating a thought is imprinted on the paper and it becomes a print. Moreover, a linguistic aspect, which perfectly unrolls in Slavic cultural environment, appears. Being lost in translation acquires additional aspects.
It is my as a curator’s, short proposal of looking at Lithuanian exposition. Each author alongside his artwork presents the annotation of his personal collection and, I believe that it will expand the points of view ant will enable to appear something different due to winch all this is being created.
Curator and artist M. Marcelionytė-Paliukė, Lithuania, Vilnius, 2015