3 / 2005 ketvirtinis leidinys pokalbiai apie menà

Dëmesio: Lawrence'o Weinerio ir Julietos Aranda pokalbis apie šiandien ir vakar

Lietuvoje: Baltijos trienalës bliuzas

Raimundo Malašausko pokalbis su Elena Leontjeva apie rinkos dësnius

Dovilës Tumpytës pokalbis su Algirdu Šeškumi apie menà ir parapsichologijà

Svetur: Valentinas Klimašauskas ir Geraldas Jankauskas tarp San Francisko

ir Šiauliø

Þmonës: Rammelzee su kompanija apie gyvenimà ir visatà…

Biblioteka: Jonas Dagys ir Grzegorzas Sowula

Meninis projektas: Bik Van der Pol apie tai, kaip dingti suvisam

Ðiuolaikinio meno centras, Vilnius www.cac.lt

INTERVIU

4 5

Kartais tam, kad suprastum ðiandienossumaiðtá, verta atsigræþti á laiko patikrintusþodþius. Iðkilmingas jø ritmas nedarnai irsunkiai pagaunamoms idëjoms suteikiaformà. Atsigræþkime á Èeslovà Miloðà.

Iki ðio amþiaus þodis „geografija“ iðlaikëspalvingø atlasø su maþai þinomø paslap-tingø ðaliø kontûrais aurà. Augdama planetamaþëja ir vis maþiau ir maþiau vietø turi bentðiek tiek egzotikos… Tikriausiai auganèiosÞemës unifikacijos fone mûsø kilmës ðalisnebëra tokia svarbi. Galø gale þmogus visursusiduria su egzistencinëmis problemomis, irmus siejantis gimimo tais paèiais laikais ryðys,tai yra priklausymas tai paèiai amþiaus gru-pei, jau yra stipresnis uþ gimimo toje paèiojeðalyje ryðá.

Èeslovas Miloðas, Pradëdamas nuo savo

gatvës: mintys apie Baltijà, 1991

Ðiuose þodþiuose slypi tam tikra jëga, kuriosstokoja transliavimo ir telekomunikacijøpriemonëmis mus pasiekiantys þodþiai.Mëgstantys totalizuojanèias teorijas nesunkiaièia áþvelgs geðtalt(psicho)-geografijà. Jei BBCWorld, CNN ir Fox News amþiuje „matytireiðkia bûti“, tada bûtis radikaliai vienodëja –homogenizuojasi. Ádomu, kur link

Heideggeris ir Sartre’as pakreiptø savo reductio „bûti reiðkia veikti“ ekranø eroje?

Taigi, ðis INTERVIU numeris, pasirodantiskartu su IX Baltijos trienale (apie magijà,okultizmà, juodàjà rinkà, paranormaliusreiðkinius, etc.), kuri ir yra jo dëmesio centre,þymi noumeno geografijà – jame kaipdekonstrukcijos priemonës nagrinëjamosmedijos, paèios gaminanèios neiðardomàvienodumà. Ið tiesø, jø tipizavimas iðreiðkiaesminá difference geismà. Taip, tikëjimo/per-spektyvos/þiûros taðko tipologija tokia patávairiapusiðka kaip ir pikseliø kiekis monitoriu-je. Ðioje tipologijoje pirmiausiai technologijosyra verþlus ardantis tarpininkas. Bent jautiems, kurie turi pakankamai kantrybës irstropumo, kad maðinoje rastø dievà ir/ardvasià. Leidinio dizaino logikà savaip ardotrienalës vaiduokliai – BMW logotipai, sukurtiJeano-Franšois Moriceau ir Petros Mrzyk,iðmarginæ ankstesnio ir ðio INTERVIU numeriopuslapius.

Panaðiai nuteikia ir specialus Bik Van derPol sukurtas virðelio dizainas (plaèiau apieprojektà skaitykite skyrelyje „Biblioteka”). Jisskelbia apgalvotà dingimà: ar jis vyktøBaudrillard’o dykumoje Kalifornijoje irNaujojoje Meksikoje, CronenbergoVideodromo (1983) ar ankstesnio Trono

(1982) ekranuose, gal net Josepho Conrado“tamsos ðirdyje” belgø Kongo, kas þino?Galbût iðnykimas dingsta didþiosioseLawrence’o Weinerio interviu/projektoraidëse; taigi, gráþtame á septintà-aðtuntàdeðimtmetá.

Ðis numeris praplëtë INTERVIUgeografinius ryðius – tekstai atkeliavo iðLietuvos (áskaitant ir regionus), Lenkijos,Olandijos, Meksikos ir JAV. Þinoma, Lenkijapriklauso tam geopolitiniam regionui, kuráleidinys ir siekia atspindëti. Kaip ir nacionali-nius diskursus, kuriais Lietuvos specialistaidaþnai matuoja savo darbus. Malonu, kadGrzegorzas Sowula Penguin Books istorijosapþvalga tarptautinius fenomenus testuojaremdamasis vietine patirtimi, bet ir taip, kadpraturtintø abi puses.

Stengdamiesi, kad INTERVIU nepranyktøtarp þvilganèiø tarptautiniø meno leidiniø,tikimës ir toliau plësti savo ryðius ir ben-druomenæ. Laukiame atsiliepimø ið savoskaitytojø (kol kas gavome tik vienà laiðkà),pasiûlymø ir gerø idëjø – ið autoriø. Kaipkitaip galëtume patikrinti, ar be ezoterikos,kuri vyrauja ðiame numeryje, yra dar likæ kasnors egzotiðko. Ir ar mûsø idëjos ðiuolaikiðkos.

Linarra DDovydaiitytë, Siimon Reees

Kaþkas aiškëja?

ÐMC INTERVIU / CAC INTERVIU

3 / 2005

Redaktoriai / Editors: Linara Dovydaitytë, Simon ReesDizainas / Design: Daiva KiðûnaitëVertimas / Translation: Julija Fomina, Virginija Januðkevièiûtë, Valentinas Klimaðauskas,Agnë Naruðytë, Ûla TornauSpauda / Printer: Sapnø sala

© Ðiuolaikinio meno centras, menininkai ir tekstø autoriai / Contemporary Art Centre, Vilnius,the artists and writers, 2005.

Leidinys ar jo dalis negali bûti dauginama ir atga-minama komerciniais tikslais be leidëjo sutikimo.No part of this publication may be reproducedwithout prior permission of the publisher compatible with fair practice.

ISSN 1822-2064

Leidþia Ðiuolaikinio meno centras 4 kartus per metus.Produced four times a year by the Contemporary Art Centre, Vilnius.

INTERVIU skelbiamos mintys nebûtinai atitinka leidëjo ar redakcijos nuomonæ.The views expressed in INTERVIU are not necessarily those of the Publishers or Editors.

Ðiuolaikinio meno centras [ÐMC]Contemporary Art Centre [CAC]Vokieèiø 2, LT-01130 VilniusLithuaniaT: +370-5-262 3476F: +370-5-262 3954E: interviu@cac.lt

INTERVIU bièiuliai / INTERVIU friendsAnn Demeester, AmsterdamChristoph Tannert, BerlinGordon Dalton, CardiffVanessa Joan Müller, FrankfurtMichael Stumpf, GlasgowJens Hoffman, LondonIrina Gorlova, MoscowSofia Hernaÿndez Chong Cuy, New YorkAlexis Vaillant, ParisSolvita Krese, RigaNiklas Östholm, StockholmHanno Soans, TallinnMagda Kardasz, Warsaw

Mielas red., atsakau á Jûsø atkaklius klausimus dël Baltijos trienalës.

Baltijos trienalë yra stambaus þaidimo dalis.Ðis þaidimas kasmet tampa vis populiaresnis.Iðgirdæs apie naujà bienalæ ar trienalæ kurnors pasaulyje ar kaimynystëje, pagalvoji –dar viena. Be jokios abejonës, tokie renginiaiorganizuojami norint sutelkti didelá kieká ðiuo-laikinio meno ir plaèios publikos á vienà vietà.Jie turi traukti dëmesá, akumuliuoti, kelti lygá,rodyti kryptá ir skleisti informacijà. Jie padedaátvirtinti, iðkilti, þymëti, atrasti ið naujo ir sekti.Jie turëtø tapti traukos centrais ir diskusijøtvirtovëmis. Diskusijos turëtø suktis apie kin-tanèias sàlygas, pasikartojimus, blogà orà irnaujas susitikimo vietas. Tokia pakuotë. Kaikurios tokios iniciatyvos pavyksta. Taèiau dau-guma jø þlunga ir lieka tikrojo veiksmonuoðaly.

Tai mane verèia galvoti – kodël? Orga-nizatoriai, prodiuseriai ir meniniai direktoriai –kà jie daro? Aiðku, kad jie planuoja, ieðkofinansø, kalba su vietiniais politikais. Jie kuriastrategijas ir diskutuoja apie idëjas, sklaidoslygmenis ir renginio pozicijà. Jie kuria naujaserdves ir didina miesto turistø srautus. Samdomadingus kuratorius. Pristato paraleliniusrenginius ir organizuoja konferencijas. Atveþadideliø vardø. Jie visi galø gale tikisi geraipraleisti laikà. Nori, kad þmonës renginá ási-mintø ir apie já kalbëtø. Jie leidþia katalogus –sunkias knygas, dedamas ant kavos stalelioofise, namie arba namø ofise. Jie neriasi iðkailio, kad átiktø klientø poreikiams:pamalonintø vietinæ valdþià, palinksmintømenininkus ir rëmëjus, ðokiruotø ir stebintøpublikà. Jie iðleidþia daug valstybës ir privaèiøpinigø. Ir vis tiek dauguma ðiø renginiø bûnatik geri. Jie nublanksta dar nepasibaigæ. Tosknygos ant kavos stalelio kaupiasi, atsiduriasandëlyje, sunkiai betelpa lentynoje. Kasmetjø vis daugiau.

Todël man kyla klausimas – o kodël mes ávisa tai ásitraukëme? Ar tik dël to, kadturime didelá namà Vilniaus viduryje ir laisvæjame daryti kà norime? Ar todël, kad esameinstitucija su dëmesá traukianèia programa irþaidimui pasiruoðusia jauna komanda? O galdël pozityvios energijos ir nuoðirdaus norobendrauti, tokio áprasto naujai iðkylanèiomsðalims? Todël, kad mes nesugebëjome kovotisu istorija ir pakeisti planetos þemëlapio?Argi tikrai buvo taip jau sunku tyliai gyventiprovincijoje? Nuobodu? Bet Lietuva – neNaujoji Zelandija. Jos nekankina atstumo

problema. Nors galbût ji ir ðiek tiek nuoðaliaupagrindiniø keliø... Redaktoriau, mes supran-tame, kad, kokius puikius, iðradingus ar netetapinius projektus jûs bebûtumëte daræspraeityje, niekas be pakviesto menininko, jodraugës ar jos draugo, o daugiø daugiausiajø galeristo ið Berlyno neatvykdavo arbaneuþvaþiuodavo jø apþiûrëti. Tikimës jûsølabui, kad kurià dienà tai pasikeis. Tik turitebûti kantrûs.

Bet mes daugiau laukti nebegalëjome.Mums reikëjo savo bienalës. Originalios.Neimportuotos. Pirmos tikros buvusiameRytø bloke! (Juk pradedantiems visadasekasi). Mes tikrai dþiaugëmës, pradëjæ priejos dirbti. Kaselyje netgi surengëme specialøvakarëlá, kuriame buvo dalinami paketaispaudai ir mëlyni marðkinëliai. Taip ruoðëmëspraeitai trienalei. Ji ávyko 2002 metais. Buvopavadinta „Traukos centru“ ir ta prasmepuikiai pasisekë. Ji buvo didelë/paprasta/ambicinga. Iðleidome du katalogo tomus.

Po poros metø vël suskambo þadintuvas.Kur keliausime dabar? Toliau? Kà reiðkia eititoliau? Ir kodël ið viso turime tai daryti?Kokia prasmë daryti parodà, kuri bûtø tikdidesnë ir dar brangesnë? Kas turëtøvadovauti projektui siekiant padaryti já kitoká?Kokià þinià siøsime savo publikai, draugamsir konkurentams?

Ir ðtai kà turime: Ultimiere taðkas com;Black Market Worlds (BMW!); Big Bang isBack. Ar bet kas kita, kà pasirinktumëte iðmûsø projekto „kitø pavadinimø“ meniu.Tiek to tas pavadinimas. IX Baltijos trienalëbus bendra ÐMC ir trijø paðauktiniø kuratoriørizika. Tai (pasirodymo eilës tvarka): AlexisVaillant ið Paryþiaus, Raimundas Malaðauskasið Vilniaus ir Sofia Hernandez Chong Cuy iðNiujorko. Visi trys jauni. Þino, ko nori. Beveikneturi ko prarasti. Dirbdami jie atrodo kaiptrys lengvasvoriai boksininkai. Jø judesiai tik-slûs ir elegantiðki: aikðtelëje jie greièiau ðokanei kovoja. Niekada neþinai, ið kur ir kadatave pasieks ðvelnus niuksas. Galø gale galisulaukti ir tikro smûgio…

Jie vëlavo su informacija apie projektà.Bet að dël to nesirûpinau. Þinojau, kad taipbus geriau. Vilnius – ideali vieta jiems dirbti.Jie gali eksperimentuoti ir þaisti parodos for-matu ir turiniu. Mëtyti pëdas ir viskà supai-nioti. Neatvykti á parodos atidarymà. Be to,jie mëgsta slapukauti. Jiems patinka keisteny-bës. Mëgsta koverius ir netikëtas jungtis.Pasitelkia vampyrus ir ðeðëlinius tinklus.Pasitiki tik atsidavusiais þmonëmis. (Atrodo,kad tik keletas ðimtø suþinos apie renginá).

Direktoriaus laiðkas

Vengia duoti interviu. Dalina korteles suvienu þodþiu. Jie nori, kad viskas atrodytøcool, linksmai ir paslaptingai tuo paèiu metu.Tiki dvasiomis...

Man jie patinka. Kartais maþiau. Bet svar-biausia, kad vis dar tikiu jais ir nekantriai

laukiu rugsëjo 23-osios.

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Julieta AArannda ssu LLawwrence’u WWeineriu ssusi-tiko jjo nnammuose NNiujorke ppabbaiigti ppokallbioappie ttaiip vvaddinammà mmeno ssistemà. ÐÐtaii ddallisto, kkà jjaii ppavvyko iiðsiaiiðkinti...

Pattekti áá kkultûràJuodosios rinkos yra ádomus klausimas màs-tant apie kultûrinæ produkcijà ekonominiupoþiûriu, kadangi jos sukuria toká platinimotinklà, kuriame nëra jokiø taisykliø ir kuriameprodukto vertë priklauso nuo apyvartos ir josmasto. Patekæ á kultûrà tie produktai, kartaisvisiðkai atsitiktiniai, tampa ikonomis.Juodosiose rinkose galioja ne paklausa irpasiûla, o nepastovumo prioritetai, siekisiðlikti uþ rinkos dësniø ribø. Pastovumas èianeveikia, nes taikomi nefiksuoti modeliai.

Kai kintantys, pogrindiniai modeliaiabsorbuojami, susiduriame su didþiulio kolek-tyvinio troðkimo kristalizacija: tai, kas cirkulia-vo pogrindyje, iðkyla á pavirðiø ir (cituojantLawrence’à Weinerá) „mes nustojame bûtirevoliucionieriais ir tampame kareiviais“.

Lawwrence’ass WWeineeris (kalbant apie septintà– aðtuntà deðimtmeèius):

TAI, KKÀ VVADINI JJUODÀJA RIINKA, IIÐ TTIKRØØJØYRAA TTAM TTIKROOS KKARTTOS SIIEKIAI, NNETURIIN-TYS NNIEKO BBENDROO SUU AANKSTTESNNËS KKAR--TOS LLÛKESÈÈIAIS.. JJIE AATROODO VVEIKIAU IIDE-ALISTTINIAI NNEI ROOMANTINIAI.

REEIKËTØ AATSIIRIIBOTI NNUO KKONCEPTUALAUSKÛRIINIO SAAMPRAATOS IIR AATSIIGRÆÆÞTI ÁÁMENININKUS,, KKURIIE AATËJO IIR PPAMËGINOVEIKTI TTOKIU MMETU,, KKAI JJIEMS NNEBUVOVIETOS.. TTAI NNEI DDRAAMATIÐKA, NNEIROOMANTIÐKA. TTIESIIOG MMIESTTØ CCENTRUUOSEEATSIIRAADO PPAKANKKAMAI DDAUGMENININKØ, KKAD TTAIP NNUTIKTØ.

GERAAI, TTUO MMETU VVYKO DDAUGYBË VVISOO-KIAUSIIØ DDALYKØ, BBET TTU DDIRBBAI NNAKTINËJEPAMAINOJE IIR KKRYYPTINGAI SIIEKEI PPATEKTI ÁÁSTTRUUKTÛRÀÀ. TTUO MMETU NNEBUVO NNË VVIENO,KURIIS NNEBÛTØ PPASIINAUDOJÆS STTAIGAATSIIRAADUSIIA GGALIMYBE PPATEKTI ÁÁSTTRUUKTÛRÀÀ.

Pakkitusios ssàlygos iir jjuodosios rrinkosÐiandien, kaip ir anksèiau, kultûrinës/politinëssituacijos sukuria vietinius ðeðëlinius tinklus,kurie savo ruoþtu gamina kultûrinæ valiutà;bet ðiandien nebëra aiðku, prieð kà tie tinklaiveikia. Ðiandien, kai rinkos (alternatyvios arpagrindinës) apibrëþimai ar opozicijos (Rytø-Vakarø) nebëra tokie aiðkûs, ðis klausimas,kad ir miglotas, yra svarbus.

Kà reiðkia „juodosios rinkos“, kai nebeaiðku,kas yra draudþiama? Jos veikia atmetimo sis-temos pagrindu – slapèia siûlo tai, kas nëraátraukta á áprastà pasiûlos/paklausos tinklà,taèiau kas dabar á já neátraukta? Jei veikiamapagal modelá, kuris neturi aiðkiø ribø, kuobûtent prekiaujama pogrindyje? Kuo skiriasivertë, kurià sukuria tiesioginis marketingas,nuo tos, kuri atsiranda juodosios rinkos apy-vartoje?

LW (kalbant apie jo frazæ „mes priklausomesavo laikui“ ir dabartiná kritikos vaidmená):

AÐ MMANAU, KKAD, JJEI TTAVÆS NNETENKINADABARTTINË SOOCIALINË, KKULTÛRIINË,MORAALINË IIR EESTTETINË VVISUUOMENËËSKONFIGÛRAACIJA, TTAI TTU KKAIP MMENININKASTURII STTENGTIS PPASIIÛLYTI KKITUS TTEKSTTOVARIIANTUS,, KKITUS EEGZISTTAVIMMO BBÛDUS..TAIGI, GGALIAUSIIAI KKALBAME AAPIE TTÀ PPAÈIÀKRIITIKÀ, TTIK TTIEK, KKAD VVISKKAS,, KKÀBEPASAAKOME, NNESUUNNKIAI VVIRSTTABANALYBE ÐÐITAIP SPPARTTËJANT IINFORMMACI-JOS PPERDDAVIMO IIR REEPROODUKAVIMO TTEM-PAMS.. TTAÈIAU JJEIGU PPASIISAAKAI UUÞ TTOKIÀESTTETIKÀ, KKURII TTEIGIA, KKAD KKUO LLABIAUKAS NNORS VVYSTTOSII, KKUO PLAÈIAU PPASKKLIN-DA, TTUO DDIDESNNÆ ÁÁGYJA VVERTTÆ, OO NNEATVIRKKÐÈIAI, NNE KKUO MMAÞIAU TTUO VVERTTIN-GIAU... TTIESIIOG TTAS PPATS,, TTIK AAPVERSTTAAUKÐTYN KKOJOM. TTOKIOS NNUOSTTATOSLAIKOMËS JJAU DDAUG MMETØ. FFINANSIIÐKAITAI NNE PPER DDAUG AAPSIIMOKA, TTAÈIAUIÐGGYVENTI GGALIMA. OO KKAI PPAMATAI, KKADGALI IIÐGYVENTI, GGALI NNUSTTOTI MMELUOTI.GRÁÁÞTI ÁÁ TTÀ PPATÁ KKELIÀ. MMENIININKAS,, KKURIISNEMELUOJA, VVISUUOMENEI GGAMINA JJAU 75 %% REEIKALINGÀ PPROODUKTÀ, KKADANGIDAUGUMA ÞÞMONIØ IIÐ EESMMËS PPRIIVERSTTIMELUOTI AAPIE SAANTYKIUS SUU SAAVIMI IIRKITAIS..

Julieta AArannda: Galvojant apie septintodeðimtmeèio pabaigos – aðtunto deðimt-meèio konceptualaus meno praktikà manatrodo, kad, norint, jog tokio tipo kûriniaibûtø þinomi, turëjo bûti sukurtas naujas apy-vartos/platinimo tinklas. Ar galima apie taikalbëti kaip apie tam tikrà tuometinio meno„juodàjà rinkà“?

LW: DDAUGELIS MMENININKØ MMANË, KKAD JJØMENAS BBUS PPRIIEINAMAS VVISIIEMS,, JJEI TTIK JJIEJÁ IIÐTRAAUKS ÁÁ VVIEÐUMÀ... TTAIGI, JJIE ËËMËROODYTI SAAVO MMENÀ TTOKIOSEE VVIETOSEE,KURIIOS NNETURËËJO KKULTÛRIINËS REEIKÐMËS..PAVYZDÞIUI, BBIURUUOSEE ((TAI, KKÀ BBUVOSUUORGGANIZAVÆS SEETHAS SIIEGLLAUBAS)), IIRÞMONËS PPAMATË. JJIE AATRAADO PPARDDUOTU-VIØ VVITRIINAS LLOWER EEASTT SIIDE IIR KKITUR..ÞMONËS PPAMATË. TTADA JJIE VVISIIÐKAIÁSIITVIRTTINO IIR DDAUGIAU NNEBEPRIIKLAUSËËJUODAJAI RIINKAI, JJIE TTAPO MMENININKAIS,,KURIIE DDIRBBA SUU KKITOKIA FFORMMA, KKITOKIAMENO RÛÛÐIMI. ÐÐTAI TTAIP!

VIEN TTAI, KKAD JJIE STTENGËSII AATRAASTTI KKITÀLYGMENÁ, YYRAA ÞÞAVVU. ÞÞINAI, IIR TTAI NNËRAAUTOPIJA. TTUO JJIE SKKYRËËSII NNUO TTØ, KKURIIEVERTTINO ÐÐIUOLAIKINIO MMENO IISTTORIIJÀ IIÐXIXX AAMÞIAUS PPERSPPEKTYVOS.. JJUDËJIMASSUUKOSII NNE AAPIE „„JUOS““, JJUDËJIMÀ KKURËËME„MES““, JJIS BBUVO AAPIE „„MUS““. KKILOO IIDËJASUUKURTTI RIINKÀ, KKURIIOJE MMENININKASFUNKCIONUOTØ KKAIP IINTEGRAALIVISUUOMENËS DDALIS.. PPOKYÈIAI ÁÁVYKO NNEPRIIEÐINANTIS KKULTÛRAAI, OO PPAREEIÐKIANT,KAD BBÛTENT ÐÐIOS KKARTTOS PPOREEIKIAI IIRTROOÐKIMAI YYRAA PPAGRÁÁSTTI IIR TTEIISËËTI. IIR NNEDËL TTO, KKAD AAPIE TTAI SVVAJOTA IIRANKSÈÈIAU, OO TTIK DDËL JJØ TTEISËËTUMO IIRPAGRÁÁSTTUMO TTIE PPOREEIKIIAI IIR TTROOÐKIMAIÁGIJO VVERTTÆ. TTEISUUMAS JJIEMS SUUTEIKËKAÞKOKIÀ VVERTTÆ.

MAN ROODOS,, KKAIP TTIK AAPIE TTAI MMËGINAMEEPASIIÐNEKËTI –– KKAIP SUUKURIIAMA KKAÞKAS,,KAS TTURII SAAVAIMINÆ VVERTTÆ, OO PPASIIKEITUSPENKIOMS KKARTTOMS TTA SAAVAIMINËË VVERTTËROOMANTIZUOJAMA, MMAT KKAÞKADA BBUVOITIN MMAIÐTINGAI PPAREEIKÐTA, JJOG „„ÐIO PPROO-DUKTO VVERTTË ((NORS MMES NNET NNEÞINOME,KAIP JJIS AATROODO) VVIS VVIEN YYRAA VVERTTË“. TTAI

7

VIENAS IIÐ DDALYKØ, KKURIIUOS IIÐAIÐKINOMÛSØØ KKARTTA. JJIS NNETURII TTURËËTI FFORMMOS;;JIS NNETURII BBÛTI ÁÁ NNIEKÀ PPANAÐUUS.. JJIS YYRAAKAS YYRAA, IIR JJO VVIENINTELË VVERTTË YYRAA JJOTIESAA. IIR TTAI NNËRAA MMENINË MMENO TTIESAA,NEI MMENINË MMENO VVERTTË, TTAI YYRAA PPAÈIOSTIESOOS PPASIIREEIÐKIMAS..

(komentuojant juodøjø rinkø sàvokà)

JEIGU AAIÐKU, KKO NNORII, TTADA JJUODOJIRIINKA NNEREEIKALINGA. KKADDANGI IIÐ EESMMËSVISII MMES EESAAME SAAVO AAPLINKOJEVEIKIANTYS PPILIEÈIAI... IIR GGALIME TTOKIEBÛTI TTIK BBÛDAMI TTUO,, KKUO EESAAME, TTAIYRAA MMENININKAIS..

VISAA TTA JJUODOSIIOS RIINKOS KKULTÛRAAEGZISTTUOJA TTODËL, KKAD KKAÞKUR GGILIAIÐIIRDDYJE BBUVOME IIÐMOKYTI TTIKËTI, KKADMENININKAI NNËRAA TTOKIE PPAT KKAIP KKITIÞMONËS.. AAR JJIE NNETURII TTOKIØ PPATT PPROOB-LEMØ, AAR JJØ VVAIKAI NNEINA PPAS DDANTISTTÀ?ÞINOMA, KKAD EEINA! AAR JJIE NNETURII MMOKËTIMOKESÈÈIØ? ÞÞINOMA, KKAD TTURII! TTAI KKUOJIE SKKIRIIASII NNUO KKITØ? TTIK DDËL TTO, KKADKAÞKAS,, KKAÞKOKS PPILVOÈIUS,, KKAÞKURKAÞKADA PPASAAKËË: „„MENININKAI DDIRBBA NNEDËL PPINIGØ“. KKAD KKAÞKOKS NNELAIMËLISPAREEIÐKË: „„MENININKAI IIÐSIISUUKINËJA, JJIENEDIIRBBA, OO AAÐ DDIRBBU“. ((BET JJIS NNEKURIIAMENO). IIR MMES TTIKIME. VVISÀÀ GGYVENIMÀJAUÈIAMËS KKALTI, KKAD EESAAME NNE VVISAAITEISÛÛS.. MMUMS REEIKIA JJUODOSIIOS RIINKOS,,REEIKIA TTURËËTI KKAÞKÀ „„PO STTALU“, TTAI TTURIIBÛTI SLLAPTA, TTURII BBÛTI ROOMANTIÐKA. NNE,NETURII!

Ávaiirovë iir ssimultanniðki ppassauuliaiiJei perþiûrëtume terminus, tai alternatyviaisbûdais plintanèià kultûrà – ne dël to, kadreikëtø atverti naujas erdves, bet todël, kadtai bûdas iðsaugoti autonomijà, – geriau gali-ma bûtø apibûdinti kaip neoficialiàekonomikà. Tai bûdas gauti pajamas, kurionereglamentuoja visuomeninës institucijostokioje teisinëje ir socialinëje aplinkoje, kurio-je kitokia panaði veikla yra reglamentuojama.Rasti trumpà neoficialios ekonomikos api-brëþimà nëra lengva. Daugelyje teoriniødarbø ðis klausimas svarstomas ið kito galo –apraðant, kas nëra neoficiali ekonomika, obûtent: oficiali ekonomika (baltoji rinka) /kriminalinë ekonomika (juodoji rinka) / rûpy-bos ekonomika (kraðto ekonomika, namøûkis).Neoficiali ekonomika arba „pilkoji rinka“neturi universaliø parametrø; ji sukuriasituacijas, skatinanèias kultûrinës produkcijos,

kuri nebuvo asimiliuota, taigi, neturi ir fik-suotos vertës, apyvartà. Kadangi ðios situaci-jos nëra iðkart atpaþástamos (nëra vieno mo-delio), jø egzistuoja gausybë, viena keièiakità. Viskas èia ir dabar.

JA: Kà að èia ëmiau vadinti juodosiomisrinkomis yra dalis to, kà jûs vadinate simul-taniðkais pasauliais...

LW: MMAN AATROODO, KKAD PPER MMENNOPASAAULÁ, PPRAADËDAMI SUUVOKTI TTÀMECHANIKÀ, KKURII JJÁ SUUDAROO, MMESPRIIËJOME GGALIMYBÆ SUUVOKTISIIMULTANIÐKÀ PPAASAAULÁ, KKURIIAME NNEEGZIS--TUOTØ JJOKIA KKITA HHIERAARCCHIJA, IIÐSKKYRUUSTÀ, KKURIIÀ PPATS SAAU NNUSTTATAI. KKAIPASAAULLYJE NNEBEBUS HHIERAARCCHIJOS,, KKO AAÐTAIP LLAUKIU, NNEBEBUS GGALIMA VVIENOSKULTÛROOS LLAIKYTI ÞÞEMESNNE AARAUKÐTESNNE UUÞ KKITÀ. KKULTÛROOS YYRAASKKIRTTINGOS.. TTAÈIAU JJOS EEGZISTTUOJA TTUOPAT MMETU TTOJE PPAÈIOJE VVIETOJE.

JA: Tokiu atveju atsiranda kitoks produktovertës tipas.

LW: TTOOKIU AATVEJU AATSIIRAANDA VVERTTË,PAREEMTA PPROODUKTO NNAUDA VVISUUOMENEI,ÐTAI IIR VVISKKAS.. PPAREEMTA NNE PPROODUKTOVIIETA HHIERAARCCHIJOJE, NNE JJO GGALIA IIR SPPIN-DESIIU, BBET BBÛTENT NNAUDA VVISUUOMENEI,KURIIOJE JJIS EEGZISTTUOJA. MMANN PPASIISEEKË,NES DDAUGELYJE VVISUUOMENIØ, KKURIIOSEEATSIIRAADO MMANO DDARBBAI –– NNUO VVAKARØØEUROOPOS IIKI NNAUJOSIIOS GGVVINËJOS ––ÞMONËMS,, AATROODO, JJIE TTEIKË NNAUDÀ. BBETTURËËTØ BBÛTI IIR TTOKIA KKULTÛRAA, KKURIIOJEJIE NNEBÛTØ NNAUDINGI, IIR TTAI REEIKÐTØ TTIKTIEK, KKAD TTEN JJIE NNETURII VVERTTËS,, NNETEIKIANAUDOS.. SUUPRAANTI? JJEIGU IIÐ KKAÞKO NNËRAANNAUDOS,, TTAI TTAM NNET JJUODOJI RIINKANESUUTEIKS VVERTTËS,, NNEBENT PPANAUDOTØ JJÁKAIP NNORS KKITAIP.

Tiesa,, rrevoliuccija iir nnauujumass ((nauuji kkritikosmodeliaii)Vis gráþtu prie Felixo Guattari þodþiøChaosmosis (1992): „pasàmonë tapo institu-cija“. Jie verèia manyti, jog tokios sàvokoskaip „troðkimas“, „revoliucija“, „tiesa“ yravirtæ oficialiosios retorikos dalimi ir netekæjokios prasmës. Ðios idëjos buvo paverstosðûkiais, reglamentuotais emancipacinës poli-tikos þingsniais. „Tiesa“, „revoliucija“, „nau-jumas“ tapo vertës netekusiomissunormintomis kategorijomis, taèiau vis darnaudojamos kaip diskursyviniai kultûrinësprodukcijos operatoriai.

JA: Naudingosios vertës samprata verèiasusimàstyti apie tai, kas yra nutikæ su kritinemeno funkcija ðiomis dienomis. Kritikosintencijos yra rimtos, taèiau neretai ji tampatø paèiø institucijø ir struktûrø, kuriomsmëgina pakenkti, áteisinimo árankiu.

LW: GGAL GGREEIÈIAU AAKREEDITACIJOSPRIIEMONE. JJI JJAU PPAATEKO ÁÁ STTRUUKTÛRÀÀ, JJÀÁ DDISKKUSIIJÀ NNORII ÁÁTRAAUKTI TTAM TTIKRAAGRUUPË, VVADINAMA „„AKADEMIJA“ ((KURII IIÐTIKRØØJØØ NNEEGZISTTUOJA). IIÐ EESMMËS TTAI STTA-TUSOO SUUTEIKIMAS.. TTAI NNËRAA NNEI GGERAAI, NNEIBLOGAI. MMALONU, KKAD KKARTTAIS AAKADEMI-JA NNORII PPADISKKUTUOTI, BBET IIÐ EESMMËS KKASSUUTEIKË JJAI ÁÁGALIOJIMUS PPARIINKTI DDISKKUSII-JOS DDALYVIUS?? TTAAI KKLAUSIIMAS,, ÁÁ KKURÁÁATSAAKYMO NNETURIIU.

JA: Ar uþ tai nëra atsakingos ir naujosios kri-tikos praktikos? Ar perspektyvu ðiandiennaikinti institucijas plaèiàja prasme ir nepasiû-lyti alternatyvos?

LW: NNA, TTAI TTIESIIOG NNETEISIINGAI SUUPRAASTTISTTRUUKTÛRAALISTTØ SIIEKKIAI. DDAUGELIS JJØ,TOKIØ KKAIP FFOUCAULT ((KURIIUO IIKI ÐÐIOLPLAÈIAI REEMIAMASII), MMËGINO SUUPRAASTTISTTRUUKTÛROOS DDALLIS,, OO KKADANGI JJIEMSNEPATIKO, KKAIP FFUNKCIONUOJA PPATISTTRUUKTÛRAA, JJIE GGALVOJO, KKAD JJOJE IIRSLLYPI EESMMINË KKLAIDA. PPASIIDARËË MMADINGAVISKKÀ IIÐKONSTTRUUOTI. BBET NNIEKAS IIÐ JJØNESUUGEBËJO PPERKKONSTTRUUOTI. JJIE IIÐARDDËMONTAVIMO ÁÁRAANGÀ, NNORËËDAMISUUPRAASTTI, KKAS JJÀ SUUDAROO. PPAPASAAKOJOVISKKÀ, KKÀ PPAVYKO SUUÞINOTI AAPIE AATSKKI-RAAS DDALIIS IIR DDAÞNAI BBUVO TTEISÛÛS,, BBETNIEKAD TTAIP IIR NNESUUPRAATO, KKAIP REEIKIASUUDËTI VVISKKÀ IIÐ NNAUJO.

TAIGI, JJIE PPASIIÛLË VVISÀÀ KKRÛÛVÀ MMONTAVI-MO ÁÁRAANKIØ... TTAÈIAU JJOKIØ TTAISYYKLIØ. IIRDËL TTO IILGÀ LLAIKÀ JJIE BBUVO TTIKRIIAUTTORIITETAI, NNES,, JJEI BBANDYTUM KKÀ NNORSSUUDËLIOTI, JJIE SAAKYTØ: „„NE, NNE TTAIP REEIKIADARYYTI... NNE TTAIP... IIR NNE ÐÐITAIP...“. TTAIREEIÐKIA, KKAD KKAÞKAS UUÞ JJUOS DDAR 110METØ MMOKËSII. OO JJIE JJAU BBAIGË KKARJJERÀÀ,IÐËJO ÁÁ PPENSIIJÀ, NNUMIRËË. MMAN TTAI AATROODËKAIP SAAVOTIÐKAS GGERAAS PPOKÐTAS,, KKURIISNIEKAM NNEPAKENKË, TTIK JJAUNESNNI STTU-DENTAI ÞÞIÛRËËS IIR SAAKYS: „„GERAAI, MMES VVISAATAI SUUPRAANTAME, BBET KKAIP DDABAR VVISKKÀSUUDËTI IIR KKURGGI AATSUUKTUVAS??“.

[...]

Paulinos bëdosIð pokalbio su Lawrence'u Weineriu

Dëmesio

98

YRAA IIR KKITA PPROOBLEMA: KKAIP GGALIMAINSTTITUCIONALIZUOTI TTOKIØ DDALYKØ,KURIIE EEGZISTTUOJA TTIK SÀÀVEIKAUDAMI SUUNUOLAT KKINTANÈIA VVISUUOMENE,MOKYMÀ? PPASAAULIS SUUKASII, KKAÞKOKIASRIITIS GGALËJO BBÛTI FFANTASTTIÐKA 119772METAIS,, SUUSIIDÛRUUS SUU VVIETNAMO KKAROOSIIAUBU, TTAÈIAU JJI GGALI NNEBETURËËTI NNIEKOBENDROO SUU ÐÐIANDIENINËMIS PPROOBLEMOMISIR SIIAUBU. NNES TTAI, KKAS REEAKCINGA,ILGAINIUI PPASEENSTTA. TTAIP, TTUOMET JJÛSKAÞKO PPASIIEKËTE, TTAIP, JJÛS TTIKITËS,, KKAADTAI PPAKLIUVO ÁÁ KKONTEKSTTÀ IIR IIKI ÐÐIOLRÛÛPI... BBET TTIK TTODËL, KKAD NNEBUVO DDUO-TAS AATSAAKYMAS..

Mergelë nneelaiimëlë ((arr pproduktass ggalli nnulemtijo appyvarrtà?)Duotasis pasiprieðinimo modelis apima irsavo prielaidas. Jis nustato nuorodas, átvirtinapoþiûrá, suponuoja ir pasiprieðinimo, ir to,kam prieðinamasi, sàlygas. Jis uþkerta keliànenuspëjamumui – kitas istorijos vingis, kurisvisà laikà kartojasi?

Nuspëjamumas paverèia kultûrinës produkci-jos ciklus panaðius á átempto siuþeto filmus,tokius kaip Paulinos bëdos – 1917 metøsavaitiná nebylø serialà su mergele nelaimëlekaip pagrindiniu personaþu. Kiekvienoje seri-joje ji pakliûdavo á tokià situacijà, kuri aki-vaizdþiai turëdavo baigtis mirtimi. Kitos seri-jos pradþioje ji bûdavo iðgelbëta arba iðven-gusi pavojaus vien tik tam, kad susidurtø sunauju. Labiausiai þinoma ðio serialo scena –mergelë guli pririðta prie geleþinkelio bëgiø,o jos link dideliu greièiu artëja traukinys.

Jei kultûrinæ produkcijà laikyti tokia „mergelenelaimële“, kodël mums taip norisi jà iðgel-bëti? Galbût, jei jà suvaþinëtø, galëtumepradëti naujà filmà. Galbût ji netgi patigalëtø atsiriðti virves ir nueiti. Þanro atmeti-mas norint já atgaivinti? Ar galima pasiûlytitoká apyvartos modelá, kuris iðliktø gyvybingasir aktualus?

JA: Tarp ásitvirtinusiø vartojimo tinklø ir tø,kurie dar tik siûlomi, egzistuoja numanomasgráþtamasis ryðys. Kas nutinka, kai naujos for-mos absorbuojamos? Tai truputá primenajûsø mergelës nelaimëlës vaizdiná, iðskyrus tiktai, kad jos gelbëtojai kitoje serijoje vël jàpririð.

LW: MMÀSTTANT LLOGIÐKAI, JJIE GGREEIÈIAUSIIAIIPRIIRIIÐ KKÀ NNORS KKITÀ PPRIIE KKO NNORS KKITO.PAVYZDÞIUI, PPRIIRIIÐ NNE PPRIIE GGELEÞINKELIO

BËGIØ, OO PPRIIE KKELIO ÞÞENKKLO. BBET BBÛTINAIPRIIE KKO NNORS PPRIIRIIÐ, TTAI PPAROODO GGALIÀ.IR KKAI FFILMO HHEROOJË IIÐSIIGELBËJA, TTAI DDARNEREEIÐKKIA, KKAD JJI PPATI NNEPRIIRIIÐ KKO NNORSKITO. PPAVYZDÞIU GGALËTØ BBÛTI TTOKIOSVIETOS KKAIP IIZRAAELIS AARBBA NNIGERIIJA,, KKURBUVO SMMURTTAUJAMA PPRIIEÐ ÞÞMONES IIRILGAINIUI JJIE PPATYS PPRAADËJO SMMURTTAUTI.MANOTE, KKAD JJIEMS GGERIIAU ÞÞINNOTI.MENININKAI DDAROO TTÀ PPATÁ.

JA: Baisu, kai tai nutinka mene...

LW: NNA, MMENININKAI BBIJO, ÞÞMONËS BBIJO,PAMIRÐÐTATE, KKAD MMENININKAI TTAAIP PPATYRAA ÞÞMOGIÐKOS BBÛTYBËS IIR GGYVENAPAVOJØ PPILNOJE AAPLINKOJE. KKAI JJUOSIÐGÀSDDINA, JJIE PPUOLA GGINTIS.. JJIE NNELABAISUUVOKIA, KKAD NNAUDINGIAUSIIA BBÛTØPALAIKYTI PPOKALBÁ, OO NNE UUÞSIIDARYYTI ÁÁDRAAMBLIO KKAULO BBOKÐTÀÀ IIR AATSIIRIIBOTI.TOKS MMENO SUUPRAATIMAS AATGYVENÆS,, JJISGAL IIR BBUVO KKAÞKADA REEIKALINGAS,, BBETTIK NNE DDABAR.. NNESVVARBBU, TTEISIINGAS JJISAR NNETEISIINGAS,, TTIESIIOG NNEBEREEIKALINGAS..

Medþiagga//procesass eesammuoju llaiiku„Struktûra numato gráþtamàjá ryðá savo paèiosviduje, ji áveiksmina totalizavimo principà,kurá pati ir valdo. Jà veikia sànaudos ir iðei-gos, kuriø tikslas yra priversti struktûràfunkcionuoti pagal amþinojo sugráþimo prin-cipà. Jà persekioja amþinybës troðkimas“. Felix Guattari, Chaosmosis: an AestheticParadigm, Blookington: Indiana UP, 1992.

Septintame ir aðtuntame deðimtmetyjemenininkai daþnai naudojo paprastas me-dþiagas: plytas, dienos ðviesos lempas, sienøiðgriovas. Tai, kas nutiko su mano kartosmenininkais, buvo labai ádomu – ir baugu:tos medþiagos ágijo nominalià vertæ. Turint taiomenyje nebegalima áprastai þvelgti á dirvoskaupus ar bet kà, kà galima nusipirkti tech-ninës árangos parduotuvëje. Jau sukurtasnaujas nuorodø laukas ir atrodo, kad jisvisàlaik egzistavo. Viskas taip perpildyta, kadjautiesi kaip minø lauke – tarp nuorodø,tramdomøjø marðkiniø ar gairiø? Toji kartagalëjo pririðti manàjà prie bëgiø...

JA: Esate sakæs, kad dirbate su „nehero-jiðkomis medþiagomis“.

LW: STTENGIUOSII.

JA: Tos medþiagos dabar turi kitokià vertæ.

LW: TTÀ VVERTTÆ GGALIMA NNUVERTTINTI,

PAIMKIME MMANO KKÛRIINÁ, KKURÁÁ DDARIIAUSEEPTINTAME DDEEÐIMTMETYJE, KKAIRAADIOAKTYVÛS CCHEMIKALAI ËËMË IITINVEIKTI AAPLINKÀ. VVIENINTELIS DDARBBAS,, KKURÁÁGALËJAU SUUKURTTI NNAUDODAMASRAADIOAKTYVIUS CCHEMINIUS EELEMENTUS,,BUVO UUÞKASTTI JJØ AATSAARGGAS PPO ÞÞEME.BUVO AAIÐKU, AAPIE KKÀ KKÛRIINYS KKALBA, BBETVIS TTIK TTAI TTEBUVO KKÛRIINYS SUU HHD300RIINKINIU ÞÞEMËJE, SUULYGINTAS SUU ÞÞEME.

IÐ TTO KKÛRIINIO JJIE PPADDARËË MMETAFORÀÀ –– JJIEBUVO ÁÁSIIUTÆ, BBET TTAI BBUVO JJØ MMETAFORAA,AÐ KKÛRIIAU SKKULPTÛRÀÀ VVISIIÐKAI VVADOVAU-DAMASIIS SAAVO EESTTETIKA. AAIÐKU, KKAD GGA-LIMA TTAIP PPADARYYTI! MMANOMA, KKAD BBETKAS TTAIP GGALI PPADARYYTI! BBET TTAI TTURII BBÛTISKKULPTÛRAA, OO NNE PPAVIENIS ÐÐAUKSMMASTAMSOOJE AAPIE NNETEISYYBÆ. TTOKIÀ FFUNKCIJÀATLIEKA GGRAAFFITI, PPLAKATAAI, TTAVO BBURNNA,TU PPATS GGATVËJE IIR TTAVO BBALSAAS.. BBET TTAINEPADEDA MMENO KKÛRIINIUI, NNES PPO TTO, KKAITAU PPAVYKKSTTA SUUSTTABDYTI ÞÞIAURUUMÀ,NIEKAS NNEBEPRIISIIMENA, AAPIE KKÀ TTUKALBËJAI. OO JJEI KKÛRIINYS TTURII MMEDÞIAGINÆVERTTÆÆ, VVËLIAU GGALI BBÛTI KKITAIP PPERSKKAITY-TAS,, ÁÁGYTI KKITAS PPRAASMMES KKITAIS LLAIKAIS..

JA: Tuo paèiu kuriate ir nuorodø sistemà...

LW: NNUOROODØ SIISTTEMÀ, KKUURII BBENT JJAUKYLA IIÐ MMATERIIALIØ OOBJEKTØ IIRNEPRIIMETA VVERTTYBIØ SIISTTEMOS..ÐIUOLAIKINIS MMENAS,, TTOKS,, KKOKS YYRAA,UÞIMA IIÐKREEIPTAS PPOZICIJAS VVISUUOMENËJEIR PPATS SAAVAIME NNETURII JJOKIOS ÁÁTAKOS..ÞMONËS SUURAANDA, KKAIP JJÁ PPANAAUDOTI,TAIP, SUURAANDA... IIR KKUO GGERIIAU JJÁ SUUGE-BA PPANAUDOTI, TTUO MMENO ÁÁTAKA DDAROOSIIDIDESNNË, JJIS LLABIAU VVEIKIA. JJEI NNORIIPASIIDARYYTI „„ATSUUKTUVÀ“, NNAUDOJIESIIREECEPTU. MMENAS TTËRAA REECEPTAS..

JA: Kaip, naudodamiesi laiko teikiamaispranaðumais, galëtume nutraukti procesus,ðiuo metu vykstanèius struktûrose? Ar pakan-ka kitai pamainai surinkti visas tos struktûrosdalis ir kitaip jas sudëlioti? Struktûros, kokia jiyra dabar; man atrodo, kad menininkaitampa gamtiniais iðtekliais, þaliava gamybosciklui.

LW: TTAIP, JJIE YYRAA ÞÞALIAVA, BBET TTOKIA ÞÞA-LIAVA, KKURII TTURII SAAVYJE SAAVOTIÐKOSPILNATVËS,, ÁÁGALINANÈIOS JJUOS SUUTVERTTIGALINGÀ FFOORMMÀ, PPADEDANÈIÀ IIÐLAIKYTIORUUMÀ. AAÐ KKURIIU DDARBBUS AAPIE TTAI, KKASNUTINKA, KKAI MMEDÞIAGA NNETENKA SAAVOVIDIINIO KKILNUMO IIR NNEBEGALI

FUNKCIONUOTI KKAIP TTA PPATI MMEDÞIAGA. IIRTAI NNËRAA MMETAFORAA, ÈÈIA IIÐ TTIKRØØJØKALBAMA AAPIE MMEDÞIAGAS.. ÐÐTAAI, KKASNORS,, KKAS TTEISIINGAI AAR NNETEISIINGAI BBUVONUTEISTTAS IIR KKANKINAMAS,, PPERSKKAITÆSÐIUOS ÞÞODÞIUS PPRIITAIKYS JJUUOS SAAU. KKITAS,,BESIILEIDÞIANTIS GGATVE, KKURII TTRUUPA DDËLPRAASTTO BBETONO, SUUSIIES ÐÐIUOS ÞÞODÞIUS SUUTA GGATVE... TTOKIIA IIR YYRAA PPRAASMMË KKURTTIMENÀ –– PPASKKATINTI ÞÞMONES SUUPRAASTTI,KAD, JJEI PPO KKOJOMIS TTRUUPA, TTAI BBLOGASBETONAS.. IIR KKAD TTAI NNËRAA GGERAAI, NNE UUÞTAI MMOKËJO MMÛSØØ VVISUUOMENË.

Tarrptauutinë mmeno rrinka: bbienallës kkaiip appy-varrtoss sstrattegijaPer pastaruosius deðimt metø bienalës irtrienalës labai iðplito. Laiko atþvilgiu galimanet kalbëti apie „bienaliø kartà“. Galimakvestionuoti tokio didelio parodø kiekioreikalingumà, taèiau jø perteklius sudarosàlygas kurti vertæ, kuri nëra tiesiogiai susijusisu kapitalu ir kuri leidþia egzistuoti tam tikrotipo kûriniams, ypaè tokiems, kurie nesuran-da vietos galerijø sistemoje.

JA: Èia galima áþvelgti bûdà sukurti apyvartossistemà.

LW: TTAIP, AAPYVARTTOS SIISTTEMÀ, TTOKIÀ,KURII IIÐVIEÐINTØ TTUOS KKÛRIINIUS [[...] VVËLGI,BET KKAAS,, KKAS SUUTEIKIA ÞÞMONËMS PPROOGÀPAGARBBIAI PPAROODYTI, KKAS YYRAA GGAMINA-MA KKULTÛROOJE, TTEBÛNIE TTAIDEVYNIASDDEÐIIMTMEÈIO, KKÛRUUSIIO VVISÀÀGYVENIMÀ, AAR PPIRMMÀSYYK IIÐSTTOJUSIIOPASIIROODYMAS,, YYRAA GGRAAÞU. TTU, AAIÐKU, TTONEÞINAI,, KKAI MMATAI KKÛRIINÁ AANT SIIENOS AARANT GGRIINDØ, NNEÞINAI, KKADA JJIE TTAIÁJUNGIA AAR IIÐJUNGIA, TTIESIIOG MMATAI, KKASTAI YYRAA, IIR AAÐ MMANAU, KKAD TTAINUOSTTABU! KKUO DDAUGIAU GGALIMYBIØEKSPPONUOTI, TTUO GGERIIAU. MMAN NNEPATIN-KA BBIENALËS AAR TTRIIENALËS,, KKURIIOSKLAIDINGAI TTVIRTTINA: „„ÐI BBIENALË AARTRIIENALË PPAKEIS PPASAAULÁ“. NNE. KKAÞKASJJOJE GGALI PPAKEISTTI PPASAAULÁ, BBET PPAÈIOSBIENALËS AAR TTRIIENALËS NNIEKO NNEPAKEIS,,TAIGI, JJOS AAPGAUDINËJA. EESMMË NNE PPAROO-DA, OO TTAI, KKAS JJOJE ROODOMA. NNEMUZIEJUS PPAVERÈÈIA MMENÀ KKULTÛROOS DDA-LIMI, OO TTAI, KKAS YYRAA MMUZIEJUUJE. AAUTORIITE-TAIS,, AAPGAULINGAIS MMUZIEJØ AAUTORIITE-TAIS ÁÁTIKËJÆ ÞÞMONËS PPABUVÆ IILGIAUMUZIEJUJE SUUPRAANTA,, KKAD MMUZIEJUS NNËRAASTTATUSÀÀ SUUTEIKIANTI IINSTTANCIJA,MUZIEJUS YYRAA PPRIIEMONË IIÐLAIKYTI VVIENOJEVIETOJE TTAI, KKÀ SUUKÛRËË ÞÞMONËS.... ÐÐTAI IIRVISKKAS.. TTAI MMUSEEO –– VVIETA, KKUR KKARTTU

LAIKOMA TTAI, KKAS PPRIIKLAUSOO KKULTÛRAAI IIRUUÞ JJO SIIENØ GGALI NNIEKAM NNIEKONEBEREEIKÐTI, BBET GGALI BBÛTI ÁÁDOMUATEINANÈIAI KKARTTAI... TTU SKKAITAIISTTORIIJJÀ, AAÐ SKKAITAU IISTTORIIJÀ...

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Julieta AArannda yra Niujorke gyvenanti menininkë,viena ið projekto E-flux video nuoma kuratoriø. Ðis

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gebëta gauti paramà. Mano nuomone, tokiasituacija yra amorali net nepaisant to, ar gau-nant paramà buvo pasitelktas kyðis. Bet meslinkæ apie tai nesusimàstyti ir galvojame, kadviskas, kas krenta lyg ir ið niekur, yra gerai.Deja, net ir oficialiai laikomasi tokios ganciniðkos pozicijos – imkim kuo daugiau.Manau, kad dabar tai sukuria aibæ naujøðeðëliniø santykiø. RMM: Ar naivu galvoti, kad, jei yra daugiaupinigø, nuo to geriau visiems?EL: O kà reiðkia daugiau pinigø? Juk jie neat-siranda ið niekur. Èia áþvelgiu ir abejingumàduodanèiajai pusei, ir bendrà ekonominæ toveiksmo beprasmybæ. Jis iðkreipia ekono-minius mainus ir rinka nebeatspindi informa-cijos apie tikrus þmoniø poreikius. Kuo dau-giau tokiø intervencijø, tuo labiau rinka tolstanuo þmogaus. O paskui skundþiamës nedar-bu, kitokiom blogybëm... Be to, egzistuojamoralinë problema dël perskirstymo, kurisneva kaþkà sukuria. Skirtingai nuo laisvømainø, èia laimi ne dvi pusës, o tik viena –gavusioji. Jei mums nusispjauti á tai,kad ðvaistomi vokieèio, prancûzo arbrito uþdirbti pinigai, gal mes vis darnesame europieèiai? RMM: Ar tiesa, kad juodoji rinka –agnostinë, t.y. nepaþini ir neskirtapaþinimui? Bandymas iðtraukti ádienos ðviesà jà sunaikina (Drakulosstrategija)?EL: Visuomenei rinkos dësniai apskri-tai nelabai þinomi. Jei jie bûtø þinomi,nebûtø imamasi tokio perskirstymo,kuris galiausiai naudingas kaip tikturtingajai visuomenës daliai. Galimabûtø iðanalizuoti ekonominiø procesølogikà, suprasti, kad tai nëra naudin-ga eiliniam þmogui ir nesiimti tokiøiniciatyvø. Bet jø kaþkodël imamasi. Iraklai tikima, kad tai kaþkam ið netur-tingøjø padës. O realiai paskui gau-nasi kitaip. Kodël? Todël, kad egzis-tuoja nematomi dësningumai, kurienuveda procesà visai kito rezultatolink. Tie dësningumai yra tokiepaprasti palyginus su, pavyzdþiui,kvantine fizika, bet jø kaþkodëlnematome ir nepripaþástame. RMM: Bet ar ið tikrøjø ekonominius dës-nius galima lengvai ávardinti? EL: Nëra lengva, bet ámanoma. Tiesa,tam paprastai trukdo interesai ir norasapvaldyti pasaulá, tame tarpe, aiðku, irrinkà. O juk ji yra spontaniðka,susidedanti ið milijardo nekoordinuotøsprendimø ir visa savo esme nepaval-di. Be viso kito èia veikia ir þmogiðka-

sis nenoras laukti. Niekas nenori laukti, kolkapitalas pakeis savo kryptá, kol atsirasgamykla, kuri atitinka mûsø naujà poreiká, osena sunyks, todël stengiamasi tai paspartin-ti. Prie ðios spartos prisideda ir patentai, apiekuriuos klausëte. Ádomu panagrinëti, arpatentas yra toks pats spontaniðkas þmonijosiðradimas kaip kalba, pinigai ar miðkokeliukas, kurá iðmynë, nes taip buvo pato-giau. Pasirodo, kad ne. Iðkilus poreikiuiapsaugoti privatø iðradëjo interesà buvopasiremta ne privaèiu susitarimu, ne ið kartosá kartà perduodama tradicija, ne taip, kaip,pavyzdþiui, iðmokstama kalbëti, o priëmusástatymà, kuris akimirksniu apsaugo iðradëjomonopolá. Tai plito ið ðalies á ðalá ir dabarpatentai yra virtæ visaapimanèia struktûra, iðkurios neámanoma iðtrûkti. Jûs klausiate, arbûtø realu pasiûlyti visuomenei kaþkokiàalternatyvà – bet jums tuoj pat atsakytø, kadtai uþkirstø kelià progresui. Patentø apsaugaið tiesø labai paspartina progresà ir daþnas tailaiko savaiminiu gëriu. Taèiau savaime dau-

giau progreso nëra gëris. Spartinant ávykiusilgainiui prieinama riba, ultimiere, zapredelje,ir atrodo, kad nebelieka kur eiti tolyn. Betþmogus negali sustoti, jis ima skverbtis gilyn.„Daugiau progreso“ reiðkia, kad ëjimas ázapredelje greitëja. RMM: Prisiminkime sàmokslo teorijà...EL: Verèiau ásivaizduokime, kad panaikinamepatento teisæ ir eksperimentà pradedame iðnaujo. Bûtø ádomu paþiûrëti, kà tadamenininkas darytø su savo kûriniu, vaistøgamintojas – su iðrastu vaistu. Manau, gimtøtam tikri privatûs sprendimai, naujos kontrak-tø formos. Bet kadangi mûsø prieraiðumasprie valdiðkø sprendimø yra toks didelis,greièiausiai vis vien bûtø beldþiamasi ávaldiðkas duris, reikalaujama priimti ástaty-mus. Norint iðrasti neástatyminæautoriniø teisiø apsaugà,reikëtø uþdrausti ástatyminásprendimo kelià. T.y. reikëtøiðleisti ástatymà, draudþiantáautoriniø teisiø apsaugos

ástatymà. Kaip jumsparadoksas? RMM: Þymus JAV konceptualistasLawrence’as Weineris, kuriointerviu taip pat spausdinamasðiame numeryje, septintajamedeðimtmetyje teigë, kad „menofunkcija – gaminti daugiaumeno“. Visiðkai kapitalistinisteiginys, ar ne? Juk tokia yra irverslo funkcija? Augimas dëlaugimo, sukuriantis gerovæ? Betgal pakalbëkime apie greitá.Prancûzø filosofas Paulis Viriliosavo Dromologijose kaþkadasiûlë greitá suvokti kaip vienàpagrindiniø realybæ apibûdi-nanèiø sàvokø. Man ádomusgreièio santykis su mûsø apta-riamomis temomis. Tarkime,ultimiere – greitis, kuriuo iðnyk-stama (Sekundës bankas kaipidealus „loðimo atviromis kor-tomis“ pavyzdys – bankas savopavadinimu praneða apie staigødingimà, taèiau þmonëskarðtligiðkai á já sudeda pinigus).Finansinës transakcijos ir cirku-liacijos greitis. Patentavimo grei-tis (produktas uþpatentuojamasdar prieð já sukuriant idantkonkurentai nespëtø pasipelnytianksèiau). Haliucinuojantis grei-tis. Sparèiai trumpëjanti produk-to funkcionavimo ciklo trukmë.

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Suu EElena LLeontjeva,, vviena iið LLietuvos llaiisvo-sios rrinkos iinstituto áákûrëjø ((1990)) iir jjo pprezi-dente ((19933-20011), ssusitikome ÐÐMC ssveèiønammuose ppokallbiui appie rrinkos ddësnius,ultimiere, iiðnykimo ggreitá, sspekuuliaccijø llogikà,pirattavvimà iir nnelegallø þþinojimà. TTaèèiauupokallbis ssu ððiuo mmetu kknygà rraððannèia vvieðnianneapplenkë iir mmeno ttemø.

Elena LLeontjeva: Vakar supratau, kadultimiere rusiðkai – zapredelje (kaip zazerkalje Alisos Stebuklø ðalyje).Raiimundass MMallaððauuskass: Geras þodis –zapredelje! Ultimiere atsirado kalbantis suRene Gabri ir Cezare Pietroiusti pakeliui áSalo Italijoje – mums kilo mintis sukurti þodá,kuris bûtø „premjeros“ opozicija, t.y. reikðtøtai, kas atsitinka paskutiná kartà ir nëra skirtatæstis. Ultimiere skirta iðnykti. Tuo paèiu tai –kaþkas uþ pramogø verslo ribø (taèiau, jeistaiga Baltijos meno trienalëtaps franèize ir bus surengtaNYC arba Lagose, manau, josmisija bus taip pat atlikta). Beje,Rene imasi kontradikciðko veiksmo uþpaten-tuoti ultimiere kaip iðradimà arba prekiná þen-klà (tai vienas jo projektø BMW parodoje),tokiu bûdu skatindamas jo naudojimà kalbo-je ir tuo paèiu metu tam uþkirsdamas kelià.Tai bandymas parodyti autoriniø teisiø reþi-mo absurdiðkumà. Bet gal gráþkime prieAlisos – veidrodis ir atspindys kalba apietikrovæ ir jos atspindþius. Kita vertus, ar za-zerkalje nëra tai, kas nesankcionuota, nele-galu, neraðyta ir nepatvirtinta? Taigi, tamtikra prasme BMW parodos veikimo zona.Kalbant apie ekonomikà: ar juodoji rinka yrapaþinimui nepasiduodanti zazerkalje, ar taivis tik oficialios rinkos sistemos atspindys? Arjø sankirta? Ið tikrøjø, að manau, nëra tokioreiðkinio, kuris bûtø anapus rinkos, anapussistemos, juk kapitalistinë sistema praktiðkailaimëjo.EL: Na, kalbëti reikëtø ne apie kapitalizmà.Mainai nëra kapitalizmo iðradimas, visosevisuomenëse kaþkas bûdavo gaminamabûtent mainams. Jûs klausëte, ar juodojirinka yra oficialios rinkos dalis; man rinka yranedaloma, joje susitinka visi þmoniø troðki-mai ir sugebëjimai. Bet tai, kas draudþiama,automatiðkai iðnyksta ið oficialios, legaliosrinkos ir pereina á ðeðëlá. Tas ðeðëlis yra

atvirkðtinis visø draudimø atspindys. Rinkojenëra nieko, ko nëra þmoguje. Jeigu þmogusturi koká nors kad ir slaptà troðkimà, jis busatspindëtas rinkoje, jeigu troðkimo nëra,rinkoje jo nerasi.RMM: O ar nëra taip, kad rinka tam tikraprasme ir formuoja troðkimà? Tarkime,pleèiant gamybà sukuriamas produktas, kurissukuria ir troðkimà? Troðkimas yra kultûrinis,jis nebûtinai natûralus, kokiu mes já esamelinkæ laikyti. EL: O kokia alternatyva? Juk pasaulyje viskassusijæ ir nutraukti priklausomybiø siûlà nemûsø valioje. Be to, progresas vyksta ne tikaplink mus, ne tik rinka darosi sofistikuota, ogamintojai – ámantrûs, kurdami tuostroðkimus, bet kartu vystosi ir þmogus, jistobulëja. Aiðku, kiekviename iðradime slypi irpagunda, ir iðbandymas – ar sugebësi rinktisvis naujomis aplinkybëmis, ar esi pajëgusatskirti, ko tau gyvenime reikia, ko ne, kitaiptariant, ar netapsi savo iðradimø vergu.Mums atrodo, kad gyvename ypatingaislaikais, kad dabar kaip niekad tvyro didelëátampa. Bet panaðiai buvo ir prieð ðimtàmetø, þmogus susiviliodavo pamatæs auksinálaikrodá ant grandinëlës ir galëdavo prarastiprotà lygiai taip pat, kaip ðiandien kaþkaspraranda protà dël automobilio. Objektaikeièiasi, bet santykis, man atrodo, iðlieka taspats.RMM: Ar tiesa, kad juodoji rinka patenkinaporeiká, o ne kuria troðkimà kaip oficialiojirinka?EL: Ðiuos dalykus iðskirti sunku. Galima kurtischemas, bet jos ir liks schemomis. Panaðiaigalima klausti, ar egzistuotø kai kuriedalykai, jei nebûtø informacijos. Pavyzdþiui,jei þmogus iðvis neþinotø, kad yra prostituci-ja, toks nelegalus verslas. Ir susidurtø su tamtikru troðkimu, kurá jam rûpëtø patenkinti.Tada gal ávyktø ádomi genezë – jis susirastømerginà, patenkintø savo norus, paskui, gal-bût jausdamas kaltæ, o gal norëdamasmerginà prijaukinti, sumokëtø jai pinigø. Jisiðrastø tà patá dalykà ið naujo. Jo troðkimastai sukurtø. RMM: Tarkime, praktiniame lygmenyje egzis-tuoja draudimas...EL: Ir ne tik draudimas. Egzistuoja mokesèiai,muitai, akcizai, kurie padaro produktà tokábrangø, kaip cigareèiø ir alkoholio [populiariø

kontrabandiniø produktø] atveju. Man atro-do, kokio nors produkto uþdraudimassukuria papildomà jo patrauklumà. Be to,kiekvienas þmogus, kuris, padaræs kokià norspaslaugà, nebëga jos deklaruoti á mokesèiøinspekcijà, taip pat yra ðeðëlinës rinkosdalyvis. Nors apie tai net nesusimàsto.RMM: Slavojus Þiþekas teigia, kad „valstybësaparatai, anaiptol nebûdami universalûs irhomogeniðki, yra papildomi ðeðëliniaisantrininkais, vieðai nepripaþástamø ritualø,neraðytø taisykliø, institucijø, praktikø ir t.t.tinklu“ [Contingency, Hegemony,Universality: Contemporary Dialogues on theLeft, Verso, 2000]. Kitaip tariant, „valdþia‚oficialiai‘ marginalizuoja savo paèios dalá,kuri savo ruoþtu palaiko ðeðëlinæ politikospusæ“ [Tony Myers, Slavoj Zizek, Routledge,2003]. Ar remiantis tokiu argumentu, kadbet koks ástatymas ir taisyklë sukuria savoðeðëlá, bûtø galima teigti, kad juodoji rinkayra sudedamoji oficialios rinkos dalis ir tokiubûdu jà palaiko? EL: Ádomi mintis, juk kiekvienas draudimas iðkarto apauga þmogiðkomis motyvacijomis,interesais, kadangi poreikis mainytis iðlieka.Tarkim, net licenzijos iðdavimas, kuris savaimenëra draudimas, vis tik yra slenkstis, kuráreikia áveikti, ir jis sukuria tam tikrus mainus.Ðie mainai nelegalûs, jø neámanoma skaidriaiapraðyti, formalizuoti. Mainø, kyðiøpagalba èia irgi veikia ðeðëlinërinka, ir dël jos paskatø kuria-mos vis naujos taisyklës,draudimai, kuriuose daþnainëra jokios logikos, jø neá-manoma pagrásti visuomenësinteresu, bet jie egzistuoja. Irèia ið tiesø yra daugiau paslap-ties, negu banalioje juodojojerinkoje kur nors prie Gariûnø,kaip mes jà ásivaizduojame.Panaðiai yra ir su ástatymø lei-dyba, ir jø vykdymu.RMM: Kaip galvojate, kas sàlygoja tam tikrøástatymø atsiradimà? Lobizmas? EL: Bûna, kad net niekam nieko nepapirkuspadaromas intervencinis sprendimas, kurisveikia rinkos santykius ir savaime yra blogas.Tarkime, valdiðkas kreditas arba ES parama.Ðtai dvi kaimo turizmo sodybos: viena ið jøsukurta paties savininko jëgomis, o kitai su-

Apie rinkos dësniusRaimundo Malaðausko ir Elenos Leontjevos pokalbis

Lietuvoje: Baltijos trienalës bliuzas

Juozas Laivys, Sekundës bankas II / Sekundë Bank II, 2005

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EL: Patentai yra viena temos apie greitá pusë.Antroji – tai, kad iðtekliai yra riboti. Bet þmo-gus nelabai nori tà pripaþinti. O kadangi tuosiðteklius atspindi pinigai, bet kas paklaustasatsakys, kad pinigø yra per maþai. Gan seniaiprivatûs bankai pradëjo gaminti pinigus.Turiu omenyje ne gaminimà tiesiogineprasme, o tai, kad bankas naudoja pinigus,esanèius jûsø sàskaitoje, juos perskolin-damas. Tokiu bûdu padauginama pinigømasë. Daugelis mano kolegø, liberaliø eko-nomistø, tokià sistemà kritikuotø, vadintø taisankcionuota vagyste. Tai ið tikrøjø pavojin-gas reiðkinys, taèiau jame galima áþvelgti irkità potekstæ. Manau, kad galingas þmoniøtroðkimas turëti daugiau pinigø ir tuo paèiunugalëti iðtekliø ribotumà rado savotiðkàatsakà bankø sistemoje. Greta tokio pri-vataus multiplikatoriaus vëliau buvo sukurtasir valdiðkas – centriniai bankai, atsiradæ visaineseniai, tik XX amþiuje. Didþioji depresija –tai nedaug kas þino – kilo atsiradus Amerikoscentriniam bankui, kuris savo misijà matëtame, kad „kiekvienai gerai verslo idëjai“bûtø suteiktas kreditas. Èia jau galima kalbëtiapie pinigus ið oro. Pinigø atsiranda daug,jais finansuojama daugelis idëjø, kartais irvisai niekingø, tokiø, kurios neatspindi tikrøþmoniø poreikiø. O paskui muilo burbulasneiðvengiamai sprogsta, iðtinka depresija.Produkto ciklo trumpëjimas irgi prisideda prieëjimo á ultimiere. Jeigu ketvirtosios kartosryðio ádiegimas nebûtø dirbtinai stabdomas,neatsipirktø investicijos á treèios kartos tech-nologijas. Tokiu atveju galëtø nukentëti irpastaràsias finansavæ bankai, nebent juosgelbëtø tai, kad naujausi iðradimai taip patbûtø jø finansuojami. Bet visgi þmoniø noraspadauginti pinigø masæ galiausiai susikertasu þmoniø troðkimu viskà paspartinti. Oprisiminkime ir vertybinius popierius, kuriegali atspindëti ateities rinkø kainas – èia jaune ultimiere, o ultimare (plg. su nightmare). RMM: Èia ádomus momentas. Að ðiandien kaip

tik galvojau apie du meno kûrinius. Vienasyra lenkø menininko Romano Opalkos, kurisjau daug metø gyvena Prancûzijoje. Jis visàgyvenimà ant drobiø raðo numerius. Pirmà jodarbà yra nupirkæs ðiuolaikinio meno centrasZamek Ujazdowski Varðuvoje. O dabar jispardavë savo paskutiná, t.y. bûsimà, darbà.Nors visiðkai neaiðku, kada jis já padarys, aruþ deðimties, ar uþ dvideðimties metø. Bet iðprincipo tas darbas ið ateities jau parduotasgalerijai. Kitas menininkas yra britasJonathanas Monkas, kuris dalyvauja ir ðiojetrienalëje. Jis daro susitikimus. Tu galinusipirkti susitikimà su juo, tarkime, 2013metø rugsëjo 6 dienai Kaire prie turgaus. Taiyra serijos susitikimø. Bûtø ádomu susieti sutais vertybiniais popieriais, apie kuriuoskalbëjote.EL: Nesupraskite to kaip bambëjimo, tiesiogman ádomu, kokia ekonominiø reiðkiniøpotekstë ir kur link jie veda. Su istorija nesi-ginèijama. Galima matyti joje vien aklavieèiøsekà, o galima – stebuklingø sprendimøgenezæ. Antrasis poþiûris man artimesnis.Problema su vertybiniais popieriais ta, kadtûkstanèiai akcininkø, kuriø bendrovë turiateities rinkomis paremtø vertybiniø popieriø,nelabai kontroliuoja situacijà. Kartais sakoma,kad ateities rinkomis paremtø vertybiniøpopieriø kaina neteisingai atspindëtaataskaitose. Bet kas gali þinoti tikrà jø kainà? RMM: Su Pauliu Perry neseniai svarstëme, kasðiandien yra uþdrausta arba slapta informaci-ja, nelegalus þinojimas. Tarkime, kompiuteriøgamintojas ðiuo momentu pardavinëja tamtikro modelio kompiuterius, bet jau turisukûræs tiksliai tà kompiuterá, kuris bus rinko-je po deðimties metø. „Prisikasæs“ prie infor-macijos apie já, galbût gali ja spekuliuoti. Okaip jûs paaiðkintumëte spekuliacijos logikà?EL: Ið esmës mes visi spekuliuojame nënesusimàstydami apie tai. Jei kaþko neperkiðiandien, galvodamas, kad pirksi rytoj, irgidarai spekuliatyvø sprendimà. Arba jei neprii-

mi kokio nors darbo pasiûlymo, nes galvoji,kad atsiras geresnis, tai irgi yra spekuliacija.Spekuliuodamas gali ir laimëti, ir pralaimëti.Nujausti ateitá yra talentas.RMM: Dvi svarbios sàvokos, ku-riomis remiasi ðiuolaikinis ver-slas: konkurencija ir kolaboraci-ja. Nepaisant jø tariamo prieð-taravimo, bûtent jø sàveikaskatina bendrà verslo (irgerovës?) augimà. Ar ði formulëgalioja oficialios ir juodos rinkos santykiams?Tedas Fischmanas straipsnyje apie Kinijosekonomikà The New York Times neseniaipateikë pavyzdá, kaip Japonijos pramonësgigantas Toyota planuoja pradëti gamintisaulës baterija varomus automobilius Kinijojetam, kad sumanumu pagarsëjæ kinieèiøpiratai nukopijuotø jos brangiausià dalá –baterijà – ir pagamintø pigesnæ, piratinæ josversijà, kuri savo ruoþtø gráþtø á Toyota fab-rikus, sumaþindama jos gamybos kaðtus. Artai nëra ádomi ir produktyvi piratø ir korpo-racijø kolaboracija?EL: Galima suprasti ir taip, kad to „pirato“negalima nupirkti, negalima sudaryti su juosutarties, uþsakyti legalios gamybos. Galbûttodël, kad þmonëms, dalyvaujantiems juodo-joje rinkoje, legalioje trûktø rizikos, adrenali-no?... Gal, nebûdamas juodosios rinkosuþribyje, nealsuodamas adrenalinu, negaliiðrasti tos pigesnës pranaðesnës baterijos?…Ir visø kitø uþribio produktø gal negalipagaminti nepasislëpæs ðeðëlyje?RMM: O ar Lietuva galëtø prisijungti prieKinijos?EL: Na, kà jûs, juk ið ES negalima iðstoti.Tokios nuostatos konstitucijoje, tiesa, nepri-imtoje, nëra. Dirbdama alternatyvioje ESmokslininkø konstitucijos rengimo grupëjekaip tik ir ëmiausi suformuluoti nuostatà dëliðstojimo. Juk nesant jokiø konkreèiø normø,nutarusieji iðstoti rizikuotø bûti iðmesti iðbendros prekybos zonos, prarasti nusistovëju-

sius ekonominius ryðius. Þmonës, vien apietai galvodami, niekada neiðdrástø balsuoti uþiðstojimà. Net ir svarstyti jo neiðdrástø. Todëlmano siûlytame tekste buvo tokia nuostata,kad, jei þmonës nubalsuoja iðstoti, tai tol, koljie nesudaro kitos sutarties, tarkim, su Kinijaar bet kokia treèia ðalimi, automatiðkaitebesinaudoja ta paèia erdve – laisvai pre-kiauja, keliauja Europoje, tik nedalyvauja ESpolitikoje. Nes negalima bausti þmoniø uþ jøapsisprendimà. RMM: Tai gal reiktø bandyti, kad Lietuva prisi-jungtø prie Kinijos slapta? Ji taptø juodosiosrinkos dalimi.EL: Juodojoje rinkoje taip jau yra: tai nevaldiðka, o privati sàjunga. RMM: O juodoji rinka labiau nacionalinë, lokali,ar vis tik ji globali?EL: Jei draudimai yra tarptautiniai, tai irjuodoji rinka yra multinacionalinë. Jei draudi-mai namudiniai, tai ir juodoji rinka tëraprovincija.RMM: Ar galima kalbëti apie juodosios rinkosskirtumus socialistinëje ir kapitalistinëje siste-

mose? Juk sovietmeèio spekuliantai buvotikrieji slapti kapitalizmo agentai, nes bûtentjuodoji rinka atstovavo kapitalistinius santykius.EL: Kaip jau pastebëjome, rinka yra visur.Kadangi tarybinëje sistemoje daug kas buvouþdrausta, tai ir poreikis juodajai rinkai buvodidesnis. Taèiau negalëjai turëti privaèiosnuosavybës, taigi, negalëjai sukurti ir tikrosprivaèios gamybos (nors kai kas sugebëda-vo!). Þmonës judëjo ten, kur galëjo.Negalëdami pagaminti automobilio, galëjo jáperparduoti. Apribojus piniginiø mainø gali-mybes, vieðpatavo blatas. Tai nebepiniginiaimainai. Daug ádomiø dalykøuþgimdavo ið tø draudimø.Kiekvienos tokios juodosiosrinkos atsiradimas buvoþmogiðkumo pergalë prieðsocialinës inþinerijos maðinà. RMM: Ar rinka turi savyje uþkoduotà socialinioteisingumo momentà?EL: Turi, ir giliai prasmingà. Tarnystë kitamyra patvirtinama ir patikrinama tuo, kad

þmogus perka tai, kà tu jam duodi. Galinuskambëti ciniðkai, bet tame yra gili pras-më. Be to, juk rinka ir egzistuoja tik ten, kursantykiai piniginiai. Kadangi iðtekliai þemëjeriboti, þmogus turi pasirinkti, ko nori, o pini-gai kaip tik ir padeda jam apsispræsti. Jeiguþmogus iðgiria gatvës dailininko nutapytàpaveikslà, o pats, paëjæs toliau, nusiperkaskrybëlæ arba butelá vyno, tai pasako apie jopasirinkimà daugiau, negu þodþiai. Tarnystëspatvirtinimas rinkoje vyksta per pinigus, taipjau susiklostë ir kito sprendimo þmonija kolkas neturi Bet ji turi ir nepiniginiø santykiølobius.

Raiimundass MMallaððauuskass yra IX Baltijos tarptautiniomeno trienalës kuratorius kartu su

Sofia Hernandez Chong Cuy ir Alexiu Vaillant.

Aðtuntamme –– ddevintamme ddeðimtmetyjeAlgirdà ÐÐeðkø mmeno ppassauulis ppaþþinojo kkaiipbrannduolinës eenergijos ttappybos [[annot AAlfonsoAndriuðkevièiauus] iir assammbliaþþø kkûrëjà,fotograffà, ttelevizijos ooperattoriø. PPrieðð ssusitik-damma ssu ÐÐeðkumi, tteiravvauusi appie jjá mmeno-tyrininkës AAgnës NNarruðytës iir mmenininkoAlvydo LLukkio. MMatt ððianndien appie mmenininkàÐeðkø nnieko nnegirdëti. KKaiip ppaaiiðkëjo, ppass-tarruosius ppenkiolika mmetø jjis llabbiauu þþinomassþmogauus iir ppassauulio eenergetika bbesidomin-èiøjø tterpëje: mmenininkass ddirba eekstrassenso--rinës pprakktikos ssrityje, tturi ssavvo kklubà iirmokiniø, kkuriems pperteikia áágytà þþinojimà iiriðmintá.

Agnë NNarruðytë: Devintame deðimtmetyjeAlgirdas Ðeðkus buvo svarbi figûra, daþnuatveju net ákvëpusi kitus dairytis tam tikromisfotografijos kryptimis. Borisas Michailovas,þymus Ukrainos fotografas ir alternatyviosfotografijos judëjimo dalyvis, savo neseniaiiðleistoje knygoje Nebaigta disertacija Ðeðkuiskiria visà puslapá ir apie já atsiliepia kaip apieþmogø, ieðkojusá fotografijos ribø. Tuo metujis buvo svarbus ir ádomus, galima sakyti,unikalus Lietuvoje. Tokia kryptimi kaip jis,

ieðkojusiø nëra. Dabar Ðeðkus yra iðvispasitraukæs ið ðitos veiklos ir, kiek man þino-ma, yra tapæs ekstrasensu. Aiðku, kad tokiuatveju jis vëlgi iðkrenta ið meno pasaulioþaidimo. Jo kûryba fotografijoje yra kaip iruþbaigta, nes jis nebedaro nieko.Alvydass LLukys: 1998 metais organizavau pa-rodà, praëjus 10 metø po Sàjûdþio. Buvoádomu, kas per tuos 10 metø iðliko: parodojebuvo rodomi darbai ið ano laiko ir dabarti-niai. Ðeðkaus pozicija man buvo itin ádomi.Dabartiniams dalykams jis pasirinko vienàRytø iðminèiaus frazæ – dzenbudistinápamàstymà, kad nëra ko per daug ðokinët irieðkot kaþko, o labiau reikia koncentruotis,kad viskas yra tarp. Að tuomet pirmà kartàiðdrásau jo kûrybai priskirti parapsichologináaspektà. Nuo 1998 metø mes su juo nesi-matëme. Ið tikrøjø bûtø ádomu suþinoti, kà jisveikia. Turbût gydytojauja greièiausiai. Kaipaskutiná kartà buvome susitikæ dël parodos,jis daugiau kalbëjo apie energijas ir kituspasaulius nei apie kûrybà. Dovilë TTumpytë: Gal pradëkime nuo to, kaipjûsø meninë praktika, galima sakyti, pradingo, ir ...Algirdass ÐÐeðkus: Tai ir yra ádomu, kad meninë

praktika nepradingo. Að manau, kad nueitatuo paèiu keliu, kaip eina menininkai, tiktolyn. Reikia labai tiksliai suvokti, kas yramenas ir kà daro menininkas, koká produktàjis kuria. Mano darbas operatoriumi televizi-joje, tapymas, asambliaþø kûrimas, fotografi-ja, mano supratimu, buvo ne kas kitas, otarpininkas tarp manæs ir to, kuris tà menàvartoja. Dabar að tai darau be tarpininkø,tiesiogiai. Kà tik vienam þmogui aiðkinau, kad negalimakaþkokios savo tiesos tiesiog imti ir iðdëstytikitam. Jei þmogus tai tiesai nepasiruoðæs, tusulauksi nekokio atgarsio. Kristaus yrapasakyta: nemëtyk perlø kiaulëms, jos tuosperlus sutryps ir apsigræþusios tau ákàs. Taspats juk ir su menu. Argi galima sakytþmogui: ðtai tau, þmogau, menas! Vartok.Þmogus sakys – susikiðk tu toká menà,atsipraðant. Bet jeigu að prieisiu prie þmo-gaus, að labai tiksliai duosiu jam tai, kasreikalinga, kà jam duotø meno kûrinys, poe-zijos posmas ar muzika, ir jam tai busnaudinga, reikalinga, jisai ðito norës daugiau.Galiausiai pasakys, kad jam reikia „simfoni-jos“, nes be jos jau kuris laikas jam sunku.Mes visi kuriame energetines struktûras savo

Menas nesibaigiaDovilës Tumpytës interviu su Algirdu Ðeðkumi apie menà ir parapsichologijà

Lietuvoje: Baltijos trienalës bliuzas

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þodþiu. Nëra tokios kategorijos – menininkaiar nemenininkai.Dabar mano draugai tapytojai þino, kad tep-tuko neimu á rankas, bet anksèiau dar klaus-davo, tai kaip tapyba? Atsakydavau, kaddabar skulptûrà darau, ne tapybà: ateina pasmane sulinkæ, persikreipæ – iðeina tiesûs irgraþûs. Turint galvoje, kad tai nëra gydymas,kad atlieki tai, kà turi atlikti meno kûrinys, ámeno kûriná pradedi þiûrëti visai kitaip. DT: Kokia tuomet meno funkcija?AÐ: Menas – ne kas kita, kaipenergijaiimli forma.Koksbebûtømenininkas– poetas,muzikas,tapytojas,kurtø kaþkàerdvëje artransliuotøið televizijosekrano, – jisturi sukurtiformà, kuriduotø dau-giau neituðèia erdvë,formos nebuvimas.Paprastaiðnekant, ar ðiaipjau reikalingasþmogui menas?Ne, lyg ir bûtønereikalingas: áðaldytuvàneásidësi ir iðalkæsnepasisotinsi.Þmogui reikiasaugumo: kadnevarvëtø vanduoant galvos, kadnetikëlis koksmûsø neterori-zuotø; reikiamaisto ir vandens, reikia galimybës daugintis.Bet yra dar vienas dalykas – þmogui reikiajëgø gyventi. Kai jø trûksta, þmogus nyksta,serga, já kankina depresijos, nors visi kitikomponentai – puikiausi. Tø jëgø ieðkant irprasideda lyg ir nepraktiðkas þmogaus veiki-mas, lyg su materija ne kaþin kiek bendroturás. Menas yra ðitø ieðkojimø avangarde. Energija manipuliuojam absoliuèiai visi. Visi

mûsø santykiai energetiðki. Maþa to, energija

manipuliuoja ir medis, ir gyvûnas. Kai mums

bloga, mes einam á puðynà ir ten atsigau-nam, bet neinam á eglynà – nes ten niûru irtamsu (nebent ûmëdþiø paþiûrët). Kodël?Nes medis skirtingose erdvëse atlieka visaikità darbà. Manipuliacija vyksta visà laikà.Menininkas ar ne menininkas, tu ðitai darai.Tik menininkas daugiau to sukaupia. DT: Menas, burtai, juodoji magija gali bûtisusijæ?AÐ: Mane truputëlá trikdo terminai. Yra vie-nas energetinis instrumentas – mintis. Ðviesimintis skleidþia kurianèià energijà, tamsi

mintis – ardanèià ir þlugdanèià. Kalbant kitaisterminais, yra juoda mintis ir balta mintis.Mintis yra ne þodþiø samplaika, tai yra vir-pesys – áskaitant ir menà, ir bendravimà, irvarpo skambëjimà. Virpam arba vienu, arbakitu. Tai yra baltoji magija. Visa kita – juodoji.Èia ganëtinai paprasta, nors klausimas irsudëtingas. DT: Kas atsitiko, kad pasukote bûtentekstrasensorikos linkme?AÐ: Tapydamas ar kurdamas asambliaþus visà

laikà galvojau, kà darau. Visada jausdavau,kaip að tà formà tveriu ir kuo ta forma uþsi-pildo. Yra tokia netikusi nuomonë apiemenà, kad menininkas turi gyvenimà kabintigiliai – paèià esmæ, bet daþniausiai taip uþka-binama nemaþa dozë mëðlo, ðvelniai tariant.Labai sunku juo neapsivelti. Su manim buvotaip atsitikæ. Viskas juk energija, virpesiai. Tievirpesiai, kuriuose að dirbau, ëmë þlugdyti.Að alpdavau, bijodavau eiti á gatvæ su geres-niu fotoaparatu bijodamas nukristi ir pana-ðiai. Jëgos apleidinëjo visiðkai. Tuo metu

nemaþai ta-piau. Bûdavo– kaupiesi trisdienas, ateiniá dirbtuvæ iriðsigazuoji pervalandà.Velkuosi atgalir galvoju, kasèia yra, kodëlneturiu jëgødirbti?Visiðkainusilposveikata:pradëjo nebe-funkcionuotiðirdis, sutrikokraujotaka,tame tarpe irsmegenø.Gydytojai pokonsiliumopasakë, kadsantechniko,kuris pakeistøvamzdþiusmanyje, nëra.Ið viso ðitoreikëjokaþkaipiðsikapstyti,turëjauieðkotikaþkokiosiðeities pats,

ir að jà radau – supratau. Þmogaus energetinë bûsena tokia: gimdamigauname nelieèiamus energijos resursus,kurie mus palaiko. Þmonës kuria ir gyvenanaudodami tø resursø energijà, po to jie turipersijungti á pasaulio, visatos ar Dievo energi-jà, gali vadinti kaip nori. Jeigu persijungimasneávyksta, þmogus praþûva. Menas toká þmo-gaus blaðkymàsi neblogai atspindi.Menininkai uþsikaifuoja savo sugebëjimusukurti nemenkas energijas. Jie, þinoma,

veikia aplinkinius, bet ar teigiamai – èiaklausimas. Tai parodo menininkø likimai. Jiebûna dvejopi – vieni gyvena iki 30-35 metø,ir nustoja kurti arba praþûva, ir yra kitamenininkø grupë, kurie dirba iki 90 metø,kaip Tolstojus ar Picasso. Jie bûna gyvybingi,bet materijos tvarumo dësniai juos iðsiveda.Menininkø, kurie gyvena iki 90 metø, ener-getinë struktûra visai kitokia – pasiþiûriTolstojaus ar Picasso fotografijà – juose tokiaenergetinë galybë. Nesvarbu, ar jie ávardijaDievà ar ne, bet daþniausiai jie suvokia jobuvimà labai stipriai. Jie suvokia, kadkvëpuoja pasauliu, todël gyvena ilgai ir turijëgø kurti. Jauni paprastai suëda save kurda-mi ne tà menà (Hemingway’us, Visockis, VanGoghas). Að jau ðito nedarau.DT: Tai, kà jûs darote dabar, gydydamasþmones...AÐ: Að ne daktaras, injekcijø ar kokiø kitøprocedûrø nedarau – jie iðgyja patys, ágavævitaliðkø jëgø gyvenimui. Energija yrapasaulyje. Pradëjus laisvai kvëpuoti ta energi-ja, keièiasi tiek làsteliø veikla (kai làstelëmspakanka energijos, organai pradeda norma-liai funkcionuoti), tiek santykis su þmonëmisir pasauliu, pasikeièia likimas. Likimas juk yrapasiûlymø gausa, ið kuriø gali rinktis.Pasiûlymø gausa priklauso nuo to, ar tu esimielas, geidþiamas, ar þavus ir patrauklustiems þmonëms, kurie tave supa. Jeigu pertave teka nemenkas energijos srautas ir jeigutu já spinduliuoji kitiems þmonëms, pasiûlymøgauni daug.DT: Menininkas Artûras Raila IX Baltijos tarp-tautinio meno trienalëje darys projektà: jokvietimu keletas þmoniø tyrinës ÐMC pastatàir nustatys jo energetikà, sudarys planus, kurkokie energetiniai taðkai. Kà jûs apie tai manote?AÐ: Normalus darbas. Að ðitoká darbà darau,kai þmonës atbëga pas mane ir sako – stataunamà, pasakyk, kurioj pusëj daryt miegamàjá,kurioj pusëj tualetà. Tenka dirbti su architek-tais. Labai didelis skirtumas, á kurià pusæ mie-gamasis, á kurià pusæ stovës lova ir kur kyðosmûsø kojos. Dabar daug knygø apie taiprileista, kinieèiø Feng shui ir panaðiai, betlietuviai tai seniausiai þinojo.Puikiausiai þinojo, kad negali-ma sëdët prie stalo kampo. Okodël negalima? Todël, kadenergija eina kampu ir bedakaip strëlë. Bet mokytojavaikus stato á atvirkðèià kampà– kad pro ðalá tekanti energijaið vaiko iðtrauktø energijospertekliø ir jisai nurimtø. Lietuviaigerai þino, kad negalima sagos siûti ant þmo-

gaus – protà prisiûsi, o su aðtria adataiðdraskysi þmogaus laukus. Taip negalima. Tiepeiliai, su kuriais pietaujame, yra lenktaisgalais – neaðtrûs – tam, kad mes galëtumesëdëti pietaudami vienas prieð kità ir nebijo-tume tuo peiliu manipuliuoti. Ir daiktai visi, irtai, kas po apaèia, ir kas virðuj – viskas svar-bu. O dirbdamas toká darbà pasidarai labaijautrus energijai – kaip ðuo suvoki, èia taujauku ar ne. Sakoma: áleisk ðuná, pasiþiûrëk,kur jis atsigulë, ir tu ten gali gultis. DT: Ar jûs reikalingas visuomenei?AÐ: Að neþinau, nuo ko priklauso, kiek aðreikalingas visuomenei. Viskas, kà að galiuduoti þmonëms – tai tik savimi. Negaliusukurti gamyklos, kur ðitai daroma. Norsvienà kartà buvo atëjæs þmogus, kuris siûlëaparatà Ðventai Dvasiai gaminti – kaþkokiàutopinæ maðinà. Tai að jam sakiau: aèiû, ke-liauk, kiek jau mes tas dvasias ðirdimiðgausim, tai iðgausim.DT: Kuo jûs uþsiimate savo klube?Að: Tam, kad suvoktum, kà að darau, reikiaþinoti ir suvokti keturis dalykus: 1) Dievà, 2)pasaulá, 3) þmones, 4) þmogø (save patá).Dirbant toká darbà reikia þinoti, kas að esu irkas prieðais mane – ið kur jis/ji, kur jis/ji buvoir ið kur iðkrito, kur já/jà ákelti it koká paukðtá álizdà. Medituodamas ar iðeidamas á kitasjausenas randi informacijà ir supranti, kasdarosi, ir gali dirbti. Klube mes kalbame apie tuos keturisdalykus, o tiksliau – apie vienà dalykà – kaipnugyventi gyvenimà. Praktiðkai viskas. Juksakiau, kad nëra kito tikslo þmogui, kaip tikturëti jëgø gyventi. Kaip tas jëgas gauti – yralabai svarbu. Dabar raðau knygà. Manau, kadtoje knygoje ðitai matysis.Mano mokiniai mëtosi susuktais energijoskamuoliukais, kabina juos prie lubø ir kitàdienà pasiima juos ið ten, kur paliko. Viena iðuþduoèiø, kurias jiems duodu – iðsklaidytidebesis. Plaukia, sakykim, kokie trys lengvipûkiniai debesëliai. Að sakau – viduriná. Visikiti plaukia, vidurinis turi pradingti. Duodupenkias minutes – turi bûti iðsklaidyta. Èiajuk galinga jëga – þmogø pakeli ið mirtiespatalo. Atvaþiuoji, ir po penkiø minuèiø tas,kurá jau turëjo laidoti, pakyla ir sako: valgytnoriu. Þmonës sako – stebuklas. Jokio ste-buklo nëra, tiesiog ðitø jëgø þmogusneturëjo. Gavo jëgø – viskas pradëjofunkcionuoti, uþvirë, atsistojo þmogus irnuëjo. Sakykim, jie vaikðto per þarijas ir nedega. Að,pasiëmæs þvakæ, juos patikrinu, ar ið tikrøjøjie nedega – jie turi sukaupti tiek jëgø, kadlàstelës nereaguotø á ugná. Bet èia yra tikpagalbinës priemonës kai þmogus mokosi –

tam, kad pajaustø ðitai, kad labiau tuopasitikëtø. Bet tai nëra tikslas. Yra tokiø,kuriems bûtent tai yra tikslas, ir jie visa taiiðbando tarsi cirke. DT: Kà reikëtø þinoti paprastam þmogui? Aryra koks nors receptas gyventi?AÐ: Að mokiniams taip sakau, ir visi þmonëstaip turi jaustis: mes visi – maistoiðneðiotojai. Verda ten, virðuje.Mes valgydinam þmones.Mylëk artimà savo, o ne tà,kuris geras ar negeras. Visadaturime bûti su baltom prijuostëlëm ar baltaisðvarkeliais – visada ðvarûs, visada pasitempæ,negalime sau leisti apskresti. Patys valgysimebet kà ir kitiems nieko neduosime? Visuometturi bûti kiek ámanoma ðvarios rankos, ðvariðirdis, ðvarios akys, ðvari mintis. Apsileisti gali-ma labai greitai.Instrumentas visam kam valdyti yra mintis.Ðventam Raðte paraðyta, kad kai Dievas kûrëpasaulá, ið pradþiø buvo þodis. Tai buvomintis, sumanymas. Sumanë – ir ávyko. Irþmogus taip pat: sumano – ir ávyksta.Þmogus gali klausti, o kodël gero tiek maþai?O todël, kad, pagalvojæ kà nors gero, antvirðaus daug kartø kà nors blogo pamàs-tome, ir patys sunaikiname, kà gero sugalvo-jæ buvom. Mano meditacija tokia: að praðau þmogø ási-vaizduoti, kad jis yra pievoje, kad aplinkuidaug þolynø ir kad þmogus yra gëlë, ir sakytidaugmaþ ðitaip: að gëlë po mëlynu Dievodangum, jo ðviesa krenta ant mano þiedlapiø,smelkiasi á mano stiebelá, að nuðvintu ir imuskleisti nuostabø kvapà. Reikia iðlaikyti tokiàbûsenà, kad visada jaustumeisi po Dievodangum, jausti kaip atiteka á tave jëgos,kurios daro tave ðviesø, ir tomis jëgomis tuspinduliuoji, ir tas spinduliavimas yra maistas,kurá dalini þmonëms. Meditacija reiðkia bûtisraute – kai á tave áteka ir kai tu duodi. Ði yravienintelë ir svarbiausia – kitø meditacijønëra. Energetinëje sistemoje, kalbant elek-trotechnikos terminais, mes turime bûti kaipkaþkur esanèios elektrinës pastotës, perkurias eina galinga energija, o mes jàpaskirstome abonentams. Èia ir yra mûsøvieta. Ir menininkas turi bûti pastotë.

Dovilë TTumpytë yra meno kritikë, gyvenantiVilniuje.

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dusiomis þmogystomis. Galimapavadinti realybe ir Bank of America eiles, kaiuostai priekyje stovinèios juodaodësprakaituotà nugarà ir transkoduoji savyje tàkvapà á vidinæ kinematografijà. Arba realybëgali prasidëti, kai banko tarnautoja pakartoti-nai uþrinka, kad jau tavo eilë trauktimokesèiø popierius ir pasinerti á skaièiukus,skaièiukus, skaièius, ir pavirsti kalkuliatoriumi,kokiø pilna aplink... Anksèiau juos vadin-davome zombiais, istebliðmento vergais,dabar jø smegeninës virto mikroschemomis,kalkuliatoriais, ið kuriø jie neiðeina net mylë-damiesi ar sëdëdami prie okeano uolø.Digital mind...VK: Daþnai raðai apie poreiká bûti hetero-utopinëse vietose, haliucinogenuoti. Ar taiyra reakcija á normalybës pertekliø, arkryptingas poreikis paþinti daugiau nei galipaþinti þiûrëdamas TV reklamas?GJ: Teisingai pastebëta, paþinimas gali tapti„kryptingu“ poreikiu, net gali peraugti áobsesijà ir kartojimàsi, na, savotiðkà þalingàáprotá ir prisiriðimà. Èia vël susidursime suklausimu, kas yra „norma“ ir kas yra „haliu-cinacija“. Kartais pasiilgstu apnuogintos tuð-tybës ir kvailybës, primityvumo ir paprastu-mo. Jø aplink pilna, nors mums viduje kaþkastrukdo jomis naudotis, o tai irgi yra nelaisvësiðraiðka.VK: Skaitydamas tavo kelioniø nuotykiuskaþkodël susidariau nuomonæ, kad keliau-damas po labiausiai dekonstruotas, laisviau-sias heteroutopines vietas, kolekcionuodamasretus muzikinius instrumentus ir iðbandy-damas juos specifinëse vietose ieðkai tamtikro autentiðkumo. Ar dar ámanoma rastitikrovæ? Kodël to negalima daryti Ðiauliuose?GJ: Ðiauliuose viskà galima rasti. Èia galimaprisigalvoti ir sukurti dar daugiau nei paèiojeAmerikoje. Beje, daugelis þmoniø èia,Lietuvoje, gyvena tokiais Amerikos apraðy-mais, kurie spalvingumu ir ávairove neprilyg-sta „tikrai amerikinei realybei“. Iðgalvotosþemës yra þymiai áspûdingesnës ir turtinges-nës, ko gero, tikresnës ir, jei jos maitina sielà,tampa realybe. Kuo tiki, tà ir turi. Kartaisskaudu þiûrëti, kai materialus ir apèiuopiamasþmogus nubloðkiamas á realias 5-osios aveniudulkes ir negailestingai suplëðomas,sudraskomas á nesurenkamus gabalëlius, su-byra iðtisas jo fantazijø kaleidoskopas, o jispats iðmurkdomas „realioje realybëje“. VK: Bièiulis Vilniaus menininkas Darius Mikðyskaþkada iðreiðkë nuomonæ, kad lietuviai nemàsto, o jauèia algoritmais. Ar todëlLietuvoje taip daþnai, net ir aukðèiausio lygiopolitikoje, nutinka gotikinio siaubo elementøturinèios istorijos su ekstrasensais ir pan.? Kà

manai apie ðeðëliniø þinojimø sambûvá su,atrodytø, tokiomis aiðkiai dienos ðviesaipriskiriamomis veiklos sritimis kaip demokra-tinës valstybës valdymas ir panaðiai? GJ: Algoritmai skamba tinkamai, bet nelabainorëèiau sutikti dël jausmø, manau, lietuviøtautiniame mentalitete taip viskas uþslëpta,uþslopinta, kad galime stebëti tik topasekmes: desperatiðkas uþblokuoto kûniðku-mo ir jausmingumo kanèias, frustracijas, neu-rotizmà, o politika kaip tik ir yra vieða scenaðiam teatrui, todël su malonumu jà stebiu, irbilietas nekainuoja... Sutinku su tavimi, jogkai kurios scenos pranoksta viduramþiøgotikines siaubo scenas, bet tokie niûrûs,godûs, þiaurûs, amþinai frustruojanèios irnepasitenkinanèios tautos ypatumai daromus unikaliais ir iðsiskirianèiais pasaulinëskultûros kaleidoskope. Beje, að daþnai nau-dojuosi ðiais karminiais savo tautos pranaðu-mais...hihihi...VK: Ar tavo taip ávardinta psichodelinë erdvëvisada egzistuoja ðalia mûsø, bet jà bandopaslëpti taip vadinama normalybë ir siste-matizacija? Ar jà reikia kurti?GJ: Tavo klausime jau yra atsakymas. Pati val-stybë su savo represinëmis institucijomis yraabsoliuèiai psichodeliðka ir nesàmoninga. Ðisistema nesàmoningai gina savo visuomenësnarius nuo nesàmoningø jëgø prasimuðimo,desperatiðkai brëþia normos ir pamiðimoribas. Manau, yra nemaþai þmoniø, kurieviduje neturi skyluèiø ir dureliø á savo nesà-moningumà, todël já kuria menuose, papras-èiausiai ásivaizduodami, imituodami ir stimu-liuodami nesàmoningumà ir psichodelikà...Tie, kuriø sàmonë plûsta nuonesàmoningumo, o psichodeli-ka yra kasdieninë egzistencinëbûsena, nebedemonstruoja tofenomeno, o já iðgyvena pil-navertiðkai gyvendami, susiti-kinëdami, draugaudami irkovodami su savo vidine florair fauna. Èia irgi kvepia laisve.Beje, daugelis vizionieriðkø menininkø pri-paþásta, kad labai sunku tà nesàmoningumopilnatvæ perteikti bet kokia kalba. Drobë,kinas, instaliacijos yra absoliuèiai ribotosiðraiðkos, gal kiek dëkingesnë yra poezija armuzika. Blake’as, haiku, ambientinë muzi-ka... Psichodelinë erdvë egzistuoja ne tik ðaliamûsø, jûsø, mumyse, nors mes ir stengiamëspastatyti tvirtas pasienio uþkardas jos pra-siverþimams, statome muitines, kad jos fil-truotø besiverþianèius „svetimus“. VK: Kaip tu apibrëþtum normalumà? Ar,atmetus statistinio sociumo vidurkio sam-pratà, kaþkas gali bûti vadinama normaliu? O

gal nepakankamai autentiðku?GJ: Manau, norma kaip atskaitos taðkas psi-chodelinëje erdvëje labai slankioja... vienumetu ji gali tapti ir patologija. Manoasmeninëje erdvëje viskas yra norma, iðskyrusþudymà ir bet kokio pavidalo prievartà – fizi-næ ar mentalinæ. Seksualinëje orientacijojeviskas yra be tabu, tik pedofilijà eliminuoju.Ðiaip ufonautai ir visi ðaltakraujai bei ðiltakrau-jai suaugæ ar miræ, savo noru sutikæ mylëtis irturintys daugiau nei 18 metø, yra ok. Kalbant apie normà itin svarbu yra tolerancijair pagarba kitoms mikroschemoms, kitomsvertybinëms orientacijoms, kitoms paþiûroms,nesvarbu, kokios jos bebûtø. Nekalbant apiesugebëjimà pereiti á kità mentalinæ bûsenà,matricà, sugebëjimà keistis, akimirksniutransformuotis ir adaptuotis naujoje sub-kultûroje, sugebëjimà iðkarpyti visus menta-linius apendiksus, pûlinukus, áproèius irprieraiðumus – ko gero, visa tai galima bûtøpavadinti laisve ir norma. Man uþstrigo

Meèislovo Litvinskio uþduotas klausimas irgautas atsakymas ið Johno Cage’o: „Jonai,kà labiausiai norëtum daryti...?“ Atsakymasbuvo dzeno refleksijai bûdingas greitasklausimas: „Kà að turiu daryti, kad galëèiaunieko nedaryti?“ Norma gali bûti sugebëji-mas nors kartais bûti laisvam nuo bet kokiøelgesio ir màstymo modeliø, sustabdyti savyjebet kokià aktyvià psichinæ ar socialinæ inercijàir tuo pat metu laiku sugráþti atgal ir saugiaipereiti gatvæ...

Vallentinass KKlimaððauuskass yra ÐMC kuratorius irmeno kritikas, besidomintis moksline fantastika.

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Pokallbá ppasskattino gganndaii appie GGeralldoJannkauusko, vvieno ppirmøjø llietuviðkø tteoriniøtekstø appie ppostmoddernizmà, ððizofrenijà iirmaggijà auutoriauus, ssëkmingà iintegraccijà áá ttarrpKallifornijos iir ÐÐiauuliø ttarrpstannèiass ððeðëlinesekonomikass bbei eezoterines bbendruomenes.Asmens iintegraccija áá ttaii, kkass nnepaþþástamma,, iirbbuvo ððio ppokallbio ppraddþia..

Vallentinass KKlimaððauuskass: Kaip formuluotiklausimus apie tai, ko neþinai? Juk daþniau-siai atsakymai iððaukia klausimus. Ar galëtumatsakyti nepaklaustas? Geralldass JJannkauuskass: O taip, galima formu-luoti klausimus apie tai, ko neþinai, galima iratsakyti á klausimà, nors neþinai, kà ir kaip,galima ir kalbëti apie tai, ko neþinai. Tada,beje, pokalbis vyksta dar ádomiau, iðlendadaugybë neaiðkiø keistø rakursø ir kampø, gipameni, esminis dzeno atsakymas ir yra„neþinau“, èia ir prasideda þinojimo uþuo-mazgos, kai prisipaþásti, jog „neþinai“... VK: Vakar, skaitydamas Baudrillard’o Coolmemories, radau tokià 4D þinojimo formulæ:þinau, kad þinau, kad þinau, kad þinau, betjis taip ir neuþbaigia su „neþinau“. Toliauðiame interviu (juk pritarsi, kad nevertalaikytis grieþto linijiðkumo) pasakoji apieþmones su mikroschemomis galvose. Arnemanai, kad mikroschemas mûsø galvose

kuria sociumas arba kultûra ir kad tai yraviena ið svarbiausiø integracijos á visuomenæ(ðeðëlines ar kitokias jos struktûras) sàlygø? GJ: Man labiau patinka kalbëti apiemikroschemas ne kaip apie socialinës inte-gracijos fenomenà, bet kaip apie manipuliaci-jos formà. Paprasèiausiai ádomu stebëti kitusir save, tampanèius digitaliniu kalkuliatoriu-mi, radijo sempleriu, televiziniu reprodukto-riumi, reklamine obsesija ir fragmentavimu,serijine ðtampuota filmo Koyaaniskatsi fauna,mass media nuotrupa, besikartojanèialaikraðtine santrauka. Ádomu stebëti bûtybes,kurios nebegali iðsëdëti prie okeanonemaigydamos mobilaus, neskaitydamoslaikraðèio, neklausydamos mp3, maþai belikotø, kurie gali bûti draugais ir skæsti amþinybë-je bei palaimoje patys su savimi, be visokiøiðoriniø impregnuotø „ramentø“, kuriøsmegenys neuþkrëstos impregnuotais porei-kiais ir yra laisvos nuo visuotinës inercijos...VKK: Ar egzistuoja gyvenimas (nesakau –laisvë) be mikroschemø? GJ: Manau, þmogus yra absoliuèiai somnam-buliðka bûtybë, stumdoma ir valdoma savonesàmoningumo ji mirksta nuolatinio hipno-tizmo ir manipuliavimo bûsenoje. Nesvarbu,kaip pavadinsi, mikroschema ar matrica, gali-me rasti galybæ interpretacijø, paprasèiausiaitai bûtø galima ávardinti taip: visuomenëssuformuota vertybinë orientacija, elgesio beimàstymo standartai ir principai. Ádomiausia,kad tokios mikroschemos ar matricos apimavisus socialinius-kultûrinius sluoksnius nuokanalizacijos tinklø gyventojø iki akademikøar didþiøjø verslininkø ir politikø...Dar prancûzai ðizoanalitikai Guattari irDeleuze’as raðë, jog ðizofreninës haliucinaci-nës percepcijos struktûros glûdi kiekvienameasmenyje, o taip pat ir paèioje visuomenëje:ekonomikoje, politikoje, religijoje.Þmogus yra ðizoidas, todël jisesti nuolatinëje haliucinacinëjebûsenoje ir tuo paèiu yra valdo-mas bei manipuliuojamas tokiøpat ligotø socialiniø represiniøinstitucijø. Farmakologinei mafijaireikalingi ligoniai, kurie suvartotø kuo dau-giau jø gaminamø vaistø. Þmonës hipno-tizuojami ir jais manipuliuojama, jie verèiamitikëti anø tiesomis ir maitinami tonomisneaiðkiausios kilmës chemikalø, kurie yra

daug baisesni uþ marichuanà ir kokainà.Karinei mafijai reikalingi karai, átampa ir kon-fliktai, reikalingi taikiniai, kuriuose sprogtøtomahaukai, o po to bûtø atgaminti. Karineiir naftos mafijai dirbantys politikai turi laikytisavo rinkëjus nuolatinëje baimëje ir haliuci-nacijose, átikinamai formuoti prieðø teroristømitologemas ir legendas. Iðvadavimui irdemokratijos plëtrai pasirenkamos naftaturtingos teritorijos, na, dar kelios ðalysaplink jas. Masinës medijos turi atidirbinëtitiems, kurie moka. Beje, jos atlieka savodarbà puikiai manipuliuodamos sàmonëmis irimpregnuodamos gyvenimo bûdo standartusir stereotipus. VK: Pasikuitæs google.lt suþinojau, kad pub-likavai tokius straipsnius kaip Antipsichiatrijaarba ðizofrenijos anatomija ir Haliucinogenai:magija, menas ir ðiuolaikinës sàmonësiðskaidymo koncepcijos; itin mëgsti garsøpasaulá ir tavo tinklapyje skelbiama, kad pir-miausia buvo garsas; esi vieno pirmøjø tekstøapie postmodernizmà Lietuvoje autorius,uþsidirbinëji e-bay, mëgsti fotografuoti trans-vestitus, tau galima siøsti nepadorius SMS’ustel.: 510 2827865, turëjai 1987 metø auto-mobilá Suz Intruder, etc. Akivaizdu, kad paþi-nai ar/ir integravaisi á ðeðëlines ekonomikas,ezoterines bendruomenes ir taip vadinamusalternatyvius gyvenimo bûdus. Specialiaikalbu daugiskaita. Ar tau dar nutinkapatirèiø, kurias ávardintum kaip kita?GJ: Apie kita. Èia su manimi sunku bus susi-tarti, nes prarandu ribà tarp „èia“ ir „ana-pus“, tarp „mano“, „mûsø“ ir „kitø“, tarp„tonalio“ ir „nagulio“ [C. Castanedos termi-nai – V. K.]. Atsiranda saviidentifikavimoproblemos, iðtirpimai kituose daþnai uþsilaikoir gráþimo „namo“ laikas sunkiai apèiuopia-mas. Èia bûna tokiø saviidentifikacijos prob-lemø, kuriø konvencionaliai neapraðysi. Beje,sunku nustatyti realybësgeografijà, kur ji iðsidësèiusi, arZabriskij Point psichodeliniuoselandðaftuose, ar De Chelly kan-jone navajo þemëje, ar TailandoExpress food suklypusiuosekrësluose ant Telegraf gatvësBerklyje ar Elbo Room braziløsamba klube, o gal mota dûmeTihuanos apleistame pliaþe supancho apsigaubusiomis pajuo-

Tarp San Francisko ir ÐiauliøValentino Klimaðausko ir Geraldo Jankausko pokalbis

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19

rastum skirtumus tarp savitikslio kûrybingotikrovës rekonstravimo ir apskaièiuotø propa-gandiniø galios þaidimø? Bonifaccijus IIeva: Masinës medijos yra korpo-racijø mechanizmai ir gina kaþkieno intere-sus, taèiau daþniausiai yra multiinteresinës,tuo tarpu asmeninë tiesa visada yra individu-ali ir subjektyvi…Viktor TTikraii: Ar þinai, kad NeilasArmstrongas...Rammmelzee: Taip, jis tai atliko.Viktor TTikraii: Tu taip manai?Rammmelzee: Aiðku, jis tai atliko.Viktor TTikraii: Tai nebuvo sufabrikuota...Rammmelzee: Ne! Ne! Vikktor TTikraii: ...kaþkur Arizonoje...Rammmelzee: Palauk, þmogau, tai televizijosprograma, maèiau tà ðlamðtà. Ne, ne, ne, ne.Tai tebuvo jø triukas... Tai daroma tam, kadliautumeis màstæs apie tai, kas ið tikrøjønutiko. Tada matai sprogstant tà prakeiktàkosminæ raketà ir matai griûvant prakeiktàpasaulio prekybos centrà. Tai buvo tikra! Aðsëdëjau èia ir stebëjau krentant tà prakeiktàdaiktà.Valle KKalle: Ar totali bulvarinës informacijoskruða mus daro kûrybingesniais ar tik keliavisuotinæ neurozæ?Bonifaccijus IIeva: Medijø kiekis ir jø intensyvu-mas visada priklauso nuo sistemos, kuriojegyveni. Taèiau, jei tave „iðmokë“ paþinti„tiesas“, tu jas ir paþinsi. Svarbu ne tai,ko tave iðmokë sistema, betkokius sau uþduodi klausimus irkaip konstruoji savo pasaulá.Nereikia per daug gilintis á kitønuomonæ. Svarbiau yra viskàpaèiam dekonstruoti, pjaustyti,malti, kepti ir t.t. Be to, visada egzis-tuoja subjektyvumo faktorius, nes mes visiesame linkæ iðkreipti realybæ. Viktor TTikraii: Tikrai?Rammmelzee: O taip! Tiesiog èia, ðtai taip ger-damas alø. Maèiau, kaip nukrito antena, aðtai maèiau! Supranti? Apie tai jie gali sukurtitoká filmà, kokio panorës, ir taip per 20-30metø jie apgautø þmones. Televizijos jëga...Tai, kà að vadinu bauginimo árankiu...Tai buvo bauginimo árankispraeityje, bet þvilgtelk á naujà

bauginimo áranká,pavadintà kompiu-teriu... Tai dabarties bauginimoárankis, kurio kilmë mili-taristinë. Tai kontrolës bûdas. Juo raminiþmones, nes þmonës turi bûti apraminti.Þmonës yra iðsigandæ, dauguma mûsø...Viktor TTikraii: Manau, Amerikoje tai yra labaigalinga bauginimo ir kontrolës strategija; netorø prognozëse grësmingai sakoma „rytojketina lyti“, supranti, „numatomos stipriosliûtys“, ne...Rammmelzee: Teisingai. Ir kità dienà ið tiesølyja.Valle KKalle: Kas tai yra ateities lytys? Viktor TTikraii: Bet gal ten (kosmose) buskaþkas panaðaus á treèiàjà lytá. Tam tikrimutantai... Rammmelzee: Taip, bet ten net planetø atmos-fera turës kvapà. Pasikeis akys. Beje, kaipmanai, kodël man perðti akis? Viktor TTikraii: Joms trûksta drëgmës?Rammmelzee: Ne, dël gravitacijos jëgø. Ausyspasikeis, garsas pasikeis, vynas nebebus tokspat, nes pakis uogø rûðys... Viktorr TTikraii: Kosminis vynas...Bonifaccijus IIeva: Þmonës niekada nebuvopatenkinti tikrove, tokie ir liks. Tuo labiauseksualiai. Net ir suradæs, þmogus vis tieksuklys ir ieðkos toliau, nes jis yra uþdarytas áiðeities neturintá konsumeristiná masturbacijosciklà.Valle KKalle: Visgi, kodël moterys negali keliautierdvëje? Beje, kosminëje kelionëje siaubofilme Svetimas iðlieka tik moteris ir... sveti-mas...Bonifaccijus IIeva: Moterys yra kitoks organiz-mas. Mes tam tikra prasme taip pat nesamevienodi vyrai, nes visi esame skirtingi.Moterys yra brangus bioseksualinis mecha-nizmas, kuriam reikia ir daugiau laiko, irkitokiø sàlygø. Taèiau kai moterys kitos lytiesatstove mato tam tikras joms palankias sàly-gas, elgiasi beveik tobulai. Vyrø ir moterø tik-slai skiriasi...Rammmelzee: Bet að joms moku uþ vyriausy-binæ prostitucijà, nes jos turi inkubacinæ sis-temà. Að pats to nenoriu daryti! Að negimiautam, kad kaþkuo rûpinèiausi. Tu taip pat ne.Prieðingu atveju að savo gyvenime turëèiau

rasti bûdà kaiptapti moterimi. Bet kai pagalvoji apietranseksualus, jie taip pat nëra moterys, nesneturi gimdos. Bonifaccijus IIeva: Mums kaip vartotojams nërasvarbu, ar transvestitai turi gimdà, nes gim-dos vaidmuo svarbesnis ne seksualinëje, betreprodukcinëje gyvenimo stadijoje. Galbûtateityje savo seksualinëms fantazijomspatenkinti mums norësis þmogaus ir gyvûnomiðinio, pvz., gal tu norësi liûtës, nes buspakitæ tavo mintys, màstymas ir hormonai.Gyvenimas darosi paprastesnis, bet irsudëtingesnis tuo paèiu metu – transeksualiz-mas kaip technologinis sprendimas irpalengvina, ir apsunkina tø þmoniø, kuriemstai svarbu, gyvenimus. Viktoor TTikraii: Kas yra tavo auditorija? Rammmelzee: Gyvuliø banda...1 Afrofuturizmas yra afroamerikieèiø ir afrikieèiø diasporossubkultûra, kurios màstytojai ir menininkai þvelgia á tech-nologijas ir mokslinæ fantastikà kaip á priemonæ analizuotibuvimo juodaodþiu patirtis ir naujas rasizmo bei klasinësnelygybës áveikimo strategijas. Þr. http://en.wikipedia.org/wiki/Afrofuturism

2 -Að visada maniau, kad muzika perþengia visas ribas. Kadmuzika yra neabejotinai universali. Esu ásitikinæs, kadmuzikoje jie netgi atranda ateiviø technologijas. -Kà turite omenyje minëdami ateiviø technologijas? -Kad jau dabar ið ateiviø, ið kitø planetø patenka daugmedþiagos. -Taigi, manote, kad mûsø technologijø dalis mums buvoduota ið uþ mûsø tikrovës ribø?-Taip, að tuo tvirtai tikiu. Afrika Bambaata interviu laikraðèiui Urb, 1999 gruodis;www.urb.com

Rammmelzee, primenantis blogàjá Manga personaþà,kurio muzika skamba kaip ðëtoniðkas Afrikaa

Baambaata, yra Niujorko ikona, repo Leigh Bowery,vienas ið graffiti, undergroundinio meno, gatvës

kultûros, electro/hip hop (jo kartu su Jeanu-Micheliu Basquiat ir K-Rob sukurtas singlas Beat

Bop yra vienas svarbiausiø visø laikø repo kûriniø)pradininkø. Paskutiniais metais jis pagarsëjo

sukûræs savo paties ypatingà pasaulá www.gothicfuturism.com, kuris susideda iðiðgalvotø þmogaus dydþio lëliø, Raidininkø

(figûratyviniø riedlenèiø) ir kitø jo mitologijos ele-mentø (tekstø, pieðiniø, etc.).

Bonifaccijus IIeva – nuolat besiðypsantis Vilniaus eks-centrikas, kuris sëkmingai iðradinëja ne tik savo dvi-ratá, bet viskà, pradedant savais batais ir personaþu,nes Bonifacijus Ieva tëra dar vienas jo pseudonimas.

Viktor TTikraii dirba televizijoje.Valle KKalle dirba Viktorui Tikrai.

18

Metaiinterviu ((interviu appie iinterviu) kkaþþkuopannaððus áá ggrupiniø mmonologø rrungtá ddislek-tikø oolimpiaddoje. PPirmassis iinterviu áávyko 220033metaiis NNiujorke, kkaii VViktor TTikraii kkallbino lle-gendiná hhip-hopo attlikkëjà iir affrofuturistà1

Rammmelzee. AAntrass ppokallbis vvyko ppo ddviejømetø VVallei KKallei bbesiklauusannt ppirmojo vvëlyvàVilniauus vvakkarràà ssu ddarr vvienu auutomitologijosauutoriumi iir ppersonaþþu vvienamme ––Bonifaccijumi IIeva.. AAiðkindammiesi, kkass sslypimistiniø ggarrsø ppilnoje ppirmojo iinterviukassetëje, iiðgirdome nnemaþþiauu bballsø nneinuomoniø.

Rammmelzeee: Esu dislektikas, kalbu atbulai,todël tu negali to uþraðyti, bet gali atkurti ðiopokalbio raidëlapius. Að galiu kaþkam,pavyzdþiui, raidei, sukurti kità pusæ, bet iðtiesø reversinë pusë neegzistuoja. Tik dislek-cija man leidþia elgtis prieðingai. Traukinysyra lapas ir tu þymi ðá traukiná, nes jis rieda áaerodinaminá vamzdá. Að nuolat skaitauþodynà, todël þinau, kaip iliuminuoti raides,kaip jas paslëpti ar ornamentuoti, o nebû-damas dislektiku to padaryti negalëèiau.Dislekcija puikiai atlieka savo darbà...Raidëlapis yra tai, kas yra ant lapo, bet tikraidëlapiø somatikai viskà daro atvirkðèiai.Valle KKalle: Atrodo, kad interviu apie interviutikslas yra perpieðti fiktyvø pirmojo interviuraidëlapá ir besiaiðkinant praplësti jo ribas.Bet kaip tai padaryti, kai raidëlapio sampratatëra hipotetinë ir kinta priklausomai nuokonteksto? Viktor TTikraii: Verèiau mistifikuoti nei mokyti?Rammmelzee: Apsibrëþti teritorijà.Viktor TTikraii: Kà tuo nori pasakyti?Rammmelzee: Kontroliuoti sistemà,kontroliuoti rajonà, kontro-liuoti minià. Ne atlikti policijosfunkcijà, bet sukurti þmonëmssuprantamà tvarkà. Kartais aðvadovauju tûkstantinei ardeðimttûkstantinei þmoniøminiai. Jokie policininkai negalito padaryti, tik muzikantai turitokià galià. Kai sakau „stop!“,5000 þmoniø sustoja. Viktor TTikraii: Politikai tai irgi daro, ar ne? Rammmelzee: Ne, jie tik priverèia tave pritarti,jie negali tau liepti sustoti ar liautis. Að galiutau liepti sustoti. Kartais tai sunku, nes

kiekvienas judesys gali praþudyti þmogø...Valle KKalle: Kuriant bet kokià mitologijà, jàreikia kaþkaip ávardinti ir apibrëþti, kitaip ta-riant, aiðkinti. Kodël mistifikacija yra tinka-mesnë strategija nei edukacija? Bonifaccijus IIeva: Manau, kad verbalinë mito-logizacija nëra tikslinga, nes ji tampa perne-lyg buitine, o duodant interviu ir naudojantáprastà kalbà buitiðkumas yra neiðvengiamas.Graþu, kai dþiazo muzikantai groja lëkðtëmis,bet kai jas naudoja áprastiems dialogams,mitai subanalëja. Paèioje muzikoje galimapasiekti buitinëmis peripetijomis neuþspaz-muotà abstrakèià mitologizacijà net irtokiomis konkreèiomis temomis kaip lytis arsistema. Valle KKalle: Bet kuri mitologija perkoduojalyties, biologinës rûðies, socialinës tikrovës irto, kas yra antgamtiðka, sampratas.Mitologija ne tik ávardija neegzistuojanèiaspraeities bûsenas, bet ir pasiûlo naujasateities galimybes. Ar tokia ir yra Rammelzeekosmologija?2

Rammmelzee: Jie [Rammelzee pasakoja apiesavo kosmologijos personaþus, apie kuriuosgalite pasiskaityti www.gothicfuturism.com]yra moterys, drieþai, teisëjai...Viktor TTikraii: Bet jie turi lytá? Rammmelzee: Kai kurie jø yra belyèiai, kaipvienuoliai, pavyzdþiui. Suvirintojas yra belytis.Likimas [vienas ið personaþø], kuris bûtøAdomas ir Ieva, jei èia norëtume prisimintibiblijinæ mitologijà, taip pat yra belytis, taitëra vyras ir moteris viename...Valle KKalle: Rammelzee daug kalba apie galià,jos instrumentus (abëcëlë, mitologija, seksu-alumas ir lyties institucijos, muzika, TV, vy-riausybë, etc.) ir istoriná laikà. Rammelzeesupranta istorijà kaip nuolatinæ mitologijø kovàdël iðlikimo bei prognozuoja iðlikimo sëkmæanglø kalbai dël pastarosios ritmiðkumo…Viktor TTikraii: Turi omenyje iðlikimà?Rammmelzee: Þinoma! Patá svarbiausià instinktà. Viktor TTikraii: Bet tai yra sunku, nes þinai, kad...Rammmelzee: Kas tau yra sunku?Viktor TTikraii: Turiu galvoje, kad sunku galvotiapie gyvenimà tik iðlikimo terminais...Rammmelzee: Neturime pasirinkimo. Gráþtameatgal á primityvià bûsenà. Mes iðëjome iðmiðko, todël gráðime atgal, taèiau jau á tuðèiàmiðkà. Juk reikia daryti paþangà.Bonifaccijus IIeva: Nesutinku. Anglø kalba

dominuoja tik todël, kad vyrauja anglosaksøekonomika. Be to, niekada nelaimës vienaracionalesnë sistema, nes þmogus ið principonëra racionalus. Vien tik kalba skirtingasnebûsi. Rammmelzee: Kosminës kelionës turi vienàsavybæ – jos gàsdina moteris. Kai jos ásivaiz-duoja, kad ástrigo prakeiktame kosminiamelaive, kuriame nëra paplûdimiø... todël turigráþti atgal á virtuvæ. Ir negali iðtrûkti á iðoræ,nes nëra iðorës. Tuomet jos atsistoja ir tavepalieka...Valle KKalle: Rammelzee prognozuoja, kad,ateityje Þemëje sumaþëjus gyvybiniø resursøkiekiui, bûsime priversti dar grieþèiau hierar-chizuotis ir sistematizuotis...Bonifaccijus IIeva: Futurizmas neturiturëti taisykliø. Þudymas busdar produktyvesnis, mastur-bacija dar labiau iðsikeros.Nemanau, kad, þemëje maþë-jant resursams, centralizacijastiprës, o sistematizacija plësis.Moterys tikrai ras savo vietàkosmose ir ValentinosTereðkovos pavyzdys tai ilius-truoja…Rammmelzee: ...jos þino, kad kosminëskelionës yra izoliuotos sistemos. Nëra kurnueiti, neámanoma pabëgti, turi paklusti arbamirsi. Þemesnë nei 260 laipsniø temperatûrayra pavojinga. Èia jos gali pabëgti á kitusnamus, á policijà, á paplûdimá... Bet kai tu esikontroliuojamoje sistemoje, t.y. kosminiamelaive...Valle KKalle: Koks skirtumas tarp Rammelzee irðamano?Bonifaccijus IIeva: Muzika savaime yra burtai,todël muzikantui nëra reikalo kurti racionaliømikroschemø, aiðku, kiek futurizmomikroschemos gali bûti racionalios. Man taiprimena sekmadienines religines laidas. Toksmàstymas yra sektantiðko màstymo pradþia,o tiesos reikia ieðkoti savyje…Rammmelzee: Að tapau ðamanu... ir tapauesybe... Valle KKalle: Medijos ne tik valdo mus, bet irkeièia realybæ. Technologinë „tikrovës“ fiksa-vimo áranga, apeliuodama á objektyvumà,labiau manipuliuoja mûsø tikrovës percepci-jos jausmais, nei tai vyko verbalinio informa-cijos saugojimo ir perdavimo laikais. Kokius

Apie gyvenimà ir visatà…Metainterviu dalyvaujant Rammelzee ir kitiems

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tauut

ass MM

aþþei

kis

Filo

sofi

nës

ann

tro

po

log

ijos

ppra

ggm

attik

a iir

annall

itika

Leid

ëjass

: Sa

uulës

ddel

ta,,

ÐÐiauu

liaii,

220055

349

pp.IS

BBN 9

9555-

522-

52-6

Post

mod

erni

met

odol

ogija

Gin

taut

as M

aþei

kis

mon

ogra

fijoj

eFi

loso

finës

ant

ropo

logi

jos

prag

mat

ika

iran

aliti

kask

aity

tojø

dëm

esiu

i pat

eiki

a po

st-

mod

erni

os a

ntro

polo

gijo

s m

etod

olog

iniu

spa

mat

us.

Pagr

indi

nis

kant

iðko

s an

trop

olog

i-jo

s kl

ausi

mas

„ka

s yr

a þm

ogus

?“ ð

iand

ien

nebe

gali

bûti

spre

ndþi

amas

màs

tant

nura

ðyto

mis

pro

to a

r va

lios

kate

gorij

omis

,to

dël i

eðko

ma

nauj

os m

etod

olog

inës

poz

ici-

jos,

kur

ià p

rofe

soriu

s ap

tinka

am

erik

ieèi

ølit

erat

ûros

krit

iko

(kitø

daþ

niau

vad

inam

ofil

osof

u) R

icha

rdo

Rort

y ne

opra

gmat

isti-

niuo

se d

arbu

ose.

Pas

ak M

aþei

kio,

„nu

oD

esca

rtes

’o la

ikø

sàm

onë,

pro

tas

buvo

ási-

vaiz

duoj

amas

kai

p ta

m t

ikra

s au

tono

mið

kas

gebë

jimas

, at

siet

as n

uo s

ocia

liniø

san

tyki

ø,

nuo

psic

hom

otor

iniø

kûn

o fu

nkci

jø,

nuo

aplin

kos

ekol

ogijo

s. T

aèia

u to

ks p

rota

sni

ekad

os n

eegz

ista

vo“

(p.

51).

Taig

i, jo

kios

auto

nom

ijos.

Tod

ël a

ntro

polo

gija

, ka

ipkl

ausi

mo

„kas

yra

þm

ogus

?“ s

vars

tym

as,

turi

bûti

supr

anta

ma

kaip

hol

istin

ë ve

ikla

,ty

rimas

, ku

rio c

entr

e –

ne k

onkr

etus

ar

abst

rakt

us,

bent

sàl

ygin

ai n

uo a

plin

kos

nepr

ikla

usom

as,

save

aps

pren

dþia

ntis

asm

uo.

Api

e jo

kius

nuo

soc

ialin

io,

ekol

ogin

io ir

vis

okio

kito

kio

kont

ekst

o at

-si

etus

, ap

linko

s at

þvilg

iu a

uton

omið

kus

indi

-vi

dus

èia

nebe

gali

bûti

në k

albo

s. „

Kal

bini

oþa

idim

o su

bjek

tas

yra

ne p

avie

nis

asm

uo,

otr

adic

ijai p

rikla

usan

ti þm

oniø

gru

pë“

(p.

51).

Tad

jei p

asiri

nkto

s m

etod

olog

ijos

poþi

ûriu

joki

a pr

asm

ë an

apus

kal

bini

øþa

idim

ø ne

egzi

stuo

ja ir

bet

kok

s su

prat

imas

reik

alau

ja a

titin

kam

ø ka

lbin

iø þ

aidi

mø

ásis

avin

imo,

o k

albi

nio

þaid

imo

subj

ekta

syr

a ne

indi

vida

s, b

et (

siau

riau

ar p

laèi

ausu

voki

ama)

ben

druo

men

ë, t

ai ir

ats

akym

o á

klau

sim

à „k

as y

ra þ

mog

us?“

ten

ka ie

ðkot

ine

indi

vidø

, be

t gr

upiø

ana

lizës

lygm

enyj

e,st

ebin

t ir

apra

ðinë

jant

soc

ialin

ius

ir ku

ltû-

riniu

s di

skur

sus,

pro

cesu

s, in

tera

kcija

s ir

pan.

Jei p

rota

s –

pagr

indi

në p

aþin

imo

prie

mon

ë –

iðtir

pdom

as s

anty

kyje

su

gam

-tin

e, k

ultû

rine

ir so

cial

ine

aplin

ka,

tai l

ygia

ita

ip p

at ir

paþ

inim

o m

etod

ai b

ei p

ati t

iesa

,ka

ip p

aste

bi p

rofe

soriu

s, „

tiesi

ogia

i prik

lau-

so n

uo ja

u eg

zist

uoja

nèiø

gru

pini

ø el

gesi

ono

rmø,

nuo

ben

drø

ásiti

kini

mø

ir ta

m t

ikra

isar

gum

enta

is g

rindþ

iam

o su

tarim

o“ (

p. 5

2).

Maþ

eiki

ui t

ai a

tver

ia n

auja

s an

trop

olog

iniø

tyrim

ø pe

rspe

ktyv

as,

bet

ar t

okiu

atv

eju

nëra

keb

lu k

albë

ti ap

ie k

okià

nor

s pa

þint

inæ

veik

là,

mok

slà

apsk

ritai

, o

tam

e ta

rpe

irap

ie f

iloso

finæ,

soc

ialin

æ ar

kul

tûrin

æan

trop

olog

ijà?

Taip

jau

nutik

o, k

ad,

atsi

saky

dam

i rep

reze

ntac

inës

paþ

inim

osa

mpr

atos

, ai

ðkio

s sk

irtie

s ta

rp s

tebi

nèio

josu

bjek

to ir

ste

bim

øjø

obje

ktø,

esa

me

priv

erst

i ats

isak

yti i

r tr

adic

iniø

mok

slo

stan

-

dart

ø. T

enka

prip

aþin

ti, k

ad a

ntro

polo

gas

su s

avo

met

odol

ogin

ëmis

nuo

stat

omis

yra

susa

isty

tas

soci

alin

iø s

aitø

bei

kul

tûrin

ëstr

adic

ijos

ne m

aþia

u ne

i jo

tiria

ma

„tik

rovë

“(d

abar

jau

kabu

tëse

). M

aþei

kis

toki

osan

trop

olog

ijos

mok

slið

kum

à gi

na a

peliu

o-da

mas

á an

alog

ijà s

u po

stm

oder

niøj

øhu

man

itarø

tai

p pa

mëg

ta,

nors

pav

irðu-

tinið

kai i

r su

papr

astin

tai i

nter

pret

uoja

ma

mat

avim

o pr

oced

ûrø

kvan

tinëj

em

echa

niko

je s

peci

fika

bei W

erne

rioH

eise

nber

go n

eapi

brëþ

tum

o pr

inci

pu.

Ant

ropo

logi

joje

, ka

ip ir

kva

ntin

ëje

fizik

oje,

„ste

bëto

jo p

ozic

ija d

aro

steb

imàj

á ávy

ká [

...]

neap

ibrë

þtà,

o k

onkr

eèia

s fo

rmas

sut

eiki

apa

ts a

ntro

polo

gas,

ant

ropo

logo

ir s

tebi

mo-

jo d

ialo

gas

arba

ste

bim

ojo

kom

enta

ras“

(p.

25).

Ðtai

ðita

ip n

ejuè

ia n

usitr

ina

riba

tarp

anal

izës

ir k

ûryb

os,

nive

liuoj

asi s

kirt

umai

tarp

filo

sofij

os ir

lite

ratû

ros

kriti

kos.

„Tik

rovë

s“,

kiek

api

e jà

dar

gal

ima

kalb

ëti,

apra

ðym

as t

uo p

aèiu

yra

tos

tik

rovë

s ko

n-st

ravi

mas

, ak

tyvu

s jo

s kû

rimas

. Pa

steb

ëtin

a,ka

d to

kio

kûry

biðk

o (n

ors

ðiuo

atv

eju

tik-

riaus

iai n

euþm

anyt

o) t

ikro

vës

kons

trav

imo

elem

entø

apt

inka

me

ir pr

ofes

oria

us m

ono-

graf

ijoje

: am

erik

ieèi

ø fil

osof

as H

ilary

Putn

amas

èia

pris

kiria

mas

Eur

opos

filos

ofin

iam

kon

teks

tui,

britø

gla

m-r

oker

isD

avid

as B

owie

’s va

dina

mas

akt

yviu

And

yW

arho

lo F

abrik

o ve

ikëj

u, o

Will

ard’

o V.

Qui

ne’o

var

du þ

inom

as f

iloso

fas

èia

vadi

na-

mas

Will

iam

su Q

uine

’u.

Besk

aita

nt m

onog

rafij

à pa

laip

sniu

iai

ðkëj

a, k

ad jo

je n

ëra

siek

iam

a at

saky

ti á

prad

þioj

e pa

teik

tà p

ragm

atin

á Kan

tofil

osof

inës

ant

ropo

logi

jos

klau

sim

à „k

as y

raþm

ogus

?“.

Èia

vei

kiau

sie

kiam

a pa

rody

ti,ka

ip ð

iuol

aiki

nëje

filo

sofij

os,

antr

opol

ogijo

sir

apsk

ritai

pos

tdis

cipl

inin

ëje

situ

acijo

jetu

rëtø

bût

i ats

akin

ëjam

a á t

oká k

laus

imà.

Maþ

eiki

o pa

teik

iam

a an

trop

olog

iniø

tyr

imø

pers

pekt

yvø

anal

izë,

man

o m

anym

u,at

skle

idþi

a be

t ko

kio

pate

nkin

amo

atsa

ky-

mo

á ðá k

laus

imà

neám

anom

umà,

bet

tuo

paèi

u vi

s dë

lto s

ieki

a ir

pagr

ásti

nesi

-ba

igia

nèio

, nu

olat

os m

utuo

janè

io ir

auga

nèio

ats

akin

ëjim

o á ð

á, ja

u be

veik

bepr

asm

iu t

apus

á kla

usim

à, p

rasm

ingu

mà.

Veik

iaus

iai t

okia

ir y

ra ð

iuol

aiki

nës

– ir

jau

nebe

svar

bu,

filos

ofin

ës a

r so

cio-

kultû

rinës

–an

trop

olog

ijos

esm

ë. N

enut

rûks

tam

aspr

oces

as è

ia d

aug

vert

inge

snis

uþ

neá-

man

omu

laik

omà

rezu

ltatà

, o

ir pa

tsan

trop

olog

inio

tyr

imo

proc

esas

ren

èiam

aspa

gal v

isas

pos

tmod

erna

us d

isku

rso

klið

es.

Svar

biau

sia

bet

koki

a ka

ina

veng

ti vi

sko,

kas

nors

kie

k pr

imin

tø ið

baig

tum

à, s

kaid

rum

à,ai

ðkum

à, d

isci

plin

à ar

tva

rkà.

Situ

acija

kas

-di

eniø

inte

rakc

ijø e

rdvë

je ly

giai

tok

ia p

ati.

Maþ

eiki

s pa

steb

i, ka

d áv

airio

ms

kom

isijo

ms,

bend

ruom

enëm

s ar

sub

kultû

rø a

tsto

vam

sko

difik

uoja

nt a

r si

ekia

nt a

pibr

ëþti

ir ko

di-

fikuo

ti ta

i gru

pei b

ûdin

gas

elge

sio

norm

as,

etik

a nu

olat

os v

irsta

etik

eto

form

omis

.Sk

irdam

as h

egem

onið

kus

mon

olog

iniu

s ir

pliu

ralis

tiðku

s di

alog

iniu

s m

oral

ës p

avid

alus

,m

onog

rafij

os a

utor

ius

kriti

ðkai

ver

tina

pir-

møj

ø do

min

avim

à m

okyk

lose

, ko

ntor

ose

irki

tose

gru

pëse

. Jo

man

ymu,

tai

ved

a tie

k á

trad

icijo

s gy

vybi

ngum

o pr

arad

imà

kultû

ros

ar g

rupë

s vi

duje

, tie

k á v

is m

enke

snæ

susi

ðnek

ëjim

o ta

rp k

eliø

kul

tûrø

ar

kultû

riniø

gru

piø

galim

ybæ.

„Ið

eitis

: nu

olat

i-ni

s, a

tvira

s, n

et s

kaus

min

gas

dial

ogas

dël

vert

ybiø

sim

boliz

acijo

s fo

rmø“

(p.

86)

.Þi

nom

a, M

aþei

kio

pris

iimta

pra

gmat

inë

antr

opol

ogijo

s nu

osta

ta v

eiki

a ta

rsi s

augi

k-lis

, ne

leid

þian

tis t

ieso

s ar

tik

rovë

sre

prez

enta

cijo

s ne

áman

omum

o sà

lygo

mis

kalb

ëti v

ien

apie

kra

ðtut

iná s

o w

hat?

tipo

relia

tyvi

zmà

bei v

erèi

antis

pra

bilti

api

epo

lilog

iðku

mà,

tol

eran

cijà

, sa

vita

rpio

sup

ra-

timà.

Kom

unik

atyv

i pra

gmat

inë

tiesa

atr

an-

dam

a to

lera

ntið

koje

dis

kusi

joje

, sa

vita

rpio

supr

atim

o si

ekyj

e. T

ad,

jei k

laus

imas

„ka

syr

a þm

ogus

?“ v

is d

ar s

vars

tom

as a

ptar

iant

,kà

jis

gali

ir tu

ri ið

sav

æs p

adar

yti,

tai þ

mo-

gus

Maþ

eiki

o pi

rmia

usia

suv

okia

mas

kai

ppr

ikla

usan

tis t

am t

ikra

i lok

alia

i tra

dici

jai s

u

visa

is jo

s m

itini

ais,

pse

udo-

mag

inia

is ir

sim

-bo

linia

is e

lem

enta

is,

nega

lintis

ir n

etur

intis

nuo

jos

atsi

ribot

i bei

neg

alin

tis ir

net

urin

tisat

sirib

oti n

uo s

vetim

ø ir

kart

ais

prie

ðiðk

øtr

adic

ijø.

Ats

iribo

jimas

ir n

esis

kaity

mas

gal

itu

rëti

laba

i apè

iuop

iam

ø ir

lem

iam

ø pa

sek-

miø

(to

kiø

kaip

rug

sëjo

11-

osio

s áv

ykia

i),ku

rios,

pas

ak a

utor

iaus

, tik

pat

virt

ina

blai

vaus

ir t

oler

antið

ko t

arpk

ultû

rinio

, ta

rp-

trad

icin

io d

ialo

go b

ûtin

ybæ.

Man

au,

visa

tai

laba

i gra

þu.

Bet,

vie

na v

ertu

s, li

eka

neai

ðku,

ar lo

kalio

ms

trad

icijo

ms

bûdi

ngø

sim

boliø

irm

itø „

nuke

nksm

inim

as“

laik

ant

juos

tik

dar

vien

a ne

aprë

piam

os þ

mog

iðko

sios

tik

rovë

sbr

iaun

a, t

ik d

ar v

ienu

fan

tasy

tipo

þaid

imu,

paèi

ø tr

adic

ijø p

oþiû

riu y

ra k

as n

ors

daug

iau

nei i

ð ðo

no a

r ið

virð

aus

þvel

gian

èiø

opti-

mis

tiðka

i nus

iteik

usiø

mok

slin

inkø

roþ

inës

svaj

os?

Kita

ver

tus,

gal

bût

cini

ðka

klau

sti,

bet

neai

ðku,

kuo

vis

kà „

sum

itina

ntis

“ an

trop

olo-

gas

dar

gali

pagr

ásti

ásiti

kini

mà,

kad

tol

eran

-ci

jos,

ger

umo,

atv

iro d

ialo

go v

erty

bës

yra

univ

ersa

lesn

ës u

þ jë

gà,

pykt

á ar

ðalta

krau

jiðkà

bom

bø s

prog

dini

mà

vaik

ø da

rþel

iuos

e.Ta

èiau

vei

kiau

siai

ðie

kla

usim

ai,

kaip

ir K

anto

„kas

yra

þm

ogus

?“ b

ei d

augy

bë k

itøkl

ausi

mø,

Maþ

eiki

o pa

sirin

ktos

met

odol

ogi-

jos

poþi

ûriu

tur

i lik

ti at

viri.

Jona

ss DD

aggys

Jona

s D

agys

yra

filo

sofij

os d

okto

rant

as V

ilnia

usun

iver

site

te ir

CE

univ

ersi

tete

Bud

apeð

te.

Jere

my

LLew

isPe

ngui

n Spp

ecia

ll. TTh

e LLi

fe a

nnd TT

imes

oof

Alle

n LLa

nneLe

idëj

ass:

VVik

ing,

LLon

dona

ss, 22

0055

484

pp.IIS

BBN 0

--670

--9114

85-1

Paim

k „p

ingv

inà“

Ar

galim

a po

kyèi

us le

idyb

os in

dust

rijoj

ela

ikyt

i lite

ratû

rinio

ðla

mðt

o nu

opel

nu?

Taip

,je

i tur

ësim

e om

enyj

e Pe

ngui

n Bo

oks,

vie

nàga

rsia

usiø

– je

i ne

paèi

à ga

rsia

usià

– le

idyk

løpa

saul

yje.

Jo

s ák

ûrëj

as A

llena

s La

ne’a

s, k

artà

pas

i-ba

isëj

æs it

in þ

emu

liter

atûr

iniu

gel

eþin

kelio

stot

ies

kios

kuos

e pa

rdav

inëj

amø

knyg

ø ly

giu,

netr

uko

suku

rti p

lanà

, ka

ip p

asiû

lyti

publ

ikai

tikrà

jà „

vert

ybæ

uþ p

inig

us“,

t.y

. kn

ygas

,ku

rios

bûtø

ger

ai p

arað

ytos

, ge

rai a

pipa

vida

-lin

tos,

ger

ai ið

leis

tos,

na,

ir p

riein

amos

kiek

vien

o ki

ðene

i. Je

rem

y Le

wis

, na

ujau

sios

ðio

bep

rece

-de

ntin

io m

asin

ës r

inko

s he

roja

us b

iogr

afijo

sau

toriu

s, d

ar k

artà

pap

asak

oja

ðià

daba

r ja

u

lege

nda

tapu

sià

isto

rijà

ir ka

rtu

pade

da ið

si-

narp

lioti

ið k

ai k

uriø

kitø

mitø

, ku

riais

, be

abej

o, p

er s

epty

nias

deði

mtie

s m

etø

gyva

vim

ois

torij

à sp

ëjo

apau

gti l

eidy

kla.

K

ai k

urie

ið jø

gyv

uos

amþi

nai –

dau

gelis

knyg

ø ge

rbëj

ø A

llenà

Lan

e’à

laik

o kn

ygø

spau

dos

plon

ais

virð

elia

is p

radi

nink

u. T

aine

tiesa

, kad

angi

dar

iki j

o ke

leta

s le

idëj

øm

ëgin

o le

isti

maþ

ytes

itin

pig

ias

kiðe

nine

skn

ygas

plo

nais

pop

ierin

iais

virð

elia

is.

Þym

iaus

ias

ið p

radi

nink

ø bu

vo C

hris

tiana

sBe

rnar

das

Tauc

hnitz

as ið

Lei

pcig

o, n

uo 1

837-

øjø

leid

æs p

igià

pop

ulia

riø A

nglij

os a

utor

iøkn

ygø

serij

à. L

ane’

o ið

skirt

inum

à ir

kom

erci

næsë

kmæ

lëm

ë ta

i, ka

d jis

pirm

asis

sug

ebëj

o„s

uves

ti“ s

kaity

toju

s su

pui

kiom

is k

nygo

mis

,pa

site

lkda

mas

nau

jas

mar

ketin

go s

trat

egija

s(þ

ymus

is jo

„Pi

ngvi

nkub

ator

ius“

, mað

ina,

kurio

je u

þ ðe

ðis

pens

us b

ûdav

o ga

lima

ásig

yti

knyg

ø, s

u m

alon

umu

pris

imen

amas

dar

irði

andi

en).

Nen

uost

abu,

kad

, pra

bëgu

s vo

sdv

ylik

ai m

ënes

iø p

o pa

siro

dym

o rin

koje

1934

-øjø

liep

à, P

engu

in B

ooks

jau

buvo

par

-da

vusi

dau

giau

nei

mili

jonà

kny

gø. G

alim

asp

ëti,

kad

ðian

dien

ðis

ska

ièiu

s ar

tëja

link

pusë

s bi

lijon

o.Sa

kom

a: „

Dau

gkar

t ko

piju

otas

, në

kart

nepa

kart

otas

“. P

asek

ëjai

tai

p ni

ekuo

met

irne

pavi

jo s

parè

iai p

rieki

n ju

danè

iø „

ping

-vi

nø“.

Taè

iau

reik

ia p

aste

bëti,

kad

sep

tinto

jode

ðim

tmeè

io v

idur

yje,

suð

luba

vus

Lane

’osv

eika

tai (

jis m

irë 1

970

met

ais)

, ko

nkur

enci

jaja

u vi

rte

virë

, á k

ovà

ásiju

ngus

kel

etui

sta

mbi

øþa

idëj

ø ab

ipus

Atla

nto.

Jie

mie

lai s

paus

dino

tiek

klas

ikà,

tie

k gr

oþin

æ lit

erat

ûrà,

tie

kis

torin

ius

veik

alus

ar

esë.

Tok

ia li

tera

tûro

ssk

laid

a –

knyg

os b

uvo

pato

gios

neð

iotis

,pi

gios

ir „

áska

itom

os“

– ga

lëtø

bût

i lai

kom

avi

enu

didþ

iaus

iu X

X a

mþi

aus

kultû

ros

pasi

ekim

ø.Ta

èiau

, þv

elgd

amas

ið L

enki

jos,

tur

iupa

steb

ëti,

kad

Peng

uin

ir ki

tos

toki

o tip

okn

ygos

Ryt

ø Eu

ropo

s rin

kai á

tako

s be

veik

nepa

darë

. K

nygø

leid

yba

ðiap

us G

eleþ

inës

uþda

ngos

buv

o tv

irtai

sub

sidi

juoj

ama

ir ly

giai

taip

pat

tvi

rtai

kon

trol

iuoj

ama

vals

tybë

s.Re

zulta

tas

– pu

ikia

i par

aðyt

ø ir

apip

avid

alin

-tø

, ge

rai i

ðlei

stø

ir pi

giø

knyg

ø ga

usa.

Dau

gum

a jø

buv

o le

idþi

amos

pop

ierin

iais

virð

elia

is,

nem

aþai

iðle

ista

kið

enin

io f

orm

ato

knyg

eliø

, su

jom

is d

irbo

geria

usi m

enin

inka

iir

tipog

rafa

i. Be

to,

vis

ose

ðios

e ða

lyse

þmon

ës it

in d

aug

skai

të,

kada

ngi b

ûten

tkn

ygos

buv

o le

ngvi

ausi

as k

elia

s pa

bëgt

i nuo

þiau

rios

kasd

ieny

bës.

..R

ytø

euro

pieè

iam

s tu

o m

etu

buvo

prie

inam

i dau

gelio

sva

rbiø

tar

ptau

tinës

rep

u-ta

cijo

s au

toriø

vei

kala

i. Þi

nom

a, b

ûta

irið

imèi

ø –

Orw

ella

s, K

oest

leris

, N

abok

ovas

(per

nely

g an

ti-ru

siðk

as),

Hen

ry M

iller

is (

per-

nely

g ga

ival

iðka

s),

taèi

au ið

prin

cipo

kny

gyna

iði

apus

Gel

eþin

ës u

þdan

gos

buvo

neá

tikët

inai

gera

i apr

ûpin

ti an

glos

aksi

ðka,

Lot

ynø

Am

erik

os,

pran

cûzø

, ita

lø,

voki

eèiø

lite

ra-

tûra

... Ir

net

gi è

ekø,

ven

grø

ar r

usø.

Ar

jauè

iam

as P

engu

in B

ooks

indë

lis p

opul

iari-

nant

aut

oriu

s ið

vad

inam

øjø

kom

unis

tiniø

ðaliø

Vak

aruo

se?

Varg

u. T

arp

pirm

øjø

pen-

kias

deði

mtie

s La

ne’o

iðle

istø

aut

oriø

buv

o tik

vien

as v

yruk

as ið

bal

tøjø

loki

ø kr

aðto

,Jo

seph

as C

onra

das

(jo A

lmay

ers

Folly

sàra

ðe–

36-o

ji).

Tad

nesu

nku

supr

asti,

jog

Peng

uin

tiksl

as –

tie

siog

leid

yba,

o n

e na

ujø

auto

riøpa

ieðk

a, k

as g

alëj

o bû

ti ga

n su

dëtin

ga.

Jei

Solþ

enyc

inas

neb

ûtø

buvæ

s pr

iver

stas

ið

vykt

iið

Tar

ybø

Sàju

ngos

, jis

tur

bût

niek

ada

nebû

tøat

sidû

ræs

Peng

uin

sàra

ðe –

nep

aisa

nt N

obel

iopr

emijo

s, ið

leis

ti m

aþai

kam

þin

omo

Rusi

jos

raðy

tojo

kny

gà g

alëj

o bu

ti riz

ikin

ga.

Gal

bût

tai p

aaið

kina

, ko

dël n

auja

usia

s Pe

ngui

nkn

y-ga

s pu

oðia

tik

„pa

tikrin

ti“ v

arda

i, to

kie

kaip

Milo

szas

, K

apus

cins

kis,

Hað

ekas

(Ðv

eiko

auto

rius)

, Bu

lgak

ovas

, m

ano

jau

min

ëtas

Solþ

enyc

inas

ir p

ora

Rusi

jos

klas

ikø.

Ðiu

o-la

ikin

iø?

Na,

ið t

iesø

tai

ne.

Sup

rant

ate,

lei-

dyba

– t

ai v

ersl

as...

Grz

egor

zass

Soow

ula

Grz

egor

zas

Sow

ula

yra

Rzec

zpos

polit

osku

ltûro

ssk

yria

us r

edak

toriu

s (V

arðu

va).

ww

w.r

zecz

posp

olita

.pl

Biblioteka

22 23

Iðny

k!

Jos

VVann

dder

PPol

:K

aip

visk

as p

rasi

dëjo

? 19

98m

etai

s Ba

baka

s A

fras

sabi

pak

viet

ë m

us d

aly-

vaut

i sav

o ku

ruoj

amoj

e pa

rodo

je M

iltel

iøka

mba

rys

(The

Pow

der

Room

). K

aip

tik p

rieð

tai N

iujo

rke

buvo

me

radæ

kny

gà K

aip

ding

tisu

visa

m,

kad

niek

as n

eras

tø(H

ow T

oD

issa

pear

Com

plet

ely

and

Nev

er B

e Fo

und)

,ku

ri la

bai s

uþav

ëjo,

tad

iðka

rt jà

ásig

ijom

e.K

ai á

mus

kre

ipës

i Afr

assa

bi d

ël p

arod

os,

kurià

tuo

met

u su

darin

ëjo

– jo

s te

ma

buvo

auto

riaus

iðny

kim

as,

– nu

tarë

me

pana

udot

isa

vo r

adin

á, ta

ip p

at s

usiju

sá s

u ið

nyki

mu.

Nup

irkom

e ði

mtà

kny

gos

egze

mpl

ioriø

,su

paka

vom

e á v

okus

ir p

last

ikin

ius

mai

ðeliu

sir

sudë

jom

e an

t m

edin

io s

uole

lio,

past

atyt

oan

t pa

kylo

s.Li

esbe

th BB

ik:

Taip

iðry

ðkëj

o al

iuzi

ja á

„sla

ptus

“pa

ðtu

pris

tato

mus

leid

iniu

s, n

etur

inèi

uspa

tekt

i vie

ðum

on –

tok

ius

kaip

por

no þ

ur-

nala

i ar

anon

imin

iai g

rasi

nant

ys la

iðka

i, ka

ipro

do f

ilmuo

se…

Pat

iko

átam

pa t

arp

to,

kas

drau

dþia

ma,

sla

pta,

ir t

o, k

as g

rësm

inga

,ka

ip ir

neþ

inom

ybës

þav

esys

bei

vie

nu a

r ki

tubû

du v

is t

ik a

iðki

ai li

ekan

tys

pëds

akai

. Ði

knyg

a –

inst

rukc

ijø r

inki

nys

apie

tai

, ka

ipsu

plan

uoti

ding

imà,

sus

ikur

ti na

ujà

iden

-tit

età,

insc

eniz

uoti

savi

þudy

bæ.

Lank

ytoj

aipa

rodo

s m

etu

iðsi

neðë

84

knyg

as,

o no

rëda

-m

i jas

pas

iekt

i, tu

rëjo

uþl

ipti

ant

paky

los.

Mes

tai

p ir

neþi

nom

e, k

iek

lank

ytoj

ø ga

liau-

siai

ið t

ikrø

jø d

ingo

. N

epai

sant

to,

jie

visi

daly

vavo

kûr

inyj

e, já

iðba

igë

ir, n

et je

i nie

koap

ie t

ai n

enut

uokë

, ta

po k

ûrin

io b

endr

aau-

toria

is.

Ádom

u ás

ivai

zduo

ti, k

aip

jie e

lgës

i to-

liau,

sva

rsty

ti, a

r in

form

acija

kny

goje

jiem

sbu

vo n

audi

nga.

Ar

kaþk

as p

asik

eitë

dël

to?

Ar

jie k

nygà

per

skai

të ið

kart

, ar

pad

ovan

ojo

kaþk

am,

apie

kie

no ið

nyki

mà

galb

ût s

vajo

jo?

J:N

eþin

ome

ir… n

enor

ime

þino

ti. V

ëlia

u ði

sda

rbas

dar

buv

o ro

dom

as N

iujo

rke

Gre

ene

Naf

tali

gale

rijoj

e, g

rupi

nëje

par

odoj

e Tr

eile

ris(T

raile

r) 2

000

met

ais,

ir M

aiso

nneu

vega

leri-

joje

Par

yþiu

je 2

003

met

ais.

Niu

jork

ieèi

ai

pasi

rodë

bes

à iti

n go

dûs:

kny

gos

ding

o la

bai

grei

tai,

per

sava

itæ.

Suol

elis

, an

t ku

rio jo

sbu

vo s

udët

os,

tàka

rt b

uvo

itin

dailu

s ir

tra-

pus,

diz

aine

rio d

arbo

Nel

sono

suo

lelis

.K

adan

gi k

nygo

s la

bai g

reita

i din

go,

vëlia

upa

siro

dæ la

nkyt

ojai

rea

guod

avo

á suo

lelá

vado

vaud

amie

si la

bai p

apra

sta

logi

ka –

sës

-da

vosi

. Ta

èiau

suo

lelis

nea

tlaik

ë. J

o lik

uèiu

s ið

paro

dos

paða

lino

ir vi

enin

teliu

dar

bo e

kspo

-na

vim

o to

je g

aler

ijoje

árod

ymu

liko

maþ

ytë

ant

sien

os k

abëj

usi k

orte

lë s

u uþ

raðu

„Din

gim

as,

1998

, Bi

k Va

n de

r Po

l. 10

0D

ougo

Ric

hmon

do k

nygo

s H

ow T

oD

isap

pear

Com

plet

ely

and

Nev

er B

e Fo

und

egze

mpl

io-r

iø,

plas

tikin

iai m

aiðe

liai,

suol

elis

“.D

raug

ai,

lank

æsi p

arod

oje,

rap

ortu

odav

o(m

es p

arod

os m

etu

buvo

me

kitu

r):

„nuo

stab

us d

arba

s, la

bai t

iksl

us,

laba

idi

ngæs

“. J

uoki

nga.

Nes

u tik

ras,

ar

mes

sur

adom

e kn

ygà,

ar

knyg

a su

rado

mus

. Pa

mat

æ kn

ygyn

e, la

bai

impu

lsyv

iai j

à ið

kart

nus

ipirk

ome.

L:

Gal

tai

par

alel

ë m

ûsø

kaip

men

inin

køpr

aktik

ai:

kola

boru

ojan

t at

sisa

kyti

auto

ryst

ës.

Pasi

slëp

ti. P

asip

rieði

nti m

us s

upan

èio

men

opa

saul

io r

eika

lavi

mam

s –

indi

vidu

alau

s ge

ni-

jaus

, ku

ris,

jaut

ëme

ir ja

uèia

me

lig ð

iol,

neeg

zist

uoja

, po

reik

iui.

Dau

gybë

did

þiø

daly

kø a

tsira

nda

kole

ktyv

iniø

pas

tang

ø,m

ainø

, ta

m t

ikro

idëj

ø, ju

okø,

nes

usip

ratim

øir

patir

èiø

ping

-pon

go p

asek

oje.

J:

Pan

aðia

i tur

bût

màs

të W

alin

gas

Boer

sas

(iðBe

rlyno

Bür

o Fr

iedr

ich)

, kv

iesd

amas

mus

padi

rbët

i su

Lee

Loza

no k

ûryb

a. J

os t

ekst

aiat

spin

di it

in r

adik

alià

kon

cept

uala

us m

eno

prak

tikà.

Ji d

ingo

kar

tu s

u da

rbu

Iðkr

itim

as(D

rop

Out

Pie

ce),

visi

ðkai

pas

itrau

kë ið

men

opa

saul

io.

Toki

o m

enin

io r

adik

alum

o pa

sekm

ë–

tai,

kad

jos

kûry

ba d

ingo

ið m

eno

isto

rijos

anal

ø ir,

ben

t ja

u ku

rá la

ikà,

buv

o ne

þino

ma.

Vis

a ta

i tyr

inëj

ant

buvo

ska

udu

supr

asti,

kie

kne

daug

Loz

ano

gyve

nim

o, d

arbo

ir m

inèi

øpa

siek

ë m

ûsø

laik

us.

Atr

odo,

kad

, ka

i tik

jita

po s

avo

paèi

os m

eno

obje

ktu

ir su

bjek

tu –

o ko

ncep

tual

iaja

me

men

e tu

o m

etu

vis

la-

biau

ryð

këjo

men

o ob

jekt

o „d

emat

eria

lizac

i-jo

s“ t

ende

ncija

– ja

i lik

o tik

vie

nas

logi

ðkai

iðkû

rybo

s ið

plau

kian

tis p

asiri

nkim

as:

visi

ðkai

iðny

kti i

ð m

eno

scen

os.

Tai b

uvo

neið

veng

ia-

ma.

L:Ið

nyki

mas

ið v

ieðo

sios

þin

ojim

o ir

info

rma-

cijo

s sf

eros

– t

o dë

ka jo

s kû

riniu

s ga

ubus

ity

la b

uvo

„kur

tinan

ti“.

Gal

i bût

i, ka

d m

ûsø

susi

þavë

jimà

Loza

no ið

dal

ies

lëm

ë m

itas.

Ats

isak

ymas

bût

i þad

ino

mûs

ø va

izdu

otæ.

Neb

uvim

as t

urëj

o ta

pti t

ema,

bût

i tiri

amas

irdi

skut

uoja

mas

. Ir

tapt

i dis

kurs

o da

limi,

iðni

rti

ið t

ylos

. Sv

arst

ëme,

kok

ias

pase

kmes

gal

itu

rëti

band

ymas

vad

ovau

tis s

avo

men

inia

ispr

inci

pais

gyv

enim

e, je

i tai

gal

i rei

kðti

visi

ðkà

nem

atom

umà

ar n

et ið

tryn

imà?

Ar

jie t

urët

ølik

ti ne

ágyv

endi

nti –

arg

i vai

zduo

të n

evirð

ijare

alyb

ës?

Kas

, je

i men

as g

eba

kurt

i kei

timos

iga

limyb

es ir

tok

iu b

ûdu

ið t

ikro

ats

klei

sti s

kir-

tum

à, n

et je

i to

skirt

umo

nega

lime

tiksl

iai

ávar

dint

i? A

r ne

t ir

toki

u at

veju

tai

bus

sva

r-bu

s pa

siek

imas

? K

odël

men

as n

etur

ëtø

bûti

laik

inas

– k

aip

prie

ðprie

ða a

mþi

num

ui?

Gal

tik la

bai s

iaur

i api

brëþ

imai

lem

ia,

kad

toki

opo

bûdþ

io m

enas

nel

aiko

mas

sva

rbiu

: ne

s jis

pern

elyg

laik

inas

. Ve

rtyb

iø ir

jø s

iste

mø

sam

-pr

atos

kai

ta g

alët

ø pa

skat

inti

susi

màs

tyti

irap

ie k

itoki

as g

alim

ybes

, ne

t je

i jos

tet

runk

ase

kund

ës d

alá i

r jø

pov

eiki

o ne

áman

oma

pam

atuo

ti.

J:Fi

zini

s di

ngim

as g

ali b

ûti d

ingi

mas

ið e

gzis

-tu

ojan

èios

tva

rkos

. Ta

èiau

din

gim

as n

ëra

tiesi

og ið

nyki

mas

ið p

asau

lio.

Ádom

u,ju

okin

ga ir

kar

tu la

bai c

inið

ka,

kad

Loza

noda

rbai

vël

pas

irodë

vie

ðum

oje,

kai

jos

palik

imà

perë

më

Hau

seris

& W

irtha

s, s

varb

ûsm

eno

rinko

s þa

idëj

ai.

Ir ne

nuos

tabu

, ka

d jo

sda

rbai

vël

pas

idar

ë „r

eika

lingi

“, p

anað

iai

kaip

Jan

o Ba

s A

derio

kûr

inia

i. (J

anas

Bas

Ade

ris 1

975

met

ais

ding

o ið

plau

kæs

á jûr

à,ne

gaus

i jo

kûry

ba b

uvo

repr

oduk

uota

po

auto

riaus

mirt

ies)

. Lo

zano

kûr

yba

nëra

gau

si,

taig

i, m

an s

mal

su,

kas

ávyk

s. A

r at

eity

jepi

rkëj

as g

alës

ásig

yti t

eisæ

atk

urti

Mot

erø

boik

otà

(Boy

cott

Wom

en P

iece

) ar

Iðkr

itim

à

(Dro

p O

ut P

iece

), ka

ip k

ad a

tsiti

ko s

u Ja

noBa

s A

derio

kûr

inia

is?

Ir kà

tuo

met

dar

ys t

aspi

rkëj

as –

neg

ráþta

mai

din

gs?

Gyv

enim

as ið

prin

cipo

kup

inas

hum

oro.

L:Ja

no B

as A

derio

atv

ejis

tai

p pa

t ge

roka

ipa

rado

ksal

us.

Jis s

ukûr

ë la

bai n

edau

g da

rbø.

Nep

aisa

nt t

o, r

inka

spa

udþi

a, t

aigi

, ið

to

gali-

ma

pasi

dary

ti pi

nigø

. D

abar

tinia

i kûr

iniø

savi

nink

ai g

enia

liai s

ugal

vojo

„at

kurt

i“fo

togr

afija

s Pr

aðau

, ne

palik

man

æs(P

leas

eD

on’t

Lea

ve M

e) ir

Nep

asak

ytos

, o

pask

uipa

mirð

tos

min

tys

(Tho

ught

s U

nsai

d, T

hen

Forg

otte

n) k

aip

inst

alia

cijà

. Pi

rkëj

as g

ali á

si-

gyti

orig

inal

ià s

kaid

ræ ir

nam

ie p

rinci

pu„p

asid

aryk

pat

s“ s

ukur

ti in

stal

iaci

jà.

Bet,

tam

tikra

pra

sme,

atk

urda

mas

dar

bà jo

nes

ukur

i,gr

eièi

au p

anai

kini

. Ág

yven

dind

amas

kûr

iná

priv

erti

já ið

nykt

i.

J:Ju

odoj

i rin

ka o

ptim

a fo

rma…

ner

ibot

a pl

ë-tr

a, s

toko

s at

met

imas

, at

kûrim

as,

tars

i… t

aira

dika

lus

kapi

taliz

mas

. Pa

naðu

, ka

d pa

slëp

tida

lyka

i áta

koja

vie

ðàjà

sfe

rà v

ien

savo

neb

u-vi

mu.

Jie

tam

pa g

eidþ

iam

i, ir

tuom

et p

erke

ltiju

os á

vieð

à rin

kà t

ëra

juok

ø da

rbas

.

Lies

beth

BBik

ir J

os VV

ann dd

er PP

ol y

ra k

artu

dirb

anty

sm

enin

inka

i, þi

nom

i kai

p Bi

k Va

n de

r Po

l. G

yven

a Ro

terd

ame.

Dis

appe

ar!

Jos

vvann

dder

PPol:

So h

ow d

id it

sta

rt?

We

wer

e in

vite

d to

par

ticip

ate

in t

his

show

calle

d Th

e Po

wde

r Ro

omcu

rate

d by

Bab

akA

fras

sabi

in 1

998.

Sho

rt b

efor

e th

at w

efo

und

the

book

How

To

Dis

appe

arC

ompl

etel

y an

d N

ever

Be

Foun

din

New

York

, an

d it

fasc

inat

ed u

s, s

o w

e bo

ught

it.

Whe

n A

fras

sabi

con

tact

ed u

s ab

out

the

show

he

was

try

ing

to p

ut t

oget

her

– it

was

abou

t th

e di

sapp

eara

nce

of t

he a

utho

r –

we

deci

ded

to u

se t

his

foun

d ob

ject

on

disa

p-pe

aran

ce.

We

boug

ht 1

00 o

f th

em,

and

ona

plat

form

we

put

a w

oode

n be

nch

onw

hich

we

put

the

100

copi

es o

f th

e bo

ok,

wra

pped

in e

nvel

opes

and

pla

stic

bag

s.

Lies

beth

BBik

:Th

is r

efer

red

to t

hose

‘se

cret

’pu

blic

atio

ns o

ne c

an o

rder

by

mai

l, th

atne

ed t

o st

ay h

idde

n, li

ke w

ith p

orn

mag

a-zi

nes,

or

anon

ymou

s th

reat

enin

g le

tter

s yo

uca

n re

ceiv

e, a

s in

film

s…W

e lik

ed t

his

ten-

sion

bet

wee

n th

e fo

rbid

den,

the

hid

den

and

the

thre

aten

ing,

but

als

o th

e ex

cite

men

t of

the

unkn

own,

and

the

tra

ces

that

are

stil

lth

ere,

som

ehow

. It

is a

sel

f-he

lp in

stru

ctio

nbo

ok a

bout

pla

nnin

g a

disa

ppea

ranc

e,ar

rang

ing

a ne

w id

entit

y, s

ettin

g up

a f

ake

suic

ide.

The

pub

lic t

ook

84 b

ooks

dur

ing

the

show

, an

d in

ord

er t

o ta

ke o

ne,

you

had

tost

ep o

nto

the

plat

form

. So

we

don’

t kn

owho

w m

any

peop

le w

ho t

ook

the

book

, ac

tu-

ally

dis

appe

ared

. Bu

t w

hate

ver

they

did

,th

ey p

artic

ipat

ed in

the

wor

k, f

inis

hed

it, s

oto

say

, an

d be

cam

e, m

aybe

with

out

know

-in

g, c

o-au

thor

s of

the

wor

k. It

is n

ice

toim

agin

e w

hat

they

did

with

it,

and

ask:

was

it us

eful

info

rmat

ion

they

fou

nd in

the

book

? D

id it

mak

e a

diff

eren

ce?

Did

the

yre

ad it

, im

med

iate

ly,

or d

id t

hey

give

it t

oso

meo

ne,

may

be s

omeo

ne t

hey’

d lik

e to

see

disa

ppea

r fr

om t

heir

life?

J:

We

don’

t kn

ow,

and

don’

t –

wan

t to

know

. La

ter

it w

as p

ut u

p ag

ain

in N

ew Y

ork

in G

reen

e N

afta

li ga

llery

dur

ing

the

grou

psh

ow T

raile

rin

200

0 an

d in

gal

lery

Mai

sonn

euve

in P

aris

in 2

003.

In N

ew Y

ork,

the

peop

le w

ere

gree

dy:

the

book

s w

ere

gone

qui

ckly

, w

ithin

a w

eek.

The

ben

ch w

eus

ed w

as a

Nel

son

benc

h, a

ver

y ni

cede

sign

er b

ench

, ve

ry f

ragi

le.

Sinc

e th

e bo

oks

wer

e ta

ken

alm

ost

imm

edia

tely

, pe

ople

who

visi

ted

the

show

use

d th

e em

pty

benc

h fo

rth

e m

ost

logi

cal t

hing

to

do –

to

sit

dow

n.Bu

t th

e be

nch

colla

psed

. Th

e cr

ooke

d be

nch

was

tak

en o

ut o

f th

e sh

ow,

and

the

only

‘pro

of’

of t

he w

ork

ever

bei

ng p

rese

nt t

here

,w

as a

litt

le c

ard

on t

he w

all t

hat

stat

ed:

“Dis

appe

aran

ce P

iece

1998

s, B

ik v

an d

erPo

l. 10

0 co

pies

of

the

book

: H

ow T

oD

isap

pear

Com

plet

ely

and

Nev

er B

e Fo

und

by D

oug

Rich

mon

d, p

last

ic b

ags,

ben

ch”.

Frie

nds

who

vis

ited

the

show

rep

orte

d ba

ckto

us

(we

wer

e no

t th

ere

at t

he t

ime)

: “m

ar-

velo

us p

iece

, ve

ry p

reci

se,

very

muc

h di

sap-

pear

ed”.

Ver

y fu

nny.

I am

not

sur

e if

we

foun

d th

e bo

ok o

r th

ebo

ok f

ound

us.

Whe

n w

e sa

w it

in t

his

book

shop

, w

e im

med

iate

ly b

ough

t it

on a

nim

puls

e.L:

may

be it

has

to

do w

ith a

par

alle

l with

our

art

prac

tice:

giv

ing

up a

utho

rshi

p vi

aco

llabo

ratio

n. G

oing

und

erco

ver.

Resi

stin

gth

e de

man

ds o

f th

e ar

t w

orld

tha

t w

asar

ound

us,

the

dem

and

for

indi

vidu

alge

nius

, w

hich

we

felt,

and

stil

l fee

l, do

es n

otex

ist.

Man

y gr

eat

thin

gs d

evel

op a

s th

ere

sult

of a

col

lect

ive

effo

rt,

and

exch

ange

, a

sort

of

ping

pon

ging

of

idea

s, jo

kes,

mis

un-

ders

tand

ings

, an

d ex

perie

nces

fro

m o

ne t

oan

othe

r.J:

Wal

ing

Boer

s (f

rom

Bür

o Fr

iedr

ich

inBe

rlin)

may

be t

houg

ht s

omet

hing

like

thi

sto

o, w

hen

he c

omm

issi

oned

us

to w

ork

with

the

prac

tice

of L

ee L

ozan

o. H

er t

ext

piec

esre

flect

a v

ery

radi

cal c

once

ptua

l art

pra

ctic

e.Sh

e di

sapp

eare

d w

ith t

he D

rop

Out

Pie

ce;

she

defin

itive

ly s

tepp

ed o

utsi

de t

he a

rtw

orld

. Th

e co

nseq

uenc

e of

thi

s ar

tistic

rad

i-

calit

y is

tha

t he

r w

ork

has

as g

ood

as v

an-

ishe

d fr

om t

he a

nnal

s of

art

his

tory

and

her

oeuv

re h

as r

emai

ned,

at

leas

t fo

r a

long

time,

hid

den.

Whi

le r

esea

rchi

ng a

ll th

is,

itw

as p

ainf

ul t

o di

scov

er h

ow li

ttle

of

Loza

no’s

life,

wor

k, a

nd t

houg

ht h

ad s

ur-

vive

d. It

see

med

tha

t w

hen

she

beca

me

the

subj

ect

and

obje

ct o

f he

r ow

n ar

t, a

nd c

on-

cept

ual a

rt w

as in

crea

sing

ly m

ovin

g to

war

ds‘d

emat

eria

lisat

ion’

of

the

art

obje

ct,

ther

ew

as o

nly

one

logi

cal o

ptio

n th

at w

as t

otal

lyin

line

with

her

pre

viou

s pr

actic

e: t

o di

sap-

pear

fro

m t

he s

cene

. It

was

una

void

able

. L:

Thes

e as

pect

s –

disa

ppea

ranc

e, t

he p

ublic

aren

a of

kno

wle

dge

and

info

rmat

ion

– th

esi

lenc

e ar

ound

her

wor

k w

as ‘

deaf

enin

g’.

Our

fas

cina

tion

for

Loza

no w

as m

aybe

par

tlyba

sed

on m

yth.

The

den

ial o

f pr

esen

ceap

peal

ed t

o ou

r im

agin

atio

n. T

he a

bsen

cene

eded

to

be a

ddre

ssed

, ex

plor

ed,

and

dis-

cuss

ed.

And

bec

ome

part

of

a di

scou

rse

inst

ead

of t

his

sile

nce.

W

e th

ough

t, w

hat

are

the

cons

eque

nces

of

livin

g ou

t yo

urar

tistic

con

cept

s w

hen

this

mig

ht im

ply

com

-pl

ete

invi

sibi

lity

or e

ven

eras

ure?

Or

shou

ldth

ey r

emai

n un

exec

uted

: do

esn’

t im

agin

a-tio

n ex

ceed

rea

lity?

Wha

t if

art

man

ages

to

crea

te p

ossi

bilit

ies

for

chan

ge,

and

henc

ere

ally

mak

es a

diff

eren

ce,

even

if w

e ca

nnot

know

wha

t ex

actly

the

diff

eren

ce is

? W

ould

this

stil

l be

an im

port

ant

acco

mpl

ishm

ent?

Why

sho

uldn

’t a

rt b

e te

mpo

rary

, as

opp

osed

to e

tern

al?

Perh

aps

over

ly r

igid

def

initi

ons

ofar

t ar

e th

e re

ason

why

thi

s ki

nd o

f ar

t is

trea

ted

as u

nim

port

ant:

bec

ause

it is

too

tem

pora

ry.

Cha

ngin

g id

eas

abou

t va

lue

and

valu

e sy

stem

s co

uld

stim

ulat

e th

inki

ng a

bout

othe

r po

ssib

ilitie

s –

even

if t

hey

last

a s

plit

seco

nd a

nd h

ave

an im

mea

sura

ble

impa

ct.

J:A

phy

sica

l dis

appe

aran

ce m

ay b

e a

disa

p-pe

aran

ce f

rom

the

exi

stin

g or

der.

But

disa

p-pe

arin

g is

not

lite

rally

van

ishi

ng f

rom

the

wor

ld.

It is

inte

rest

ing,

ver

y fu

nny

and

also

cyni

cal i

n a

way

tha

t he

r w

ork

is b

ecom

ing

mor

e vi

sibl

e ag

ain

sinc

e H

ause

r &

Wirt

h,

lead

ing

play

ers

in t

he a

rt m

arke

t, t

ook

over

the

resp

onsi

bilit

y of

her

est

ate.

And

hah

a,no

sur

pris

e he

re:

Loza

no’s

wor

k ha

s be

com

e‘w

ante

d’,

like

the

wor

k of

art

ists

suc

h as

Bas

Jan

Ade

r. (

Jan

Ade

r w

as lo

st a

t se

a in

197

5le

ft b

ehin

d a

slim

bod

y of

wor

k th

at h

asbe

en r

epro

duce

d in

pos

thum

ous

editi

ons)

.Lo

zano

did

not

mak

e so

muc

h w

ork,

thou

gh,

so I

am c

urio

us w

hat

will

hap

pen.

Will

a f

utur

e bu

yer

own

the

right

to

reen

act

the

Boyc

ott

Wom

en P

iece

or t

he D

rop

Out

Piec

e, a

s is

alre

ady

happ

enin

g w

ith t

he w

ork

of B

as J

an A

der?

And

the

n w

hat

will

thi

sbu

yer

do:

disa

ppea

r be

yond

the

poi

nt o

f no

retu

rn?

Life

has

som

e hu

mor

in it

.L:

In t

he c

ase

of B

as J

an A

der,

som

ethi

ngve

ry p

arad

oxic

al is

hap

peni

ng t

oo.

He

mad

ea

very

lim

ited

amou

nt o

f w

orks

. St

ill,

the

mar

ket

is p

ushi

ng,

so t

here

is m

oney

to

mak

e. T

he e

stat

e to

ok o

n th

e gr

eat

idea

to

‘re-

mak

e’ t

he p

hoto

grap

hic

wor

ks P

leas

eD

on’t

Lea

ve M

ean

d Th

ough

ts U

nsai

d, T

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DZO

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Mar

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2004

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LAU

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AS,

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min

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2004

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2005

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jum

o kr

iterij

umne

pais

ant

þanr

o, p

rodu

kcijo

s ko

kybë

s ir

biud

þeto

.Ði

oje

prog

ram

oje

bus

pris

taty

ti kû

rinia

i,at

rinkt

i ið

2005

met

ø ta

rpta

utin

io k

onku

rso

prog

ram

os.

Ðie

film

ai a

tskl

eidþ

ia,

kad

disk

usija

api

e tr

umpa

met

raþi

ø fil

mø

form

osir

kont

ekst

o áv

airo

væ y

ra g

yva

ir at

vira

. K

aip

kasm

et v

ykst

anèi

o fe

stiv

alio

org

aniz

ator

iai

mes

pas

tebi

me,

kad

kûr

ybin

gi n

auji

trum

pam

etra

þiai

film

ai v

ysto

si n

eprik

laus

o-m

ai n

uo k

ino

rinko

s in

tere

sø.

Trum

pa-

met

raþi

ø fil

mø

iðte

klia

i beg

alin

iai,

nes

jiele

ngva

i jud

a ta

rp s

kirt

ingø

pro

dukc

ijos

irsu

voki

mo

sfer

ø: n

uo k

ino

mok

yklo

s ik

i bal

toku

bo,

nuo

inte

rnet

o ik

i cel

iulo

idin

ësju

oste

lës,

nuo

muz

ikos

iki k

ino

indu

strij

os,

nuo

pers

onal

inio

kom

piut

erio

nam

uose

iki

didþ

iøjø

ekr

anø!

Film

ø ppr

ogra

mma:

KO

AÐ

IEÐK

AU

, Sh

elly

Silv

er,

15 m

in.,

JAV,

2004

Film

as p

asak

oja

apie

kei

stà

nuot

yká,

kuris

ÐMC

TV s

iûlo

pra

silë

kti…

Ruugs

ëjo

114 K

elio

në p

rasi

dës

haliu

cinu

ojan

èiu

pasi

-

vaþi

nëjim

u su

Rai

neriu

Gan

ahliu

(N

iujo

rkas

), M

atia

su

Fald

bakk

enu

(Osl

as),

Ale

xiu

Bagu

(N

iujo

rkas

) ir

Oliv

eriu

Mic

hael

su (

Niu

jork

as)

– vi

rðys

ime

grei

tá pr

ieð

srau

tà ás

ukda

mi á

pos

ûká,

kuris

neb

elei

s ið

tiesi

nti v

airo

iki p

at k

elio

nës

paba

igos

.

Ruugs

ëjo

221 N

emaþ

inda

mi g

reiè

io p

amat

ysim

e, k

aip

buvæ

s Re

voliu

cijo

s m

uzie

jus

tran

sfor

muo

jasi

á

Nac

iona

linæ

dailë

s ga

lerij

à ir

poþe

min

io t

rauk

inio

stot

á vie

nu m

etu,

o J

ulie

ta A

rand

a

(Mec

hika

s/N

iujo

rkas

) pr

ista

tys

Viln

iaus

pam

inkl

us,

skirt

us r

oko

ir po

p þv

aigþ

dëm

s –

Fran

kui Z

appa

i,

Bria

nui F

erry

, Br

itney

Spe

ars

ir t.

t

Ruugs

ëjo

228 p

asiv

aþin

ëjim

as b

okso

rin

ge s

u Ro

ssu

Cis

neiro

s (N

iujo

rkas

): su

nkia

svor

ës d

isku

sijo

s ir

pask

aita

api

e ne

lega

lià k

albà

bei

nel

egal

ius

mie

stus

,

Balta

rusi

joje

uþd

raus

tos

muð

amøj

ø gr

upës

pas

irody

-

mas

, ga

limyb

ë Ju

ms

Balti

jos

ðiuo

laik

inio

men

o tr

ie-

nalë

s BM

W a

tidar

yme

paþv

elgt

i á Ð

MC

TV

kam

eros

aká

bei…

Sppall

io 55

……su

sipa

þint

i su

Gab

rieliu

Les

teriu

! Et

eryj

e

vis

dar

plia

upia

net

ikrø

rek

lam

ø ir

anim

acijo

s lie

tûs,

kai Ð

MC

TV

pris

tato

Gab

rielio

(Br

iuse

lis/N

iujo

rkas

)

Goo

gle

vide

o m

iega

nèia

i ir

inte

rnet

e na

rðan

èiai

aud

i-

torij

ai.

Sppall

io 11

2 Ta

i die

na,

kai l

abiri

nte

atra

sim

e da

r ke

letà

men

inin

kø v

aizd

o ir

gars

o ta

keliø

, ve

danè

iø ið

Surin

amio

ir…

Sp pall

io 11

9 …

kitu

r, o

juos

e –

ryðk

ius

BMW

par

odos

ir da

ugel

io k

itø in

icia

tyvø

ir p

rovo

kaci

jø p

ëdsa

kus.

Sppall

io 22

6 Po

to

ásm

uksi

me

á rea

lybë

s m

etað

ou a

kli-

gatv

á, nu

tiest

à á r

ytus

: ði

s pi

lotin

is e

pizo

das

skirt

as

Rusi

jos

rinka

i. Je

i ási

jung

site

á te

levi

zijà

kai

p tik

ðiu

o

met

u, p

asirû

pink

ite p

apild

yti v

inje

èiø

ir tr

eile

riø a

tsar

-

gas.

Lappk

rièio

22 V

ël r

izik

uoda

mi k

irsim

e Te

kilo

s ga

ujos

terit

orijà

(ta

i Mik

loso

Erh

ardt

o m

oder

uota

s fil

mas

ir

jo in

spiru

otas

ren

giny

s V

ilniu

je),

kurià

dal

ijasi

bena

mia

i ÐM

C T

V k

aim

ynai

Lie

tuvo

je ir

Ven

grijo

je.

Lappk

rièio

9 N

esus

toda

mi j

udës

ime

iki p

at a

tviro

sios

TV m

ugës

. G

alite

pris

ijung

ti, t

aèia

u bû

tina

uþsi

re-

gist

ruot

i maþ

iaus

iai p

rieð

dvi s

avai

tes.

Lappk

rièio

116

Sept

ynio

likm

etei

Nel

lei b

us p

aaið

kint

a,

kaip

sus

irast

i dar

bà ir

kod

ël a

pskr

itai t

urët

ume

dirb

ti.

Sara

h Tr

ipp

(Gla

sgas

) fil

me

daly

vauj

a gy

veni

mo

kon-

sulta

cijø

, ps

icho

logi

jos,

kar

jero

s an

aliz

ës,

graf

olog

ijos

ir na

ujø

sand

ëriø

kon

sulta

vim

o sp

ecia

lista

i.

Lappk

rièio

223

gráð

ime

ið k

ur p

ajud

ëjæ

vien

tam

, ka

d

nust

ebtu

me

suþi

nojæ

, jo

g Ba

ltijo

s ta

rpta

utin

io m

eno

trie

nalë

vyk

o Lo

ndon

e ir

truk

o 33

su

puse

val

an-

dos…

CAC

TV o

ffer

s a

fast

rid

e…

On

14 S

epte

mbe

r a

new

sea

son

of t

he g

roun

d-

brea

king

art

-tel

evis

ion

serie

s la

unch

es,

late

Wed

nesd

ay n

ight

s, o

n Li

thua

nian

com

mer

cial

cha

n-

nel T

V1.

Seept

embe

r 114

In t

he b

egin

ning

, C

AC

TV

off

ers

a

hallu

cina

tory

trip

with

vid

eos

by R

aine

r G

anah

l

(NY

C),

Mat

ias

Fald

bakk

en (

Osl

o),

Ale

x Ba

g (N

YC

),

and

Oliv

er M

icha

els

(NY

C);

spee

ding

aga

inst

tra

ffic

in a

mul

tiple

u-t

urn

that

will

not

end

.

Seept

embe

r 221

Taki

ng t

he c

hica

nes

in o

ur s

trid

e, w

e

see

how

the

for

mer

Rev

olut

ion

mus

eum

in V

ilniu

s

tran

sfor

ms

both

into

a N

atio

nal A

rt G

alle

ry a

nd t

he

site

of

a m

etro

polit

an e

arth

quak

e w

hile

Jul

ieta

Ara

nda

(Mex

ico

City

/New

Yor

k) in

trod

uces

a n

umbe

r

of V

ilniu

s’ p

ublic

mon

umen

ts d

edic

ated

to

rock

and

pop

star

s: F

rank

Zap

pa,

Bria

n Fe

rry,

Brit

ney

Spea

rs,

et a

l.

Seept

embe

r 228

Joy-

ride

with

Ros

s C

isne

ros’

(N

ew

York

) bo

xing

mat

ch w

ith

its h

ard-

core

the

ory,

ille

gal l

angu

age,

ille

gal c

ities

,

and

illeg

al d

rum

ban

d am

ong

othe

r op

enin

g ev

ents

of B

MW

. Th

is is

als

o yo

ur c

hanc

e to

be

caug

ht b

y

the

cam

era

lens

and

to…

Oct

ober

055

Mee

t G

abrie

l Les

ter

(Bru

ssel

s/N

YC

). C

AC

TV s

till r

ains

with

ani

mat

ion

and

fake

ads

whi

le

Lest

er b

rings

his

Goo

gle

vide

o to

the

sle

epin

g an

d/or

goog

ling

audi

ence

.

Oct

ober

112

Mor

e ar

tists

’ fil

ms

will

add

to

the

laby

rinth

ine

rout

e on

thi

s da

te –

fro

m S

urin

am

and…

Oct

ober

119

Oth

er p

lace

s an

d tim

es p

ower

ed b

y

BMW

, a

nd m

any

mor

e.

Oct

ober

226

Turn

left

for

a R

ealit

y M

eta-

Show

driv

e,

this

tim

e w

ith a

pro

mis

e of

CA

C T

V c

onqu

erin

g a

Russ

ian

mar

ket.

If y

ou o

nly

join

CA

C T

V a

t th

is

poin

t, p

leas

e br

ing

your

ow

n pr

evie

ws

and

trai

lers

.

Nov

embe

r 022

Proc

eed

care

fully

thr

ough

the

are

a

inha

bite

d by

the

Teq

uila

Gan

g (a

Viln

ius-

base

d ev

ent

and

vide

o m

oder

ated

by

Mik

los

Erha

rdt

[Bud

apes

t]),

shar

ed b

y H

unga

rians

and

our

ow

n ho

mel

ess

neig

h-

bour

s.

Nov

embe

r 09

Nex

t st

op is

at

the

TV f

air

of f

ree

exch

ange

. Ev

eryo

ne’s

invi

ted!

Ple

ase

regi

ster

at

leas

t

two

wee

ks in

adv

ance

.

Nov

embe

r 116

In S

arah

Trip

p’s

(Gla

sgow

) vi

deo,

a L

ife

Coa

ch,

a Ps

ychi

c, a

n A

stro

loge

r, a

Car

eers

Ana

lyst

, a

Gra

phol

ogis

t an

d a

New

Dea

l Adv

isor

fro

m F

ulha

m

Job

Cen

tre

give

the

ir op

inio

ns o

n w

hy w

e w

ork

and

whe

re 1

7-ye

ar o

ld N

ell s

houl

d fin

d a

job.

Nov

embe

r 223

Go

all t

he w

ay r

ound

the

rin

g ro

ad t

o

disc

over

tha

t th

e Tr

ienn

ial h

appe

ned

in L

ondo

n an

d

was

33

and

half

an h

ours

long

…

For

mor

e jo

yrid

ing:

ww

w.c

ac.lt

/tv

intersection between public space and the

internet, still and moving im

ages, controland desire.A

UD

ITION

TAPE, Benny N

emerofsky Ram

say,8’, C

anada, 2003G

ay white m

ale, 29 years old, good singingvoice and co-ordination, desperately seeksjob as perform

er in a Russian girl pop group.H

istory, sexuality and identity collide in am

usical monologue.

GA

DZO

, GA

DZE, M

arjoleine Boonstra, 6’,Slovakia, 2004H

ow can this grandfather look after his

grandson?W

ILD BO

Y, Guy Ben-N

er, 17’, Israel, 2004The director and his four-year-old son enacta story of a feral child and his education inthe fam

ily’s kitchen.Y

ESTERDA

Y ... I TH

INK

, Becalelis Brodskis,5’, U

K, 2005

Once there w

as a baby who m

ade thosearound him

hate.FISTIC

UFFS, M

iranda Pennell, 11’, UK

, 2004A

bloke walks into a pub ... six actors

punch, kick and wrestle their w

ay throughthe W

ild West of an East London drinking

establishment.

ALBU

M, M

atthias Mueller, 24’, G

ermany, 2004

Album

is nurtured by my personal arsenal of

mem

ories. Num

erous moving im

ages I col-lected over the years encounter each other,as do pictures in a photo album

. Insertedtexts accom

pany and temporarily possess

the images, only to ultim

ately leave them as

they are.

Christianne BBüchner

is an author and filmm

a-ker. Studied fine art, film

and media design

in Berlin and Cologne. Since 2001 guest

professor for media design at W

uppertalU

niversity and the FH M

ainz. Mem

ber of theSelection C

omm

ittee for the InternationalShort Film

Festival Oberhausen since 2001,

with a special focus on Russia/C

IS. Her last

film, w

as the documentary N

eighbours ofthe K

remlin, w

hich has been shown at the

documentary fortnight at the M

oMA

, NY.

She lives in Cologne, G

ermany.

ListingsCA

C/CAFÉ TA

LKS

Once a m

onth come to the C

AC

Café and

join the discussion about topical internation-al issues in culture, econom

ics, and politicsim

pacting on the production, presentation,and reception of contem

porary art.C

AC

/Café Talks are an opportunity to find out

more about the expanded field of contem

po-rary culture in w

hich the CA

C operates.

CA

C/C

afé Talks are Vilnius’ coolest class-

room in w

hich you can eat, drink, listen, andargue about art: a partnership w

ith theC

AC

/Café.

18.00 WWednesdayy 331 AA

ugustSeeann CC

ubitt, Projection

In Pliny’s account of the origins of painting,projected light is the m

edium traced by the

maid of C

orinth. In Leroi-Gourhan’s

accounts of paleolithic art, projection plays akey role in the definition of hands as petro-glyphs. G

orky’s mem

oir of the first filmscreenings in Russia speaks of ‘the land ofshadow

s’. Projection is the medium

of per-spective and of cartography in all its form

s.In these later, m

ore rigorously abstract andm

athematical form

s, projection reveals oneof its key qualities: anam

orphosis. On the

one hand then, projection is the most direct

record that previous ages had of light? Afunction it had in the art of the silhouette,for exam

ple. But at the same tim

e, the pro-jection of three-dim

ensional objects like theglobe onto tw

o-dimensional planes like

maps m

eant that all projection was also dis-

tortion. The evidence of presence is always

open to the anamorphic vision so integral to

cinemascope and other photographic tech-

nologies. By looking at som

e examples of the use of

projection in contemporary art, I w

ant tocontest the hegem

ony of the four-sided, flatprojection and its pretence at the cinem

atic,

and to ask whether the field of projected

light has more to offer than the em

ulationof the real. Is projection, after all, a kind ofpsychological fantasy? O

r is it a quality ofthe visible w

orld that enters deeply into allour m

etaphors but as yet only marginally

into our arts?

Se eann CCubitt

is Professor of Screen andM

edia Studies at the University of W

aikato,N

ew Zealand. H

e is the author of EcoMedia

(Rodopi, 2005). The Cinem

a Effect(M

ITPress, 2004), Sim

ulation and Social Theory(Theory, C

ulture and Society/ Sage, 2001),D

igital Aesthetics

(Theory, Culture and

Society/Sage, 1998),V

ideography: Video

Media as A

rt and Culture

(Macm

illan/StM

artins Press, 1993), Timeshift: O

n Video

Culture (C

omedia/Routledge, 1991), and

coeditor of Aliens R U

s: PostcolonialScience Fiction w

ith Ziauddin Sardar(Pluto Press 2002) and The Third TextReader w

ith Rasheed Araeen and

Ziauddin Sardar (Athlone/C

ontinuum,

2002). He is the author of over 300 arti-

cles, chapters, papers and catalogueessays on contem

porary arts, culture andm

edia. A m

ember of the editorial boards

of several journals, including Screen, ThirdText, Futures, fibreculture journal, Publicand Vectors . H

e is currently researching abook on m

edia history and preparing tolaunch a book list on the history and philos-ophy of m

edia with Berg and N

ew York

University Press.

18.00 TTuesdayy 225 OOctober

Chrissie IIles, D

ayy ffor NNight: tthe

2 0066 WWhitney BBienniall, oor, WW

eLike AA

merica ann d AA

merica LLikes UU

s

In 2006, for the first time tw

o Europeans –C

hrissie Iles (from London) and Philippe

Vergne (from Paris) – w

ill curate the Whitney

Biennial the United States’ signature nation-

al survey exhibition. Both curators are out-siders w

orking from the inside. The perva-

sive international criticism of the U

nitedStates and the profound shift in its relation-ship w

ith the rest of the world belies a vital

US art scene, w

hose resistance to the statusquo is re-shaping the cultural landscape.C

hrissie Iles will discuss the w

ays in which

she and Philippe Vergne approached thecom

plex social and cultural environment of

the US, w

hose current troubled landscape,‘the other Europe’, is producing urgent,energetic, erotic, form

al and political art.

Chrissie IIles

has been a curator at theW

hitney Museum

of Am

erican Art, N

ewYork, since O

ctober 1997. She is part ofthe curatorial team

formulating the

artistic policy of the Whitney M

useum.

Iles curated the 2004 Whitney Biennial,

and other recent exhibitions include JackG

oldstein – Films and Perform

ance, andthe survey exhibition Into the Light: TheProjected Im

age in Am

erican Art 1964 –

1977, a major exhibition of historical

film, video and slide installations, aw

ard-ed a prize for ‘best exhibition’ in N

ewYork in 2002 from

the InternationalA

ssociation of Art C

ritics. Upcom

ingexhibitions include M

ichael Heizer:

Actual Size: M

unich Rotary(1970), the

first New

York presentation of a large pro-jective earthw

ork installation by Heizer. Prior

to appointment at the W

hitney, Iles was

Head of Exhibitions at the M

useum of

Modern A

rt Oxford. Iles, an adjunct

Professor at Colum

bia University, and faculty

mem

ber at the Center for C

uratorial Studiesat Bard C

ollege is also teaching in theSculpture D

epartment at Yale U

niversity. Sheis currently w

riting and editing Art and Film

a book in the Themes and M

ovements

seriesby Phaidon Press.

18.00 WWednesdayy 22 NN

ovember

Christi anne BBüchner, Film

s ffor ttheIm

p attient

In the course of more than five decades, the

International Short Film Festival O

berhausenhas becom

e one of the world’s m

ostrespected film

events – a place where film

-m

akers and artists such as Martin Scorsese,

George Lucas, D

avid Lynch, Alexander K

lugeand W

erner Herzog, and m

ore recentlyU

lrike Ottinger, Rom

uald Karm

akar, PipilottiRist, Jean-Pierre Jeunet and François O

zonhave presented their first film

s. More than

thousands of short films and videos are sub-

mitted every year, out of w

hich a couple ofhundreds are presented in the various com

-petitions and sections of the festival.O

berhausen provides an open platform for

every imaginable form

at of moving picture,

covering the entire spectrum of the short

form. But a film

isn’t selected simply for

being well produced. A

work m

ust always

be judged against its own claim

of beingsom

ething new – regardless of genre, pro-

duction quality and budget. The program

will present a selection of

works from

the festival’s 2005 internationalcom

petition program. These film

s will show

that the discussion about the various forms

and contexts in which short film

s appeartoday is vivid and open. A

s a festival we see

year after year the innovative potential shortfilm

s develop mostly off the focus and the

interests of a film m

arket. Their resourcesare im

mense because they m

ove easilybetw

een different spheres of production andreception: from

the filmschool to the w

hitecube, from

internet to celluloid, from m

usicto film

industry, from a hom

e PC to the big

screen!Film

PProgramm:

WH

AT I’M

LOO

KIN

G FO

R, Shelly Silver, 15’,U

SA, 2004

The film narrates a strange adventure at the

ARTT IIN

GGEN

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1 October: N

ew Season Launch

The New

Com

missions: Sharon H

ayes & M

elissaM

artinA

rtist in Residence: Chem

i Rosado SeijoA

udio Elevator: Tomm

y BeckerProject Space: Lee W

alton79 W

alker StreetN

ew York, N

Y 10013

ww

w.artingeneral.org

ARTT MM

USEEU

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F EESTTON

IA

– 02/10/2005M

etal Variations: Eila Minkkinen

08/10/2005 – 13/11/2005The N

ewspaper in Estonian A

rt19/11/2005 – 26/02/2006C

olours of Estonia: Richard Uutm

aaK

nighthood House

Kiriku plats 1

Tallinn 10130Roterm

anni Saltstorage, Contem

porary Art H

all ofthe A

rt Museum

of Estonia, 2 A

htri StrTallinn 10130w

ww

.ekm.ee

CH

APTER

– 30/10/2005O

laf Breunig: They Live28/10/2005 – 30/10/2005M

ay You Live in Interesting Times

Cardiff Festival of C

reative Technology (see website

for details)– 06/11/2005W

ales at the Venice Biennale: Somew

here ElsePavilion at: Ex-Birreria, G

iudecca

Market Road

Cardiff C

F5 1QE, U

K

ww

w.chapter.org

FRAAN

KFU

RTTER KKU

NSTTV

EREEIN

– 08/10/2005Sim

on Gilge: G

reat Value II08/11/2005 – 04/12/2005Igor Sew

cuk: Great Value III

Steinernes Haus am

Römerberg

Markt 44

60311 Frankfurt am M

ainw

ww

.fkv.de

GO

TEBÖRGG

KKO

NSTTH

ALL

– 06/11/2005M

ORE TH

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THIS! N

egotiating realities: 3rdInternetional Biennial for C

ontemporary A

rt 2005 G

ötaplatsen S-412 56 G

öteborgw

ww

.biennal.goteborg.se

I NSTTITU

TE OOF CC

ON

TEMPO

RAARYY

AARTT ((IC

A)

– 25/09/2005London in Six Easy Steps: 6 W

eeks, 6 Curators, 6

Perspectives01/10/2005 – 02/10/2005Black M

arket Worlds: 33 1/2 H

our Baltic Triennial (aC

AC

event)– 15/10/2005X

L LM Slovenia

The Mall

London SW1Y

5AH

, UK

ww

w.ica.org.uk

KU

NSTTLERHH

AU

S BBETHA

NIEN

ostPUN

K! too m

uch future: Punk in the GD

R 1979-1989Sum

mer- A

utumn Exhibition, Lecture, Perform

anceprogram

me

See special website for details

ww

w.ostpunk.de

Mariannenplatz 2

D-10997 Berlin

ww

w.bethanien.de

LATV

IAN

CCEN

TREE FFOR CC

ON

TEMPO

RAARYY

AARTT ((LC

CA

)– 06/11/2005Latvia at the 51st Venice Biennale:

DA

RK - BU

LBG

roup F5: Liga Marcinkevica, Ieva Rubeze, M

artinðRatniks, Ervins Broks Venue: Palazzo M

alipiero, San Marco 3078 (San

Samuele)

Alberta iela 13

LV-1010 Rigaw

ww

.lcca.lv

LITHU

AN

IAN

PPAV

ILION

551st VVEN

ICE BBIEN

NA

LE– 06/11/2005Jonas M

ekas: celebration of the small and personal

in the time of bigness

LudotecaSanta M

aria Ausiliatrice (at the end of via G

aribaldi)C

astello 45030122 Veneziaw

ww

.labiennale.org

TOA

STTING

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uratorial projects, performances, publications

ToastinK Press/Pacem

aker 10 Rue J-P Tim

baudF-75011 Parisw

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.toastingagency.free.fr

TRAAN

SMMISSIIO

N GG

ALLERYY

10/09/2005 – 08/10/2005Laurence Figgis15/10/2005 – 01/11/2005 Rosa BarberJohn Russell12/11/2005 – 17/12/2005Lisi Raskin 28 K

ing StreetG

lasgow G

1 5QP, U

Kw

ww

.transmissiongallery.org

W139

21/09/2005Book Launch (w

ith Maison D

escartes & Rom

aPublications): In O

ther Words by N

icholas Floch– 09/10/2005…

Mixing w

ith the sound of a fountain: Orla Barry

09/10/2005TEA

TALK

TOTA

L: an afternoon in the W139 C

antina6th floor1011 A

DA

msterdam

ww

w.w

139.nl

ZAC

HÆ TA

NNA

TION

AL GG

ALLERYY

OF AA

RTT 09/09/2005 – 16/10/2005O

skar Hansen: To See the W

orld12/09/2005– 16/10/2005C

asimir Zagourski: N

ostalgia Embodied

19/09/2005– 30/10/2005Egocentric, Im

moral, O

utmoded: C

ontemporary

Images of A

rtistspl. M

alachowskiego 3

00-916 Warsaw

Polandw

ww

.zacheta.art.pl

26 27

Ávykiai

Ignacio Gonzalez Lang, W

eird but True 2005- IX Baltic Triennial publication project

Ignacio Gonzalez Lang, A

kivaizdu, bet neátikëtina, 2005-, projektas ið IX Baltijos trienalës

Gintauutass MM

aþþeikisPr aggm

attics annd AAnallytics oof PPhilosophicall

Anthropology

Publisher: Sauulës ddelta,, ÐÐiauu li aii, 22005534 9 pp.I SBBN

99555-522-52-6

Postmodern M

ethodology

In his monograph Pragm

atics and Analytics

of Philosophical Anthropology

Gintautas

Maþeikis presents m

ethodological founda-tions of postm

odern anthropology. As the

principal question of Kantian anthropology

– what is the hum

an being? – cannot besolved under contem

porary conditions bythinking grounded upon such discardedcategories as m

ind or will, a need has aris-

en for a new m

ethodological position. Theauthor finds it in the neopragm

atist work

of Am

erican literary critic (widely know

n asa philosopher) Richard Rorty.

According to M

aþeikis, “since the times

of Descartes consciousness, m

ind, has beenim

agined as an autonomous capacity, dis-

associated from social relations, from

psy-cho-m

otor functions of the body, and fromenvironm

ental ecology. But such mind has

never existed” (p. 51). So, there’s no longer

any autonomy. Thus anthropology, as a

study of the question ‘what is the hum

anbeing?’ shall be understood as a holisticenterprise, as a survey focused neitherupon an abstract nor a particular personw

ho freely determines herself and is (at

least partly) independent of environment.

There is no possibility of talking about anyautonom

ous individuals or subjects. “Thesubject of a language gam

e is not a solitaryperson, but a group of people belonging toa tradition” (p. 51). If, according to them

ethodology, there are no meanings

beyond language games, and understand-

ing requires mastering language gam

es andtheir corresponding situations and the sub-ject of the language gam

e is not an individ-ual but a com

munity (in a w

ide or narrowsense), then the answ

er to the question‘w

hat is a human being?’ should be sought

in an analysis of groups, not individuals, byobserving and describing social and culturaldiscourses, processes, and interactions.

Now

if mind – traditionally, the princi-

pal organ and device of knowledge – w

ithits form

and contents is dissolved in its rela-tions to the natural, cultural and socialenvironm

ent, then, according to Maþeikis,

the methods of know

ledge and truth itselfare “directly dependent upon already exist-ing collective norm

s of behavior, uponshared beliefs and consensus supported bycertain argum

ents” (p. 52). From M

aþeikis’point of view

this seems to open new

per-spectives for anthropological research. Butdoesn’t it m

akea discussion of cognitive

activity (and science in general) feel awk-

ward? By discarding representational

understanding of knowledge and a clear

distinction between the observing subject

and the observed object, we are forced to

part with traditional standards of science.

One m

ust admit that an anthropologist and

her methodological attitudes are tied by

social bounds and cultural tradition no less

than the ‘reality’ (in quotation marks from

now on) she investigates. M

aþeikis defendsthe scientific character of such anthropolo-gy by an analogy w

ith the procedures ofm

easurement in quantum

physics andW

erner Heisenberg’s uncertainty principle,

a reference often celebrated in postmodern

humanities. In anthropology, as m

uch as inquantum

physics “the position of theobserver m

akes the observed event […]

indeterminate, and the latter receives par-

ticular forms from

the anthropologist, inthe dialogue betw

een the anthropologistand the observed or the com

ments of the

observed” (p. 25). Thus the boundarybetw

een analysing and creating is insensi-bly erased and differences betw

een philos-ophy and literary criticism

are leveled. Todescribe ‘reality’, as long as it is legitim

ateto talk about it, m

eans at the same tim

e toconstruct ‘reality’, to actively create it.Ironically, one notices that m

arginal exam-

ples of this creative (though most likely

unintentional)construction of ‘reality’ are

to be found in Maþeikis’ book itself in

which

for example,

Am

erican philosopherH

ilary Putnam is considered as part of a

European philosophical picture, Britishglam

-rocker David Bow

ie becomes an

active mem

ber of the Warhol factory, and

Willard V. Q

uine is referred to as William

sQ

uine.Reading the m

onograph one graduallyunderstands that it does not attem

pt toansw

er the pragmatic K

antian question(‘w

hat is a human being?’) rather it evinces

ways of answ

ering the question under theaegis of contem

porary philosophical,anthropological, and I w

ould say, post-dis-ciplinary conditions. The analysis of per-spectives for anthropological research pro-vided by M

aþeikis reveals the impossibility

of any satisfactorily complete answ

er tothis question. Yet, at the sam

e time, he

strives to justify the endlessly changing and

growing process of answ

ering this –already senseless question. Perhaps this isthe essence of contem

porary anthropology,be it social, cultural or philosophical. Thenon-term

inating process of inquiry is much

more valuable here than the im

possibleresult, and the process itself com

es toreflect the clichés of postm

odern discourse.The m

ost important thing is to avoid any-

thing reminiscent of com

pleteness, clarity,discipline and order. The situation in therealm

of everyday interactions is identical.M

aþeikis notices that as different comm

it-tees, com

munities or representatives of

subcultures attempt to define and codify

certain norms of behaviour characteristic of

the group, ethics transforms into form

s ofetiquette. Recognising the differencebetw

een hegemonic m

onologic and plural-istic dialogic form

s of morality, the author

critically assesses the domination of the for-

mer in schools, offices and other groups. In

his opinion, this leads to the loss of vitalityof cultural tradition from

inside, anddecreases the likelihood of understandingand com

munication betw

een several differ-ent cultural groups. “W

ay out: constant,open, even painful dialogue about theform

s of symbolization of values” (p. 86).

Of course, M

aþeikis’ pragmatic

approach functions as a protector that –considering the im

possibility of represent-ing truth and ‘reality’ – precludes him

fromcanting radical “so-w

hat?” type of rela-tivism

; pushing him tow

ards polylogism,

tolerance, sensibility and empathy.

Com

municative pragm

atic truth is revealedin tolerant discussion, and efforts of m

utualunderstanding. So, if the question ‘w

hat isthe hum

an being?’ can be still consideredin term

s of what he can and ought m

akeof him

self, then Maþeikis’ understands [a]

human as a being entrenched in local tradi-

tion (with concom

itant myths, m

agic andsym

bols) who cannot and ought not disas-

sociate from this tradition – nor should they

disregard foreign, sometim

es hostile tradi-tions. Such disregarding can lead to percep-tible and fatal consequences, w

hich, accord-ing to the author, confirm

the necessity forsober and tolerant intercultural and inter-tra-ditional dialogue. So far, so good. It rem

ainsunclear, how

ever, whether disarm

ing localsym

bols and myths by treating them

as justanother aspect of a com

plicated and exten-sive hum

an ‘reality’ or just another fantasygam

e is possible and acceptable from w

ithinthose traditions, and w

hether it is anythingm

ore than just a dream of optim

istic scien-tists looking at those traditions outside orfrom

on high? As such, it is unclear w

hetherthis anthropologist, w

ith her attitude of tak-ing everything as a m

yth, can still justify tol-erance, kindness, open-dialogue as valuesm

ore universal than power, anger and the

cold-blooded detonation of bombs in

kindergartens. Probably, these questions –like the K

antian ‘what is the hum

an being?’and m

any other related issues – from the

methodological point of view

endorsed byM

aþeikis are to be kept open.

Jonass DDaggys

Jonas Dagys is a PhD

student in philosophy atV

ilnius University and C

E University in Budapest.

Jeremy LLew

isPenguin Sppeciall: TThe LLife annd TTim

es oof AAllen LLanne

Publisher : VViking, LLondon, 220055

484 pp.I SBB N

0--670--911485-1

Pick up a Penguin

Could literary trash be credited w

ith chang-ing the publishing industry? The answ

er isyes, if w

e consider the case of PenguinBooks, one of the fam

ous – if not the most

famous – im

prints in the world.

Its founder, Allen Lane, w

as so takenaback by the low

literary level of books andm

agazines he found at a rail station kioskthat he im

mediately set upon a plan of

offering the public a true “value form

oney”, that is, books which w

ould be well

written, w

ell designed, well produced, and,

well, affordable to everyone.

Jeremy Lew

is, author of the most recent

biography of this unprecedented hero of them

ass market, repeats this by now

legendarystory w

hile at the same tim

e abolishes sever-al m

yths which quite understandably have

arisen during the 70 years of Penguin Books’existence.

Some w

ill remain forever – m

any book

lovers see Allen Lane as the m

an who intro-

duced low-priced paperbacks. It isn’t true; as

there had been several publishers who toyed

with the idea of pocketsize books in paper

covers at a very appealing cost. The bestknow

n among these pioneers w

as Christian

Bernard Tauchnitz from Leipzig w

ho since1837 offered the reader cheap reprints ofpopular English authors. Lane’s greatness –and subsequent com

mercial success – lay in

the fact that he, was the first w

hom, m

an-aged to hook the buying public w

ith a per-fect product supported by innovative m

ar-keting (his fam

ous Penguincubator, a six-pence book distributing m

achine, is stillfondly rem

embered). N

o wonder that in only

12 months since their m

arket debut in July1934 Penguin Books sold over three m

illioncopies. It’s a fair guess that the total run ofall titles in all series published to date nearshalf a billion.

“Often copied, never equalled”, runs

the saying. Imitators have never quite

caught up with quickly progressing “pen-

guins”. But it has to be said that by the mid-

1960s, the time w

hen Lane’s health beganto deteriorate (he died in 1970), the com

pe-tition w

as already fierce, with several big

players active on both sides of the Atlantic.

They were equally happy to offer the reader

a selection of classics, belles-lettres, history,or essays. This easy access to literature –books w

ere portable, cheap and discernible– could be listed am

ong the most significant

cultural achievements of the 20th century.

I must how

ever say that seen from m

yPolish perspective, Penguin and Penguin-type paperbacks have m

ade a relatively small

impact on the East European m

arket. Bookpublishing behind the Iron C

urtain was

heavily subsidised as well as tightly con-

trolled by the state. There’s been a plethoraof w

ell-written, w

ell-designed, well-pro-

duced and cheap titles available. The majori-

ty of them have had paper covers, not a

small num

ber were published in a pocket

size. The [cover] artists and typographersem

ployed represented the top league. And

people in all these countries read avidly, as itw

as through books that they could most

easily get a respite from harsh realities of

daily life…Eastern Europeans w

ere at that time

able to get a fairly honest selection of works

by authors of international repute. True,there w

ere exceptions – Orw

ell, Koestler,

Nabokov (too anti-Russian), H

enry Miller

(too pro-creational) – but on the whole

bookshops to the east of the Iron Curtain

were surprisingly w

ell stocked in translationsof A

nglo-Saxons, Latin Am

ericans, French,Italians, G

ermans…

even Czechs,

Hungarians and Russians. H

ad PenguinBooks played any significant role in prom

ot-ing in the W

est the authors for the so-calledcom

munist countries? H

ardly. Am

ong thefirst 50 authors to be published by Lanethere w

as only one guy from the land of

polar bears, namely Joseph C

onrad(A

lmayer’s Folly

was 36th on the list). It

makes one realise that Penguin’s business

was publishing as such, and not discovering

new nam

es, which could be tricky. H

adSolzhenitsyn not been expelled from

theSoviet U

nion, he probably wouldn’t have

made the Penguin list – w

ithout the ensuingscandal, publishing a relatively unknow

nRussian author (the N

obel notwithstanding)

would’ve been too risky. M

aybe this explainsw

hy on the most recent Penguin list one

finds only names of the ‘safe bets’, authors

like Milosz, K

apuscinski, Haðek (of the ‘good

soldier’ Schweik

fame), Bulgakov, aforem

en-tioned Solzhenitsyn and a couple of Russianclassics. M

oderns? Well, not really. W

e’re inthe business of publishing, you know

…

Grzegorz Soow

ulaG

rzegorz Sowula is the culture editor of

Rzeczpospolita, Warsaw

. To read more on Polish

culture and politics online: ww

w.rzeczpospolita.pl

Library

30 31

ates non-existing historical states but alsooffers new possibilities of the future. Is theresuch a cosmology of Rammelzee?

ii

Rammmelzee: They are women, lizards,judges... (Rammelzee is describing the sub-jects of his cosmology, read: www.gothicfuturism.com )Viktor TTikraii:But they have gender? Rammmelzee: Some of them have no gender –like monks have no gender. The Welder hasno gender. Destiny, which would be Adamand Eve if you want to deal with mythologi-cal sense of the bible, has no gender; it isjust man and woman combined...Valle KKalle: Rammelzee talks a lot aboutpower, its instruments (the alphabet, mythol-ogy, sexuality/ sex and its institutions, musicTV, government, etc.) and historical time. Heunderstands history as constant fight ofmythologies for their survival and locates it inthe English language because of its rhythm. Viktor TTikraii:You mean survival?Rammmelzee: Of course! The basic instinct of all. Viktor TTikraii:But it’s hard, because you

know like...Rammmelzee: What’s hard for you?VViktor TTikraii:I mean it’s hard to think of liv-ing just in survival terms.Rammmelzee: Got no choice. It’s back to theprimitive situation. We left the forest. Youhave to advance… Space travel does onething – it scares women. They’re stuck in agoddamn spaceship there are no beaches …and they better go to the kitchen. And youcan’t go outside! There is no outside! At thatpoint they get up and walk away from you.Bonifaccius IIeva:Futurism doesn’t have tohave rules. Killings will be more productive,masturbation will be more spread. I don’tthink that centralisation will become strongerand the system will spread with the lack ofresources. Women for sure will find theirplace in space and Valentina Tereshkova isthe example of it.Rammmelzee: They know that space travel is aconfined system. There’s no place to go, youcan’t run away, you have to listen. Or youdie. 260 degrees below that is something

dangerous. …they can’t run to anotherhouse, run to the police, run to a beach …When you are [in] a controlled system, whichis a spacecraft...Valle KKalle: What is the difference betweenRammelzee and shaman? Bonifaccius IIeva: Music is magic itself, that’swhy musician shouldn’t create the rational,futurism can’t be rational. It reminds meevangelic shows on Sunday morning... suchthinking is a source of sectarian thinking,though you have to look for truth in yourself...Rammmelzee: I become a shaman. … And Ibecome the entity.Valle KKalle: Mass media not just controls usbut also modifies reality. Technological (andtherefore more “objective”) gear of record-ing of “reality” manipulates our perceptionsof reality because it appeals to objectivity,more than in earlier times of verbal data pro-tection and transmission. What the differ-ences between purposeful creative recon-struction of reality and calculated propagan-da of power games? Bonifaccius IIeva: Mass media is a mechanismof corporations and defends someone’s inter-ests, but they also have multiple purposes,then personal truth is individual and subjective... Viktor TTikraii:Do you know that guys like NeilArmstrong…Rammmelzee: Yes they did.Viktor TTikraii:You think so?Rammmelzee: Sure they did.Viktor TTikraii:It wasn’t like a staged...Rammmelzeee: No. No! Viktor TTikraii:...somewhere in Arizona...Rammmelzee: Oh, come on, man, that’s a tele-vision program, I saw that shit. No, no, no,no. That was their trick... That do things tomake you stop thinking about what actuallyhappened. When you saw thatdamn space shuttle blown up,and you saw the damn worldtrade centre collapse. That wasreal! I sat here watch thatdamn thing falling down...Valle KKalle: Does a total hail of pulp informa-tion makes us more creative or only raisesgeneral neurosis? Bonifaccius IIeva: Media bombardmentdepends on the system you live in. If youwere taught to recognize ’truths’ you woulddo it. More important what you were taughtdetermines how you question and constructyour world. There is no need to go too deepinto others opinion. More important is todeconstruct, cut, grind, and cook, by your

self. We are meant to distort reality, subjectively.Viktor TTikraii:Yeah?Rammmelzee: Hell, yeah! Right here drinkingbeer just like this. [Oh there they go!] Iwatched the needle fall, I watched it! Got it?They can make a movie all they want aboutit, and they can lie to many people in 20–30years. TV power... That’s what Icall a bull tool... But look, thatmight be the bull tool of thepast, but look at this bull toolcalled the damn computer.That’s the bull tool for nowand that came from the mili-tary!It’s a way of control. You keep peopledown, because people need to be sedated.People are scared, most of us.Viktor TTikraii:And in America I think it’s avery powerful strategy: “oh, it’s going torain, and you know, and it’s going to beshower, don’t...”Rammmelzee: That’s right. And in the nextday, yes, it does.Valle KKalle: What of future sexes? Viktor TTikraii:Maybe there will be somethinglike some kind of, you know, third gender;some kind of mutation.Rammmelzee: Yes, but that would take a grav-ity of a planet’s atmosphere to smell. Weknow eyes will change. Why do you think infact my eyes hurt (they out of water) – thegravity! The ears will change, the sound willchange, and the wine won’t be the samebecause there will be different types ofberries...Viktor TTikraii:Cosmic wine!Bonifaccius IIeva: Humans never were satisfiedwith reality and will remain unsatisfied; espe-cially sexually. Even then if humanity finds it,it will make a mistake anyway and will lookfurther, because he is closed in aninescapable consumerist cycle of masturbation.Valle KKalle: Yet, why women can’t travel inspace? Because, in the space travel film Alienonly the women survive and the alien, whichis female! Bonifaccius IIeva: Women are a differentorganism.We are also not the same men, aswe all are different. Women are an expensivebio sexual mechanism, which needs moretime and other favourable conditions.However, if women in relation to sex noticecertain given beneficial conditions they actalmost ideally. The aims of men and womenare different...Rammmelzee: But I pay them for governmen-tal prostitution because they’ve got an incu-

bation system. Myself, I don’t want to do it!I wasn’t born to take care of anybody.Neither were you. Because they’ve got anincubation system and we haven’t. Then Ishould find out a way in my lifetime to makemyself into a woman. But if you think oftranssexuals, they’re not women, they haveno womb.Bonifaccius IIeva:For us as for consumers itdoesn’t matter if transvestites have womb asthe role of womb is more important not in asexual, but in reproductive stages of life.Maybe in the future to satisfy your sexualfantasies you would like to love a hybrid ofman and animal, let’s say a lion, becauseyour thoughts, mind and hormones mightalter. Life is becoming simpler and moresophisticated at once – trans-sexuality hasbecome a technological reality and peopleare making the decision of whether to usethe potential with ease to transform the livesof people to whom this is important. Viktor TTikraii:What is your audience like?Rammmelzee: A bunch of animals.

i Afrofuturism, or afro-futurism, is an African-American and African Diaspora subculture whosethinkers and artists see technology and science-fic-tion as means of exploring the black experience

and finding new strategies to overcome racism andclassism. http://en.wikipedia.org/wiki/Afrofuturism.

ii I always think music transcends all. That music is

definitely universal. I even think strongly, thatthey’re getting into alien technology in music /What do you mean by alien technology? That a lot of stuff is coming from the extraterrestri-als, from other planets already / So you think someof our technology has been given to us from out-side of this realm? / Yes, I think so strongly. [Afrika Bambaata in an interview with Urb, Dec. 1999; www.urb.com]

Rammmelzeeis a NYC icon who looks like an evilmanga character and sounding like a satanic

Afrikaa Baambaata, Leigh Bowery of rap, known asone of the originators of graffiti, underground art,

street culture and Electro/ Hip Hop (he recordedthe seminal rap track ‘Beat Bop’ single with Jean

Michel Basquiat and K Rob). Over the last fewyears he garnered a heavy rep for developing his

own special universe (www.gothicfuturism.com). Itconsists of big human size fantasy muppets, theLetterracers (figurative skateboards) and collage

paintings from the 1970s.Bonifaccius IIevais a beatific eccentric in Vilnius who

successfully reinvents not only the wheels of hisbicycle, but everything down to his shoes. We

think Bonifacius Ieva is only one of many pseudonyms.

Viktor TTikraii works in television. Valle KKalleworks for Viktor Tikrai.

Bonifacius Ieva, photo by Vale Kale, 2005

32 33

The mmeta--interview ((ann iinterview abbout iinter-views) iis ssimilarr tto ann OOlympics oof ddyslecticsin tthe ccoompetition oof ggroup mmonologues.The ffirst iinterview ttook pplacce iin NNew YYork,when VViktor TTikraii ttallkedd tto llegendarry hhip-hop mmusiciann annd affro-futurist

i Rammmelzee ..

The ssecond cconversattion ttook pplacce ttwoyearrs llatter arround a ccoffee ttabble iin VVilniuswhen tthreee ffriends ggatthered tto llisten tto tthetappe-recording oof tthe ffirst iinterview. TTheresult iis llike ffree-mmic rrapp.

Rammmelzee: I have dyslexia; I just talk back-ward so you cannot rewrite, but you canmap-write. So, I can do the other side ofsomething, for example, for a letter – butthere is no other side. It is dyslexia thatallows me to do the reverse. The train was apage and we painted on a train because itwas rolling in a wind tunnel. I’m constantlyreading the dictionary; learning how to illu-minate letters; how to camouflage or orna-

ment them, so without the dyslexia I proba-bly wouldn’t have been able to do it.Dyslexia has its function. It’s a map on thepaper, but its map-amathics that does theother side. Valle KKalle: It seems that the aim of an inter-view about an interview is to map first theinterview and by exploring it to stretch itslimits. But how to do it, when the meaningof map as a subject is hypothetical and contextual?Viktor TTikraii:to mystify rather than educate?Rammmelzee: Territorialise...Viktor TTikraii:What do you mean by that?Rammmelzee: Control a system, control anarea, and control a crowd. It is not policing,it is an order for people to understand. Isometimes command a crowd of a thousand,ten thousand people; no cops can do that –only a musician has this type of power.When I say “stop” five thousand peoplestop.

Viktor TTikraii:Politicians do that too, no?Rammmelzee: No, they just get you to cheer;they don’t tell you to stop. I can tell you tostop. Sometimes it’s hard, because if you doa move, you kill a person.Valle KKalle:You have to name and describe orto say it differently, to explain any mythologyyou create. Why is mystification a more suit-able strategy than education?Bonifaccius IIeva:I reckon that oral creation ofmyths isn’t advisable, as it becomes akitchen-sink drama, and this is inevitablewhen making an interview. It might be nicewhen jazz musicians play on plates, butwhen they use the music for myth-making itbecomes banal. Music itself can reachabstract mythology without any kitchen-sink-ing. Even when used in relation to such con-crete topics as sex or system analysis. Valle KKalle: In any mythology the meanings ofthe supernatural, sex, biological and socialreality are recoded. Mythology not only iter-

and are chosen for liberation and the expan-sion of democracy. Mass media has to workfor whose who pay. And they do it perfectlyby manipulating minds and impregnatinglifestyle standards and stereotypes.VK:Browsing in Google I learned that youpublished articles such as Anti-psychiatry oranatomy of schizophreniaandHallucinogens: magic, art and contemporary

conceptions of dispersion of consciousness;you adore the sound world and on yourwebsite announce that ‘first there wassound’; you are the author of the first textsabout postmodernism in Lithuanian; youearn on e-bay, make photos of transvestites,had Suz Intrudermade in 1987. It’s clear thatyou learned and/or integrated into shadoweconomics, exoteric communities and socalled alternative life styles. Here I speciallytalk in plural. Do you still have experiencesthat you could name as ‘alternative’?GJ:About the ‘alternant’, here it will be diffi-cult to agree with me as I lose the bordersbetween here and beyond, between my,ours and others, between ‘tonal’ and‘nagual’ (terms penned by CarlosCastaneda). Then you feel problems of self-identification, melting into others often lasts,and the moment of returning home is hardlyfathomable. Here problems of self-identifica-tion occur that can’t be described in conven-tional way. It’s really hard to locate the geog-raphy of reality, where is it, in psychedeliclandscapes of Zabriski Point, or in Canyon DeChelly in Navajo land, or in a swivel chair inThailand Express foodon Telegraph street inBerkley or in Elbo Room in the Braziliansamba club, or maybe in mota smoke in a

shabby beach of Tijuana with blackenedcreatures covered in pancho. You can alsocall reality crowds in Bank of America whenyou smell sweaty back of black womanstanding in front of you and code this smellinto an inner cinematography. Or reality canstart when the banker repeatedly shouts outthat is your turn to pull tax papers and divein digits, digits, digits and to transform intothe calculator, that surrounds you. Beforewe called them zombies, slaves of the estab-lishment, now their brains are turned tomicrochips, calculators, from which theycan’t escape even when making love or sit-ting by the ocean. They have digitisedminds...VK:You often write about the need to be inheterotopian places, to hallucinate. Is this thereaction to a surplus of normality or is it pur-poseful need to learn more than you can bywatching TV advertisements? GJ:It’s true knowledge may be purposefuland can even become a harmful obsessive-compulsive habit or affectation. Here wedeal with question what is ‘norm’ and whatis ‘hallucination’? Seldom have I missednaked vanity and stupidity, primitiveness andsimplicity. They are everywhere, but some-thing inside us doesn’t let us use them andthis is an expression of our captivity.VK:Reading your adventure stories I havedeveloped an opinion that travelling throughmost deconstructed, most free heterotopicplaces, collecting rare music instruments andtrying them in specific places you are lookingfor some sort of authenticity. Is still possibleto find reality? And why you can’t do it inÐiauliai? GGJ:You can find everything in Ðiauliai. Youcan think out and create even more than inthe United States. By the way, mostpeople here, in Lithuania,describe the United States,with such colour and diversityyou can’t find in ‘real Americanreality’. Fictional lands are con-siderably more impressionableand rich and even more real asthey feed the soul and sobecome real. You have whatyou believe. Sometimes it ispainful to watch when a mate-rial man is reduced to materialdust on Fifth Avenue and isunmercifully torn apart, he isripped to pieces, as the kalei-doscope of his fantasies fall topieces and he himself isplunged down into ‘real reality’.

VK:Vilnius artist Darius Mikðys once said thatLithuanians don’t think, they feel in algo-rithm. Is this why, in Lithuania, even in high-level politics, we hear stories with elementsof gothic horror, even people havingextrasensory perception? What do you thinkabout the coexistence of shadow knowledgeand that which seems clearly belongs to day-light sectors as ruling democratic state, etc.?GJ:Algorithm sounds okay, but I don’t wantto agree about feelings. I think everything isso hidden and blocked in the Lithuanianmentality that we can only see only its out-come: desperate anguish, frustrations, neu-roses of blocked corporeality and sensitivity.Politics is the public space for this theatre, soI observe it with pleasure and for free. Iagree with you that some scenes surpassgothic horror scenes, but such a gloomy,greedy, unkind, perpetually frustrated andunsatisfied nation’s peculiarities make usexclusive in the kaleidoscope of world cul-ture. Actually, I often use my nation’s advan-tages of karma. VK:Is your so-called ‘psychedelic space’always existing near at hand – but hidden bynormality and systematisation – or has it tobe created?GJ:An answer to your question alreadyexists. The state itself with its repressive insti-tutions is absolutely psychedelic and uncon-scious. This system unwittingly is defendingits society’s members from the signs of pow-ers of unconsciousness, desperately tracingthe limits of norm and madness. I think thereare a lot of people, who inside them don’thave any little holes or doors to their uncon-scious, so they create it, art’as simply imagin-ing, imitating and simulating the uncon-scious and psychedelics. Those, whose quo-tidian state of consciousness is full of uncon-sciousness and psychedelia don’t demon-strate this phenomenon, they just experienceit by living, meeting others, making friend-ship or fighting with their inner environment.This also feels like freedom. By the way, mostvisionary artists recognise that it is difficult toexpress this fullness of the unconscious inany language. Canvas, cinema, installationsare absolutely limited expressions, maybemore handy is poesy or music. Blake, haiku,ambient music... Psychedelic space exists notonly near us, you, but also inside us,although we build strong frontier barriersagainst its eruptions, we construct customsto filter erupting ‘aliens’. VK:How would you describe normality? Maymething be called normal if it ignores themeaning of statistical average of society, or

would this normality be inauthentic? GJ:I think normality as a point of view inpsychedelic space is drifting... and sometimesmay become pathology. In my personalspace everything is normal except murderingand any kind of abuse, physic or mental. Iplace no taboo on my sexuality and onlyeliminate pedophilia. Usually UFO’s and theentire cold-blooded and warm-blooded adultpopulation above 18 years old who voluntaryagreed to make love, are are okay. Talkingabout normality it is important to tolerateand respect other people’s microchips, val-ues, and attitudes, no matter what they are.

I don’t talk about the ability to move toanother mental state, matrix, set of skills,instantly transform and adapt yourself in anew subculture, the ability to cut all themental appendices, festers, habits and affec-tions – it seems all this could be called free-dom and norm.I can’t forget aquestion by Mechislov Litvinskigiven to John Cage: “John,what would you like tomost...?” The answer was atypical Zen reflection of a fastquestion: ”What do I have todo for not having to do any-

thing?”Normality may be the ability (justsometimes) to be free from any models ofbehaviour or thinking, to stop in any activepsychic or social inertia and at the same timeto return and safely cross the street...

Vallentinass KKlimaððauuskassis a curator at the CACwho loves reading and watching science fiction.

About Life, the Universe... Rammelzee talks with his posse

Say what?

Foto / Photo: Geraldas Jankauskas

34 35

This iinterview wwass iinspired bby rrumours abboutthe auuthor oof oone oof tthe ffirst LLithuannianntextts abbout pposttmodernism, sschizophreniaannd mmaggic, GGeralldass JJannkauuskass, annd hhisintegrattion iinto sshaddow eeconomies annd eeso-teric ccommunities ssituatted bbetweenCallifornia annd ÐÐiauuliaii ((a rrurall ccity iinLithuanniann). JJannkauuskass rremaiins a ttheoristannd ppracctitioner oof pphilosophy, annd allsomakkes arrt, annd mmusic, annd ccollects oold mmusi-call iinstruments. AA pperson’s iintegrattion iintothe uunknown wwass tthe sstarrter oof tthe iinterview.

Vallentinass KKllimaððauuskass:I’m curious to knowhow best to shape questions about theunknown? After all, commonly answersinspire questions. Could you answer withoutbeing given questions?

Geralldass JJannkauuskass: Oh yes,you can formu-late questions about the unknown and youcan answer the question, although you don’tknow what and how, you can talk about theunknown. Then, conversation is more interest-ing, many unclear discourses and anglesemerge, remember, the basic answer of Zen is“I don’t know”. An appearance of knowledgestarts when you admit that you don’t know.VK:Yesterday I was reading Cool memoriesby Jean Baudrillard and found this four-dimensional formula of knowledge: I knowthat I know that I know but he didn’t finishwith I don’t know. Further in this interview (ifyou agree that there is no need to use strictlinearity) you talk about people withmicrochips in their heads. Don’t you thinkthat community and culture create themicrochips? And that this is one of the mostimportant conditions of person’s integrationinto (shadow or other structures of) society? GJ:I prefer to talk about microchips not asphenomenon of social integration, but as aform of manipulation. It’s interestingto watch yourself and othersbecoming [a] digital calculator,radio sampler, TV reproducer,an obsession or fragment ofadvertising, a serial stampedfaun from the filmKoyaaniskatsi, fragment ofmass media, repeating summa-ry of newspapers.It’s interesting towatch creatures, who can’t just sit by theocean without activating their mobile phone,reading a newspaper, listening to an MP3.There’s only a few left who can be with oth-ers and sink into eternity and happiness,being them selves – without external impreg-nated crutch, whose brains are not contami-nated with needs and are free from general

inertia.VK:Is life (I don’t say ‘freedom’) possiblewithout microchips? GJ:I think a man is an absolutely somnam-bular creature, pushed and controlled by itsunconsciousness it (a man) constantly soaksin conditions of hypnosis and manipulation.It does not matter what you call it, microchipor matrix, we can find numerous interpreta-tions, but to put it simply it could bedescribed as an orientation of values, a stan-dard of behaviour and thinking shaped bysociety. The most interesting is that thesemicrochips or matrices include all socio-cul-tural layers from sewer-dwellers to academicsand grand businessmen or politicians. Eventhe French schizo-analysts Deleuze andGuattari wrote that schizophrenic hallucina-tory perceptive structures lie deep in everyperson and in society, economics, politics,and religion. A man is a schizoid so he is in aconstant hallucinatory state and at the sametime he is controlled and manipulated by thesame sick social repressive institutions alike.The pharmacological mafia needs patients,who use as much as possible medicines.People are hypnotised and are being manip-ulated, they are forced to believe in other’struth and are fed tonnes of chemicals ofunclear origin and these are more frighten-ing than marijuana and cocaine. The mili-tary mafia needs wars, ten-sions, conflicts and targets, forwhich tomahawks are built andexploded interminably.Politicians who work for themilitary and oil mafia have tokeep their voters in constanthallucinatory fear; they have to for-mulate mythologem and legend about ene-mies and terrorists. Only oil rich countries

lots of grass around and the person is aflower; I ask him to say something like this: Iam a flower under the blue sky of God, hislight falls on my petals, penetrates my stem,I shine and start spreading a wonderful fra-grance. One has to preserve this condition inorder to feel always under the sky of God, tofeel how power flows to you, which makes

you light, and you radiate with this power,and that radiation is the food, which youshare with people. Meditation is to be in theflow: when it flows into you and when yougive. This is the only one and the mostimportant: there are no other real medita-tions. In the energetic system, speaking onthe level of electrotechnology, we have to be

like electric substations through which pow-erful energy flows, and we distribute it tosubscribers. Here is our place. And an artisthas to be a substation.

Dovilë TTumpytëis an art critic based in Vilnius.

myself, and I found it – I understood. The energetic condition of a human being islike this: at birth, we receive untouchableresources of energy, which support us.People create and live while using the energyfrom those resources; later they have toswitch to the energy of the world, universeor God – you name it as you wish. If theswitch does not happen, a human being per-ishes. Art is reflective of this fluctuation.Artists revel in their ability to create hugeamounts of energy. They, of course, affectthose around them, but it is uncertainwhether it is a positive influence. The des-tinies of artists show this. There are twokinds of destinies: some live up to 30–35years of age and stop creating or die, andthere is a group of artists who work untilthey are 90, like Tolstoy or Picasso. The for-mer are sappy, and the laws of the conserva-tion of matter take them away. The artistswho live around 90 years have a completelydifferent energy structure: look at a photo-graph of Tolstoy or Picasso – what an ener-getic power in them. It doesn’t matterwhether they invoke God or not, thoughthey perceive his presence very strongly. Theyunderstand that they breathe the world.Thus, they live long and have power to cre-ate. The young ones usually devour them-selves while creating the wrong kind of artlike Hemingway, Visocky, and Van Gogh. I donot do this anymore.DT:What are you doing now when you arehealing people?AÐ:I am not a doctor; I do not administerinjections or other procedures: people recov-er, themselves, after having received thatvital power to live. Energy is in the world.When you start breathing the energy freely,the functioning of your cells (when cells haveenough energy, your organs start functioningnormally) and your relationship with peopleand the world changes, your destinychanges. After all, destiny is an abundanceof options from which you can choose. Thenumber of options depends on whether youare kind, desirable, admirable and attractiveto people around you. If a powerful streamof energy flows through you and if you radi-ate it to other people, many options evolve.DT:The artist Artûras Raila will realise a

project at the IX Baltic Triennial: he will inviteseveral mediums who will investigate theCAC building and chart its energy levels;they will draw charts where and which ener-getic points are situated. What do you thinkof this? AÐ: It’s regularwork. I do this kind of work

when people come to me and say: I ambuilding a house. Tell me where to build abedroom and where a toilet. I often workwith architects. There is a great differencewhere our bedroom is, what the direction ofour bed is and where our legs will stick out.There are many books about this now:Chinese Feng shuiand similar, butLithuanians have known thisfor a long time. They haveknown that one should not sitat the corner of a table. Whynot? It is because energy goesat an angle and pierces you likean arrow. Yet a teacher putschildren into a reversed corner:so that excess energy flows outof them and they calm down.Lithuanians know very wellthat one should not sow a but-ton when a person is wearingthe garment (you will sow hismind, etc.): with a pointed nee-dle, one could shred his fields.One must not do this.The knivesthat we use at a dinner table have hookedends – not pointed – so that we could sit ata dinner table in front each other withoutfearing to handle the knife. All things, thosethat are underneath and above – everythingis important. And when you do such a jobyou become very sensitive to energy: yousense like a dog whether it is cozy for youhere or not. People say: let a dog in and lookwhere it lies down – you can lie down thereas well. DT:Does society need you?AÐ: I don‘t know what could be the measureof how much I am needed by society.Everything I can give to people is within me.I cannot build a factory in which this wouldbe produced. Once a man came, though,who offered a machine producing the HolySpirit – some utopian machine. I said to him:thank you; go away; we will extract as manyspirits as we can with our hearts. DT:What do you do in your club?AÐ: In order to understand what I do, youneed to know and understand four things: 1)God, 2) the world, 3) people, 4) a humanbeing (yourself). In my work, I have to knowwho I am, who is in front of me: where ishe/she from, where he/she has been andfrom where they fell out from, where to puthim/her like a bird into its nest. While medi-tating or relying on other sensibilities youfind information and understand what isgoing on, and you can work. In the club wespeak about these four things, and more

precisely about one thing: how to live one‘slife. This is practically it. I said there is noother purpose for a human being but tohave power to live. It is very important toknow how to obtain that power. I am writ-ing a book now. I think this will be visible inthat book. My pupils throw rolled balls ofenergy at each other, hang them from theceiling and take them where they left themanother day. One of the tasks I give them isto disperse clouds. For instance, three lightfeathery clouds are floating in the sky. I say:the middle one. The other two may float,and the middle one has to disappear. I givethem five minutes: it should be dispersed. Itis a mighty power to lift a human being fromhis or her deathbed. You come, and in fiveminutes, the one who has had to be buriedgets up and says: I am hungry. People say: amiracle. There is no miracle here; the manjust did not have power. He received power,and everything started functioning, startedboiling: the man stood up and walked away.Let us say, they walk on live coal and do notburn. I take a candle and test them, whetherthey really do not burn: they have to accu-mulate so much power that their cells wouldnot react to fire. But these are only auxiliarymeans when a person studies: so that he orshe would feel this, that they would trustthis. Yet this is not the purpose. There arepeople for whom this is the purpose: they tryall this like in a circus. DT:What should an ordinary man know? Isthere any recipe for how to live? AÐ:I say to my pupils, and all people shouldfeel this: we are all delivering food. They arecooking above – up there. We feed people.Love your neighbour, and not the one who isgood or bad. We should not always be withwhite aprons or white jackets: always clean,always in check; we cannot let ourselves beslattern. We will eat whatever and give noth-ing to others? We should always have, ifpossible, clean hands, clean heart, clean eyesand clean thought. One can let it go veryquickly. The instrument to control everythingis thought. When God created the world, asit is written in Holy Scripture, “in the begin-ning was the Word (the Logos)”. It was athought, an idea. He had an idea and it hap-pened. A human being does likewise: he orshe has an idea and it happens. A personmay ask why there is so little good. Becausewe thought of something good and on thetop many times bad, and we destroy our-selves what good we have conceived. Mymeditation is like this: I ask a person toimagine that he is in a meadow, that there is

Away

The Space Between Valentinas Klimaðauskas and Geraldas Jankauskas travel between San Franciscoand Ðiauliai

Transexuals are charming and change m

atrixes freely, says Geraldas Jankauskas. Photo / Foto: G

eraldas Jankauskas

36 37

In tthe 119770ss annd 119880ss, AAlgirdass ÐÐeðkus wwassknown iin tthe arrt wworld, ass a ppaiinter wwithnuclearr eenergy [[acccording tto AAlfonsassAndriuðkevièius], asssemblagge arrtist, pphotog-rappher, annd ttelevision ccammerammann. BBeforremeeting ÐÐeðkus, II ttallked abbout hhim wwith arrtcritic AAgnë NNarruðytë annd tthearrtist AAlvydass LLukys. FFor tthee llasst15 yyearrs, ÐÐeðkus hhass bbeen bbetterknown ammong tthose iinterestedin ‘‘energetics’ oof ppeople annd tthewworld: tthe arrtist wworks iin tthearrea oof eexttrassensory ppracctices;he hhass hhis oown cclub annd ppupilsto wwhom hhe ttrannsmits hhisknowledge annd wwisdom.

Agnë NNarruðytë: In the 1980s,Algirdas Ðeðkus was an impor-tant figure in the Lithuanian artscene. He often inspired othersto look for new directions inphotography. Boris Mikhailov,the famous Ukranian alternativephotographer, has dedicated apage to Ðeðkus in his recentlypublished book UnfinishedDissertationand remarked thatÐeðkus was testing the limits ofphotography. Then he wasimportant and interesting, onecould say, unique in Lithuania.Nobody else followed the sameway. Now Ðeðkus has withdrawnfrom this activity and, as far as Iknow, he has become anextrasensory healer. Surely, inthis situation he falls out of theart game. His work in photogra-phy is kind of finished. Alvydass LLukys: In 1998, I organ-ised an exhibition, which lookedat 10 years that had passed after the inde-pendence movement Sajûdis. I was interest-ed in what had survived in those 10 years:the show featured works from Soviet timesand new works. Ðeðkus’ position was espe-cially interesting to me. To represent his workof the 1990s he chose one phrase by anOriental sage: a zen buddhist who thoughtthat there was no reason to fuss over andsearch for something, rather one had to con-

centrate more and realise that everythingwas in between. Then it was the first timewhen I dared to attribute the para-psycho-logical aspect to his work. I have not seenhim since 1998. It would be really interestingto know what he is doing. Perhaps, he is

healing. When we met last time because ofthe exhibition, he spoke more about energiesand other worlds than about art. Dovilë TTumpytë: Maybe let us start from howyour art practice, I would say, disappeared...Allgirdass ÐÐeðkus: The interesting thing is thatmy art practice has not disappeared. I thinkthat I have followed the same path as artistsdo, only taken it further. One has to under-stand very precisely what art is and what an

artist does, what product [he] creates. Mywork as a cameraman for television, paint-ing, creating assemblages, photography, Ithink, was nothing else than a ‘medium’between those who use this art and me.Now I do this without any ‘medium’.

I have just explained to somebody that oneshouldn’t immediately reveal a truth to aperson. If that person is not ready for thattruth, the response won’t be positive. Christsaid: do not throw pearls to swine, becausethey will trample those pearls and will turnback and bite you. The same is with art. Is itright to say to somebody: here is the artworkfor you! Consume. The person will say: stickthis up your art. However, if I come to a per-

son, I will give them precisely what theyneed, what a work of art, a verse or a pieceof music would provide them, and thatwould be useful, necessary; they would wantmore. Finally, the will tell me they need a‘symphony’, for it is becomes difficult to gowithout. We all create energetic structureswith our words. There is no such category:artist or non-artist. Now my friends, painters,know that I do not take a brush in myhands, but before they used to ask: is it likepainting? I used to answer that now I wasdoing sculpture, not painting: they used to

come to me bent, convulsed and leavestraight and beautiful. Having in mind thatthis is not healing, that you perform what awork of art should do, you start looking at awork of art completely differently. DT:What is then the function of art?AÐ: Artis but a form susceptible to energy.Whatever the artist – a poet, musician,painter, somebody working with spaces orfor television or doing something with televi-

sion sets – he has to create form, whichwould give more than an empty space, theabsence of form. Simply speaking, isart otherwise necessary forpeople? No, it seems to beunnecessary: you cannot put itinto the fridge and eat it whenthe time comes. People need safety:to prevent water from dripping on theirheads, from some bum terrorising them;people need food and water; they need thepossibility to reproduce. Yet there is onemore thing: a person needs power to live.

When it is lacking, the person withers, fallsill; he suffers from depression, although allother components are perfect. For the sakeof the power, people engage in as if imprac-tical activities having seemingly nothing todo with matter. All this activity is a search forthat power. Art is at the leading edge of thissearch. Absolutely everybody manipulatesenergy. All our relationships are energetic.Moreover, both a tree and an animal manip-

ulate energy. When we feel bad, we go to apine tree grove to recover there, but we donot go to a fir tree forest: because it isgloomy and dark there. Why? Because thattree in that space does a completely differentjob. This process is going on all the time. Anartist or not an artist, you do this. Only anartist accumulates more of this. DT:Art, charms, dark magic – they may berelated?AÐ:Terms slightly disturb me. There is oneenergetic instrument: a thought. A lightthought spreads creative energy; a dark

thought spreads destructive andfrustrating energy. Speaking inother terms, there is a blackthought and a white thought. Athought is not a combination ofwords; it is a vibration, includingart, communication and a ringingbell. We vibrate on either theone or the other. This is whitemagic. Everything else is darkmagic. It is quite simple,although the question is compli-cated. DT:What happened to turn youin the direction of extrasensoryhealing? AÐ: Whilepainting or creatingassemblages I always thoughtabout what I was doing. I usedto feel always how I createdform and how that form becamefull. There is a misconceptionabout art that an artist has to digdeep into life: into the veryessence, but often a large pile ofcrap is evacuated in this way. It isvery difficult not to get smearedwith it. It happened once to me.Everything is energy, vibration.The vibration I worked in becamefrustrating. I used to faint, I wasafraid to go out to the streetwith a better camera in case I fellor something like that. I was los-ing power completely. Then Iused to paint quite a lot. It used

to be like this: I would concentrate for threedays, come to the studio and evaporate inan hour. I used to drag back and think: whatis this, why don‘t I have power to work? Istarted to seriously lose my health: my heartwas malfunctioning; my blood stream wasrattled, as was my brain. In their diagnosis,the doctors said that there was no plumberwho could change my pipes. I had to get outof this somehow; I had to look for a solution

Home: Baltic Triennial Blues

Art Does Not End Dovilë Tumpytë talks to Algirdas Ðeðkus about art and para-psychology

Artûras Raila, Stone of Bear / M

eðkos akmuo, 2005. C-Print / Fotografija, 80 x 80 cm

Artûras Raila, Pine of W

itch / Raganos puðis, 2005 C-Print / Fotografija, 80 x 80 cm

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growth that creates public benefit? But let’sspeak about velocity. French philosopher PaulVirilio in his Dromologies(1994) proposedspeed as one of the main concepts definingreality. I am interested in the relationbetween speed and the topics we discuss.Say, ultimiereis a speed of vanishing(Sekundës bankasis an ideal example of an‘open game’ – the banks’ title announces itsimminent disappearance, and neverthelesspeople feverishly invested their money intoit. How much money was lost?) This typifiesthe speed of financial transaction and circu-lation: and the speed of patenting (productsare being patented before their creation sothat competitors can’t benefit ‘prematurely’).Hallucinatory speed. The rapidly shorteningperiod of product cycles.EL:Patents are only one element of thistheme. The other one is the notion thatresources on the Earth are scarce. However,‘man’ is not eager to acknowledge this fact.And since these scarce resources are reflect-ed by money, anyone asked would say thatthere is too little money. Already a while agoprivate banks started to produce money. I donot mean minting them literally; I mean thatthe bank uses money from your currentaccount to credit somebody else. That is howmoney gets multiplied. Many of my col-leagues, free market economists would criti-cise such a system, calling it an authorisedtheft. It is a really a dangerous phenomenon!However, I guess, it is exactly the humandesire to have more money, and to triumphover the scarcity of resources, that found ananswer in a bank system. In line with this pri-vate multiplier a state central bank wasfounded to produce even more “wealth”.Those banks were created rather recently, inthe 20th century. The Great Depression – notmany know about it – was induced by theUS Federal Reserve, which announced thatevery good business idea must be financed.Then one can witness money made from theair. A lot of money suddenly appears, andmany ideas, sometimes totally bare orreflecting no real needs, are financed.Sooner or later the bubble bursts, and peo-

ple find themselves in a depression.Shortening of a product’s cycle also con-tributes to the move towards ultimiere. If theintroduction of fourth generation communi-cation technologies weren’t artificially retard-ed, the capital invested in third generationtechnology would not pay for itself. In thiscase, the banks would lose money as well,and could survive only if the victorious inven-tions saved their portfolio. Human desire tomultiply money and all it represents eventu-ally comes to a crash with the desire tospeed up events. And what about the securi-ties that are based on the price in thefuture? This is not ultimiere, but ultimare. RMM:This is an interesting coincidence. Today,I was thinking about two artworks. One is awork by a Polish artist Roman Opalka, wholives in France. For years he has been writingnumbers on canvases. The Polish galleryZamek Ujazdowski bought his first work.And now he has sold his last, i.e. future,work. Though it is totally unclear when hewill make it – in 10 or 20 years time. But inprinciple this work from the future is alreadysold to a gallery. The other artist is British,Jonathan Monk, also a participant of this tri-ennial. He makes meetings. You can buy ameeting with him, say, on September 6,2013. The work steps to the left of the mar-ket. This is series of meetings. It would beinteresting to link it to the stock that youhave mentioned.EL: I hope this does not sound like grum-bling, for it’s interesting for me to look athow economic matters evolve and wherethey lead. It doesn’t make sense to quarrelwith history. One can see it as a damnedchain of dead ends or as a genesis of mirac-ulous solutions. I do prefer the second. Asfor securities, which are based on the future,shareholders do not really control what theypossess. You can hear some people com-plain, that prices of those securities are notreflected in the accounting accordingly. Butwho knows the true value of anything onthe market of future?RMM:Recently with Paul Perry we werereflecting on what prohibition, secret infor-

mation, and illicit knowledge is today. Say, aproducer of computers now sells computersof a certain model, but he already has creat-ed the exact machine, that will circulate inthe market in 10 years. If you ‘dug up’ tothat information, maybe you could speculatewith it. How would you explain the logic ofspeculation?EL:In general we all speculate, not thinkingabout it. If you do not buy something today,thinking that you will buy it tomorrow, youare also making a speculative decision. Or ifyou do not accept a job offer because youexpect a better one, it’s a speculation aswell. When you speculate, you can win orlose. Prophesy is a gift that is rare. RMM:Two important conceptsthat are the basis of contempo-rary business: competition andcollaboration. Despite theirseeming contradiction, namelytheir interplay encourages thegeneral development of busi-ness (and public good).Is this for-mula valid for both official and black marketrelations? Ted Fishman in an article on theChinese economy in The New York Times(Jan 9, 2005) titled ‘ManuFaketure’ cited anexample of how the giant Japanese carmak-er Toyotawould start producing solar-pow-ered cars for China, so that the Chinesepirates, famous for their ingenuity, wouldcopy its most expensive part – the cell – andthen would make a cheaper – pirate version– which could re-circulate into the factoriesof Toyota, thus reducing the cost of its pro-duction. Isn’t it an interesting and productivecollaboration between pirates and corpora-tions?EL:It means that this ‘pirate’ cannot bebought. One can make no agreement withhim, and cannot order any legal production.Maybe, people in the black market arethose, who would suffer a lack of adrenalinand risk in the official? Maybe, not being inthe ultimiereof the shadow, one cannot cre-ate those competitive products? RMM:Could Lithuania join China?EL: Oh, nobodycan secede from the EU!

There is no such provision in theConstitution, which in any case is not rati-fied. While working in alternative group fordrafting the Constitution of the EU I envis-aged the main risk of secession: you wouldbe thrown out from the common market.Only thinking about this one argument, peo-ple would never dare to vote for the seces-sion. Therefore, I came up with the followingprovision: if people vote to secede, theyautomatically continue to trade and enjoyother freedoms of the EU (but get out of itspolitics), until they enter another agreement,say, with China or any third party. For in acivilised world people cannot be punishedfor their decision to secede a union. RMM: Maybe Lithuania should try to joinChina secretly? Then it would become a par-ticipant of black market.EL:In the black market it is already so: the

latter is not an official but a private union,where no taboo is valid. RMM: I am interested in the question of mar-ket globalism. Is the black market morenational, local or in any case it is global?EL:If the prohibitions are international, thenalso the black market is multinational. If theprohibitions are village wide, also the blackmarket is provincial.RMM:Is it possible to speak about the blackmarket’s differences in the socialist and thecapitalist systems? The soviet speculatorswere the real agents of capitalism because itwas the black market that was representativeof capitalist order. EL:As we have already ascertained, the mar-ket is everywhere. Since in the Soviet systemmany things were prohibited, the need for ablack market was stronger. But we couldhave no private property, so could not pro-

duce things(although some peo-ple managed!)People moved wherethey could. If theycould not produce acar, they could buyone and resell it. Ifthe possibilities ofmoney exchangewere limited,‘acquaintanceship’flourished. It wasn’t amonetary exchange.Many interest-ing thingsoriginatedbecause ofthose prohibi-tions. Everyaspect of theblack marketthen was ahuman tri-umph againstthe machine ofsocial engi-neering.

RMM:Does the market contain a code ofsocial justice?EL:Yes, and a very significant one. Service tothe other is proved by the fact that a manbuys what you treat as your service. It cansound cynical, but it carries a deep meaning.We should also remember that the marketby definition is only exists where theexchange is monetary. Since resources arescarce, man has always to choose what hewants and money helps him to make a deci-sion. Proof of one’s service happens throughmoney. This is how it is settled and there isno other solution yet! But there are treasuresof liaison that are not based on money.

Raiimundass MMallaððauuskass curates the IX BalticTriennial together with Alexis Vaillant and

Sofia Hernandez Chong Cuy.

RUT RU

T, Can’t Hide the Fluffy, 2005 courtesy the artists

RUT RU

T, Can’t Hide the Fluffy, 2005 courtesy the artists

40 41

some plain black market; like Gariûnai out-side Vilnius that is a model for the Lithuanianimagination. Similar things are happeningwith legislation.RMM:What do you think creates the appear-ance of certain laws? Is it lobbying? EL:Even if an interventionist solution by thestate is enacted without bribing or lobbying,it is wrong in itself. For instance the carve-upof state credit or EU support. Let us take twofarmsteads built for countrysidetourism: an owner builds one ofthem, while the other is fed bygrants. Such a situation looksimmoral to me, whether or not abribe was applied here or not. Wetend not to think about it, how-ever, or we assume that every-thing coming as if from nowhereis good. Unfortunately, even offi-cial positions are that cynical –let’s take as much as possible. Iam afraid such behavior creates anew specimen of the shadow. RMM:Is it naive to think that ifthere is more money, everyone isbetter off?EL:But what does ‘more money’mean? It doesn’t appear fromout-of-the-blue, after all. I seeboth (the inevitable presence of)the giving part, and the generalnonsense of the whole act. It dis-torts economic exchange so thatthe market no longer reflectspeoples’ true needs. The moreinterventions that take place, themore the market alienates com-mon people. No wonder thenthat we suffer from unemploy-ment! Besides, there is always amoral problem of redistribution,which ostensibly creates addedvalue. Someone benefits from it,but there is no value added forsociety. If we do not care aboutwasting money earned by a German, Frenchand a Briton, we can hardly call ourselvesEuropean (“Let us be Europeans” – a popularslogan in Lithuania before entering the EU). RMM:Is it true that black market is agnostic,i.e. imperceptible and also not meant forcognition? An effort to know it destroys it (aDracula strategy). EL:Society in general is not aware of marketprinciples. That is why we witness so manyredistribution projects that principally benefitthe richer part of the society. But for somereason such initiatives are expanding. And

one blindly believes that some of the poorwill benefit from them. In reality, however, ittakes a different turn: why? Because, thereare invisible patterns that lead this process toa totally different end. These patterns are sosimple in comparison with, for instance,quantum physics, yet people do notacknowledge their existence. RMM:But are economic patterns really as sim-ple to define? What is the basic logic here?

EL:Not simple, but for sure affordable. Alas,understanding is frequently prevented by pri-vate interests and by the human will to gov-ern the world, including the market. But themarket is spontaneous, based on billions ofnon-coordinated decisions and thereforestoops to no man’s will. Besides everythingelse, I see here a reluctance to wait. Nobodywants to wait until the capital turns its direc-tion, until a new factory appears to satisfyour new needs, and the old one decays. Soone tries to speed it up. You were asking meabout patents – they also contribute to

acceleration. It’s interesting to wonder if apatent is such a spontaneous human inven-tion as language, money or a forest path,which was trampled down because it wasfor many convenient. Okay, there was a needto defend the private interests of inventors,but it was not done by agreement, but bythe force of law, which defended themonopoly of the inventor. It spread fromcountry to country, and now patents have

become an overall structure,impossible to escape from. Youask, if it is realistic to offer soci-ety some kind of an alternative.But at once you would hearcomplaint that this would pre-vent progress! It’s true, patentprotection actually speeds upprogress and frequently onesees it as a positive sign.However, boosted progress isnot any good in itself.Eventually one approaches thelimit, ultimiere, zapredelje, andthere is no way further. Onecan only move deeper, for mencannot remain still. “Moreprogress” means that our movetowards ultimiereis hastened. RMM:Let us remember conspi-racy theory...EL:Let us imagine that wehave cancelled patent rightsand begin the experimentanew. It would be interestingto see what, then, an artistwould do with his work, apharmacist – with an inventedmedicine. I daresay certain pri-vate solutions would takeplace. But since our affectionfor governmental care isstrong, probably one wouldknock on the door of govern-mental institutions with ademand to write new patent

laws. Therefore if we wanted toinvent protection of copyrightsthat would not be based onmonopoly provided by law weshould first of all prohibit thislegal way of protection. Butthat would be a law! How doyou like the paradox? RMM:In the 1960s the famous US conceptualartist Lawrence Weiner proposed that, “Art’sfunction is to produce more art”. A totallycapitalist statement, isn’t it? This is a func-tion of business after all. Growth because of

I iinvited EElena LLeontjeva,, a cco-founder oofLithuanniann FFree MMarrket IInstitute iin 11990 anndit’s ppresident iin 119933-20011, tto tthe CCACguesthouse ffor a cchatt abbout mmarrkets, sspeed,speculattion, ddisapppearrannce, ultimiere –anndarrt. LLeontjeva wwho iis nnow a ffiction wwriterwass hhapppy tto tturn bbacck tthe cclock annd ssharresome oof hher wwisdomm abbout tthe wwayy mmarrketswork hhere iin LLithuannia..

Elena LLeontjeva:Yesterday I realised that inRussian ultimiereis zapredelje(beyond); asin, zazerkaljein Alice in Wonderland–beyond the looking glass.Raiimundass MMallaððauuskass:Nice word – zapredelje! Ultimiereemerged in conversa-tion with Rene Gabri and Cezare Pietroiustion our way to Salo in Italy. We came up withthe idea to create a word which would havethe opposite meaning from premiere, i.e.would mean something that happens for thelast time and that is not meant to last.Ultimiereis meant to disappear. At the sametime, it is something beyond entertainment(however, if suddenly the BalticTriennial of Art becomes a fran-chise and is organised in NYCor Lagos, I will see its missionaccomplished). By the way, Rene pro-ceeds with a contradictory action to patentultimiereas an invention or a brand (this isone of his projects in the exhibition), thusencouraging its linguistic use and at thesame time preventing it. It is an effort todemonstrate the absurdity of the copyrightregime. But let’s return to Alice– a mirrorand a reflection tell about reality and itsreflections. Isn’t zazerkaljesomething unau-thorised, illegal, unwritten and unconfirmed?In a sense, this is a zone of black marketactivity. Now speaking about economics: isthe black market an imperceptible zazerkalje,or is it rather a reflection of the official mar-ket system? Maybe it is the point of theirintersection? I actually think that there is nophenomenon behind the market, behind thesystem because the capitalist system is actu-ally ascendant.EL:Well, this is not about capitalism.Exchange is not an invention of capitalism, inall societies there were things produced forexchange. You were asking if the black mar-

ket is a part of the official market; for methe market is undivided, it embraces all peo-ple’s wants and capacities. But the illegalautomatically disappears from the officialmarket and moves to the shadow. This shad-ow is a reverse reflection of prohibitions. Themarket does not contain anything that peo-ple do not have. If people have a desire, itwill be reflected in the market and if there isno desire, there is no market for it. RMM:But isn’t the market in a sense also pro-ducing desire? While expanding production,one creates a product, which again createsdesire? I imagine that a desire is cultural, inas much it is natural as we are usually defining it. EL:But what’s the alternative? Everythingdepends upon everything, and it’s not in ourwillpower to cut those bondages short. Afterall, progress not only surrounds us. It’s notonly the market that becomes elaborate andthe producers sophisticated – while trying tocreate those objects of desire. Humankindalso evolves, improves his potential and con-stantly invents more. Certainly, every inven-tion comprises a challenge – will you be ableto choose in ever-changing conditions, areyou capable of distinguishing what you needin life and what you don’t? Are you strongenough not to become a slave of your owninventions? We think we live in extraordinarytimes and we are encountering the strongesttension in history. But people felt the same100 years ago – a person was lured by agolden watch on a chain and could lose hishead in the same way one does in front of aFerrari. The objects change but the relation, Ithink, stays the same.RMM:Is it true that the black market satisfiesneeds but does not manufacture desirewhereas the official market does?EL:These relationships are difficult to distin-guish. It is possible to make schemes thatwill remain just schemes. Like with the ques-tion of whether a thing exists if there is noinformation about it. For instance, if a manhad no clue about the existence of prostitu-tion, yet, suddenly overcome with a particu-lar desire goes about satisfying it. We wouldthen witness an interesting genesis – theman finds a girl and takes his imagined satis-faction and afterwards, maybe, he gives her

some money because he wants to tame heror feels guilty. In so doing, he would inventthe same thing anew. His desire would dothat, independently. RMM:Well, yes, however on practical levelprohibition exists...EL:And not only prohibition: there are taxes,customs, excises that finally make the prod-uct as expensive as, for instance, cigarettesand alcohol [popular contraband products]. Ithink that the prohibition of certain productsadds to appeal. Besides, every person whodoesn’t run to declare every penny he earnstakes his own part in the shadow market. RMM:I sent you Zizek’s quote [“Far from beinguniversal and homogeneous entities, thestate apparatuses are, Zizek argues, supple-mented by their shadowy double, by a net-work of publicly disavowed rituals, unwrittenrules, institutions, practices, and so on”(Contingency, Hegemony, Universality:Contemporary Dialogues on the Left, Verso,2000). “In other words, that which is ‘offi-cially’ marginalised by the state power isalready constitutive of it, supporting it in theshadowy underside of politics” (Slavoj Zizekby Tony Myers, Routledge, 2003).] Referringto this argument that each law and rule cre-ates its own shadow, could one state thatthe black market is a constitutive part of theofficial market and that it supports it in thisway? EL:It’s interesting because each prohibitionimmediately accretes human motivations,and interests, and the need for exchange isomnipresent. Even in the issue of licensing,which is not a prohibition. However, it is athreshold, which has to be overcome andwhich gives room for a distinct [illegal]exchange. Sure, this resulting exchange isagainst the law and it is impossible to trans-parently describe or formalize it. Theshadow market here comes toits blossom – through peculiarforms of bribes and exchange.Since this new shadow aims toreproduce itself, people createnew rules and prohibitions thatoften possess no logic. Theyare not made for the publicinterest, and nevertheless, theyexist. All this contains more mystery than

Home: Baltic Triennial Blues

Market Rules? Raimundas Malaðauskas talks shop with Elena Leontjeva

Juozas Laivys, Sekundë Bank II / Sekundës bankas II, 2005

42 43

LW: YYOU CCAN SUUBVERTT TTHE VVALUE, YYOUCAN TTAKE AA PPIECE TTHAT II DDID OON TTHE 660SWHEN DDOW CCHEMICALS WWAS GGIVINGAWAY AALL TTHESEE STTUFF. TTHE OONLY PPIECETHAT II CCOULD DDO WWITH TTHE DDOW CCHEMI-CALS MMATERIIAL WWAS TTO LLAY IIT IIN TTHEGROOUND. IIT WWAS OOBVIOUS WWHAT IIT WWASABOUT, BBUT IIT STTILL WWAS REEALLY AABOUT AAPIECE OOF HHD300 SEET IINTO TTHE GGROOUUND,FLUSHHED WWITH TTHE GGROOUND.

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JA:You are also producing a system of reference…

LW: AA SYYSTTEM OOF REEFEREENCE TTHAT AATLEASTT IIS CCOMING FFROOM MMATERIIALOBJECTS AAND DDOESNN’T CCARRYY WWITH IIT AASYYSTTEMM OOF VVALUES.. CCONTEMPORAARYY AARTTAS IIT STTANDS,, WWITH IITS PPERVVERSEE PPLACE IINTHE SOOCIETY PPLACES IITSEELF IIN SUUCH AAMANNER TTHAT IIT DDOESNN’T CCARRYY WWITH IITAUTHORIITY. PPEOPLE FFIND UUSEE FFOR IIT, YYESTHEY FFIND UUSEE FFOR IIT… AAND TTHE MMOREETHEY FFIND UUSEE FFOR IIT, IIT AACCRUUES AANAUTHORIITY, IIT WWORKKS.. IIF YYOU WWANT TTOMAKE AA GGIN GGIMLET, TTHAT REECCIPE WWORKKS..ARTT IIS JJUSTT AA REECIPE.

JA:With the advantages that time gives us,how can wego about generating proceduralruptures on the structures as they are now?Is it enough of a shift to take the parts ofthe system and reassemble them in a differ-ent way? The way structures are now; I feelthat artists end up being a natural resource,raw materials in the cycle of production.

LW: YYES,, TTHEY AAREE RAAW MMATERIIALS,, BBUT

THEY AAREE RAAW MMATERIIALS TTHAT HHAAVE AACERTTAIN KKIND OOF FFULLNESS TTO TTHEM TTHATTHEY AAREE CCAPABLE OOF EEXERTTING SOOMEFORMM OOF PPOWER TTO MMAINTAIN TTHEIR OOWNDIGNITY, II HHAVE BBEEN DDOING TTHESEE BBODIESOF WWORKK AABOUT TTHE IIDEA OOF WWHAT HHAP-PENS WWHEN TTHE MMATEERIIAL IIS BBROOUGHTDOWN TTO TTHE PPOINT WWHEREE IITS IINTEGRAALDIGNITY IIS SOO DDISTTREESSEED TTHAT IIT NNOLONGER AAGAIN CCAN IIT FFUNCTION AAS TTHESAAME MMATERIIAL. IIT IIS NNOT AA MMETAPHORFOR PPEOPLE; IIT IIS REEALLY AABOUT TTHEMATERIIALS.. AALRIIGHHT, SOOMEBODY TTHATJUSTT HHAS BBEEN WWROONGLY OOR RIIGHTLYIMPRIISOONED AAND TTORTTUREED, TTHEY’LL REEADIT AAS SOOMETHING TTHAT REELATES TTO TTHEM,OTHER PPEOPLE WWHO AAREE WWALKING DDOWNTHE STTREEET TTHAT’S CCRUUMBLING BBECAUSEEOF SHHITTY CCONCREETTE, TTHEY’LL REELATE TTOTHAT… TTHAT’S TTHE PPOINT OOF MMAKINGARTT, TTO EEMPOWER PPEOPLE TTO BBE AABLE TTOBUILD AAN UUNDDERSTTANDING OOF TTHE TTHING,THAT TTHEREE IIS EESSEENTIALLY SOOMETHINGWROONG WWITH TTHE CCONCREETE WWHEN IITCRUUMBLES UUNDER YYOUR FFEET. IIT’S NNOTGOOD; IIT’S NNOT WWHAT TTHE SOOCIETY PPAIDFOR..

The iinternattionall arrt mmarrket: Biennialls ass ccirculattion sstrattegyOver the last 10 years, there has been ahuge proliferation of biennials and interna-tional exhibitions. This point in time couldeven be dubbed as “the biennial genera-tion”. While the need for so many exhibi-tions of these kind can be questioned, theirabundance provides a way of generatingvalue that is not directly tied to capital, andit also allows for certain type of work toexist, specially work that may have a difficul-ty finding its place within the gallery system.

JA:It can be seen as a way to set up a sys-tem of circulation

LW: YYES,, OOF CCIRCCULATION, OOF GGETTING IITOUT IIN TTHE WWORLLD. […] AAGAIN, AANNYTHING TTHAT GGIVES PPEOPLEA DDIGNIFIED MMEANS OOF SHHOWING WWHAT IITIS TTHAT TTHE CCULTUREE IIS PPROODUCING, BBE IITFOR SOOMEONE TTHAT IIS 90 AAND HHAS BBEENDOING IIT AALL HHIS LLIFE, OOR FFOR SOOMEBODYFOR WWHOM IIT IIS TTHEIR FFIRSTT TTIME OOUT, IITIS NNIICE; YYOU DDON’T KKNOW AANY OOF TTHATWHEN YYOU SEEE IIT UUP IIN TTHE WWALL, YYOUDON’T KKNOW WWHEN YYOU SEEE IIT OON TTHEFLOOR,, YYOU DDON’T KKNOW WWHEN TTHEYTURNN IIT OON AAND TTURNN IIT OOFF, YYOU JJUSTTSEEE WWHAT IIT IIS,, AAND II TTHINK IIT IIS GGREEAT,

THE MMOREE OOPPORTTUNITIES FFOR PPEOPLE TTOSHHOW, TTHE BBETTER.. II DDON’T LLIKE BBIEN-NALES AAND TTRIIENNIALS TTHAT HHAVE FFALSEECLAIMS: ““THIS IIS TTHE TTRIIENNIAL OOR BBIEN-NALE TTHAT IIS GGOING TTO CCHANGE TTHEWORLLD” NNO. SOOMETHING IIN IIT MMAYCHANGE TTHE WWORLLD, BBUT BBIENNALES AANDTRIIENNIALS AAREE GGOING TTO CCHANGE NNOTH-ING, SOO TTHEY AAREE MMAKING AA TTRAAP. IIT IISNOT TTHE EEXHIBITION, IIT IIS WWHAT IIS IIN IIT. IITIS NNOT TTHE MMUSEEUM TTHAT MMAKES AARTTPARTT OOF TTHE CCUULTUREE, IIT IIS WWHAT IIS IINTHE MMUSEEUM. PPEOPLE WWHO FFALL FFOR TTHEAUTHORIITY, TTHE FFALSEE AAUTHORIITY OOF TTHEMUSEEUUM, MMOSTT OOFTEN WWHEN TTHEY HHAVEENOUGH TTIME TTO SPPEND SOOME TTIMEAROOUND, TTHEY REEALISEE TTHAT TTHE MMUSEE-UM IIS NNOOT AAN AACCREEDITATION AAUTHORII-TY, TTHE MMUSEEUM IIS AA MMEANS OOF HHOLDINGTOGETHER WWHAT OOTHER PPEOPLE HHAVEPROODUCEED… AAND TTHAT’S IIT. IIT IIS AAMUSEEO, AA PPLACE WWHEREE TTHEY CCAN HHOLDTOGETHER TTHINGS TTHAT EENTER TTHE CCUL-TUREE AANDD NNO LLONGER WWEREE TTALKING TTOANYBODY, BBUT TTHEY MMAYBE IINTEREESTTINGFOR TTHE NNEXT GGENERAATION TTO UUNDER--STTAND…… YYOU REEAD HHISTTORYY, II REEAD HHIS--TORYY…

Corollarry

LW: II LLIKE TTHE IIDEA OOF YYOU PPUTTINGYOURSEELF UUP OON AA SIITUAATION OOF CCOMINGTO HHAVE AA CCONVERSAATION WWITH AA CCOL-LEAGUE OOF YYOURS WWHO IIS YYOUR FFRIIEND,ABOUT WWHAT IIN FFACT YYOU AAREE DDOING BBYINVOLVING YYOURSEELF IINTO AA TTRIIENNIALBECAUSEE YYOU AAREE NNOT LLOOKING TTO AADDFALSEE VVALUE TTOO TTHINGS,, BBUT YYOU WWOULDLIKE YYOUR TTHINGS TTO HHAVE VVALUE… IIT IISA VVERYY GGOOD CCONVERSAATION BBETWEENARTTISTTS WWHHEN YYOU TTRYY TTO FFIGUREE OOUTWHAT IIT IIS TTHAT YYOU AAREE PPUTTING OOUTINTO TTHE WWORLLD AAND IIT IIS JJUSTT AAS VVALIDAS AANYTHING EELSEE… BBUT IIN TTHE EEND YYOUAREE STTILL STTUCK WWITH WWHAT IIT IIS YYOU PPUTOUT, AAND NNOT HHOW YYOU PPACKAGE IITTAND HHOW YYOU PPHRAASEE IIT. BBEAUTIFUL LLIFE.ISNN’T IIT?

Julieta AAranndais an artist based in New Yorkwho is co-curator of the e-flux video rentalproject that will nextbe shown at Portikus,

Frankfurt and the Museum-in-Progress,Vienna.

LOGUE? TTHAT’S AA QQUESTTION TTHAT II DDON’TKNOW TTHE AANSWWER TTO.

JA: Can we pose a level a responsibility fornew critical practice? Is it a viable position atthe present time to take down the institu-tions at large and not propose an alternative?

LW: WWELL TTHAT CCOMES FFROOM AA MMISUUN-DERSTTANNDING OOF TTHE AASPPIRAATIONS OOFSTTRUUCTURAALISTTS.. MMOSTT OOF TTHE PPEOPLELIKE FFOUCAULT –– TTHAT REEALLY STTILL HHOLDUP QQUITE WWELL –– TTHAT AATTEMPTED TTOUNDERSTTAND TTHE CCOMPONENTS OOF AASTTRUUCTUREE BBECAUSEE TTHEY WWEREE NNOT SAAT-ISFFIEDD WWITH TTHE WWAY TTHE STTRUUCTUREEFUNCTIONED, TTHEY TTHOUGHT TTHEREE WWASAN IINHEREENT EERROOR IIN TTHE WWAY TTHESTTRUUCTUREE FFUNCTIONED. TTHAT JJUSTTBECAME AA STTYLE, OOF DDE-STTRUUCTURIINGEVERYYTHING. BBUT NNOBODY WWAS CCAPABLEWITHIN TTHAT GGROOUP TTO REE-STTRUUCTUREE.THEY TTOOK TTHE EEREECTOR SEET AAPARTT, TTOUNDERSTTAND IITS PPARTTS,, TTHEY TTOLD YYOUWHATEVER TTHEY FFOUND OOUT AABOUT TTHEPARTTS AAND TTHEY WWEREE PPREETTY TTRUUTHFUL,BUT TTHEY NNEVER FFIGUREED OOUT HHOW TTHEYWEREE SUUPPOSEED TTO REESTTRUUCTUREE. SOO YYOU GGOT AA WWHOLE PPILE OOF AAN EEREEC-TOR SEET…WITH NNO RUULES.. AAND TTHATGAVE TTHEM AANOTHER EEXTENDED PPERIIODOF TTIME OOF AAUTHORIITY BBECAUSEE EEVERYY-THING YYOU PPUT TTOGETHER TTHEY WWOULDSAAY ““NO, TTHAT’S NNOT TTHE WWAY TTO DDOIT… TTHAT’S NNOT TTHE WWAY TTO DDO IIT….AND TTHAT ‘‘S NNOT TTHE WWAY TTO DDO IIT”THAT IIS AANOTHEER TTEN YYEARS OOF PPEOPLEGOING TTO SCCHOOL FFOR TTHEM. TTHEY FFINISHHTHEIR CCAREEER,, TTHEY GGET TTHEIR PPENSIIONAND TTHEY LLEAVE. II SAAW TTHAT AAS SOOMESOORTT OOF WWELL-MEANING TTRIICK, IIT DDOESNN’TDO AANYBODY AANY HHARMM, BBECAUSEE TTHEYOUNGER STTUDENTS WWILL LLOOK AAT IIT AANDSAAY ““WELL HHEY, WWE UUNDERSTTAND AALL OOFTHIS,, NNOW, HHOW DDO WWE PPUT IIT TTOGETHERAND,, WWHEREE IIS TTHE SCCREEWDRIIVER??”[…]THEREE IIS AA DDIFFEREENT PPROOBLEM HHEREE, HHOWCAN YYOU IINSTTITUTIONALISEE TTEACHINGSOOMETHING TTHAT OONLY EEXISTT IIN IITS CCON-TINUING IINTERAACTION WWITH AA CCHANGINGSOOCIETY? TTHE WWORLLD TTURNNS,, AAND YYOURAREEA MMAY HHAVE BBEEN FFANTASTTIC IIN 119772,WHEN WWE WWEREE CCONFROONTED WWITH TTHEHORROORS OOF VVIETNAM, BBUT IIT DDOOESNN’THAVE AANY KKIND OOF QQUESTTION OOR AANY-THING FFOR TTHE HHORROORS TTHAT WWE AAREECONFROONTED WWITH IIN 220055. TTHAT’SBBECAUSEE WWHAT WWAS REEACTIONARYY TTHEN

BECOMES GGERIIATRIIC. YYES,, YYOU AACCOM-PLISHHED SOOMETHING AAT OONE PPOINT, YYESYYOU HHOPE TTHAT EEVERYY OONCE IIN AA WWHILESOOMETHING TTHAT YYOU EEVEN DDID TTHENTOSSEED IINTO TTHE CCONTEXT STTILL QQUES--TIONS…… BBUT TTHAT’S OONLY BBECAUSEE TTHEANSWWER HHASNN’T BBEEN GGIVEN.

The ddammsel iin ddistress ((Cann tthe pproductdetermine iits ccirculattion?)What we are given as a model for resistance,also works as an assumption. It assigns refer-ences, perpetuates readings and presupposesthe conditions both for resistance and forwhat is being resisted. It denies the unex-pected – the next dispatch of a story thatkeeps repeating itself? This predictability makes the cycles of cultur-al production rather similar to the cliffhangerfilm, The Perils of Pauline,a 1917 silent serialshown in weekly installments featuring aperpetual damsel in distress. At the end ofeach installment she was placed in a situa-tion that looked sure to result in her death.The start of the next episode showed howshe was rescued or otherwise escaped thedanger, only to face fresh peril again. Hermost familiar plight is being tied to railroadtracks with a rapidly approaching train.

If we think of cultural production as a‘damsel in distress’, why do we want to res-cue her? Maybe if she does get run over, wecan start a new movie. Maybe she can evenuntie herself and walk off. How do weescape the genre and revitalise things? Is itpossible to propose a circulation model thatwill remain vital and current?

JA: There is an implicit relationship of reci-procity between mainstream networks ofconsumption and the new ones being pro-posed. What happens when new forms areabsorbed? It is a bit like your image of thedamsel in distress, except that the guys thatrescue her are the ones that will tie her/usup again in the following episode.

LW: IIN TTHE LLOGIC STTRUUCTUREE, TTHEY WWILLPROOBABLY EEND UUP TTYING SOOMEEBODY EELSEETO AANOTHER TTHING. RAATHER TTHAN TTHETRAACKS TTHEY’LL TTIE TTHEM TTO AA ROOADSIIGN. BBUT TTHEY’LL TTIE TTHEM UUNTO SOOME-THING, TTHAT IIS JJUSTT TTHAT REEFLECTION OOFPOWER.. AAND WWHEN TTHE HHEROOINES SAAVETHEMSEELVES TTHAT STTILL DDOEESNN’T GGUARAAN-TEE TTHAT TTHEY WWON’T TTIE SOOMEBODY EELSEEUP. YYOU CCAN UUSEE AAS AA CCASEE IIN PPOINT AAPLACE LLIKE IISRAAEL OOR NNIGERIIA, WWHEREE

PEOPLE WWEREE BBRUUTALISEED AAND TTHEN TTHEYTURNNED AAROOUND AAND BBRUUTALISEED SOOME-BODY EELSEE.. YYOU TTHINK TTHAT TTHEY WWOULDKNOW BBETTER..ARTTISTTS DDO TTHE SAAME TTHING.

JA:It is frightening when that comes to art

LW: WWELL, AARTTISTTS GGET SCCAREED, PPEEOPLEGET SCCAREED, YYOU AAREE FFORGGETTING TTHATARTTISTTS AAREE HHUMAN BBEINGS,, AAND TTHEYHAVE TTO LLIVE IIN AA PPREECARIIOOUS EENVIROON-MENT. TTHEY GGET FFRIIGHTENED AAND TTHEYBEGIN TTO PPROOTECT TTHEMSEELVES.. TTHEYDON’T QQUITE REEALISEE TTHAT TTHEIR REEAL UUSEEIS TTO MMAINTAIN TTHEMSEELVES WWITHIN TTHEAREENA OOF CCONVERSAATION; IIT’S NNOT TTOFIND TTHE IIVORYY TTOWER AAND KKEEP PPEOPLEOUT. TTHAT’S AAN OOLD FFASHHIONED IIDEA OOFARTT, PPERHHAPS IIT WWAS NNECESSAARYY AATANOTHER TTIME; BBUUT IIT IIS NNOT NNECESSAARYYANYMOREE. FFORGGET AABOUT IIT BBEING EEVENGOOD OOR BBAD, IIT IIS NNOT NNECESSAARYY.

Matteriall/proccess iin tthe ppresent ttense“Structure implies feedback loops, it putsinto play a concept of totalisation that ititself masters. It is occupied by inputs andoutputs whose purpose is to make the struc-ture function according to the principle ofeternal return. It is haunted by a desire foreternity.” Felix Guattari Chaosmosis: an aesthetic para-digm (Bloomington: Indiana UP, 1992)

Artists in the 1960s and 1970s often workedwith casual materials: bricks, fluorescent lightbulbs, negative space cut out from a wall.What happened was very interesting – andfrightening – for my generation of artists:those materials acquired formal value. And ifwe are to have some fidelity to the facts, it isno longer possible to think casually aboutpiles of earth, or about anything that youcan buy at the hardware store. New univers-es of reference are established, and now it isas if they had always been there. Things aregetting crowded to the point that it feels likea minefield – references, straitjackets, orguidelines? Their generation may have tiedmine to the tracks…

JA:You have said that you work with “non-heroic materials”

LW: II TTRYY TTO

JA:Those materials now carry a differentvalue.

44 45

Julieta AArannda mmet LLawwrence WWeiner att hhishome iin NNew YYork tto wwrapp-up wwhatt hhaddbeen ann oongoing cconversattion abbout tthe arrtsystem, ass wwe kknow iit. HHere’s ssome oof wwhattshe ffound oout...

Entering tthe ccultureThinking about cultural production in eco-nomical terms, black markets become inter-esting because they create a no-rules distri-bution network in which a product accruesvalue by its circulation and what this circula-tion embodies. The objects – which some-times are circumstantial – become iconic intheir transition into culture. More than aboutsupply and demand to deal in this sphere isto deal with the prerogative of retaining pro-tean qualities, to remain outside of marketlaws. No aims for permanence are implied,since what is being proposed is a model thatcannot be fixed.

When alternate, underground models areabsorbed, we witness the crystallisation ofan immense collective desire: what wasbeing circulated underground surges above-ground, and (quoting Lawrence Weiner) “westop being revolutionaries, and become soldiers”.

Lawwrence WWeiner: (Talking about the 1960s and 1970s)

WHAT YYOU AAREE REEFERRIING TTO AAS AA BBLACKMARKKET, IIN FFACT IIS JJUSTT TTHE AASPPIRAATIONSOF AA PPARTTICCULAR GGENERAATION NNOT BBASEEDUPON TTHE EEXPECTATIONS OOF TTHE PPREEVIOUSGENERAATION. TTHAT IIS,, HHAVING AA FFORMM OOFIDEALISMM RAATHER TTHAN AA FFORMM OOFROOMANTICISMM.

YOU HHAVE TTO STTEP AASIIDE FFROOM TTHENOTION OOF CCONCEPTUAL WWORKK AAND DDEAL

WITH AARTTISTTS TTHAT WWEREE EEMERGGING AANDTRYYING TTO DDEAL WWITH TTHE REEALITY OOF TTHESIITUATION TTHEY WWEREE EEMMERGGING FFROOM, AASIITUATION TTHAT HHAD NNO PPLACE FFORTHEM. TTHEREE WWAS NNO DDRAAMA TTHEREE WWASNO ROOMANCE. TTHEREE WWEREE JJUSTT AA LLARGGEENOUGH AAMOUNT OOF TTHEM IIN CCITY CCEN-TERS TTO MMAKE IIT FFEASIIBLE.OK, YYOU HHAD AA NNIGHT SHHIFT, YYOU HHADOTHER TTHINGS GGOING OON, BBUT YYOU WWEREEWORKKING TTOWARDDS EENTERIING TTHE STTRUUC-TUREE. TTHE MMINUTE TTHE OOPPORTTUNITYAROOSEE TTO EENTER TTHE STTRUUCTUREE; TTHEREEWAS NNOBODY TTHAT DDID NNOT STTEP IIN.

Channged ccircumstannces annd bblacck mmarrketsCultural/political conditions today – as in thepast – create local shadow networks, whichin turn produce cultural currency; but nowthis happens in a situation in which it is nolonger clear what they are operating against.This becomes a hazy yet pressing questionwhen the terms of the market (alternative ormainstream), the oppositions (east or west)are no longer clearly drawn.

What do ‘black markets’ imply when what isforbidden is not clear anymore? If they oper-ate based on a system of exclusion – byoffering on the sly that what is excludedfrom the regular network of supply/demand– what is it that is being excluded now? Inthis open-border model, what exactly isbeing traded below ground? What are thedifferences between the values that areaccrued by straight up marketing as opposedto black market circulation?

LW: ((in reference to his phrase “we are ofour times” and the present role of criticality)

I TTHINK AAT TTHIS PPOINT, UUNLESS YYOU AAREECONTENT WWITH TTHE CCONFIGURAATION OOFWHAT IIS SOOCIALLY AAND CCULTURAALLY AANDMORAALLY AAND AAESTTHETICALLY CCON-FROONTING YYOU OON OOUR SOOCIETY, YYOU AAREEBEHOLDEN AAS AAN AARTTISTT TTO TTRYY TTO PPREE-SEENT OOTHER REEADINGS,, OOTHER MMEANS OOFEXISTTENCE WWITHIN IIT. SOO DDEFINITIVELY IIT IISTHE SAAME EEDGE OOF CCRIITICISMM, BBUTBECAUSEE OOF TTHE DDISTTRIIBUTION OOF IINFOR--MATION HHAVING CCHANGED SOO RAAPIDLY,

WHATEVER YYOU AAREE SAAYING HHAS AA TTEN-DENCY TTO BBE TTRIIVIALISEED BBY VVIRTTUE OOF IITSREEPROODUCTION. BBUT IIF YYOU AAREEINVOLVED IIN AAN AAESTTHETIC TTHAT UUNDER--STTANDS TTHAT TTHE FFURTTHER TTHINGS GGO,THE MMOREE SOOMETHING IIS DDISTTRIIBUTED TTHHEMOREE IIT IIS WWORTTH, RAATHER TTHAN TTHE LLESSITS WWORTTH… IIT IIS JJUSTT TTURNNING IITAROOUND TTOPSYY-TURVVY. WWE HHAVE BBEENNCAPABLE OOF DDOING TTHAT FFOR YYEARSNOW. IITS FFINANCIAL REEWARDDS AAREE NNOTAS HHOT AAS DDOING IIT TTHE OOTHER WWAY, BBUTITT IIS EEVEN QQUITE PPOSSIIBLE TTO SUURVVIVE BBYDOING IIT. YYOU KKNOW IIT IIS PPOSSIIBLE TTOSUURVVIVE, SOO TTHEREEFOREE YYOU CCAN DDOO TTHISWITHOUT LLYING. AAGAIN, YYOU AAREE BBACKON TTRAACK. AAN AARTTISTT TTHAT DDOESNN’T LLIE IISALREEADY 775% OOF TTHE WWAY IIN DDOING AAPROODUCT TTHAT IIS UUSEEFUL FFOR TTHE SOOCI-ETY, SIINCE MMOSTT PPEOPLE AAREE FFORCCED IINTOESSEENTIALLY LLYIING AABOUT TTHEIR REELA-TIONSHHIP TTO TTHEMSEELVES AAND TTO EEVERYY-BODY EELSEE

Julieta AArannda:When I think of conceptualart practice of the late 1960s and 1970s, Isuspect that a new circulation/distributionnetwork had to be created to enable this vis-ibility for this type of work. Is it possible tospeak of that situation as a ‘black market’for contemporary art of the time?

LW: MMOSTT AARTTISTTS TTHHOUGHT TTHEY WWEREEMAKING AARTT TTHAT WWOULD BBE AACCESSIIBLETO AALL TTHE PPUBLIC IIF TTHEY CCOULD JJUSTTGET IIT OOUT… SOO TTHEY BBEGAN PPUTTING IITOUT IIN PPLACES TTHAT DDID NNOT HHAVE AACULTURAAL AAFFILIATION. IIN AAN OOFFICEBUILDING ((WHICH WWAS SOOMETHINGARRAANGED BBY SEETH SIIEGLAUB) AAND PPEO-PLE CCAME. TTHEY FFOUND STTOREEFROONTS OONTHE LLOWER EEASTT SIIDE. TTHEY FFOUNDSTTOREEFROONTS HHEREE AAND TTHEREE. PPEOPLECAME. TTHEN TTHEY WWEREE LLEGITIMISEEDCOMPLETELY AAND TTHEY WWEREE NNO LLONGERBLACK MMARKKET, TTHEY WWEREE TTHE PPEOPLETHAT WWEREE DDEALING WWITH AANOTHERFORMM, AANOTHER SOORTT OOF AARTT. TTHAT’S IIT!

THE FFACT TTHAT TTHEY HHAD TTHE AASPPIRAATIONTO TTRYY TTO OOPEN TTHINGS UUP TTO AANOTHERLEVEL IIS AADMIRAABLE. BBUT II TTELL YYOU TTHIS

TOO, TTHAT IIS NNOT UUTOPIA. TTHAT’S WWHATMADE TTHEM LLOOK DDIFFEREENT FFOR PPEOPLETHAT WWEREE LLOOKING AAT CCONTEMPORAARYYARTT HHISTTORYY FFROOM TTHE 11800ss PPERSPPEC-TIVE. TTHAT IIT WWAS NNOT AA MMOVEMENTABOUT ““THEM”, IIT WWAS AA MMOVEMENTAABOUT ““WE”, AABOUT ““US””. IIT WWAS AANIDEA OOF BBUILDING AA MMARKKET WWHEREE TTHEARTTISTT WWAS AAN IINTEGRAAL FFUNCTIONINNGMEMBER OOF TTHE SOOCIETYTHE CCHANGE WWAS NNOT AA CCOUNTER--CUL-TURAAL CCHANGE, IIT WWAS TTHE AASSEERTTIONTHAT TTHE NNEEEDS AAND TTHE DDESIIREES OOF TTHISSPPECIFIC GGENERAATION HHAD VVALIDITY. IITGAINED VVALUE BBY IITS HHAVING VVALIDITY,NOTT BBY IITS BBEING AALREEADY AA DDESIIREEDOBJECT. IITS TTRUUTH MMADE IIT WWORTTH SOOME-THING.

I TTHINK TTHAT’S WWHAT WWE AAREE TTRYYING TTOTALK AABOUT, HHOW DDO YYOU BBUILD SOOME-THING TTHAT HHAS IIN IINHEREENT VVALUE AANDTHEN FFIVE GGENERAATIONNS LLATER IIT HHAS AAROOMANTIC IINHEREENT VVALUE BBECAUSEE FFORSOOME STTRAANGE REEASOON TTHEREE WWASSOOMETHING VVERYY REEVOLUTIONAARYY IIN SAAY-ING ““THE VVALUE OOF TTHIS PPROODUCT(BECAUSEE WWE DDON’T EEVEN KKNOW WWHAT IITLOOKS LLIKE) IIS STTILL AA VVALUUE”. TTHAT IISONE OOF TTHE TTHINGS TTHAT OOUR GGENERAA-TION MMADE CCLEAR.. IIT DDOESNN’T HHAVE AAFORMM; IIT DDOESNN’T HHAVVE TTO LLOOK LLIKE AANYOTHER TTHING. IIT IIS EEXACTLY WWHAT IIT IIS,,AND IITS OONLY VVALUE IIS IITS TTRUUTH. AANDTRUUTH IIS NNOOT TTHAT IIT IIS AABOUT AARTT, IIT IISNOT TTHE VVALUE OOF AARTT AABOUT AARTT AABOUTARTT, IIT IIS AA MMANIFESTTATION OOF SOOME-TTHING TTHAT IIS TTRUUE.

(in reference to the notion of black markets)

IF TTHEREE IIS AAN IINTENT AAND TTHEREE IIS CCON-CISEENESS,, TTHEREE IIS NNO NNEED FFOR AA BBLACKMARKKET BBECAUSEE IIN FFACT WWE AAREE AALLFUNCTIONING CCITISEENS OOF OOUR EENVIROON-MENT… AAND WWE CCAN OONLY BBE TTHATWHEN WWE FFUNCTION AAS WWHAT WWE AAREE,WHICH IIS AAN AARTTISTT.

THIS WWHOLE BBLACK MMARKKET CCULTUREETHING IIS BBECAUSEE SOOMEWHEREE IIN TTHEBACK OOF OOUR HHEAD WWE HHAVE BBEENTAUGHT TTO TTHINK TTHAT AARTTISTTS AAREEN’TTHE SAAME AAS OOTHER PPEOPLE. TTHEY DDON’TTHAVE TTHE SAAME PPROOBLEMS;; TTHEIR KKIDSDON’T GGO TTO TTHE DDENTISTT? OOF CCOURSEETHEY DDO! TTHEY DDON’T HHAVE TTO PPAYTAXES?? OOF CCOURSEE TTHEY DDO! WWHEREE AAREETHEY DDIFFEREENT? JJUSTT BBECAUSEE SOOME-

BODY, SOOMEWHEREE, –– SOOMEONE WWITH AABEELLY –– OONCE SAAID ““ARTTISTTS DDON’T WWORKKFOR AA LLIVING.” SOOME UUNHAPPY GGUY SAAID,“ARTTISTTS AAREE GGETTING AAWAY WWITH SOOME-THING, TTHEY DDON’T WWORKK LLIKE MME” ((BUTHE DDOESNN’T MMAKE AARTT) AAND WWE BBELIEVEIT. WWE FFEEL GGUILTY AALL OOUR LLIVES TTHATWE AAREE NNOT QQUITE RIIGHT. WWE NNEED AABLACK MMARKKET, WWE NNEED TTHINGS UUNDERTHE TTABLE, IIT HHAS TTO BBEE SEECREET, IIT HHAS TTOBE ROOMANTIC. NNO, IIT DDOESNN’T!

Multiplicity annd ssimultanneous uuniversesMaking a revision of the terms, the idea ofculture circulating through alternative chan-nels – not because of a need of openingnew spaces, but as a way to retain autono-my – would be better described as an ‘infor-mal economy’; a process of income genera-tion that is unregulated by the institutions ofsociety, in a legal and social environment inwhich similar activities are regulated. It ishard to find a concise definition of ‘informaleconomy’. Many studies approach the issuefrom the reverse and describe, what theinformal economy is not, namely: formaleconomy (white market)/criminal economy(black market)/care economy (domestic economy, household). This Informal economyor ‘gray market’ doesn’t have universalparameters; it generates situations to fosterthe circulation of cultural production thathasn’t been assimilated and therefore does-n’t have a fixed value. As these situationscan’t be instantly recognised (there is no sin-gular model for them), there is a multiplicityat work, an abolishing of distance. All here,all now

JA: What I came here calling black markets ispart of what you call simultaneous universes…

LWW: II AAM TTHINKING TTHAT WWE HHAVEREEACHED TTHE PPOINT WWHEREE TTHEREE IIS AAPOSSIIBILITY, TTHROOUGH TTHE AARTTWORLLD,THROOUUGH WWHAT WWE AAREE BBEGINNING TTOUNDERSTTAND AABOUT MMECHANICS ––WHICH IIS TTHE AARTTWORLLD, IITS MMATERIIAL ––THAT WWE CCAN AACCEPT AA SIIMULTANEOUSUNIVERSEE TTHAT TTHEN WWOULD REEQUIREE NNOHIERAARCCHY OOTHER TTHAN WWHEREE YYOUCHOOSEE TTO PPLAACE YYOUR AATTENTION. OOFTHAT LLACK OOF HHIERAARCCHIES IIN TTHE WWORLLDI AAM LLOOKING TTOWARDDS,, WWE CCANNOTSAAY OONE CCULLTUREE IIS HHIGHER OOR LLOWERTHAN AANOTHER.. TTHEY AAREE DDIFFEREENT. BBUTTHEY AAREE HHAPPENING AAT EEXACTLY TTHESAAME TTIMME, AAT TTHE SAAME PPLACE.

JA: This situation generates a different typeof value for the product.

LW: IIT GGENERAATES AA VVALUE BBASEED OON IITSUSEE WWITHIN TTHE SOOCIETY, TTHAT’S IIT. NNOTTON IITS HHIERAARCCHY, NNOT OON IITS PPOWERAND NNOT OON IITS BBRIILLIANCE, BBUT OON IITSUSEE WWITHIN TTHE SOOCIETY TTHAT IIT FFINDSITSEELF IIN. II’VE BBEEN AA LLUCKY PPERSOON AANDIN MMOSTT OOF TTHE SOOCIETIES TTHAT TTHEWORKK HHAS FFOUND IITSEELF –– FFROOM WWESTT-ERNN EEUROOPE TTO NNEW GGUINEA –– TTHE PPEOPLEAROOUND SEEEMED TTO FFIND AA UUSEE FFOR IIT.BUT TTHEREE MMUSTT BBE AA CCULTUREE WWHEREETHEREE IIS NNO UUSEE FFOR IIT AAND TTHAT JJUSTTMEANS TTHAT IIN TTHAT CCULTUREE IIT HHAS NNOUSEE, IIT HHAS NNOO VVALUE. YYOU UUNDERSTTAND?WHEN TTHEREE IIS NNO UUSEE FFOR SOOMETHINGYOU CCANNOT EEVEN MMAKE AA BBLACK MMAR--KET VVALUE FFOR IIT, UUNLESS YYOU UUSEE IIT FFORSOOMETHING EELSEE

Truth, Reevolution & TThe NNew ((New MModelsof CCriticallity)I keep returning to Felix Guattari’s line inChaosmosis (1992): “the unconscious hasbecome an institution”. It makes me thinkthat notions such as ‘desire’, ‘revolution’,‘truth’, are now ingrained in mainstreamrhetoric, and they are bankrupt of meaning.These ideas have been turned into slogans,into a regulated course of action for emanci-patory politics. ‘Truth’, ‘revolution’, and ‘thenew’ have become normalising categoriesstripped of value, but still are being used dis-cursively within cultural production.

JA: The idea of use value makes me wonderwhat happens with the role assigned to criti-cality in art at the present time. Even thoughits intentions are serious, it often ends upserving as a tool of validation for the verysame institutions and structures it sets out toundermine.

(talking about criticality in art)

LW:MMAYBE MMOREE AA SYYSTTEM OOF AACCREEDI-TATION. TTHIS IIS SOOMETHING TTHAT HHASALREEADY EENTEREED IINTO TTHE STTRUUCTUUREE,SOOMETHING TTHAT SOOME GGROOUP CCALLEDTHE AACADEMY –– WWHICH DDOESNN’T REEALLYEXISTT –– IIS WWILLING TTO AALLOW IINTOO TTHECONVERSAATION. IIT IIS BBASIIC AACCREEDITA-TION. IIT IIS NNOT BBAD. IIT IIS NNOT GGOOD. IIT IISNICE TTHAT SOOMETIMES TTHE AACADEMYWANTS TTO HHAVE AA CCONVERSAATION, BBUT IINFACT, WWHO AACCREEDITED TTHE AACADEMYTO CCHOOSEE WWHAT’S PPARTT OOF TTHE DDIA-

The Perils of Pauline Based on a conversation with Lawrence Weiner

Focus

Image: collection the author / Ið autorës kolekcijos

46 47

Dear Ed., In reply to your persistent questions aboutthe Baltic Triennial.

The Baltic Triennial is part of the big game.This game gets more and more popularevery year. Every time you hear about a newbiennale or triennial in the world or in theneighborhood you think – another one. Nodoubt those events are projected to becomegreat gatherings of contemporary art andproduce great audiences around it. Theyhave to focus, accumulate, raise-the-bar,point towards, and disseminate. They help toestablish, to emerge, to trace, to recover andto follow. They are meant to become thecentres of gravitation and temples of discus-sion. The discussion is supposed to be aboutchanging conditions, look-alike trends, badweather and new places to meet. That is thepackage. Quite a few of these initiatives suc-ceed. But most of them fail and stay asidethe real action.

It makes me wonder, why? The organis-ers, the producers and the artistic directors –what are they doing? Quite obviously theyplan, they fund raise and they talk to localpoliticians. They discuss concepts and thinkabout the strategy, levels of promotion andpositioning of the event. They create newvenues and add to a city’s flow of tourists.They hire fashionable curators. They presentadjoining events and organise conferences.They bring big names. They all wish for agreat party at the end. They want people toremember it and spread the news. They pub-lish catalogues – heavy coffee-table booksfor the office, the home or home offices.They do their best to fit their customers’needs: to please local authorities, to enter-tain artists and sponsors, to shock and

amaze the public. They spend lots of publicand private money. All the same, most ofthese events are only, ‘okay’. They fade awayeven before they close. The coffee-tablebooks get stacked, put into storage, hardlyfitting on the shelf. There are more and moreof them every year.

So, it makes me wonder: why we toogot involved in all this? Is it simply becausewe have a big house in the middle of Vilniusand have absolute freedom to do what wewant, here? Or is it because this is an institu-tion with a high profile programming recordand a young team ready to play with things?Is it a question of positive/high energy and asincere wish to communicate so commonwithin newly emerging countries. Or is itbecause we could not fight history andchange the map of the planet? Was it reallyhard to live quietly in the province? Boring?Moreover, Lithuania is not in NewZealand. It doesn’t sufferfrom tyranny of distances.Though, maybe, it is abit off the mainroads... Ed., weunderstand thatwhatever good,smart or evenestablished proj-ects you didbefore – somehownobody was com-ing or passing by tosee it, besides an invit-ed artist and his /her girl-friend or boyfriend or theirBerlin gallerist at most. We hopefor you that this will change slightlysomeday. You should just be patient.

But we could not wait any longer. Weneeded our own biennale. Original. Notimported. The first real one in the ex-Easternbloc! (As the saying goes, ‘beginners alwayshave good luck’). We got really excited whenwe started to work on the project. We evenmade a special party in Kassel giving awaythe press folders and the blue t-shirts. Thatwas the case with the previous triennial. Itwas held in 2002. It was given the title of“Centre of Attraction” and it worked outthat way very well. It was kind of great/sim-ple/ambitious. Two thick volumes of cata-logue were printed…

A few years later the buzzer rings again.Where do we go next? Further? What doesit mean go further? And why we have to do

this at all? What is the point if you makethings just bigger and more expensive? Whoshould lead the project – to make it differ-ent? What message will we send our audi-ence, friends and competitors?

So here we are: Ultimiere dot com; BlackMarket Worlds (BMW!); Big Bang is Back. Oranything you like from the list of “othertitles” on our project menu. Never mind thetitle. The IX Baltic Triennial is coming out as ajoint venture between the CAC and threeadventurous curators. They are (in order ofappearance): Alexis Vaillant from Paris,Raimundas Malaðauskas from Vilnius andSofia Hernandez Chong Cuy from New York.They are similarly young. Highly motivated.Have almost nothing to lose. At work theylook like three lightweight boxers. Theirmovements are kind of smart and elegant:

more dancing than fighting on the floor.Never know from when and

where a soft punch mightreach you. Could even

be a real hit in theend…

They were latewith projectinformation. ButI was not wor-ried about that.I knew theywould play with

it as well. Vilniusis an excellent place

for them to work.They are free to experi-

ment and play with theexhibition format and its con-

tent. They like to hide things. They pre-fer to keep it all odd. They love covers andstrange links. They employ vampires andshadow networks. They trust only devotedpeople. (Seems like only a few hundred willknow about the event). They avoid inter-views. They distribute word cards. They wantthings to look cool and funny-mysterious atthe same time. They believe in ghosts...

I love and hate them too. I am still confi-dent and I look forward to having a goodtime in September.

Kæstutis KKuizinass

Occasionally, turning to venerable wordshelps making sense of the current helter-skelter. Their stately rhythm lends a measureto inconsonant, or hard to deal with, con-cepts. So, we turn to Czeslaw Milosz:

The word ‘geography’ preserved till this cen-tury its aura of colourful atlases with theoutline of mysterious little-known lands. Asthe planet grows small, fewer and fewerareas lay claim to a bit of exoticism…Perhaps one’s country of origin is not soimportant in view of the progressing unifica-tion of the earth. After all, man is confrontedeverywhere with existential problems, andour bond of being born in the same time,thus being contemporaries, is alreadystronger than that of being born in the samecountry.

Czeslaw Milosz, Beginning With My Streets:Baltic Reflections, 1991

His words possess some proper force whenthe experiential – via broadcast and telecom-munication media – is flattened. Those of usfashioning a totalizing theory can easilyevince a gestalt [psycho]-geography. If ‘see-ing is being’ then, in the age of BBC World,CNN, and Fox News, being is becoming radi-cally similar – homogeneous. We wonderhow Heidegger and Sartre would havererouted their reductio“being is doing” inthe screen era.

Yet, this issue of INTERVIU, congruentwith the IX Baltic Triennial (about magic, theoccult, black markets, the paranormal, et. al)that is its focus, charts a noumenal geogra-phy: describing the self-same media that pro-duce cohesion (similitude) as agents ofdeconstruction. In fact, their typificationdescribes an immanent desire for differance.That is, a typology of belief/perspective/point-of-view as various as the number ofpixels on a VDU. Within this typology, tech-nology is foremost a disruptive-cum-eruptivemedium: at least for those with patience andapplication enough to find god and/or theghost in the machine. A small disruption inthe clean logic of page design has proliferat-ed in the BMW vignettes created by Jean-Franšois Moriceau and Petra Mrzyk dottingthe pages of this, and the previous, editionof INTERVIU: they are ghosts of the Triennialexhibition.

The special cover design project extend-ing the work of Bik Van Der Pol follows inthis vein (you can read more about the work

to which it refers in the “Library” section). Itpronounces a deliberate disappearance:whether it is into the Baudrillardian desert ofCalifornia and New Mexico, the screen as inCronenberg’s Videodrome (1983) or themore sophomoric Tron (1982), or evenJoseph Conrad’s “heart of darkness” in theBelgian-Congo – who can tell? Maybe, it’sdisappearing into the block-type of LawrenceWeiner’s special interview/project in thisissue; that is, back in time to the 1960s and1970s.

Liminally, this issue has extendedINTERVIU’s geographic connectivity as writingappears from [Lithuania, including theregions], Poland, Mexico, the Netherlands,and the United States. Of course Polandbelongs to the geo-political region the publi-cation is hoping to reflect – and national dis-

courses against which Lithuanian practition-ers often measure their work. It is pleasingthat Grzegorz Sowula’s review of the historyof Penguin Books tests an international phe-nomenon against a local experience in a waythat enriches both positions.

While we hardly want to disappear intothe blandised realm of glossy internationalart publishing, it is our hope to extend ourconnectivity and community in future issues.To this end we invite our readers to write tothe editors (we have had one letter to date)and writers out there to send ideas. In thisway we can test whether any pockets ofexoticism still exist – beyond the esoterica weforeground in this issue – and if our ideas arecontemporary.

Linarra DDovydaiitytë, Siimon Reees

Start making sense? Letter from the Director’s Desk

Olav W

estphalen, Cartoon / Kom

iksas, 1999, courtesy / priklauso: maccarone inc., N

Y. With thanks / D

ëkojame N

U: nordic art review

48 49

3/ 2005the quarterly conversation about art

Focus: Lawrence Weiner talks to Julieta Aranda about then and now

Home: Baltic Triennial Blues

Raimundas Malaðauskas talks to Elena Leontjeva about market rules

Dovilë Tumpytë talks to Algirdas Ðeðkus about art and para-psychology

Away: Valentinas Klimaðauskas and Geraldas Jankauskas travel between

San Francisco and Ðiauliai

Say what?:Rammelzee talks with his posse about life, the universe…

Library: Jonas Dagys and Grzegorz Sowula

Artist’s project: Bik Van der Pol, disappearing in print

Contemporary Art Centre, Vilnius www.cac.lt

INTERVIU