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Unfortunately, it must be admitted that it was the latter that predominated in Lithuania. By the end of the s, the concept of socialist realism was quite well developed in the Soviet Union. Works of this nature were not of any interest to the creators of the latest political order because they belonged to the sphere of personal experience. After the fall of communism, the pressure on artists to support the power system undoubtedly disappeared — but this does not mean that the constraints limiting their artistic freedom did as well.

Egidijus Aleksandravičius Doc. Lolita Jablonskienė Doc. Giedrė Jankevičiūtė Prof.

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Vojtěch Lahoda Prof. Piotr Piotrowski Dr. Skaidra Trilupaitytė Doc. Visi jie tyrinėja ypatingą Europos istorijos ir kultūros dalį — vadinamojo Rytų bloko sovietinę praeitį ir posovietinę dabartį.

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Kaune konferencijos dalyviai diskutavo apie meną ir politiką — vieną aktualiausių šios tyrimų srities problemų. Meno politiškumas, politinis menas, menas kaip galios įrankis ir valdžios įkaitas — su tokiais klausimais neišvengiamai susiduria daugelis Rytų Europos kultūros ir meno tyrinėtojų.

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XX amžius Rytų Europos regioną buvo pavertęs socialinės inžinerijos ir politinio eksperimento laboratorija, kurioje buvo išbandytos ir meninės veiklos galimybės.

Tad simptomiška, kad naujausi Rytų Europos meno istorijos tyrimai tampa vis atidesni ne tik pačiam meno kūriniui, bet ir jį supančiam kontekstui, ne tik meninei formai, bet ir politiniam meninių strategijų turiniui.

Pasiūlytos temos konferencijos metu susikristalizavo į kelias potemes, kurios gvildenamos šios straipsnių rinktinės skyriuose: menas ir diktatūra; ideologija ir meninės strategijos; asian dating mineapolis, galia ir erdvė; kultūra kaip pasipriešinimas: dvigubi žaidimai; menas ir demokratija; pokomunistinė kultūra ir nauji mitai.

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Leidinio straipsnius jungia ne tik bendra meno ir politikos tema, bet ir panašus mokslinio tyrimo žanras. Įvairūs Rytų Europos meno ir kultūros procesai analizuojami pasitelkus atvejo studijas — vieno kūrinio, autoriaus, įvykio ar reiškinio tyrimus, kuriais atskleidžiamos bendresnės laikotarpio tendencijos ir problemos. Atidi konkrečių atvejų analizė, dėmesys lokalumui ir detalei ypač reikalingas norint suprasti sudėtingą Rytų Europos praeitį ir dabartį, užuot ją smerkus ar aukštinus.

Political art, art as a tool of power and asian dating mineapolis hostage of authority — greitasis pažintys žodynas topics are hard to escape when researching Eastern European culture. The 20th century turned this region into a laboratory of social engineering and political experiments where boundaries asian dating mineapolis artistic practices were also tested. Thus contexts of art practices as well as political contents of artistic strategies rather than pure stylistic qualities and authorial values are under consideration in recent studies of Eastern Europe art history.

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The articles of the volume are related both by topic art and politics, and also by the related genre of research. Close analysis of particular cases, proper regard for the locality and detail are especially valuable in the attempts to understand asian dating mineapolis complex reality of an East European past, and present, rather than judging or worshipping it.

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If he is not Jewish, he survives the Protectorate in seclusion. He cannot exhibit or sell his cubist or surrealist works.

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He prays that he will not be called to asian dating mineapolis forced labour in the Great German Reich. He listens to a speech in by the Minister of Culture in the Protectorate government, Alois Moravec, who attacks Czech decadent art. Such an artist would embody all the obstacles and hardships of artwork connected with the place, the era, and the political regimes that he had lived through.

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The artist thus selected would be a kind of statistical average of the fate of the modernist and avant-garde artist who had experienced the cultural boom during the First Czechoslovak Republic, inand during the Nazi occupation and Stalinist regime that followed. Let us begin in the mids.

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He reads in the newspapers about the Entartete Kunst campaign, which anathematises the avant-garde. He attends anti-fascist meetings.

He shakes his head in disbelief at the stupidities of the Nazi Kulturträger.

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Whether his work is cubist or surrealist — both trends having set deep roots in Czech art — he can, now and then, exhibit and sell something. He tries to express his opposition to black-and-brown totalitarianism.

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At this point he learns about the Moscow asian dating mineapolis. A frost emanates from the Kremlin. He is shocked by the Italian occupation of Abyssinia, and the civil war in Spain. If that is too risky, he will at least support the Spanish Republic via collections, and participate in demonstrations.

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Pablo Picasso in Wroclaw, Therefore the Czech mud of today, which is called artistic, has to be burned; once it becomes a hard brick, it will last through the ages. Our artist is lucky; he is not called.

He survives the Protectorate.

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May brings liberation and the end of the war. New hopes and horizons.

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The artist exhibits again. He travels to Paris and sates himself on the diversity of modern art.

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He is fascinated by Picasso in particular. He returns to his country. The communist coup is carried out in Amžius diapazonas online dating