(Impressions)Enrika Striogaitė

www.kamane.lt , 2010 02 26


Sculpture of S.Straigis in Kaunas Drama Theatre. Photo by the author

In brief: “Circle of Trust” – this is how the exhibition of five artists presented in the lobby of Kaunas State Drama Theatre at the moment is called. The author admits that the title of the exhibition does not create the feeling of reliance to her and she doubts the possibility of public trust in general.

She starts the article from remarks about stipends granted to artists for ten or nine months by Kaunas City Municipality. Artists had to report and provide the proof of work done for these stipends. All artists who received the stipends were professional artists with strong creative CVs and well known for the public. Still, they had to sit like bad pupils in the meeting and try to convince municipality representatives that they did create something for the received money.

The author questions: what will happen if artists try to examine the municipality in their turn. Why is it stated that only two stipends will be granted this year due to the lack of money and the amount of LTL 500 000 is allocated for pavement tiles at the same time? Or why was A.Samuolis plein-air crossed out from the list of supported projects?

Returning to the theme of exhibition of Algė Varnaitė (curator of the exhibition), Jolanta Galdikaitė, Irena Mikuličiūtė, Aušra Andziulytė, Rima Keturakienė, Gintautas Vaitys and sculptor Sigitas Straigis “Circle of Trust" presented at Kaunas State Drama Theatre, the author tells that the works were created in Paberžė this summer. The plein-air participants were kindly accepted and patronized by the priest and artist Skaidrius Kandratavičius.

He did not organise any public requital day, and artists brought their works willingly themselves. Only the wooden pope of S.Straigis was brought from Paberžė by the priest on the opening day. Other artists created sketches and thought in the summer plein-air, and later this activity gained the material shape. The plein-air took place in the sacral space that remembers Father Stanislovas well. Therefore, no question arises why the portrait of the late artist Raimundas Mikšys created by I.Mikuličiūtė is presented in the exhibition. The portrait is painful, similar to the life of R.Mikšys, who never sold his spirit.

The works of J.Galdikaitė are full of sacred experiences. The subtle language of canvases uncovered/covered by paint of A.Andziulytė is always interesting. The paintings of G.Vaitys hanging in the centre of the theatre lobby seem like a triptych.

Standing at the work of A.Varnaitė, in which the depth of a prayer is reflected, the author of the article stepped towards the wooden pope, which seemed to be of another facture and dimension due to the light falling from above. According to the author, the exhibition made her experience a miracle unexpectedly.

The title of the exhibition “Circle of Trust” inspired the author to tell about the exam organised by the municipality for artists who were granted stipends: it is the trust in the artist that is missing today the most. One could require that the head of Drama Theatre Egidijus Stancikas, who opened the exhibition, would oblige not to let in market traders but would let artists use the lobby next to the Big Hall. We do know that he will behave in this way. We know because we trust.

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