非決定性瞬間Non-decisive moments?
20世紀80年代和90年代的交匯點標志著立陶宛具有重大意義的的變化時期，不僅僅表現(xiàn)在立陶宛的政治生命中，同時也在國家的藝術(shù)舞臺上。在當時，決定立陶宛攝影藝術(shù)轉(zhuǎn)折點的新一代藝術(shù)家們出現(xiàn)了。人文攝影在盛行幾十年后被一個較少表現(xiàn)風格，卻更加個性化和更切實關(guān)注周圍環(huán)境、人類和身體的攝影所取代。藝術(shù)家們不再為追逐“布列松的決定性瞬間“而在街頭流浪;相反，他們占據(jù)了被觀察者的位置。深遠的視野已經(jīng)被封閉的形象創(chuàng)作所取代，創(chuàng)造者專注于他們身邊的事物，記錄那些幾乎匿名的環(huán)境。攝影被越來越頻繁地用于反映個人的想法和經(jīng)驗：攝影從公眾的轉(zhuǎn)變?yōu)榉浅€人化的和沉默的。攝影師運用自己簡潔的創(chuàng)作語言故意模糊了作品構(gòu)圖和亮度的標準;他們模仿業(yè)余攝影，而純粹的美學也失去了往日的重要性。The juncture of 1980s and 1990s marked significant changes not only in the political life of Lithuania, but also in the art stage of the country. At the time a new generation of artists who determined a turning point in Lithuanian photography emerged. Humanistic photography that prevailed for several decades was replaced by a less expressive yet much more personal and real look into own surroundings, human being, body. Artists ceased wandering the streets in the chase of that Bressonic ?decisive moment“; on the contrary, they adopted the position of passive observers. Far reaching horizons were superseded by an extremely closed image composition, creators focused on things close to them, recorded almost anonymous environments. Photography was more and more frequently used to reflect personal thoughts and experiences: it transformed from public into very personal and silent. With their choice of laconic language, photographers confounded the usual standards of composition and brightness on purpose; they imitated amateur photography, while pure aesthetics lost its former importance.
?所有這些藝術(shù)家都有他們自己的個人視覺和思維，并以自己獨特的創(chuàng)意在作品中表達自己的世界觀。除了一些展出的20世紀80年代和90年代創(chuàng)作的作品，展覽被更現(xiàn)代觀念的作品所填充，以嶄新的攝影姿態(tài)和對真實的概念拓寬了現(xiàn)代立陶宛攝影的前景。All these artists discerned with their individual sight and thinking, developed creative ideas in their own peculiar ways to express their world-view. Apart from works created in 1980s and 1990s, the exhibition is complemented by more contemporary conceptual works, which broaden the prospect of modern Lithuanian photography with a new attitude to a photographic object and the concept of reality.
1991年中華人民共和國正式承認立陶宛獨立，今天我們將紀念兩國建交25周年。值此之際，我們不僅想要介紹20世紀六十、七十年代這段黃金年代的立陶宛經(jīng)典攝影，同時，我們也想展示在我們國家重新獲得獨立時期的藝術(shù)進程與發(fā)展。In 1991 China recognized the statehood of Lithuania, thus today we commemorate the 25th anniversary of diplomatic cooperation between the countries. On this occasion, there is an intention to not only introduce classical Lithuanian photography, the golden age of which is considered to be 1960s and 1970s, but also to show the art processes that took place during the period of regaining independence and those that are taking place at the moment.
