on Toshareproject.it - curated by Bruce Sterling
*Not a topic one sees every day.
“The decision to designate the Lithuanian SSR as a special zone for artistic expression signified a clear departure from the norm. It was a move that challenged the traditional model of centralized control over artistic production and expression that had characterized the Soviet cultural policy since the days of Stalin. The Soviet leaders were acutely aware of the potential for art to be a vehicle for dissent and for the expression of ideas that were contrary to the state ideology. Yet, they believed that the potential benefits outweighed the risks. They hoped that by fostering a vibrant and dynamic art scene in the Lithuanian SSR, they could demonstrate the cultural vitality of the Soviet Union, and perhaps even influence the global discourse on art and freedom. The Lithuanian SSR was thrust into the limelight. Artists were suddenly given the freedom to explore new artistic currents, to challenge the established norms, and to engage with their counterparts in the West. The impact of this decision on the Lithuanian art scene was profound and transformative, marking the beginning of a new chapter in the country’s cultural history.
“Already as early as the mid 1960s, American Fluxus leader George Maciunas reached out to his Lithuanian counterparts—notably composer Vytautas Landsbergis—to establish links between New York and Vilnius (see, for example, this 1991 article in Artforum by Nam Jun Paik). Maciunas would struggle to return to Lithuania, his efforts at obtaining a visa always subtly thwarted by Moscow authorities, who believed his brand of art could ignite ideological difficulties, but nevertheless, he managed to secure visits in the early 1970s from Western artists, notably Joseph Beuys, photographer Ralph Eugene Meatyard (who photographed peasants in the countryside), and land artist Robert Smithson….”