REWIND HISTORY is a series of artworks that questions the understanding of textile as a genre of reproduction that has been formed in art history. The series was exhibited in Kaunas biennial exhibition Rewind History curated by Rasa Andriušytė-Žukienė. The curator highlighted the aspect of reproduction (which is inseparable from both the history of tapestry in Western Europe from the 17th century to the 20th century and Jacquard weaving technology) as the foundation of creative interpretations at the exhibition. She asked textile artists that are currently active what Lithuanian artists and works have had an impact on their creative decisions, or are simply remarkable or had become visual icons. She selected a collection from the works mentioned by the artists, which then became a subjective (textile) Lithuanian art history of the 20th and 21st century.
The artworks were shown in Kaunas Biennial in 2011, at Estonian Museums of Applied Art and Design, the Palace of the Dukes of Braganza (Portugal).
KAZĖ ZIMBLYTĖ. Part III of III. Installation at the Artist’s Farm in Briedžiūnai. Ukmergė District. 1979.Photography by V. Vildžiūnas from the publication of: Jankevičiūtė G., Lubytė E. (sud.). Skulptūra 1975–1990. Vilnius: Aidai, 1997.
Kazė Zimblytė (1933-1999) is one of the few artists that made abstract paintings and installations during the Soviet period. She is one of the few artists of the time that searched for totally different paths other than compromise and adaptation to the system. She had to pay dearly for her creative freedom. The broader public only saw her work in the 1980s after the beginning of Gorbachev’s perestroika, however her role in the development of Lithuanian art is still not understood.
Having dreamed of painting, she was forced to study textile. For a period of time she made weave printing projects in factories. She participated in the creation of interiors with architects (for example the interior of the Neringa Café in Vilnius). Afterwards she was submerged in a vacuum of silence without orders and without opportunities to participate in exhibitions. Her answer to this were large format abstractions, a diary, bilingual poetry, actions and space installations, which only close friends saw in 1979. More than ten years were to pass before her first public art actions were shown in Lithuania (with the groups Green Leaf and Post Ars).
In speaking about Silent Modernism in Lithuania, somewhere the idea has already been mentioned that in the 1960s and 1970s, avant-garde expression appeared not in the atmosphere of visual art creators, but in that of applied art creators. The cases of textile artist Kazė Zimblytė, architects Antanas Eugenijus Cukermanas and Linas Katinas confirm the fact that atypical behavior in light of discipline and uncompromising principles in light of the system can give unique artistic results.
Artwork prepared by Monika Žaltauskaitė-Grašienė. Woven at UAB AUDĖJAS.