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 artwork. George Maciunas. Still: George at St. Vincent‘s Hospital, Nov. 10, 1975.
Jonas Mekas (1922) is a film director, writer, film critic and curator. He is the driving force behind American independent film and the founder of the Anthology Film Archives. He has been written into 20th century film history as a leading figure of avant-garde film and charismatic personality, carrying out important cultural and public work in the US since 1949.
At the beginning (1949-1963) he recorded the life of the Lithuanian émigré community. Starting in 1964, he became the chronicler of the work of New York’s avant-garde artists. Jonas Mekas crystallized a unique language in the form of film diaries. They could be described as subjective personal notes that are done while filming. With a camera in his hands, he reacts to these moments in life that are important for him personally. His way of filming creates the impression of absolute naturalness, as if everything was happening as it should. Everything that is happening is important for him. In his own unique way, Jonas Mekas interprets what the eye of the camera sees. What is filmed by Jonas Mekas seems joyful and simple at first glance. But that is only a superficial impression – there is existential sadness, tragedy and feelings of unusual danger in his daily filmed stories, though no specific point is made to show this.
Jonas Mekas once said “In my work I care about focusing attention on small, unimportant, personal moments of our life, my life, my family’s life, and life of my close friends; joys, celebrations, being together, small daily events, feelings, emotions, friendships”.
Artwork was prepared by Monika Žaltauskaitė-Grašienė.