Gyvenimas klostėse. Baroko įtampos, poveikiai ir judėjimai 

9:30–9:40 Kava ir sveikinimo žodis

dr. Julija Fomina, Menotyros doktorantūros vadovė, Vilniaus dailės akademija

9:40–9:55 Įvadas į seminarą

Mikkel Bogh, dailės istorijos profesorius, Praktika grįsto meno studijų centro direktorius, Kopenhagos universitetas  

9:55–10:10 Įžanginis žodis ir trumpas supažindinimas su Sapiegų rūmais

dr. Gintautė Žemaitytė, Sapiegų rūmų vadovė

10:10–10:40 Įvadas į Sapiegų rūmų istoriją

Laura Misiūnaitė, Sapiegų rūmų kultūros pažinimo skyriaus vedėja

10:40–11:20 Baroko tarptautiškumas: keturi Šv. Dvasios bažnyčios kūrinių atvejai 

Birutė Valečkaitė, menotyros doktorantė, Vilniaus dailės akademija

11:20–12:00 Tarp kovos ir linksmybių XVII a. Danijoje: Karaliaus Frederiko III atvejis

Casper Thorhauge Briggs-Mønsted, Menų ir kultūros studijų doktorantas,

Kopenhagos universitetas

12:00–12:40 Trikdantis keliavimas: valdžios ir poetinių santykių subversijos baroko vaizdinijoje tarp Europos ir Amerikų 

Mikkel Bogh, meno istorijos profesorius, Praktika grįsto meno studijų centro direktorius, Kopenhagos universitetas

12:40–13:40 Pietūs

13:40–14:20 Ekskursija po Sapiegų rūmų parodą „Užuovėja“

Virginija Januškevičiūtė, Edgaras Gerasimovičius

Menotyros doktorantai, Vilniaus dailės akademija 

14:20–15:00 Infleksija, laukas ir singuliarumas: link formos šiuolaikinio meno praktikose koncepcijos kartu su Gilbertu Simondonu, Gilles’u Deleuzu ir Henri Bergsonu  

Henrik B. Andersen, Skulptūros katedros profesorius, Vilniaus dailės akademija 

15:00-15:40 „Su Romos pagalba“: barokas kaip pamoka ir šaltinis Roberto Venturio kūryboje

Kasper Lægring, Naujojo Carlsbergo fondo meno istorijos podoktorantūros stažuotojas,

Orhuso universitetas

Kavos pertrauka

16:00–16.45 Baroko klostės ir pomirtinis gyvenimas: diskusija su pranešėjais ir auditorija, moderuoja Mikkel Bogh

Birutė Valečkaitė, PhD fellow, Vilnius Academy of Arts

This presentation is based on the author’s recent discoveries of prints of engravings that became examples for several artworks created during the Baroque restoration of the Church of the Holy Spirit in Vilnius in 1750–1770. One of the frescoes, The Vision of St Dominic, the stucco moulding St Dominic, as well as paintings from the altars of St Hyacinth and of Our Lady of the Rosary, were all based on works by famous artists from Antwerp, Augsburg, Rome, and Palermo. Similar engravings were often commissioned by the artists themselves in order to ensure the dissemination of their works. They were easily transported and often copied in Lithuania and other countries. Through cases of these examples, it is possible to talk about the international ‘journeys’ of images, their distinctive interpretations in Vilnius and the mentality of the Baroque population, which is evident in the choice of the primary images and their placement in the late Baroque space of the rebuilt Church of the Holy Spirit.

Casper Thorhauge Briggs-Mønsted, PhD fellow, Dept. of Arts and Cultural Studies, University of Copenhagen

I take as my starting point a chair from the time of Danish King Frederik III, which is designed to trap the unsuspecting person who sits in it and to empty water into their lap. A colleague and I are currently researching the chair to learn more about its history, and with that in mind, I will introduce it and place it in the context of a wider European court entertainment culture that seems to have always existed somewhere between carefree pleasure and the ever-present threat of future war or the memory of what happened in the past. I suggest that this duality is particularly characteristic of baroque celebrations – two contradictions folded into one another.

Mikkel Bogh, Professor of Art History, Director of Center for Practice-based Art Studies, University of Copenhagen

In this presentation I aim to discuss the transformative journeys of a baroque aesthetic, spanning from its origins in Europe to its impact in the Americas. It explores how the baroque’s dynamic and affective qualities not only facilitated the exercise of political, religious, and cultural power in the 17th century but also enabled its evolution into a fluid and subversive force. The paper examines how baroque imagery, initially aligned with counter-reformational agendas, later began to antagonise colonial and other power formations it had been inextricably linked to. By analyzing neo-baroque tendencies in contemporary art, it demonstrates how the baroque aesthetic ‘travels’ across geographical and temporal boundaries, adapting to diverse cultural contexts while maintaining its disruptive potential and giving rise to new poetic relations.

Henrik B. Andersen, Professor, Dept. of Sculpture, Vilnius Academy of Arts:

This paper, inspired by Deleuze’s book „The Fold. Leibniz and the Baroque” (1993), discusses a concept of form in the philosophies of Gilbert Simondon, Gilles Deleuze, and Henri Bergson, in the context of contemporary art practice. Andersen’s inquiry presents the notions of inflection, field, and singularity as foundational elements that define certain contemporary artistic explorations and processes.

Kasper Lægring, New Carlsberg Foundation Postdoctoral Fellow in Art History, Aarhus University:

When architect Robert Venturi published his “gentle manifesto” Complexity and Contradiction in Architecture in 1966, it not only signalled a critical challenge to the architectural praxis of modernism but also represented an unorthodox and creative view of the legacy of the Baroque. This paper will explore both familiar and overlooked aspects of Venturi’s seminal book, whose mission has not always been fully understood. Hence, despite Venturi’s inspiration from Gestalt psychology, Rudolf Arnheim heavily criticized the book. The paper will focus on Venturi’s understanding of Mannerism and the Baroque as a resource available to the architect, whose ambiguity carries a sense of modernity that transcends attempts at stylistic characterization. An altered and more complex role of the viewer is crucial here.