Nordisk Museologi 2001 • 1–2, s. 185–192

About Strategies of Opening 185 and Openness in Lithuanian Museology

Elona Lubyte

This is the narrative of a museum employee working during the period of ongoing change that is taking place in our country, . After the restoration of independence, a new market economy strategy and the emergence of a private sector can be noted, both related to the new political view. They resulted from the attempt to return to the global context after half a century of Soviet occupation. The museum space is traditionally related to the protection and representation of cultural heritage. In Lithuania, as in the majority of Eastern European countries, museums and their collections are owned by the state. Our country has 93 museums of which 3 are national, 16 supported by the Republic, 56 mu- nicipal, 14 departmental and 4 private. A free market is characterised by selfregulatory laws. Exceptions slowly replace previously valid rules. Two private sculpture parks are ex- amples of such exceptions in the slowly recovering Lithuanian cultural scene: the Interna- tional European Centre Sculpture Museum, 1993, and the Grûtas Park, 1999, featuring disassembled monuments of the Soviet period. The stories of their creation represent two different models for establishing private museums, which, in a general sense, may be cha- racterized as the strategy of opening and openness respectively. The story of the lattery type of establishment gives more insight into the essence of the changes that are taking place.

About ”museum science” or new winds of change and private structures are more successful at modernising, while old organisations change After the first decade of restored independen- very slowly. The era of change in our muse- ce, when the optimism of the ”singing revo- ums started with the separation. In the So- lution” had calmed down, we experienced viet period, all objects stored in the museum quite an inconsistency with regard to chan- belonged to the museum fund of the USSR. ges in museums. We can see that small, new The activities of museums were coordinated Elona Lubyte

186 by the Soviet Ministry of Culture. The cur- university and to students of the history and rent status of museums in Lithuania is based theory of arts at the State Institute of Fine on the Museums Law of 1995, which states Arts. However an opportunity to become fa- that the museum fund of the Republic of Lit- miliar with contemporarty museology in more huania is a part of the national property of detail and more systematically came only af- Lithuania. Ministries, urban and regional ter the restoration of independence. Neither municipalities, authorities, and private per- the museums, nor the nation, expected or sons may establish museums. were prepared for the changes that came so In Soviet times, when the freedom of reli- rapidly. We have experienced the changes as gion was abolished and churches were clo- a self-regulating process; not as a series of stra- sed, branches of state museums were establish- tegic moves but rather the result of intuitive ed in the churches to preserve historical col- decisions. Neither the State nor the institu- lections. This is why, in the 1950s–1960s, the tions blown about by the winds of change that Lithuanian Museum of Fine Arts placed the accompanied the new ideology have been able exhibition of Old Western European and Lit- to define a united strategy, until now. Public huanian Painting in the classical Cathedral promotion of the cultural decentralisation has Basilica of Vilnius, the exhibition of Lithua- given rise to a dense structure of branches of nian folk art in the baroque church of All national museums – the Lithuanian Muse- Saints, and the M. K. Èiurlionis museum of um of Fine Arts controls the Picture Gallery fine arts presented an exhibition of old of Vilnius, Radvilos Palace, the Museum of graphics and applied fine arts in a former ba- Applied Fine Arts, the National Fine Arts roque monastery in the suburbs of Kaunas, Gallery, Klaipëda Picture Gallery, Klaipëda etc. After independence, the act governing the Museum of Clocks, Museum, restitution of the rights of the Catholic Suduvite Fine Arts Museum, and P. Gudynas Church stated that the said church was entit- Restoration Centre. M. K. Ciurlionis Muse- led to independence and the Republic of Lit- um of Fine Arts has Kaunas Picture Gallery, huania should reimburse it for the losses in- Mykolas Zilinskas Fine Arts Gallery, the curred during the Soviet period and return Museum of Ceramics, the Museum of Works any of its buildings then in the ownership of and the Collections of A. Zmuidzinavicius, the state authorities. The museums which the A. and P. Galauniai Home in Kaunas, A. were restored in the wake of radical adminis- Rakauskaitë and L. Truikis Memorial Apart- trative and organisational changes had to sol- ment in Kaunas, the M.K.Èiulionis Memo- ve complex problems concerning the moving rial Museum in Druskininkai, and V. K. Jon- and rearranging of collections and exhibitions. ynas Small Gallery in Druskininkai. It is ob- Storage rooms for paintings and sculptures vious that the branches of museums scatte- were installed in Vilnius Cathedral Basilica, red throughout Lithuania and engaged in next to the exhibition. various kinds of activities would in certain In Soviet times, as early as at the end of the cases operate more rationally as independent 1940s Vilnius University was training muse- subdivisions. Not to mention the maintenan- um workers and later, the course on museo- ce problems of such a number of buildings logy was taught to students of history at the which frequently increases as a result of the About Strategies of Opening and Openness in Lithuanian Museology

organisation of events. State museums are or solve all the problems facing the Lithuani- 187 forced to change the nature of their activities an museums in a time of change. They do, drastically, learn how to save, raise additional however, serve as an introduction to the fol- sources of funding, adapt to the new needs of lowing stories about the intentions of two customers, etc. personalities representing different genera- Another problem originates in the changes tions and different philosophies in their ex- in the provision of the museum services. The ploration of the new power of private initia- collections of the Lithuanian museums are tive in the museum field. now open to the public in the republic (in the exhibition ”Christianity in Lithuanian About the strategy of opening, Art” staged by the Lithuanian Museum of or the attraction of the new Fine Arts, the public was introduced to the centre of history of ecclesiastical art, 1999–2003) and abroad (the works of M. K. Èiurlionis were The strategy of opening reflects an approach presented in international exhibitions – cul- which attempts to open up to the global de- minating in a personal exhibition of the ar- velopment processes, to return and rejoin the tist in the Quai d’Orsay Museum in Paris; international scene and become an equal part and in joint projects of Lithuanian and Po- of it. Eight years have passed since the first lish museum workers in 2000, etc.). New ex- international sculpture symposium, which positions and exhibitions are followed by tar- was held in 1993 near the private house of geted educational programmes. Unfortuna- Gintaras Karosas. He was a student of sculp- tely, the state museums have so far failed to ture at the Vilnius Academy of Fine Arts, with realize that this process requires not only a a house, situated in an old suburban wood- well-developed administrative staff and pro- land abounding in springs, 19 km from the fessional keepers of collections, but also or- capital. At the moment, this outdoor Muse- ganisers and curators of the exhibitions. The um of Sculptures of the Centre of Europe (area organisation of artistic events is a complex and – 55 hectares) has 66 sculptures. Annually it time-consuming process in which, apart from receives about 50,000 visitors. What is the the directors and administrators, the staff im- story behind the museum, the first private plementing the idea plays a very important museum in Lithuania, established by a young role. This role and their competence regar- student, which in the beginning raised many ding the national cultural policy, is now con- doubts but which has exceeded the most op- sidered as especially important, although still timistic forecasts made by its advocates in the not clearly defined in the funding of projects. course of its being established? The idea of In my 14 years of employment with the Lit- the museum has its roots in the first public huanian Museum of Fine Arts and having or- political meetings and actions of the ”singing ganised 10 exhibitions at my central institu- revolution” (the Baltic Road of 1989, when tion and outside I have learned that the ap- during the 50th anniversary of the Ribben- proach of the state museums to the organisa- trop-Molotov Pact the citizens of the annex- tion of events is changing particularly slowly. ed Baltic States held hands and demonstra- These remarks are not an attempt to hide ted their determination to restore indepen- Elona Lubyte

188 dence to the whole world by means of their symposia on granite sculptures were organi- living chain along the Vilnius – Tallinn Road). sed in the seaside town of Klaipëda. In the At that time we cherished romantic hopes that course of time, mainly because of the remote all our ideas would come true and we could situation and the ambitions of the young ar- not imagine the efforts needed to achieve our tists, they became a place in which to bring goals. In such an environment the young to realisation new and modern concepts. In sculptor had the idea that he wanted ”to give the 1980s the network of sculpture symposia a meaning to a geographical centre of the Eu- grew (with a metal symposium in Alytus and ropean continent by means of the language a concrete symposium in Aukötieji Paneriai, of art”. In 1898, the fellows of the French Na- Vilnius), and the first sculpture exhibitions tional Geographic Institute located the cen- in public spaces emerged, which were repla- tre close to the Lithuanian capital. G. Karo- ced by new conceptual art projects in the sas started to implement his idea with the crea- 1990s. At the beginning of the independence tion of the sculptural sign for the new centre movement, the sculpture garden in Jeruzalë, of Europe, which later came to be the logo of Vilnius, legalised its activities. It united the the museum. In 1991, this sculpture was er- artists who had settled in the suburbs of Vil- ected at the location of the new centre of Eu- nius and, in the Soviet times, had contribu- rope on a plot of cultivated land. The young ted to the dissemination of the modernisa- artist started to look for a place in the vicinity tion processes in our environment. Sculptor which would be suitable for the location of Vladas Vildziûnas, who was one of the foun- the new sculpture park. The suburban envi- ders of this movement, had been a lecturer ronment, abounding in hills and forests, stret- when the young artist studied at the Vilnius ching close to the Academy of Fine Arts. new centre of Euro- The young artist found an attractive space pe is reminiscent of near the new centre of Europe and, with the the Swiss Alps. Lit- help of his parents, built a house, which has huania is a country now become the home of international sym- of forests. Nature posia and the office building of the first pri- with its forests have vate museum in Lithuania. At the same time become indispensa- he cleared the surrounding forest and excava- ble parts of the envi- ted ponds in areas around the springs. The ronment in the con- reflections of the increasing number of sculp- sciousness of most of tures on the sparkling surface of the water in us. The ideas of the these ponds have become an important ele- young artist were ment of the new museum. To implement his not born in a va- idea, the young artist registered a private com- cuum. In the 1970s, pany Sculpture Museum of the Centre of Euro- pe and started looking for sponsors for the first sculpture symposium. In contrast to the Grûtas park. The state museums which were regularly funded monument to Stalin. from the national budget, he had to raise sub- About Strategies of Opening and Openness in Lithuanian Museology

sidies by himself. The first international sym- Europe. At the same time, a minimalist con- 189 posium of the Museum of the Centre of Eu- crete ”Double-Negative Pyramid” (560 x rope was sponsored by Unesco, the G. Soros 1200 x 600 cm) by Sol LeWitt was created Open Society Fund Lithuania, private Lithua- following the directions of the artist. Eventu- nian companies, and individuals. Ten sculp- ally, the initial interest in the park with great tors from Greece, Lithuania, the USA, Hung- artists sending their assistants to carry out ary, and Finland participated in the symposi- their ideas, was superseded by an active and um. Some of them were college students and creative process of cooperation. This coope- their organisations subsidised their journey ration with the famous Polish sculptor Mag- and stay in Lithuania. After a successful first dalena Abukanoviè was especially important event, with the help of foreign funds and or- for the young artist. Abukanoviè first visited ganisations, Karosas familiarised himself with the park in 1997 when she was looking for a the activities of private sculpture parks in the place to exhibit her small sculptures, but she USA and Japan. These ideas were especially was captivated by the environment and deci- useful in the formulation and adoption of a ded to create what has become one of her strategy for a future museum. Its essence was major compositions – an assembly of twen- the evolvement of an alternative to the well- ty-two abstract concrete segments and natu- developed collective events organised during ral stone pebbles occupying over two thous- the first years of the museum and thus it fo- and square metres, entitled ”Space of Unre- cused on the implementation of strong and cognised Growth”, 1997–1998. The acquain- ambitious projects. This programme is reali- tanceship and cooperation with this artist sed in two ways: by attracting ”names” and taught G. Karosas a new lesson allowing him by the organising of meetings for young ar- not only to experi- tists from Eastern and Central Europe. ence his dream co- In 1996, the first ambitious project was ming true but also to realised in the Museum of the Centre of Eu- get feedback from rope. The work of Dennis Oppenheim ”Arm- that experience. This chair-pool” (470 x 523 x 570 cm) was pro- is how a whole net- duced, exactly according to the model, in a work of meaningful factory under the supervision of an assistant. cooperation develo- The artist was satisfied with the result of the ped. Between 1999 cooperation and agreed that another of his and 2001, an ambi- works should be built in the park. Thus, in tious steel project by 1997–1998. a paradoxical, grotesque work a young Czech scu- was created, ”Drinking Structure with Kid- lptor, Aleö Vesey, ney-Shaped Pool” (1000 x 900 x 550 cm), ”The Idea of Sculp- inside which a spectator can experience a va- ture is a Sculpture” riety of sensations because of the uncomfor- table space. These works were the first repre- sentations of live pop-art classics, not only in Grûtas park. The Lithuania but also in Central and Eastern monument to Lenin. Elona Lubyte

190 (880 x 792 x 793 cm), was erected in the park. the existing collection of the museum is to be An innovative ecological composition by a enlarged. And the diverse and ambitious in- young artist, Mara Adamitz Scurpe, from the ternational collection of sculptures exhibited USA, ”Suspicious Science”, with active solar for visitors to the museum is becoming an batteries represented new technology. Percei- opening, a ”bridge between different cultu- ving the territory of the museum park as his res”, or to be more exact, between 22 countries creative space, Karosas together with the in- whose artists created their works in the new vited artists, created his own sculptures (”Mo- Centre of Europe. nument of the Centre of Europe, 1997, ”LNK Infotree”, 1998, ”For Your Convenience”, About the strategy of openness, 1999), looked after the forest and designed or a new approach to the future the aggregate image of the Centre of Europe. of soviet idols The extent of the park is increasing along with the number of ponds, the specially trim- The strategy of openness is associated with med trees are thriving, an asphalt road has what is new, fearless and permissive, i.e. a free replaced the simple gravel path, and a par- and democratic attitude towards the histori- king area has been built. The museum park cal past. Since ancient times new monuments has become a favourite visiting and recrea- were built and old ones destroyed when one tion place for young people, gardeners wor- political system replaced another. Ancient king nearby, and guests of the city, with ap- Rome had a law ”Demantio memori” (Curse proximately 50,000 visitors annually. And the of the past) which said that all statues, reliefs young artist is improving not only his artistic or inscriptions created to glorify a condem- skills but also his administrative, organisatio- ned person must be destroyed so that the nal and marketing skills. It is not enough name and appearance of the condemned simply to interest an artist in the possibility would be erased from the memory of future of realising his or her idea in the new post- generations. Communist centre of Europe, financial sup- After the restoration of independence, the port for these projects is necessary. The cost signs of the old system are being changed. In of the largest objects is estimated at LTL 1989–1993, in Lithuania 42 monumental 200,000–300,000 (USD 50,000–75,000). Soviet sculptures were dismounted. In 1998, State support for Karosa’s projects amounts an open competition on the ”establishment only to about five percent of the value of the of the exposition of Soviet monumental sculp- works. The remaining funds are raised from tures” was announced and was won by a pri- tickets, local and international sponsors on vate organisation, to which the dismounted six levels, from major donors to families and pieces were handed over. Since 2000, they private individuals. have been exhibited in the Grûtas Park of the Today the young founder of the first pri- Museum of Soviet sculptures, which was vi- vate museum feels he is a citizen of the world sited by nearly 50,000 people in the first year. as he communicates with artists from all over It is worth noting that this decision was very the globe, makes independent decisions not controversial in Lithuania. There were passio- only about what or how, but also about how nate opponents and advocates and the argu- About Strategies of Opening and Openness in Lithuanian Museology

ments of both sides were willingly presented basis and up to 500 in peak seasons. J. Mal- 191 in the free media. The experiences and losses inauskas’ fresh and canned mushrooms are of the past aroused particularly strong feelings. exported to Western Europe, the USA and During the black years of occupation from Israel. It is a family business. His income is 1940–1956, Lithuania lost 1 million of its invested in the development of the agro-tour- population – 240,000 were killed by Nazis, ism sector, which is new in our country. Next and 360,000 by the Soviets, killed in the re- to the Druskininkai resort, famous in the sistance movement, an additional 400,000 Soviet era but dying today, is a recreation site people were deported and forced to leave the with tennis courts and a stud farm is being country. Naturally the public attitude towards built on repurchased land near the shore of a these painful issues is not homogeneous: some picturesque lake which is rich in fish. Ma- wish to erase from their memory all the na- king complex plans for the development of mes and symbols of this period while others the recreational business J. Malinauskas had believe that the overthrown idols will help us the idea of creating a new space for a cultural never to forget our painful history. Everyone attraction. This is how 200 hectares of forest is right in their own way. Our neighbours in marsh (covered with a soil layer of 0.5–2.5 Latvia melted down the Soviet monuments metres) came to be drained near his private and moulded bells, which were given to the house and facilities erected near the shores of victims of the repression, while the Hungari- the lake. This former kingdom of marshes and ans created a public exhibition of the sculp- mosquitoes symbolically shelters the idols of tures. Reprints from publications, letters, the old ideological system. The exhibition in speeches, and resolutions compiled on a 200- Grûtas Park was put together over two years. metre-long stand in the vicinity of the park The estimated cost of the project – LTL 4 became not only the history of the realisation million (USD 1 million) – was met from the of the idea but also a testimony to the variety capital of a successful private businessman. of attitudes in our society. In discussing the thematic composition of In contrast to the hero of the previous sto- the park it is worth mentioning that the new ry, this museum-builder is an experienced, owner pursued a rational policy in implemen- mature, decisive businessman willing to take ting his idea. Ignoring all heated public dis- a risk. In the Soviet period, Jonas Malinaus- cussion, he invited the creators of the former kas was the chairman of a prosperous collec- monuments to help him and they willingly tive farm. His career started on a pheasant participated in the relocation of their works. farm, established in 1967, and favoured by Meanwhile he started to include an introduc- visits from the Soviet leaders. After the resto- tory space adding some sort of interpretative ration of independence, this former leader material. As you enter the exhibition in the initiated some new activities. In a recreatio- park, there is an information centre which has nal area in Dzûkija, which abounds in forests a collection of Soviet attributes, works of fine he established a private wood and mushrooms art, uniforms, diplomas, the writings of the processing company. Its current turnover to- Marxism-Leninism apologists, and the film tals LTL 12 million (USD 3 million). The chronicle ”Soviet Lithuania”. Today the exhi- company employs 200 people on a regular bits, which for the majority are somewhat ex- Elona Lubyte

192 otic, are complemented by recent data from owner he reacts promptly to their require- historical studies, some statistical materials ment. A restaurant has been established near about the exile, the partisan resistance move- the park offering some ’forest food’ dishes- ments and collectivisation. Research fellows with mushrooms. A separate menu for lovers from the state ”Museum of Genocide Cen- of exotic things offers some Soviet cuisine – a tre” helped to prepare historical comments for drink of Russian vodka from a glass with the the museum. It was important for the foun- edge dipped in salt with a piece of rye bread der that the visitor would have an accurate and pickles, herring with pickled onions and commentary on historic events. After you lea- potatoes from an aluminium dish or red cran- ve the historical centre, you enter an island berry kisel. The smallest visitors of the park surrounded by a channel and move along a have not been forgotten either. They can en- wooden path surrounding the island which joy a large playground in a meadow near a is reminiscent of the rails of the railway ta- pine forest, which is also often favoured by king the deported people into exile. The dis- their parents. A nearby enclosure with some mounted monuments, with their comments, animals appeared after one young visitor re- are located on both sides at equal intervals – marked that his strongest memory of the park Lenin, Stalin, Dzerzinski, Putna, etc. Passing was of a white hen in a cage. by these stone and bronze statutes is uncom- The owner of the park has started talking fortable for those who still fear the past. The about his latest idea which is to build a gallery impression of the past regime is strengthened of Soviet art, exhibiting the official and repre- by the sound of Soviet songs, imitations of sentative works of that time, such as the ideo- the barracks in the exile camps and partisan logical pieces made of stained glass, since the dug-outs deep in the forest as a background problem of dismounting and preserving them to the monuments. I, who remember the sun- is worrying their still living creators. Our re- set of this system, was disturbed by the litera- lationship with the history is individual and ry references. The part of the exhibition sho- it is obvious that the concept of Grûtas Park wing the portraits of those who opposed of has and will continue to have its advocates and the idea of the current park, carved by folk opponents. Nevertheless, it is an idea realised artists, feels especially out of context. It looks on the initiative of a private person, i.e. his as if the strategy of the founder of the park is attitude is just one of a wide variety of op- to condemn both old and modern opponents. tions in a free and democratic environment. But modern museology recognizes the ad- vantages of the Disneyland-type exposition. Elona Lubyte (born in 1964), critic of fine arts, curator of In the market environment, demand governs exhibitions, 1982–1987 studied art criticism at Vilnius supply. My students, for whom socialism is Academy of Fine Arts, 1995–2000 doctoral studies at Vil- only a historical concept, liked this kind of nius Gediminas Technical University, in 2000 granted the exposition. They stated that it was an attrac- degree of Doctor of Philosophy in social sciences (manage- tive and instructive way to learn history. ment). Since 1987 working at the Lithuanian Museum The founder of the park understood the of Fine Arts. Since 1991 member of the Lithuanian AICA new consumer-orientated needs of the visi- (Association for International Art Criticism), President of tors pretty well. As an efficient and caring the section since 1998.