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            <title><![CDATA[Holocaust Memory in Dialogue: Jenny Kagan’s Experiential Exhibition in Kaunas “Out of Darkness”]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0004</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper examines “Out of Darkness”, an immersive exhibition by Jenny Kagan, which presents the story of her parents, who survived the Holocaust in Kaunas. Through a carefully curated interplay of historical narratives, personal artefacts, and scenographic installations, Kagan constructs a space where memory is not merely recalled but actively performed and reconstructed.The exhibition reception provoked a wide range of emotional responses from its visitors. In some cases, comparisons were made between the atrocities of the Holocaust and war crimes in Ukraine. The present article aims to explore the factors that prompted exhibition visitors to establish a connection between the memory of the Holocaust and the atrocities of the modern world. The study demonstrated that visitors exhibited a strong emotional response to the exhibition, which was precipitated by the exhibition’s architecture. This emotional architecture integrated performative elements with a personal narrative, thereby evoking a profound emotional response in visitors, while fostering strong empathy and the ability to make ethical comparisons with contemporary experiences.The article puts forward the argument that the performative nature of the exhibition, when combined with its intimate and deeply personal narrative, resulted in the activation of multidirectional memory. The article draws upon a theoretical foundation established by Michael Rothberg, Marianne Hirsch, Astrid Erll, and other scholars in the field. This theoretical framework facilitates a more profound comprehension of how the exhibition juxtaposes Holocaust narratives with contemporary geopolitical violence, particularly the war in Ukraine. This juxtaposition serves to promote an evolving dialogue between historical traumas, thereby contributing to a more nuanced and comprehensive understanding of the interplay between history and contemporary geopolitical realities.]]></description>
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            <title><![CDATA[Artist Migration and Cultural Transfer in Opposing Political Systems: The Impact of the Lithuanian Diaspora in the West on Lithuanian Culture]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0002</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Cultural communication channels were open between Lithuanian diaspora communities in the Western world, particularly the United States of America (USA), and Soviet Lithuania during the Cold War. Cultural transfers took place from the West to the East. This is an intriguing yet understudied area of art history concerning Lithuanian migration and diaspora. The aim of this article is therefore to discuss the peculiarities of the transatlantic migration of Lithuanian diaspora artists and to investigate the processes of cultural transfer and their influence on Lithuanian art between 1960 and 2000. Based on Lithuanian archival sources and press reports, the research aims to discuss the peculiarities of the transatlantic migration of Lithuanian diaspora artists, and to investigate the processes of cultural transfer and their influence on Lithuanian art during this period. The study focuses on cultural relationships developed through the private initiatives of Lithuanian emigrants, which were controlled by heads of state museums at an institutional level. This meant that cultural transfers during the soviet period were controlled from the centre of the Soviet empire, and had a strong political element. This article is based on the concepts of cultural anthropology and intercultural communication. Cultural transfer is viewed as a method of mediation between different cultures, providing an opportunity for communication between artists in free and totalitarian regions. Cultural objects (works of art) and information were transferred to the target audience, i.e. cultural users in Soviet Lithuania, in the second half of the 20th century. Although it was a one-way process initially (with exchanges, visits and exhibitions beginning later), a real transfer of artwork in the form of exhibits, deposits and donations took place between 1960 and 1990. When communicating with Lithuanian artists in occupied Lithuania, US Lithuanians transferred a worldview and information about modernist art that influenced soviet ideology. In this way, the Lithuanian diaspora in the USA made a significant contribution to the dismantling of the socialist system from within. This study uses unpublished original archival material: correspondence between Lithuanian art institutions and Lithuanian diaspora communities in the USA.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Lithuanian Actors’ Studio in Moscow: A Tool of Soviet Indoctrination]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0003</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The article presents the strategies of the soviet regime that were used to colonise Lithuania and to politically indoctrinate Lithuanian post-war artists from 1947 to 1952. The first strategy was related to the establishment of new soviet drama in theatres, but it proved less effective compared to the second one, that is the indoctrination of young artists by sending them to study at the Russian Institute of Theatre Arts in Moscow (also known as GITIS). Based on interviews with actors Birutė Raubaitė and Leonardas Zelčius, as well as the memories of stage director Aurelija Ragauskaitė, the article reveals the specific methods used to indoctrinate future Lithuanian actors. The teaching methods played a crucial role in turning actors into promoters of the regime. As revealed by the study, the Stanislavski method was the most effective in influencing the consciousness of young actors, they became proponents of socialist realism art. Based on the theoretical insights of David Brandenberger and Hannah Arendt, the article reveals how, using political speeches, art, front organisations, propaganda manipulated emotions and solidified the totalitarian regime.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Enstatic Drawing and Ecological Culture Within Collaboration]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0009</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article analyses several artworks applied as cases within current research (addressed as cases later in the article) by artists Marija Griniuk (LT), Jiří Kovanda (CZ), Darja Lukjanenko (UA), Jan Pfeiffer (CZ), and the curator Lenka Sýkorová (CZ) within the theme of embodied drawing. This study builds on diverse backgrounds and education traditions within drawing as a medium in the art academy environments of Ukraine, Lithuania, and the Czech Republic, and artists’ interpretations of this medium through the involvement of their bodies and sites in artwork creation by which the embodied drawing takes the shape of the intersection of drawing and performance, thereby shaping enstatic drawing. This study adopts an arts-based action research methodology in which each artwork is developed as a research cycle. Three research cycles are connected to individual artworks by the involved artists, and one research cycle surrounds their collaborative embodied drawing. The research problem outlines a collaborative approach to embodied drawing concerning the meeting of four diverse artists with different academic backgrounds from art academies, representing a broad range of approaches to drawing as an artistic expression. Through performative actions and discussions, the artists collaboratively create movement- and drawing-based interactions with nature and architecture.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[International Cooperation Programme for the Preservation of Ukrainian Cultural Heritage in the Context of Armed Conflict]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0008</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The research examines possible ways of preserving cultural heritage sites in the context of military conflict in the example of the escalating situation in Ukraine (from March 2014 to 2025), and provides recommendations for creating an infrastructure that will preserve cultural property for future generations in the event of war or natural disaster. The article analyses the experience of international cooperation on the preservation and digitisation of cultural heritage, and considers proposals for the new mechanism’s development of international cooperation to further improve measures to preserve Ukraine’s cultural heritage through the implementation of state and public initiatives. In particular, as a result of the application of semiotic and axiological methods, attention is drawn to the special legal protection of its objects presented in regulatory documents (international protocols, provisions of conventions and laws of Ukraine). Since the protection of material objects of historical and cultural heritage in wartime is mostly impossible, an important task under martial law is to create an inventory of cultural objects to be digitised, and to develop specific projects for digitising cultural objects. As a result, there is an urgent need to update modern legal requirements and methods of digitisation, approaches to the implementation of state policy in the field of cultural heritage protection, and effective coordination between international organisations and national institutions working in the field of cultural heritage protection in the areas of armed conflict.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[External Digital Activity of Museums During the Covid-19 Pandemic: The Case of Lithuanian Art Museums]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0010</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The COVID-19 pandemic forced the world to a halt. In order to ensure the health and safety of society, many facilities had to transfer their functionality to the digital sphere, or at least enhance their digital capabilities. Museums were no exception – the inability to allow visitors to gather in person at exhibitions meant that communication with the audience as well as educational activities had to develop through digital forms. Between spring and autumn of 2020, a study was carried out examining the external digital activities of major Lithuanian art museums during quarantine, and indicators of public interest in content published by museums on main channels such as websites and social networks. The aim of the research was to identify the main challenges faced by the large Lithuanian art museums in concentrating their activities in virtual spaces, and to determine the causes of these challenges. Based on the data collected through monitoring the virtual published content of Lithuanian major art museums, together with interviews with museum staff and external experts, the study’s conclusions of the study are presented at the end.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Endangered Colour Traditions in Lithuanian Interior Design]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0006</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Colours – and colour combinations – are important considerations for architects, decorators, building owners, residents and visitors. Colour presents a complex issue in discussion and negotiation in the architectural design process, and aesthetic disagreements often arise due to different viewpoints. The object of discussion here is endangered traditional colour schemes in Lithuanian interior design, in which the collective cultural approach includes elements of both folk design and professional design. The issue addressed in this article is the culturological place of colour in interior design, while the aim is to define the role of colour in such design and provide a brief historical and cultural overview of significant Lithuanian colour combinations. In this article, a folk-theoretical approach is complemented by empirical observations, evidenced by archival historical material research. Theoretical analysis suggests that the colour combination of the Lithuanian national flag (yellow, green and red) is not suited to Lithuanian interior design, where natural earth colours are dominant – preferably non-intensive pastel-colours that reflect the Lithuanian landscape and climate. The conclusion is that the perception of colour combinations depends to some extent on human intelligence or artistic education, but to a greater extent on collective culture and collective memory.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Positioning the Creative Work of Mikalojus Konstantinas Čiurlionis in Modern Art History: Insights from International Exhibitions After the 1990s]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0001</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Mikalojus Konstantinas Čiurlionis (1875–1911) is the Lithuanian artist probably most frequently presented to the international public. Since the 1990s, when the political and cultural situation in Lithuania changed, his paintings have been constantly showcased in various museums and galleries around the world, in both solo and group exhibitions mostly dedicated to art movements of the late 19th and early 20th centuries. However, these exhibitions have not yet been properly explored. The aim of this article is to analyse and critically evaluate the strategies and concepts of international exhibitions of Čiurlionis’ art from the 1990s onwards, revealing the criteria for the selection and display of his works, as well as the place of Čiurlionis’ art in the history of modern art.The international exhibitions are analysed applying descriptive, historiographical, analytical and discourse analysis methods, and supported by the views of art historians Steven A. Mansbach and Piotr Piotrowski, who particularly were interested in disparities and complex differences between Eastern and Western modernism. Čiurlionis was educated and sought recognition in the cultural environment of Eastern and Central Europe, while most of his international exhibitions after the 1990s were organised by curators from Western Europe, which creates similar tensions reflected by above-mentioned authors.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Significance of Sculpture in Antanas Vivulskis’ Architectural Projects]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0005</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Antanas Vivulskis’ (1877–1919) work in architecture is appreciated for his innovative, courageous explorations, the first manifestations of modernism in Lithuanian sacral architecture, and his influence on its further development. The article analyses Vivulskis’ work, laying a deeper focus on the significance of sculpture in his not-abundant architectural projects. The research includes an iconographic and formal investigation and a comparative method. Working on his architectural projects, Vivulskis paid particular attention to sculptural solutions, striving for an integral, iconographically unified whole. In the article, attention has been drawn to the wooden porches of the Šiluva Chapel and their decoration, which have not been sufficiently studied so far. Vivulskis treated the sculptural compositions freely, seeking a distinctive unity of form and content, an expression of real, strongly sensed religious feeling. From a formal point of view, having been influenced by Rodin and Bourdelle, they gained the characteristics of impressionistic incompleteness of forms, expressiveness (sketchy models), and the elements of Romanticism, Symbolism, Art Nouveau, and the Lithuanian National style. The article contributes to a deeper understanding of Vivulskis’ work from the perspective of the synthesis of architecture and sculpture.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Virtual Materiality: The Intersection of Aby Warburg and Gilles Deleuze]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2025-0007</link>
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            <pubDate>Mon, 03 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The article analyses intersecting points between Aby Warburg’s theory of memory and Gilles Deleuze’s concept of virtuality. This study aims to supplement Warburg’s interpretations by Giorgio Agamben, Georges Didi-Huberman, Philippe-Alain Michaud, and other scholars who rely on poststructuralist theories. These ideas highlight several aspects of the problematic field in contemporary art history, including criticism of traditional art research methods and the idea of the dynamism of the artwork. Based on a comparative genetic method, Warburg’s theory of memory is examined through Gilles Deleuze’s concept of virtuality, which unites the theories of both scholars via the virtual memory concept of Warburg’s contemporary, Henri Bergson. The study reveals how the ontological connotations of Warburg’s Pathosformel and Dynamogramm are unveiled through Deleuze’s philosophical framework. This approach localises a part of Warburg’s theory as a starting point for a poststructuralist-inspired rereading of Warburg’s image theory. It is argued that the dynamogram, when adapted through Deleuze’s philosophical concepts, emerges as a material expression of memory encompassing the plane of virtuality.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Exhibition Review: on the Verge of A Virtual Breakthrough. Thoughts at the End of the International Typography Biennial “Travelling Letters ‘23: Holograma”]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0013</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Intangible Gaze of Surveillance and Material Marks of Oppression in Valentyn Odnoviun’s Photography]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0010</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The article analyses the series of photographs “Surveillance” (2016–2018) and “Architecture of Evidence” (2021) by the Ukrainian artist Valentyn Odnoviun who lives and works in Lithuania. The analysis is mainly based on the concepts of surveillance and control developed by French philosophers Michel Foucault and Gilles Deleuze. With the reference to this theoretical background the article states that Odnoviun exposes the materiality of the gaze of surveillance in various historical periods. This in turn can be interpreted not only as the documentation of the hard evidence of the crimes against humanity, but also as a symbolic resistance against control and oppression.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Eroticism of the Face: Covers of Film Periodicals Ekrano Naujienos and Kinas (1955–1986)]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0011</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Soviet cinema magazines covers played a crucial role in shaping the cinematic star system of the Soviet Union, yet their significance has been largely overlooked in academic discussions. This article examines the covers of two periodicals, Ekrano naujienos (News of the Screen) and Kinas (Cinema), published in Soviet Lithuania from 1955 to 1986, focusing specifically on covers featuring a single face. The analysis situates these covers within the broader context of the close-up of the face, which held a prominent position in Soviet cinema culture. Additionally, the article explores the unique context of eroticism associated with the face in Soviet cinema criticism.Quantitative analysis reveals that cover images featuring women’s faces would eventually emerge as the predominant image type on the covers of both Ekrano naujienos and Kinas. By employing qualitative analysis, which divides images into descriptive and narrative categories, the aesthetic evolution of these covers is investigated. In the first half of the period from 1955 to 1972, narrative images were more prevalent. However, in the second half of that time, descriptive photographs depicting the faces of actresses, particularly those that were eroticized, became more prevalent. On the contrary, cover pages followed a standardized logic and avoided visually explicit images during the Stagnation period. The establishment of a cinema star system in Soviet Lithuania and the tightening of the Soviet cinema system are factors that contributed to these aesthetic shifts.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Unrealised Projects of the Christ’s Resurrection Church Competition in Kaunas 1928–1930]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0006</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The object of this article is the monumental Christ’s Resurrection Church, one of the most famous UNESCO World Heritage Sites in Kaunas. The competition for its architectural design was announced in 1928, on the occasion of the tenth anniversary of the independence of the Republic of Lithuania. Competition and projects have been publicly criticised. The awards were given, but the design after the competition was entrusted to the third prize-winning architect Karolis Reisonas. However, his new design was not implemented, and the present church was built according to another project by the same architect. As a monument to the nation, the church was completed in 1940. However, it was consecrated only on 26 December 2004, after the Kaunas Radio Factory, which had been in operation for almost the entire Soviet occupation, had moved out of the building. For a long time, architectural studies attributed the authorship of the church design to the architect Karolis Reisonas. However, the question of authorship is problematic. Recent studies have attributed the high artistic level of building architecture to collective creative work. The research was carried out using historical-analytical and stylistic methods.So far, competition projects for the Christ’s Resurrection Church have not been thoroughly analysed in Lithuanian art studies. The reasons for their non-implementation were not studied in detail, and the problem of the authorship of the final design is an unexplored topic. The article aims to supplement and clarify existing knowledge about the Christ’s Resurrection Church project competition. By reviewing the objectives, processes, and results of the competition, we assessed for the first time the unimplemented projects in a more coherent and detailed way, showing the different stylistic approaches of the architects and engineers to the task of designing the church, the criticisms that were made of the projects and the reasons why the standing building differs from the award-winning project and the implemented project of Reisonas that was prepared after the competition. The study showed how the idea of independence of the Republic of Lithuania in the monumental Christ’s Resurrection Church mobilised the public and actively involved them in the architectural design of the church. Criticism from the public and the architectural community of the prize-winning projects led to an unexpected artistic result in the final project, a modernist church created after the competition. Architects and other Lithuanian artists who were not awarded in the competition or did not participate also contributed to the final architectural design we see today.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Music-Making and Musical Instruments in the Čiurlionis Family Environment]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0004</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[This study examines for the first time the relationships with music, family musical traditions, and their importance to all family members – but especially to the composer and painter Mikalojus Konstantinas Čiurlionis (1875–1911) – of the two generations of the Čiurlionis family who lived in Druskininkai since the 19th century. Also, for the first time, this study explores the histories of musical instruments belonging to the Čiurlionis. Near Druskininkai, at the church in the village of Kabeliai, an instrument was discovered on which Mikalojus Konstantinas Čiurlionis’ father Konstantinas had played, and archival work was carried out to find supporting evidence. The sources found confirmed the hypothesis held by the author of the article that the church organ in Kabeliai indeed was the instrument used by Konstantinas Čiurlionis, the organist and father of Čiurlionis. It is likely that the future artist and composer Mikalojus Konstantinas also had contact with this instrument. The history of Kabeliai and the discovery of the organ inspired the study of the histories of all musical instruments (both surviving and lost) belonging to the Čiurlionis family and special attention was paid to the exhibits of the M. K. Čiurlionis House-Museum. This article publishes for the first time the authentic memories collected by the author of this work, describing the acquisition histories of the mentioned house-museum exhibits. The result of the research is new facts about music-making in the Čiurlionis household, supplemented, refined, or reconstructed histories of musical instruments used by the Čiurlionis family. Twelve musical instruments were found and described during the study. It was revealed that the Čiurlionis family paid great attention to musical instruments and their quality. Pianos from famous companies in their not very wealthy homes testify that music here was not only educational but also had clear professional ambitions to play classical music and create original (their own) music. The Čiurlionis family was united by the method of learning to play by ear, and the conscious continuation of this family musical tradition is evident in our times at the “Summer of Piano Music in Druskininkai” festival.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Architectural Modernisation in Panevėžys During the 1930s: Exploring the Works of Civil Engineer Antanas Gargasas]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0008</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[In contemporary studies of Lithuanian interwar architecture, so far the greatest attention is paid to the analysis of the architectural development and modernization processes that took place in the city of Kaunas, the temporary capital of the country at the time. The work of architectural specialists who worked there is also analysed more. However, at the same time, little is known about the development of architecture created in the smaller cities of Lithuania at that time and its modernization. Thus, this article aims to more thoroughly reveal and analyse the processes of modernization of Panevėžys city architecture that took place in the 1930s, choosing the designs of Antanas Gargasas, who worked there as a municipal engineer in 1931–1940, as the research object. This is done in the article by analysing and presenting the majority of his designed public buildings and the most significant and typical residential buildings. The article, which was written based on archival material, the press of the research period and the contemporary studies of the interwar architecture, contains an assumption that the buildings designed by Antanas Gargasas had a significant influence on the processes of modernization of the Panevėžys architecture at that time and the spread of new stylistic trends in it. The article is supplemented by the drawings and photos of the buildings designed by the engineer.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Jewish Art Studies in the Lithuanian Yiddish Press of the Interwar Period (1918–1940)]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0003</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Lithuanian art studies as an independent branch of science began to take shape in the First Republic of Lithuania between year 1918 and 1940. During 22 years in a multinational free state, it followed a winding path of mastery, professionalism, and the formation of a critic’s thought. However, if the origins, development, and forms of interwar Lithuanian art studies already are being explored, the Jewish art studies are still waiting for its first investigations. The purpose of this article is to broaden the scope of Lithuanian art research by incorporating the layers of interwar Jewish art studies conducted in the Yiddish language. Using the combined methodology of research as method of source studies, the aspects of social history of art and the comparative method, the Jewish art studies were analysed as a specific phenomenon which functioned alongside Lithuanian art studies. Throughout this research, over 1,000 Yiddish publications were reviewed to find the answers to the never previously discussed questions – how many Jewish art historians and critics contributed articles to the Yiddish press, what kind and quality of publications about Jewish art were featured, what aspects of Jewish art, artists, and society did Jewish art critics emphasise, and what kind of relationship existed among art critics, artists and public. The article also encompasses the short biographies of the most prominent Jewish authors in the field of art criticism.]]></description>
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            <title><![CDATA[Embracing Tradition and Modernity: Tendencies of Interwar (1918–1940) Wooden Architecture in Lithuanian Resorts]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0005</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The emergence of leisure culture in Lithuania began in the late 19th century, gradually giving rise to resort towns. Although in some cases, recreational architecture can be associated with relatively luxurious examples that follow the European resort tradition, the article argues that the dominant type of Lithuanian resort architecture manifested itself as a subtle synthesis of local traditions and external influences. The balance between architectural traditionalism and the constantly changing social demand is particularly well represented by wooden architecture. The modernising society of inter-war Lithuania brought significant changes to the development of resort architecture. Not only did new functional types, such as seaside restaurants characteristic of resorts, took shape, but private residential architecture also acquired specific features. The article presents the phenomenon of wooden resort architecture which has not been sufficiently explored and illustrates how resort architecture has influenced the most cost-effective segment of construction, which is also the segment most closely linked to tradition. The text assumes that this layer of the resort environment was as important a part of resort life as more modern and expensive brick construction.]]></description>
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        </item>
        <item>
            <title><![CDATA[Shifting Paradigms: Semiotic Reading of the Built Environment Transformations in Lithuania 1986–2004]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0012</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The research delves into the complex and multi-layered transition of Lithuania from a Soviet to a post-Soviet society, focusing on the architectural landscape as a reflection of ideological shifts. It explores the period from Gorbachev’s initiation of perestroika in 1986 to the Baltic States’ entry into the EU and NATO in 2004, a time marked by significant transformations within the architectural, social, and political realms. First, using Greimasian Square, the study categorises and analyses the reactions toward Soviet Modernist architecture, observing the gradual shift from a representation of state ideology to a canvas reflecting a myriad of individual and collective experiences, also assuming the artistic value of the architects’ output. Second, utilising frameworks from Western architectural criticism figures such as Peter Blake, Robert Venturi and the Situationists, the study contextualises and collates with architectural trends in public interiors or private constructions in Lithuania. Additionally, presumptions are correlated with a crisis in the architectural profession, characterised by a rise in private constructions without architects. Through semiotic view architectural discourse becomes a vital element in understanding the broader cultural and political shifts in post-Soviet Lithuania.]]></description>
            <category>ARTICLE</category>
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            <title><![CDATA[The Legacy of Lithuanian Architect Stasys Kudokas in the United States of America: Sacred Architecture Based on Hope and Expectations]]></title>
            <link>https://reference-global.com/article/10.2478/mik-2024-0007</link>
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            <pubDate>Wed, 30 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Many Lithuanian intellectuals fled from the occupied Lithuania during the Second World War and after it, including the most famous architects who created the architectural language of interwar Kaunas Modernism. After escaping from the war-torn country to the United States of America, they resumed their professional pursuits while living in exile. Stasys Kudokas – one of the most prominent and productive architects in the interwar Lithuania – also pursued his carreer while living in exile. Yet his architectural heritage in the United States of America is still an under-researched topic. The Lithuanian diaspora press remains one of the most comprehensive sources exploring Kudokas’ professional path in the United States of America. By using descriptive and comparative methods, this study aims to examine the most important projects by Kudokas for the Lithuanian diaspora and the related expectations of Lithuanian communities, reflected in the diaspora press. This study will reveal that the reflection of Lithuanianness in the architecture designed for the Lithuanian community was the most important criterion for evaluating Kudokas’ legacy in the exile press.]]></description>
            <category>ARTICLE</category>
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