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Straipsnyje apžvelgiama produktyvios, ekspozicijų dizainą, buitinius baldus ir baldus reprezentaciniams interjerams kūrusios, tačiau iki šiol mažai analizuotos dizainerės Jolantos Bagdzevičienės kūrybinė biografija. Nagrinėjami jos sukurti projektai, kurie aprėpia du laikotarpius – sovietinį ir atkurtos nepriklausomybės. Analizė grindžiama pačios dizainerės prisiminimais, jos asmeninio archyvo medžiaga. Jolanta Bagdzevičienė is one of the most prominent Lithuanian designers, a member of the Architects’ Union who won acclaim in various design competitions and exhibitions “Lithuanian Furniture”, “Furniture”, and the competition of “Product of the Year” held by the Lithuanian Confederation of Industrialists. Her creative career spans two periods – Soviet and newly independent Lithuania. Bagdzevičienė worked in exhibition design, designed furniture for home and public interiors. Bagdzevičienė’s professional career began in the early 1970s. In 1972, she started studying architecture at the Faculty of Architecture of the Vilnius Civil Engineering Institute (VISI; today, VGTU – Vilnius Gediminas Technical University). In 1977, she got a job at the leading institution of furniture design in Lithuania in the Soviet period – the Bureau of Furniture Design and Construction (hereinafter BFDC), where top Lithuanian designers were employed. At the BFDC, Bagdzevičienė worked at the Department of Home Furniture Design, and also designed furniture for public spaces, carcass furniture of various functions and chairs, took part in artistic councils, and was involved in developing the GOST standard. Bagdzevičienė’s projects created in the period before 1990 – furniture for the Palace of Achievements of National Economy of the LSSR (today, Vilnius Exhibition Palace, Litexpo), metal chairs for canteens, and modifications of the “Norwegian chair” – should be mentioned. The restoration of independence in Lithuania brought changes to all fields of life. The BFDC was dissolved. The former design creation and production chain also fell apart. Bagdzevičienė worked in the BFDC up until the restoration of independence in 1990, and later, like part of other former employees, was involved in the restructuring of the BFDC in the period of transition. Until 1998, Bagdzevičienė worked in the joint-stock company Skraja (today, AB Skraja, a furniture and industry centre), and later, at the Vilnius Furniture Production Company (today, AB Vilniaus baldai), SBA baldai company, and UAB Baldora. After the restoration of independence, Bagdzevičienė worked by commission for various institutions. She designed furniture for the Presidential Palace of the Republic of Lithuania, the customer service hall and administrative premises of the Vilnius branch of the Bank of Agriculture, offices, the canteen and conference halls of the Bank of Lithuania, and various embassies (the Embassy of Ukraine to Vilnius, the embassies of the Republic of Lithuania to Warsaw, Tallinn, and the Hague), designed furniture for offices and home furniture sets.

Bibliofilinės lietuvių dailininko knygos ištakos, siekiančios XX a. pirmą pusę, siejamos su grafikos meno klasikų Viktoro Petravičiaus, Pauliaus Augiaus Augustinavičiaus kūryba. Naujas šiuolaikinės dailininko knygos laikotarpis Lietuvoje įsibėgėjo atkūrus nepriklausomybę. Kūrybinis duetas – Kęstutis Vasiliūnas ir Roberta Vaigeltaitė-V. (Roberta Vaigeltaitė-Vasiliūnienė) yra tarp pagrindinių šiuolaikinės lietuvių dailininko knygos kūrėjų. Straipsnyje apžvelgiamos jų sukurtos dailininko knygos, aptariami meninės raiškos ypatumai, koncepcijos, sąveika su poligrafine knyga. In Lithuania, the era of a contemporary artist’s book began with the restoration of Independence. The year 1993 saw the opening of “The Book”, the first international show of artist’s books (Vilnius Contemporary Art Centre; cur. Kęstutis Vasiliūnas) which was followed by various presentations of book art in many other international art fairs abroad. Since 1997 Vasiliūnas has been curating the triennials dedicated to artist’s book (including “Diary: Eight Days”, “Love”, “The Rabbit and the House” and “23 Sins”). The 8th triennial “Memento Mori” (2018) took place in Vilnius Martynas Mažvydas Public Library, later the exposition was brought to the USA, Italy and Germany. The triennials dedicated to the artist’s book have been organised across the entire world. Since 1993, over 40 international shows and symposiums were held in Lithuania, Germany, USA, Austria, France, South Corea and elsewhere. Vasiliūnas has managed to assemble a growing international community dedicated to the genre of artist’s book. The extensive international interest in the Lithuanian artist’s book trienials testifies to the lasting importance of Vasiliūnas’ curatorial work. R. Vaigeltaitė-V. became part of the contemporary artist’s book movement back in the early 1990s. During the next 30 years she has created over 60 artist’s books, all unique in terms of their form and structure. Most of her books have a traditional format of a leafed codex, but she also made leporello concertinas and book-objects. The books were made of various types of paper, including hand-made paper, as well as plastic, linen fabric, natural materials and found objects. The artist’s books often involve mixed media such as linocut, wood block, colography, collage, stiching, ink jet print. The subjects of these diary-like records of everyday and travel experiences include mythology and religion. In terms of printing technique, Vaigeltaitė-V’s book art is related to graphic printing: the ideas she comes up with during the making of the artist’s book are then explored in graphic prints, and vice versa. The artistic scope of Prof. Kęstutis Vasiliūnas (Graphic Art Department, Vilnius Academy of Arts) is truly universal – he is a graphic artist, artist’s book designer, installation artist and curator. Vasiliūnas got interested in the artist’s book in the early 1990s. His first work – The Book of Creation – was exhibited at “The Book” (1993), a show dedicated to the genre of artist’s book. Vasiliūnas usually makes singular books and small print runs. Among the techniques he uses are coloured wood block print, longhand writing, drawing, ink jet print and movable type print. Vasiliūnas’ books retain their visual link with the traditional block-shaped book. Despite of what they are made of – be it wooden panels, paper, tea bags – they all have landscape or square-shaped rectangluar pages and they all feature lapels. The series of of tea bag book-objects was launched in the naugthties. Vasiliūnas also works as a graphic designer. His work is defined by an interplay between these two disciplines.