Sud. E. Deltuvaitė, designer J. Griškevičius, published the Culture Menu, 2016.

The photographic album publishes part of the author's archive of 1955-1999 about everyday life in Soviet-era Lithuania.


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The book publishes part of I. Giedraitienė's archive – like a yearbook of everyday life in Lithuania during the Soviet era. Only it reflects more than the official, but the positive, beautiful, romantic side of life. There are few reflections of political life: communist parades or celebrations, party or various committee congresses, and other topics covered by socialist realism. I. Giedraitienė's creations are not characteristic of criticism of the order or society, mocking people or their vices. Her archive contains reflections of eternal values and documents of the most important events in human life: weddings, funerals, children, celebrations, holiday flow, meetings with interesting or expensive people. Anything that has risen at least slightly above the crushing Soviet reality. Being kind-hearted, positive, open, reluctant to complain in life itself, I. Giedraitienė and the lens are usually directed to what is beautiful and good, and if she touches on a sadder topic, she still forces the camera not to capture excess negative emotions or expressions.

The collection "Woman with a Photo camera" publishes photographs from 1955 to 1999, but the structure of the book is based not on chronology, but on thematic sections. From the first and perhaps the most vivid series, "Spartakiada of Nations" (1956), to shocking but wonderful portraits of the dying author's mother.
The series "Spartakiada of Nations" can be considered the first steps in the career of a photographer, which in 1975 reached its culmination – the prestigious World Press Photo Award "Golden Eye" was received for the photograph "Wedding" (1974). Although, as Aleksandras Macijauskas told her at the 2016 photo artists' seminar in Nida, most colleagues "envied" her mother's portrait ("Care II". From the series "Mother". Panevėžys, 1998).

The book artist Jurgis Griškevičius did not follow the classical canon of photoalbum, therefore this publication cannot be called traditional, especially in the context of Lithuanian art publications. The design of the book is like a uniform for I. Giedraitienė's photographs, seeking to emphasize documentality, a certain household, creating the impression of viewing photo-contact. The choice of both fonts and paper contributes to this. The latter is not common in the art catalog, on the contrary tends to absorb paint, to extinguish contrast, but warm and pleasant to the touch.

The desire to present the context of the Soviet era to his inexperienced younger generation became a reason to look for a suitable historical perspective. And the achievements of I. Giedraitienė hesitation, her creation, cannot be assessed without taking into account the period and the rules dictated by her, especially for women. This difficult task was agreed by the young historian Dr. Tomas Vaiseta (article "Labyrinth with a dead monster: wandering through the daily routines of the Soviet era") and he did well. Art artist Dr. Virginijus Kinčinaitis paid his attention to the author's first series "Spartakiada of Nations" and chose sexuality and sexuality as the key to analysis. Literate Rūta Bruise in the text "Stories of suspended Soviet moments" became into the work of I. Giedraitienė, in the article she discusses the significance of photographs, photographer during the Soviet era and now.

According to the author of the book Eglė Deltuvaitė, "this book wants to be treated as an alternative approach to the work of I. Giedraitienė. The deliberate aim was to present less exhibited and published photographs, and for some of them it is a debut platform, which I hope will allow to re-evaluate and rethink the author's position in the history of Lithuanian photography, or maybe even inspire the publication of another book of photographs".

Cultural menu information.


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Culture menu








Galerie Fine Silk 80 gsm, Munken Lynx 120 gsm



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