PUBLISHER’S WORD. The Poet and the Rye


We have been preparing this issue with some excitement as it’s a bit different from your usual business publication. Our magazine was chosen by Arminio Sciolli, the head of the il Rivellino Art Gallery as the tribune for the international event dedicated to Lithuania’s Centenary, which will take place during Locarno Film Festival. 

Introducing the art and culture of Lithuania, which is celebrating the 100th anniversary of its modern statehood, to Switzerland, the oldest democratic republic of Europe, is a noble mission. Aside from the traditional topics of the magazine, we also wanted to offer several fragments from the diverse and colourful collage of Lithuanian art, as well as insights to the essence, state and effect of the contemporary art on the society.
‘We want art to reflect ourselves, our experiences and lives... And it doesn’t matter whether you draw something on a rock with a piece of charcoal or compile a complex piece using the latest technology, the audience will take what they need and can connect with,’ says our guest, the Lithuanian photo artist Antanas Sutkus, focusing on the national identity and traditional humanistic values as the major components of contemporary art.
Another guest of the magazine – the world-known Director Peter Greenaway – talks of the changing forms of art with optimism and excitement. He is convinced that the innovations that await us can be very interesting. And surprising. That each new form of art is in many aspects superior and more sophisticated, enabling to express emotions and intellect better than the previous ones.
‘And to good ends,’ says the master of cinema, ‘as long it forever increases our ability to see further and deeper into our world. In painting, the curve of invention is always associated with new technologies, new ambitions, new philosophies, and new media conceptions, creating something that would have amazed Raphael and Rembrandt. It will always be like that.’
The artist Irma Leščinskaitė, whose works are exhibited at European and US exhibitions and art galleries, shares the idea of the 20th c. Swiss painter, graphic and watercolour artist Paul Klee, that ‘The world is not reproduced as visible. It is made visible’. She says that this idea brings a huge and sometimes even incomprehensible aspiration – to create art, which would create a completely new world, an alternative to the real one, instead of merely reflecting or making our current world more beautiful. The artist is convinced that to create art, you cannot draw inspiration and meaning from your own self. It must be something more sustainable and durable than our ever-changing inner state of mind. This something is culture and the spiritual and moral experience that lurks in its treasures. Irma’s works are based on her country’s historical-cultural context.
You don’t always need glorious battles or stories of heroes to inspire art. It could be a simple story of a simple man. Perhaps a story of a Poet. A Poet, who is born, grows up, lives and works in his remote village, and eventually dies under a blooming apple tree.
Here he writes poems that become folk songs for his people. Sometimes these poems get translated into Russian, Hungarian, Ukrainian, French, Italian or other languages. Sometimes the Poet travels to the city where he is often invited, but rarely attends the literary events and bohemian gatherings filled with auditoriums of people reading his poems, celebrating his many awards and waving his books for autographs. In those books his poems run like time and fall like sand carried by the simple, everyday words. Even the most hurried individuals stop and think. His poems carry the power of Sartre’s existentialist philosophical insights.

Nobody is surprised to see the Poet arriving to an official presentation of his new book, carrying a piece of glass to replace a broken window at home (he rarely goes to the city after all). He puts the glass against the wall near the respectable praesidium of littérateurs and it stays there throughout the event, listening to the Poet’s stanzas. The glass then continues to travel from place to place all night, pulsing with poems and wine, until dawn, when the group of friends see the calm and composed Poet out, respectfully carrying the glass to the bus station so that he could return to his field, where the rye Make not a song, but bread, / Since body is not a spirit. / Yet our dear red sun / Sets in the rye.
Nearly thirty years ago the Poet named one of his poem collections Modern Rye, thus sacrificing it for eternal modernness.
What is modern? And what is modern art? When does it stop being modern and becomes yesterday’s art?
Each of us searches for our own answers.
Perhaps what is eternal is the connection between the heaven and the earth, the spirit and the matter, the poetry and daily life?
Or, perhaps, that, what connects the today with the eternity, just like the rye, reborn as a loaf of daily bread on our table, Although thousands years old / They keep growing just like people, / But, during a storm, when nobody sees them, / Kneel in the field after their journey.*

Sincerely Yours,
Zita Tallat-Kelpšaitė
Publisher of the magazine

*Poems from Modern Rye poem collection by Stasys Jonauskas


The magazine SEA has been published since 1935
International business magazine JŪRA MOPE SEA has been published since 1999
The first magazine in Eurasia in the four languages: English, Chinese, Russian and Lithuanian


International business magazine JŪRA MOPE SEA
Minijos str. 93, LT-93234 Klaipeda, Lithuania
Phone/Fax: +370 46 365753



Ltd. Juru informacijos centras

The magazine JŪRA has been published since 1935.
International business magazine JŪRA MOPE SEA has been
published since 1999.

ISSN 1392-7825

2017 ©