The term "Documentary Spectacle" is a hybrid, borrowing from several theories and practices researched in my text.
Since we cannot reach the truth, understanding the scientific concept of truthlikeness (verisimilitude) helps to value approximate truth – a simplified representation of reality produced by idealisation and abstraction. This method is similar to those used in arts and humanities. 
The practices of documentary theatre show that facts and creativity may support each others in a play – background research, observations on the spot, and interviews of the eye-witnesses are an integral part of the creative process. A documentary play is thus filling the gap that media left behind in it’s recent crises – a truthlike representation of an event is a result of polyphony on a constructed stage.
Most commonly post-documentary is connected to questions of authenticity in digital age, but it could also be understood as an ethical and a moral approach to representing reality. Here, post-documentary photograph steps back from the actual event by creating temporal distance to the event and by taking physical distance from the victims. Therefore, such a photograph could be understood as “a trace of a trace of an events”. The picture should be a tableau hanging on a museum or a gallery wall, thus freeing itself from any additional context – while a picture does not lie, it’s label could do that.

Lithuanian national arena, Vilnius, 2016 (150x357cm)

Дом печати (print-house), Riga, 2016 (150x244cm)

Kaunas Cathedral Basilica, Kaunas, 2016 (150x244cm)

Porsche Centre, Vilnius, 2017 (150x244cm)

arranged landscape, Vilnius, 2017 (108x160cm)

Back to Top