Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248457
Valeriy Sakharuk
It is becoming ever harder to discover the truth about the events that comprise the history of contemporary Ukrainian art. What gets in the way are the evaluations, interpretations and opinions whose objectivity is cast in doubt by the biases of their authors, largely participants of the events. This article is an attempt to take an unbiased look at these events, define their context in art, and describe the details that have so far escaped the scholarly attention.
{"title":"Contemporary Ukrainian Art: Truth and Myths","authors":"Valeriy Sakharuk","doi":"10.31500/2309-8813.17.2021.248457","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248457","url":null,"abstract":"It is becoming ever harder to discover the truth about the events that comprise the history of contemporary Ukrainian art. What gets in the way are the evaluations, interpretations and opinions whose objectivity is cast in doubt by the biases of their authors, largely participants of the events. This article is an attempt to take an unbiased look at these events, define their context in art, and describe the details that have so far escaped the scholarly attention.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45611706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248438
O. Klekovkin
Scientific and speculative prospects of art history, its object-ness in the struggle with object-lessness are not a general (speculative) statements on post-, trans- multi- or other psudonyms of time; first of all, it concerns the object, tools and method of work — of course, considering the place, time, political, economic and other circumstances. Taking into account this context, the vocabulary of art history (development, periodization, reform, etc.), as well as the peculiarities of the «art history logic» of generalizations and the functions of art history discourse are considered. It is argued that there is a need to revise the key terms of art history and actualization of its prognostic function, which is implemented through the dependencies between the objective facts previously discovered by it; actualization of this function will help the results of scientific studies to be put into art practice.
{"title":"Propositions of syllogisms of art history (revision of art history discourse)","authors":"O. Klekovkin","doi":"10.31500/2309-8813.17.2021.248438","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248438","url":null,"abstract":"Scientific and speculative prospects of art history, its object-ness in the struggle with object-lessness are not a general (speculative) statements on post-, trans- multi- or other psudonyms of time; first of all, it concerns the object, tools and method of work — of course, considering the place, time, political, economic and other circumstances. Taking into account this context, the vocabulary of art history (development, periodization, reform, etc.), as well as the peculiarities of the «art history logic» of generalizations and the functions of art history discourse are considered. It is argued that there is a need to revise the key terms of art history and actualization of its prognostic function, which is implemented through the dependencies between the objective facts previously discovered by it; actualization of this function will help the results of scientific studies to be put into art practice.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46462410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248445
T. Mironova
The main directions of Ukrainian art of the 1990–2020s, its means of expression through the prism of modern art history are analyzed. The problems of transformations of the artistic language, forms and means of expression of contemporary Ukrainian art are studied. It is proved that modern researchers comprehend the peculiarities of the development of Ukrainian art at the turn of the 20th — 21st centuries in the problem-chronological aspect, so the analysis of the development and renewal of contemporary visual arts, with the exception of some studies, is currently fragmentary and not very systematic. For the most part, the authors consider the creative search of individual artists in classical paradigms, transforming the methodology of analysis and interpretation of their works to the modern information context.
{"title":"The main trends of Ukrainian art of 1990-2020: artistic language, forms and means of expression — the state of research of the problem","authors":"T. Mironova","doi":"10.31500/2309-8813.17.2021.248445","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248445","url":null,"abstract":"The main directions of Ukrainian art of the 1990–2020s, its means of expression through the prism of modern art history are analyzed. The problems of transformations of the artistic language, forms and means of expression of contemporary Ukrainian art are studied. It is proved that modern researchers comprehend the peculiarities of the development of Ukrainian art at the turn of the 20th — 21st centuries in the problem-chronological aspect, so the analysis of the development and renewal of contemporary visual arts, with the exception of some studies, is currently fragmentary and not very systematic. For the most part, the authors consider the creative search of individual artists in classical paradigms, transforming the methodology of analysis and interpretation of their works to the modern information context.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48747191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248437
O. Ivanova
The paper researches manifestations and forms of the communication of competitions and festivals. The purpose of this research is to consider and characterize the phenomenon of the communication of competitions and festivals and to determine its main manifestations and forms. The initial guideline of the study was the statement that festivals and competitions perform many of functions, but most researchers distinguish the communication function as the main one. The research was held by collecting a source base on select issues. Author selected scientific papers, dissertations, monographs, as well as held her own observations of various competition-festivals organization. The next step is to analyze the selected literature. Author identified the degree of elect issues study, in particular, the phenomenon of the communication in competitions and festivals, its manifestations and forms etc. Author took into account her own experience in organization and holding of competitions and festivals too. As a result the paper the original classification of all observed manifestations and forms of the communication on competitions and festivals.
{"title":"Manifestations and Forms of the Communication on Competitions and Festivals","authors":"O. Ivanova","doi":"10.31500/2309-8813.17.2021.248437","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248437","url":null,"abstract":"The paper researches manifestations and forms of the communication of competitions and festivals. The purpose of this research is to consider and characterize the phenomenon of the communication of competitions and festivals and to determine its main manifestations and forms. The initial guideline of the study was the statement that festivals and competitions perform many of functions, but most researchers distinguish the communication function as the main one. The research was held by collecting a source base on select issues. Author selected scientific papers, dissertations, monographs, as well as held her own observations of various competition-festivals organization. The next step is to analyze the selected literature. Author identified the degree of elect issues study, in particular, the phenomenon of the communication in competitions and festivals, its manifestations and forms etc. Author took into account her own experience in organization and holding of competitions and festivals too. As a result the paper the original classification of all observed manifestations and forms of the communication on competitions and festivals.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46523789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248441
Alexander Klimenko
The article considers the original conept of the transition to noosphere-space thinking in the cultural-informational space of Ukraine, and the idea of a New Noosphere-Space Art. The importance of the noosphere-space direction of development in today’s realities is substantiated. quotes from thinkers, scientists and poets are cited to support research statement, emphasizing the inclination of the Ukrainian ethnos to this path. It is proposed to adopt a new pantheon of personalities, significant for Ukraine, who could become inspirational symbols. Three figures should become such symbols: Grigory Skovoroda, Vladimir Vernadsky, Kazimir Malevich. The article can be considered both research and a kind of creative manifesto of the artist.
{"title":"Noosphere-space direction of development of Ukraine and the world","authors":"Alexander Klimenko","doi":"10.31500/2309-8813.17.2021.248441","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248441","url":null,"abstract":"The article considers the original conept of the transition to noosphere-space thinking in the cultural-informational space of Ukraine, and the idea of a New Noosphere-Space Art. The importance of the noosphere-space direction of development in today’s realities is substantiated. quotes from thinkers, scientists and poets are cited to support research statement, emphasizing the inclination of the Ukrainian ethnos to this path. It is proposed to adopt a new pantheon of personalities, significant for Ukraine, who could become inspirational symbols. Three figures should become such symbols: Grigory Skovoroda, Vladimir Vernadsky, Kazimir Malevich. The article can be considered both research and a kind of creative manifesto of the artist.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46827552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248423
Oksana Chepelyk
The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century. The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR. The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development. The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations. The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art. The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study. Drift from immersive environments in physical space to virtual reality has been detected. The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.
本文致力于在画廊或博物馆的物理空间、虚拟现实和互联网上的新虚拟平台上，以及在21世纪的增强现实和混合现实中，实现沉浸式环境的理论阐述和情境化的科学问题。本研究的目的是确定近年来乌克兰当代艺术中沉浸式环境的形成以及VR和AR项目创作实践的特点。本研究的任务是阐述沉浸式环境和虚拟现实发展的理论基础，回顾和分析使用数字技术创造沉浸式和AR的项目。研究方法包括沉浸式的理论和实地研究以及作者的实验开发。主要方法是全面系统地发展虚拟理论、视觉和光度方法、分析在线VR平台的概念、空间结构和技术特征以及艺术实现。感官的概念涉及其中，它描述了对周围世界信息的感觉、感知和解释。探索了在“MetaPhysical Time space”、“Refraction of Reality”、“Living Energy”项目中（将纳入国家艺术话语）以及在虚拟现实节（如碳媒体艺术节）框架下的虚拟现实中在物理空间中创造沉浸式环境的特点，«Frontier»和«Virtuality»是新技术艺术发展的试验场。分析了新的在线VR平台的可能性，如Mozilla Hubs、WebXR、AltspaceVR、artspaces.kunstmatrix、Cryptovoxels、Transmadatac虚拟博物馆。在互联网平台上创建VR项目的实践：Artefact Chornobyl 33和Artefact Chornobyl+MADATAC、《VR对撞机》和《创世纪》被视为案例研究。已经检测到从物理空间中的沉浸式环境到虚拟现实的漂移。AR项目的多载体性质以及与图书出版、公共艺术对象、当代雕塑和城市实践的不同类型的联系已经被揭示。
{"title":"Immersive Environments, VR, AR in Ukrainian Contemporary Art of The Recent Years","authors":"Oksana Chepelyk","doi":"10.31500/2309-8813.17.2021.248423","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248423","url":null,"abstract":"The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century.\u0000The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR.\u0000The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development.\u0000The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations.\u0000The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art.\u0000The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study.\u0000Drift from immersive environments in physical space to virtual reality has been detected.\u0000The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46066161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248432
Ruslana Bezuhla
The article analyzes approaches to the study of phenomena and concepts of performativity, discourse and communication, and makes it possible to trace how various types of communication are interconnected in the structure of artistic culture. It has been established that in modern society, performativity, discourse and communication provide a higher level of generalization and prevalence than in previous historical periods, which leads to an expansion of the subject field for the study of these phenomena. The aim of the work is to research and systematize existing theories conceptualizing performativity, communication and discourse in the mode of humanitarian knowledge. This approach will contribute to solving the scientific problem of clarifying the conceptual and categorical apparatus of modern cultural studies and art history. Methodology of work. The theoretical and methodological basis of the study were philosophical and general scientific approaches, principles and methods that made it possible to analyze the phenomena of performativity, discourse and communication from different-vector positions: the method of generalization, made it possible to determine the place of performativity, discourse and communication in the worldview paradigm due to the analysis of ambiguous formulations and statements about the phenomena, which were presented in various sources; an interdisciplinary approach ensured the use of the latest theoretical developments in the social sciences and humanities; the sociological approach made it possible to consider the phenomena of performativity, discourse and communication at the macrosocial and microsocial levels.
{"title":"Performativity, Discourse and Communication: Relationship of Concepts","authors":"Ruslana Bezuhla","doi":"10.31500/2309-8813.17.2021.248432","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248432","url":null,"abstract":"The article analyzes approaches to the study of phenomena and concepts of performativity, discourse and communication, and makes it possible to trace how various types of communication are interconnected in the structure of artistic culture. It has been established that in modern society, performativity, discourse and communication provide a higher level of generalization and prevalence than in previous historical periods, which leads to an expansion of the subject field for the study of these phenomena.\u0000The aim of the work is to research and systematize existing theories conceptualizing performativity, communication and discourse in the mode of humanitarian knowledge. This approach will contribute to solving the scientific problem of clarifying the conceptual and categorical apparatus of modern cultural studies and art history.\u0000Methodology of work. The theoretical and methodological basis of the study were philosophical and general scientific approaches, principles and methods that made it possible to analyze the phenomena of performativity, discourse and communication from different-vector positions: the method of generalization, made it possible to determine the place of performativity, discourse and communication in the worldview paradigm due to the analysis of ambiguous formulations and statements about the phenomena, which were presented in various sources; an interdisciplinary approach ensured the use of the latest theoretical developments in the social sciences and humanities; the sociological approach made it possible to consider the phenomena of performativity, discourse and communication at the macrosocial and microsocial levels.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46067814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248429
I. Matkovska
The works of Zenovia Flint, an outstanding artist, teacher and nonconformist ceramist, who embodied in his ceramic works of the 1960s and 1980s his own picturesque informal searches and philosophical images-allegories in the author’s manner, are analyzed. For the first time, the systematization of directions and stages of formation of Z. Flint’s authorial style in the field of artistic ceramics was performed, as well as an art analysis of the influence of the artist’s painting on his ceramics.
{"title":"Zenoviy Flinta’s artistic ceramics of 1960-80s: Stages of development of the author’s creative manner and influence of artist’s painting on his artistic ceramicsand Ukrainization","authors":"I. Matkovska","doi":"10.31500/2309-8813.17.2021.248429","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248429","url":null,"abstract":"The works of Zenovia Flint, an outstanding artist, teacher and nonconformist ceramist, who embodied in his ceramic works of the 1960s and 1980s his own picturesque informal searches and philosophical images-allegories in the author’s manner, are analyzed. For the first time, the systematization of directions and stages of formation of Z. Flint’s authorial style in the field of artistic ceramics was performed, as well as an art analysis of the influence of the artist’s painting on his ceramics.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42678325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248451
Maryna Protas
At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulat
{"title":"On the crisis of criticism and public art","authors":"Maryna Protas","doi":"10.31500/2309-8813.17.2021.248451","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248451","url":null,"abstract":"At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulat","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43992829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248461
L. Turchak
The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.
{"title":"Alexandra Ekster’s Contribution to Ukrainian and World Art Culture","authors":"L. Turchak","doi":"10.31500/2309-8813.17.2021.248461","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248461","url":null,"abstract":"The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42799250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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