Pub Date : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248422
Glib Vysheslavsky
In the early 1980s, the nonconformist art movement in Odesa, which had been developing since the mid-1950s, was widened by a new generation of artists. Their art searches differed significantly from their senior colleagues, which led to the formation of a separate movement within nonconformism, which later became known as APTART. The differences were mainly in the worldview of artists, aesthetics, themes, artistic techniques. The art of the new generation was closer to the Western neo-avant-garde, while their older colleagues tended toward modernism. The presence of two different well-defined movements within the nonconformism, a phenomenon in itself countercultural to official culture, distinguished the artistic process in Odesa in the 1980s from other cities in Ukraine. It is these features of the artistic life of that time, still insufficiently covered and analysed. The text considers the part of the work of the Odesa APTART artists, which the most clearly displays the elements of neo-avant-garde aesthetics, that, accordingly, affected the artistic means: acts, performances happenings; the differences between the two groups of artists belonging to the nonconformist subculture were analysed. Specific acts, works of the APTART artists opposed to the background of creative activity of their colleagues are considered. The stages of the APTART artists’ creativity development are traced. Within the disclosure of the research theme, the text highlights the processes of nonconformist artistic life in the main cities of Ukraine, traces parallels to similar phenomena in world art. Due to the experience of recent researches, the terms that directly affect the subject of the paper are specified: nonconformism, informal art, avant-garde, modernism, neo-avant-garde.
{"title":"The simultaneous existence of modernist and neo-avant-garde tendencies in nonconformist art of Ukraine in the 1980s","authors":"Glib Vysheslavsky","doi":"10.31500/2309-8813.17.2021.248422","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248422","url":null,"abstract":"In the early 1980s, the nonconformist art movement in Odesa, which had been developing since the mid-1950s, was widened by a new generation of artists. Their art searches differed significantly from their senior colleagues, which led to the formation of a separate movement within nonconformism, which later became known as APTART. The differences were mainly in the worldview of artists, aesthetics, themes, artistic techniques. The art of the new generation was closer to the Western neo-avant-garde, while their older colleagues tended toward modernism.\u0000The presence of two different well-defined movements within the nonconformism, a phenomenon in itself countercultural to official culture, distinguished the artistic process in Odesa in the 1980s from other cities in Ukraine. It is these features of the artistic life of that time, still insufficiently covered and analysed.\u0000The text considers the part of the work of the Odesa APTART artists, which the most clearly displays the elements of neo-avant-garde aesthetics, that, accordingly, affected the artistic means: acts, performances happenings; the differences between the two groups of artists belonging to the nonconformist subculture were analysed. Specific acts, works of the APTART artists opposed to the background of creative activity of their colleagues are considered. The stages of the APTART artists’ creativity development are traced. Within the disclosure of the research theme, the text highlights the processes of nonconformist artistic life in the main cities of Ukraine, traces parallels to similar phenomena in world art.\u0000Due to the experience of recent researches, the terms that directly affect the subject of the paper are specified: nonconformism, informal art, avant-garde, modernism, neo-avant-garde.","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":"48519161","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: 10.31500/2309-8813.17.2021.248426
Andriy Sydorenko
The article examines the circumstances of the founding of the Association of Revolutionary Art of Ukraine (ARMU), its program principles and significance in the history of Ukrainian art in the second half of the 1920s — early 1930s. The cultural and political reasons and consequences of the introduction of the NEP, Ukrainization, collectivization and reform of art education in the Ukrainian SSR, as well as the changes that took place after the transfer of power in the USSR from V. Lenin to J. Stalin were analyzed. It was found that the ARMU was founded against the background of intensifying competition between left and right wings of art, as well as the emergence of branches of the Russian associations AHRR (Association of Artists of Revolutionary Russia) and LEF (Left Front of Art) in the Ukrainian SSR. It is shown how the connection of the ARMU with the Kyiv Art Institute (KKhI), its rector, teachers and students influenced the formation of a broad program of this association, which proclaimed the equality of all types of fine arts and design. It is analyzed how the resolutions of the Communist Party and the peculiarities of cultural policy in the field of fine arts in the Ukrainian SSR during the time of O. Shumsky and M. Skrypnyk influenced the activities of art associations and the ARMU in particular. The statements of the ideologists of the ARMU I. Vrona and V. Sedlyar about the realism and activity of the Russian association of the AKhRR in the Ukrainian SSR are analyzed. The consequences of the collapse of the NEP and Ukrainization, with the fight against formalism on the fate of the ARMU and its members were revealed.
{"title":"The historical significance of the ARMU during the NEP and Ukrainization","authors":"Andriy Sydorenko","doi":"10.31500/2309-8813.17.2021.248426","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248426","url":null,"abstract":"The article examines the circumstances of the founding of the Association of Revolutionary Art of Ukraine (ARMU), its program principles and significance in the history of Ukrainian art in the second half of the 1920s — early 1930s. The cultural and political reasons and consequences of the introduction of the NEP, Ukrainization, collectivization and reform of art education in the Ukrainian SSR, as well as the changes that took place after the transfer of power in the USSR from V. Lenin to J. Stalin were analyzed. It was found that the ARMU was founded against the background of intensifying competition between left and right wings of art, as well as the emergence of branches of the Russian associations AHRR (Association of Artists of Revolutionary Russia) and LEF (Left Front of Art) in the Ukrainian SSR. It is shown how the connection of the ARMU with the Kyiv Art Institute (KKhI), its rector, teachers and students influenced the formation of a broad program of this association, which proclaimed the equality of all types of fine arts and design. It is analyzed how the resolutions of the Communist Party and the peculiarities of cultural policy in the field of fine arts in the Ukrainian SSR during the time of O. Shumsky and M. Skrypnyk influenced the activities of art associations and the ARMU in particular. The statements of the ideologists of the ARMU I. Vrona and V. Sedlyar about the realism and activity of the Russian association of the AKhRR in the Ukrainian SSR are analyzed. The consequences of the collapse of the NEP and Ukrainization, with the fight against formalism on the fate of the ARMU and its members were 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":"46794094","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: 10.31500/2309-8813.17.2021.248434
N. Bulavina
The article analyses the educational space of Ukrainian visual arts. The educational component of the modern art system is insufficiently studied and requires the definition of its boundaries, a description of the main characteristics, the delineation of development vectors. Therefore, the article gives a meticulous view of the preconditions and history of building the basic principles of the educational order of local visual arts. The rest of the research examines the current learning process, its structure, components and communication links. The author determines the place of education in the system of institutional structure of modern visual art of Ukraine, emphasizes its features in relation to the global educational art paradigm.
{"title":"Educational space of visual art of Ukraine","authors":"N. Bulavina","doi":"10.31500/2309-8813.17.2021.248434","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248434","url":null,"abstract":"The article analyses the educational space of Ukrainian visual arts. The educational component of the modern art system is insufficiently studied and requires the definition of its boundaries, a description of the main characteristics, the delineation of development vectors. Therefore, the article gives a meticulous view of the preconditions and history of building the basic principles of the educational order of local visual arts. The rest of the research examines the current learning process, its structure, components and communication links.\u0000The author determines the place of education in the system of institutional structure of modern visual art of Ukraine, emphasizes its features in relation to the global educational art paradigm.","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":"47438788","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.220001
О. О. Мусієнко
{"title":"Продюсерство і режисура: інтеграція професій у контексті соціокультурних трансформацій кінопроцесу","authors":"О. О. Мусієнко","doi":"10.31500/2309-8813.16.2020.220001","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.220001","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46200428","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219990
Олена Кашуба-Вольвач
{"title":"Графіка Олександра Богомазова на сторінках київських періодичних видань у 1908–1912 роках","authors":"Олена Кашуба-Вольвач","doi":"10.31500/2309-8813.16.2020.219990","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219990","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47744943","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219992
Olena Dmytriyeva
The article studies the phenomenon of a composition school that in the history of culture was perceived as an importantcultural phenomenon requiring a thorough study. For many centuries, the history of culture and art was associated with the artists’desire to define and affirm their creative achievements in society. Creative activities have always played a significant role in society.A composer never limits himself to pure creativity but persistently implements his spiritual ideals in life attracting adherents andfollowers. At the same time, the very position of the artist in his environment depended on the historical and political circumstancesthat dictated the attitude of certain circles of society to art in general and towards the work of an individual artist (poets, sculptors,composers etc.) in particular The aim of the article is to reveal the concept of a composition school as a normative-value system aimed at the formation and preservation of professional experience and to study its connection to a scientific school.
{"title":"Composition School as a Subject of Scholarly Study","authors":"Olena Dmytriyeva","doi":"10.31500/2309-8813.16.2020.219992","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219992","url":null,"abstract":"The article studies the phenomenon of a composition school that in the history of culture was perceived as an importantcultural phenomenon requiring a thorough study. For many centuries, the history of culture and art was associated with the artists’desire to define and affirm their creative achievements in society. Creative activities have always played a significant role in society.A composer never limits himself to pure creativity but persistently implements his spiritual ideals in life attracting adherents andfollowers. At the same time, the very position of the artist in his environment depended on the historical and political circumstancesthat dictated the attitude of certain circles of society to art in general and towards the work of an individual artist (poets, sculptors,composers etc.) in particular\u0000The aim of the article is to reveal the concept of a composition school as a normative-value system aimed at the formation and preservation of professional experience and to study its connection to a scientific school.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47306208","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.220002
S. Rohotchenko
The Park of Forged Figures in Donetsk is a unique artistic, sociocultural, and political phenomenon. There is no other suchexhibition space for contemporary blacksmithing art neither in Ukraine nor abroad. This creative and subsequently museum space was setup by the blacksmithing community of Ukraine; its size and number of works on display makes it probably the largest in Ukraine up to date. During the period of 2001–2013, the Park of Forged Figures was a place for the annual gatherings for the blacksmiths from all regionsof Ukraine and from abroad. This outstanding platform included blacksmithing workshops, specialized conferences, as well as informalmeetings focusing on professional experiments in this field of creative art. Along with the annual Blacksmiths Festival in Ivano-Frankivsk,the Park of Forged Figures in Donetsk during the mentioned period became an unparalleled site for creative experiments and practicingblacksmithing craft, for expressive innovations and stylistic diversity. Thus, the relevance of the research is based on the conceptual load ofthe Park’s projects that needs to be studied; also the landmark role of the Park in the social-cultural advance of the country should be outlined.
{"title":"Park of Forged Figures as an Art Practice of Ukrainian Blacksmithing","authors":"S. Rohotchenko","doi":"10.31500/2309-8813.16.2020.220002","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.220002","url":null,"abstract":"The Park of Forged Figures in Donetsk is a unique artistic, sociocultural, and political phenomenon. There is no other suchexhibition space for contemporary blacksmithing art neither in Ukraine nor abroad. This creative and subsequently museum space was setup by the blacksmithing community of Ukraine; its size and number of works on display makes it probably the largest in Ukraine up to date.\u0000During the period of 2001–2013, the Park of Forged Figures was a place for the annual gatherings for the blacksmiths from all regionsof Ukraine and from abroad. This outstanding platform included blacksmithing workshops, specialized conferences, as well as informalmeetings focusing on professional experiments in this field of creative art. Along with the annual Blacksmiths Festival in Ivano-Frankivsk,the Park of Forged Figures in Donetsk during the mentioned period became an unparalleled site for creative experiments and practicingblacksmithing craft, for expressive innovations and stylistic diversity. Thus, the relevance of the research is based on the conceptual load ofthe Park’s projects that needs to be studied; also the landmark role of the Park in the social-cultural advance of the country should be outlined.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45748947","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219993
Степан Іванович Дичковський
The practice of using the spatial structure of cultural landscapes for tourist practices is considered and analyzed. A number of both Ukrainian and foreign tourist practices are covered, which allow to model creative cultural spaces, as well as to solve problemsrelated to the modern transformation of the living environment of local communities — carriers of cultural values. It is determined that the cultural landscape is a necessary tourist resource for the development of tourist and recreational activities. The cultural landscape creates a favorable basis for knowledge and representation of the territory. In recreation and tourism, the landscapecan be considered as a natural and anthropogenic environment in which recreational and tourist processes take place and attractive areaswith tourist attractions. The formation of the cultural landscape reflected the peculiarities of the economic activity of the territory, its nature and culture, ethnic, spiritual and sacred features. It is analyzed that the approach to cultural landscapes, as landscapes formed by human culture, in which their most essential features are engraved, is inherent in the study of sacred geographical objects and phenomena. The use of the spatial structure of cultural landscapes for tourist practices is investigated and theoretically substantiated. It is substantiated that the cultural landscape is an independent spatial-territorial unit, within which the natural and cultural heritage enrich each other. The surrounding cultural space becomes harmonious, unique and attractive for both citizens and foreign tourists. It is proved that the use of the spatial structure of cultural landscapes is closely related to the historical and cultural heritage andunique culture of local communities, passed down from generation to generation in the form of customs, rituals, folk festivals and traditional forms of management., allow to model creative cultural spaces, and also to solve the problems connected with modern transformation of an environment of local communities — carriers of cultural values.
{"title":"Використання просторової структури культурних ландшафтів для туристичних практик","authors":"Степан Іванович Дичковський","doi":"10.31500/2309-8813.16.2020.219993","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219993","url":null,"abstract":"The practice of using the spatial structure of cultural landscapes for tourist practices is considered and analyzed. A number of both Ukrainian and foreign tourist practices are covered, which allow to model creative cultural spaces, as well as to solve problemsrelated to the modern transformation of the living environment of local communities — carriers of cultural values.\u0000It is determined that the cultural landscape is a necessary tourist resource for the development of tourist and recreational activities.\u0000The cultural landscape creates a favorable basis for knowledge and representation of the territory. In recreation and tourism, the landscapecan be considered as a natural and anthropogenic environment in which recreational and tourist processes take place and attractive areaswith tourist attractions. The formation of the cultural landscape reflected the peculiarities of the economic activity of the territory, its nature and culture, ethnic, spiritual and sacred features. It is analyzed that the approach to cultural landscapes, as landscapes formed by human culture, in which their most essential features are engraved, is inherent in the study of sacred geographical objects and phenomena.\u0000The use of the spatial structure of cultural landscapes for tourist practices is investigated and theoretically substantiated.\u0000It is substantiated that the cultural landscape is an independent spatial-territorial unit, within which the natural and cultural heritage enrich each other. The surrounding cultural space becomes harmonious, unique and attractive for both citizens and foreign tourists.\u0000It is proved that the use of the spatial structure of cultural landscapes is closely related to the historical and cultural heritage andunique culture of local communities, passed down from generation to generation in the form of customs, rituals, folk festivals and traditional forms of management., allow to model creative cultural spaces, and also to solve the problems connected with modern transformation of an environment of local communities — carriers of cultural values.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47878590","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219986
Галина Скляренко
The article analyzes the peculiarities of the interpretation of Baroque traditions in Ukrainian art of the late 1980-2000years. In the works of artists baroque emerged not only as one of the main traditions of Ukrainian art, but also a cross-cutting problem ofnational culture that needed discussion and analysis. Exploring in artistis way the contradictions of national experience, the new artistsdrew attention to issues of national history, contradictions of socio-political progress and cultural development of the country.
{"title":"Необарокові тенденції в українському мистецтві кінця 1980-х — 2000-х років: актуальність національного досвіду","authors":"Галина Скляренко","doi":"10.31500/2309-8813.16.2020.219986","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219986","url":null,"abstract":"The article analyzes the peculiarities of the interpretation of Baroque traditions in Ukrainian art of the late 1980-2000years. In the works of artists baroque emerged not only as one of the main traditions of Ukrainian art, but also a cross-cutting problem ofnational culture that needed discussion and analysis. Exploring in artistis way the contradictions of national experience, the new artistsdrew attention to issues of national history, contradictions of socio-political progress and cultural development of the country.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47920904","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 : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219988
Наталія Кондель-Пермінова
Analysis of the roots of issues in Ukrainian preservation field gives ground to substantiate the topicality of creating an effective management model for the cultural heritage of Ukraine, aimed at regulating the processes of interaction between state, business, and society, atachieving a balance of interests in compliance with the law. The need to create a management system that would allow Ukrainian society to obtain sovereignty over its own future by solving the problem of preservation and further development of cultural heritage and would enable proactive participation of private sector in the processes of use of cultural objects has been emphasized in the study.In the article, the methodological basis, core content, terms and ideas of the innovative Conceptual Framework for Management of the Cultural Heritage of Ukraine have been outlined. The conceptual framework was developed in 2018–2020 by the team of Ukrainian professionals in the fiend upon their own initiative. Conceptual framework, which was built from the scratch, is based on transition from the concept of a branchto the concept of a field, as well as on the fundamental change of the paradigm: from ideology of protection of cultural heritage to its preservation.The key aspect of the conceptual framework is management of cultural heritage as a public–private partnership. The basic processes, agentsof legal regulation, fundamental modes of participation of agents in the basic processes on every stage of these processes, and features of interaction have been set out. National Cultural Heritage Fund has been defined as a key managing institution that accumulates financial resources andconducts the search for the objects of cultural heritage, maintenance of the electronic registry (where all forms, types, and kinds of cultural objects would be listed), development and implementation of programs and projects; that forms the state demand for training, evaluation and certification of professionals; organizes the Supervisory Divisions (being the bodies of territorial administration). Strategic Forum has been chosen as a communication center (hub) for governance of cultural heritage. The conceptual framework is a foundation for further drafting of legislationthat would regulate the respective relations between regulatory agents and stakeholders.
{"title":"Концепція інноваційної системи управління культурним надбанням України","authors":"Наталія Кондель-Пермінова","doi":"10.31500/2309-8813.16.2020.219988","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219988","url":null,"abstract":"Analysis of the roots of issues in Ukrainian preservation field gives ground to substantiate the topicality of creating an effective management model for the cultural heritage of Ukraine, aimed at regulating the processes of interaction between state, business, and society, atachieving a balance of interests in compliance with the law. The need to create a management system that would allow Ukrainian society to obtain sovereignty over its own future by solving the problem of preservation and further development of cultural heritage and would enable proactive participation of private sector in the processes of use of cultural objects has been emphasized in the study.In the article, the methodological basis, core content, terms and ideas of the innovative Conceptual Framework for Management of the Cultural Heritage of Ukraine have been outlined. The conceptual framework was developed in 2018–2020 by the team of Ukrainian professionals in the fiend upon their own initiative. Conceptual framework, which was built from the scratch, is based on transition from the concept of a branchto the concept of a field, as well as on the fundamental change of the paradigm: from ideology of protection of cultural heritage to its preservation.The key aspect of the conceptual framework is management of cultural heritage as a public–private partnership. The basic processes, agentsof legal regulation, fundamental modes of participation of agents in the basic processes on every stage of these processes, and features of interaction have been set out. National Cultural Heritage Fund has been defined as a key managing institution that accumulates financial resources andconducts the search for the objects of cultural heritage, maintenance of the electronic registry (where all forms, types, and kinds of cultural objects would be listed), development and implementation of programs and projects; that forms the state demand for training, evaluation and certification of professionals; organizes the Supervisory Divisions (being the bodies of territorial administration). Strategic Forum has been chosen as a communication center (hub) for governance of cultural heritage. The conceptual framework is a foundation for further drafting of legislationthat would regulate the respective relations between regulatory agents and stakeholders.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42178534","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：