Видеоарта: «белый куб» галереи или «черный бокс» кинозала?
Video art is a hybrid acquiring the means and goals of both contemporary art and the arts of screen. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: a “white cube” and a “black box”.
Video today is an indispensable figurant of any serious exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a “white cube” of a gallery; however, there is now a strong tendency to present video art in a “black box”, in a “cinematic” way. It’s getting harder and harder to see the edge between video art end experimental film. Perhaps the very strategy of presentation of video today may help this media to retain identity or to lose it.
In the public discourse, cinematic views on the analysis of movies traditionally prevail. The author suggests another approach: in the course of the experiment aimed to reveal the audience's perception of the film „Welcome to Zombieland the author discovers an atypical interpretation of this horror film as an instrument of educating the young generation, those features of the ideological message of the film that can transform any genre into, it would seem, its complete opposite - a collection of contemporary society norms and behavior patterns. The main conclusion of the article is that the perception of a film is a complex social action which always goes beyond any cinematic interpretations.
The article considers integration processes in various art forms and media sphere. The development of different communication systems demonstrates that the syncretic unity is destroyed by the inner urge to release the individual components in separate systems. On the other hand, in the isolated structures arises a desire for syncretism, which is often accompanied by the development of its destructive tendencies. The resulting synergetic effect leads to startling outcomes which, obviously, should be related to the most promising areas of contemporary art and media space.
The second publication of the international art center Kunsthaus Bregenz Arena (Austria).
The article describes the methods of holding masterclasses in mathematical and computer design of various architectural 3D models of a house, street, town. Spatial visualization of these models of modern architecture develops students’ spatial awareness and the models can become prototypes of virtual worlds for sci- fi cinema. The method’s main conception is an active synthesis of Humanities and Science in creating student projects.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.