Turning The Pushkin Museum into a ‘Russian Tate’: Informal Creative Labour in Transitional Cultural Economy (the Case of Privately Funded Moscow Art-centres)
This paper investigates creative work that now takes place in newly-established cultural institutions in Moscow non-governmental MoCAs and art-centres situated in refurbished Soviet buildings where mostly defunct, socialist-era factories had been located. The exploration of creative work in Russian art-centers is of particular interest for the debates on creative labour because it promises to record the transition of contemporary art market from Soviet cultural monopoly to the market economy in the conditions of the real-time formation of new informal standards of cultural production. The present paper evaluates what informality does mean within these new standards of creative work organization. Although the new art-centres have declared that they will produce culture ‘in a new and innovative way’, they still preserve in their functioning many residues of the ‘old system’ such as the practices of ‘blat’, favour-swapping and clientelism, wages-in-pockets, pilfering and dubious sales of art collections. The paper is based on an empirical study conducted in 2016 and includes 25 in-depth interviews with cultural workers employed full-time and 20 live observations in offices and exhibition areas of the art-centres.
Despite the increasing number of studies devoted to creative professionals, there are still many topics, which remain understudied. Among these topics there is interconnection of professional labor and cultural institutions of which labor conditions are framed. Furthermore, while much research has been devoted to the UK, other regions or global concerns have gained little attention. This article concerns creative professionals in post-Soviet Russia. It offers an overview of the field of cultural institutions in St. Petersburg in relation with the cultural administration and the professionals working for it. In particular, this study points out to the public sector in the Russian cultural production and new non-state institutions founded by young entrepreneurs and activists, which have constantly to struggle for recognition and support of the city’s administration. Based on fieldwork conducted in St. Petersburg in 2012-2014, the empirical study includes 26 in-depth interviews with cultural managers, employees of art-centers, lofts, creative spaces, museums, theatres. The research items here highlighted are concerned with the peculiarities of the institutional environment arisen in Russia as regards the creative labor in public and non-governmental cultural institutions. It is discussed whether the post-socialism system presents a ‘luckier’ medium for a ‘good’ creative job than that of advanced capitalism.
The book consists of articles of Japanese and Russian researches devoted to humanities.
In this article the issue of the creative activities of young artists from Russia and China representing the new generation of the 21st century is emphasized in historiography for the first time. The analysis is based on the material, produced during a collaborative project which began in 2015. The project in question features both cross-disciplinary and cross-cultural approaches, that are essential for liberal education. For the first time in world culture, a history of one cultural space is being formed. In this space a new generation, which emphasizes its own identity, is acting, while challenging, feeling and recognizing its own 21st century. A renowned Professor of Peking University and art historian Peng Feng, contributes to a dialogue between Russian and Chinese artists regarding the nature of the modern Chinese art. Refs 19.
The book is devoted to analyzing the oeuvre of Jan Vermeer in the context of Delft School development and the epoque of Baroque art. The author focuses on Vermeer's style which evolved due to traditions of genre painting adopted in the Netherlands, however, its unique features bring genre painting to the level of symbolic generalization. The first 9 chapters of this research are displaying various aspects of Vermeer's art, and the 10th chapter reflects on how the principles of the "Delft Sphinx" resonate with contemporary art.
In recent decades, the biennial has become the most widespread mode of showcasing contemporary art. Rather than acting as mere aesthetic containers, these shows aspire to be socially relevant by raising questions about capitalism, colonialism, inequality, environmental devastation, and gender imbalances. In this chapter, we draw from ethnographic observation of the 7th Berlin Biennale (2012) that took place in the context of a rising anti-capitalist discourse reflected in the Occupy movement and the movement of the squares. We explore the outcome of curators’ attempts to disrupt existing practices by introducing the logic of activism. Drawing from empirical vignettes, we identify three institutional rationales that coexisted, clashed, and mutually displaced this logic, reaffirming rather than disrupting the idea that art has to preserve some distance from social reality, that neo-anarchist activism should prefigure social reality in the here and now, and that the configuration of the above through the organization’s politics of visibility that promotes the spectacle of the Berlin Biennale and itself as a brand. These three rationales concomitantly and decisively structured the event’s public performance and turned the idea of linking art to activism into the spectacle of a human zoo. We discuss our findings and link the micro-institutional logics to broader macro-level logics of aesthetic capitalism and spectacle.
During the XXth century South Koreans art has being developing under the influence of Western art movements, first modernism and later postmodernism. Korean artists began to study western avant guard mevements in 1950s on a full scale. In 1960s they started to face the need to resolve the issue of finding national in arts, they started to combine traditional aesthetics with Western technology.
In the 1990s, after Koreans were allowed to visit foreigh contries, some artists went to study in the West, where they were swept by the wave of conceptual art and the ideas of postmodernism. This generation has brought Korean art to the world level. Over the past two decades, South Korea has made a breakthrough in the field of contemporary art, the country became one of the centers of Asian contemporary art. South Korean art is successfully integrated into the global art world. Artists speak on the general topics of the world art, such as, for example, the criticism of the consumer society and the prevailing stereotypes and people in today's global world. In this paper, taking as example ouvre of the most influential Korean artists we will see how today an issue expressing national ideas and aesthetics in arts is solved and what are the distinctive features of contemporary South Korean art.
Several approaches to the concept of fatherhood present in Western sociological tradition are analyzed and compared: biological determinism, social constructivism and biosocial theory. The problematics of fatherhood and men’s parental practices is marginalized in modern Russian social research devoted to family and this fact makes the traditional inequality in family relations, when the father’s role is considered secondary compared to that of mother, even stronger. However, in Western critical men’s studies several stages can be outlined: the development of “sex roles” paradigm (biological determinism), the emergence of the hegemonic masculinity concept, inter-disciplinary stage (biosocial theory). According to the approach of biological determinism, the role of a father is that of the patriarch, he continues the family line and serves as a model for his ascendants. Social constructivism looks into man’s functions in the family from the point of view of masculine pressure and establishing hegemony over a woman and children. Biosocial theory aims to unite the biological determinacy of fatherhood with social, cultural and personal context. It is shown that these approaches are directly connected with the level of the society development, marriage and family perceptions, the level of egality of gender order.