Тайное станет явным, но только без критики
The article responds to Mark Lipovetsky’s discussion of how the term “postmodernism” is used in contemporary Russian cultural and political discourse, calling for a broader, macro-historical perspective. As distinct from the more dialectical practice of “shimmering,” associated with Moscow conceptualism, the radical stiobpracticed by Timur Novikov’s New Academy is fundamentally post-critical, reflecting a global cultural trend that accompanied the neoliberal revolution of 1989—91. It is this avant-garde moment — the last avant-garde — that ushered in the shift in thinking Lipovetsky describes, a shift that begins in late/post-Soviet art, far in advance of similar tendencies now observable in western culture.
There are a lot of changes in all spheres of life in China, including art, in the end of 1970. This leads to appearance of new directions in art, also brings the fundamental changes in principles of art of China. Wang Guangyi is considered to be the founder of the Political Pop art. Political Pop art is one of the leading directions in contemporary Chinese art in the beginning of the 90th. This article is devoted to the oeuvre of Wang Guangyi and the process of appearance of Political Pop art, its prerequisites, conceptions and stylistic characteristics.
This article is dedicated to the research of problems which were stated in the XX century by art practice. Such artists as M. Duchamp, M. Rothko, R. Magritte, J. Kosuth, A. Warhol, D. Hirst, M. Creed and others raised the questions in regard to a status, material value and authenticity of art work, queried fundamental ideas concerning a role of an artist, the function and perception of art. The formal solution concerning this problem was found in the field of institutional theory of art. The greatest interest for us are the personality and creative work of german artist Joseph Beuys, who came from the statement of a problem and its description directly to the answers by stating that «every person is an artist» and «art is everything anded the sun».
The article considers the genre peculiarities of painting that is presented at the open art markets - urban vernissages. Trying to find a place of these paintings in the art system, the author consistently rejects the established terminology of classical art theory. Identification of the mass market painting as the «formula» painting makes it possible to understand the specifics of this type of work and the particularities of its production and circulation on the mass market of art. Also it allows to avoid evaluations judgments that preclude recognition of this type of paintings as a piece of art.
What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.
The author dwells upon the evolution of the creative work of the artist I. Sacharow-Ross in the field of action art - from early performances to full-blown rituals «yagya», derived from the practice in Vedic times. The author gives descriptions of performances, actions and ritual «yagya». It is stressed in the article that the artist doesn´t limit himself to the possibilities of the only one kind of art. In the spirit of primeval syncretism he uses visual images, sounds, odors, he designs processual elements into rituals. Thus he takes the part of the creator of such a painting of the world, which, by the expression of A. Borowsky, «is sprouted of innate-natural».
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).