On the Heroisms of Today: Experience, Memory and Risk as Anti-fascist Politics in Contemporary Art
Since around 2000, the strategies of participation and compromise in socially engaged art have contributed to modest victories providing at the same time an excuse to left-wing intellectuals to work with institutions of power. While these strategies allude to the redundancy of gestures of negation, the rise of explicitly far-right or neo-fascist tendencies in today’s world can challenge their efficacy from an emancipatory point of view. This article draws on recent art practices to think through modalities of oppositional intransigence and disaffirmation as means to achieve political ends, including negation, zealotry, heroism and sacrifice. At least since the early 1990s, these modalities have been largely viewed with distrust in cultural and critical theory for allegedly reproducing epic, pure and fixed identities, certainties or grand narratives Yet, as this article discusses, intransigence and the construction of sacrificial lifestyles or heroic representations was and will be part of any struggle for social equality in which individuals or collectives put their lives and well-being at risk so as to construct a better future.
The book consists of articles of Japanese and Russian researches devoted to humanities.
Книга посвящена современному искусству. В "Энциклопедии Трессани" ведущие мировые специалисты в области современного искусства представляют contemporary art в его наиболее существенных проявлениях.
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.
Sergei Eisenstein's biography falls comfortably into the pattern of a conventional Bildungsroman. A bourgeois family, the tyranny of the father, the neurotic love affairs of the mother, a predetermination of life for the only son, then Revolution as a wheel of fortune and a chance of freedom that turned the formerly suppressed young man to the Avant-Garde artist, International successor and stepson of his terroroizing and terrorized motherland. This biography came into being after extensive research in Moscow, Berlin, Paris, New York and Los Angeles, and the author is the first to analyze Eisenstein's diaries - materials that were partly inaccessible in the past. The book is addressed to wide audience but could be useful for a specialist becaise of changing research optics and fighting the stereotypes. The book contains 96 illustrations: photos, portraits, caricatures, book covers and 30 rare movie posters.
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.
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.
According to research had been taken in the UK, Europe and USA creative labor implies uncertainty and risk. However, the distribution of risk is associated with structural and institutional factors: age, gender, ethnicity, social class, a particular field of activity and so on. The main research question of this paper is how educational background influence on creative graduates career paths. In particular, the paper is based on empirical study of young artists of St. Petersburg, graduates of two different types of educational institutions, conceptualized as "classical / modern" and "contemporary". The empirical research included 15 IDI and 10 séances of participant observation. Belonging to different paradigms of visual art, two types of education develop in the young artists various competences and skills, preparing them for the realities of the relevant professional life. In particular, the basis for education in the "classical / modern" institution becomes the improvement of artistic technique by preset exercises. The "contemporary" educational institutions focus on the acquisition of competencies of immaterial artistic production: the skills of writing texts about the works, discussions of their conceptions and its relevance, history and theory of contemporary art. Research results indicate that the educational background is largely determines the starting point of the two professional artists and their methods of adapting to the art market.