This article analyzes the long episode of 1917-1918 when the Diaghilev’s choreographic enterprise performances took place in Lisbon. The Russian Seasons ’ performances were greeted with delight only by ballet critics and modern artists, authors of Orpheu and Portugal Futurista, but the audience accepted them coldly. The authors of the article explain this paradox as follows: 1) the public's involvement in a rapidly changing political (revolutionary) context, 2) the "elitism" of the artistic concept of Diaghilev's aesthetic experiments. All this fits into the paradigm of the "new art" - in this case, the novelty of the artistic concepts of Diaghilev's enterprise in the context of Portuguese modernism.
The annotated list of abbreviations and acronyms used in Russian and Soviet Avant-garde art and art institutions in the first third of the 20th century.
In the murals painted before 1404/5 in the sanctuary of the church in Mãlâncrav, there is a group scene composed of five saints: the three holy kings of Hungary (i.e. Stephen, Emeric, and Ladislas), St. Sigismund of Burgundy, and a holy bishop without defining attributes. Rejecting previous identifications (St. Gerard of Cenad or St. Nicholas) for the holy bishop in Mãlâncrav, the article establishes a new identity by focusing on hagiographic, liturgical, and historical texts, and analyzing a series of images of saints. After placing the representation in Mãlâncrav against the background of the cults of saints popular in medieval Hungary, the author identifies the holy bishop in Mãlâncrav as St. Adalbert, the patron saint of the Archbishopric of Esztergom and one of Hungary’s holy protectors.
In the murals painted before 1404/5 in the sanctuary of the Church in Mălâncrav, there is a group scene composed of five saints: the three holy kings of Hungary (i.e. Stephen, Emeric, and Ladislas), St Sigismund of Burgundy, and a holy bishop without defining attributes. Rejecting previous identifications (St Gerard of Cenad or St Nicholas) for the holy bishop in Mălâncrav, the article establishes a new identity by focusing on hagiographic, liturgical, and historical texts, and analyzing a series of images of saints. After placing the representation in Mălâncrav against the background of the cults of saints popular in medieval Hungary, the author identifies the holy bishop in Mălâncrav with St Adalbert, the patron saint of the Archbishopric of Esztergom and one of Hungary’s holy protectors.
The paper is focuses on Andrey Platonov's screenplays and on screen versions of his prose. Platonov wrote both for silent cinema and for talkies. The thesis statement of the manuscript is that silent cinema aesthetics is closer to Platonov's sophisticated style. The most successful screenversions are strongly connected with it.
The article concerns the attribution of the picture related to the second school of Fontainebleau from the collection of Pushkin Museum of Fine Art to Amboise Dubois
Examining both written and pictorial evidence, this study addresses the diffusion of St. Sigismund’s cult from Bohemia to Hungary during late-14th century and the saint’s subsequent transformation during the 15th century into one of the Hungarian Kingdom’s patrons. In so doing, it assesses the significance of King Sigismund’s actions to promote his personal patron in Hungary and shows that the king emulated the model of his father, Charles IV of Luxemburg. King Sigismund promoted his spiritual patron within his country and associated him with St. Ladislas, the traditional patron of Hungary; he succeeded thus to accommodate the foreign saint to a new home and to transform him for a short interval into one of Hungary’s holy protectors. The natural consequence of this “holy and faithful fellowship” was the cult’s transfer from royal milieu to the kingdom’s nobility. Willing to prove their loyalty to the king, Hungarian noblemen decorated their churches with St. Sigismund’s image and depicted him in the company of sancti reges Hungariae, i.e. Sts Stephen, Emeric, and Ladislas. The study’s larger aim is to illustrate how a period’s political transformations could facilitate the spreading of a new saint’s cult from his cult center to another region, and that a saint’s veneration could be sometimes motivated politically.
The article considers the problem of lost silent films, which is especially relevant to the study of Russian cinema, since most early Russian films have not been preserved, and it is hardly possible to describe the film history of this period without them. It is necessary to reconstruct films that have been lost or have been only partially preserved using every available source: stills, production photographs, reviews, memoirs, etc. A case of such “paper” reconstruction is presented in the article using the example of Vladimir Gardin’s Anna Karenina (1914), one of the most important Russian films of the mid-1910s. The results of this reconstruction prove that Anna Karenina was an innovative screen adaptation made in the spirit of the Silver Age that contributed to the development of the so-called Russian Style in pre-Revolutionary cinema.
This paper addresses the processes by which the international community intervened and participated in the defining of Bosnian identity and the corresponding constitutional framework, as well as the continuous paradoxical tension between the ethnic local and claims to universalism of supranational legal norms. In particular, the 1995 Constitution and the architecture of its sovereignty have been contested through provisions of the European Convention of Human Rights. The analysis is further supported by the discussion of the architectonic structure of the Town Hall/National Library in Sarajevo that has had an important constitutional role since the collapse of the Ottoman period. The paper thus focuses on two sites for construction/deconstruction of Bosnian sovereignty: the constitutional framework and the more concretely visible architectural symbol of the Town Hall/National Library. This importance of a visual and spatial approach to Bosnian realities is carried further by the 1993 ‘Eulogy’ that Jean-Luc Nancy wrote for Sarajevo, as a site of the Mêlée.
During recent decades, interest in different facets of contemporary Arab art has significantly increased. Although recent developments have played a key role in bringing Arab art into wider focus, gaps remain in scholarly discussions, such as the subject of Arab art and artists in the Soviet Union—a cultural transfer and migration of ideas across time and space. This article discusses the first Iraqi modern art exhibition in the USSR, in 1959. It was organized and carried out within the framework of the 1959 bilateral agreement signed between Iraq and the Soviet Union promoting mutual understanding and cultural exchange. More than 200 artworks were exhibited in Moscow, Baku, and Odessa for nearly three months. The exhibition’s paintings, graphics, and sculptures represented both figurative and abstract art schools. Unintentionally, the show triggered heated debates: cross-regional conversations erupted not only in the official media but also on the pages of the guest books of its venues, Moscow’s State Museum of Oriental Art and the Azerbaijan National Museum of Art in Baku. By looking at the debates around the exhibition content, this article seeks to shed light on how such an exhibition was made possible and how it was perceived in the USSR in the context of the inculcated ideology of socialist realism. What was the purpose of this exhibition and who were the cultural agents behind its organization? What was the role of official cultural players in the USSR in selecting the works and promoting the exhibition? How was the Iraqi exhibition received by the Soviet public? What was the reaction of the official press? How did the ideology of socialist realism affect people’s perception of Iraqi modern art? For insights into the history of the exhibition planning and setup, as well as the debates around the show, I relied mostly on previously unpublished archival material from the Ministry of Culture of the USSR and the Ministry of Culture of the Russian Federation, as well as other archival material from the Russian State Archive of Literature and Arts and the State Archive of the Russian Federation. Additional information was obtained from major collections of press clippings from Soviet newspapers, journals, and magazines from the 1950s and ’60s.
This article explores the practices of recently formed and mainly UK-based art workers’ collectives against unpaid internships and abusive work. The modes through which these collectives perform resistance involve activist tactics of boycotting, site-specific protests, counter-guides, and whistleblowing and name and shame approaches mixed with performance art and playful interventions. Grappling with the predicaments of work in contemporary art, a labouring practice that does not follow typical processes of valorization and has a contingent object and an extremely loose territorial unity, this article argues that while the identity of the contemporary artist is systemically and conceptually moving towards fluidity and open-endedness, these groups work to reaffirm a collective in whose name it is possible to advance certain claims, assumptions, and demands. The contradictions and dynamics of art workers organizing against internships and voluntary work within a highly individualized, self-exploitative, and often privileged field are useful for informing labour organizing in the framework of ongoing capitalist restructuring.
During the Cold War, official Soviet institutions organized tens of exhibitions of an American figurative artist Rockwell Kent. These exhibitions, undertaken bypassing the official United States, demonstrate that promotion of Kent in the USSR was an exclusively Soviet enterprise. Examining the role of Soviet institutions in Kent’s success, the article sheds new light on the Soviet approach to the representation of American visual art during the Cold War.
Basing on unique findings from American and Russian archives, the article provides a comprehensive analysis of political and aesthetical factors, which predetermined Kent’s incredible popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article argues that Kent occupied a specific symbolic position in Soviet culture, as Soviet propaganda re-conceptualized the artist’s biography and established the Myth of Rockwell Kent. This myth served for legitimization of Soviet ideology and for anti-American propaganda.
This article uses case studies of visual art installations to elaborate an alternative view of the way art is experienced by museum and gallery visitors. In particular, it is argued that the orthodox and influential decoding perspective in the sociology of art overlooks the situated and experiential nature of art, especially when art takes the form of installations. In order to study experiences of art installations, this article draws on recent developments in cultural sociology and the sociology of music to reintroduce the idea of mediation into thinking about and with art. A focus on processes of mediation allows me to address the communications and interactions which emerged at the particular art installation under consideration here, a piece called PharmaConcert by Evgeniy Chertoplyasov that was displayed at the Winzavod Art Centre in Moscow in 2011. Detailed analysis of the forms of interactions at this exhibition shows that as audience members perceive artworks, they transform abstract expectations of artworks into a series of specific and situated actions. Simultaneously, other mediation processes reassemble the audiences through shared experience of contested meanings of an artwork. The paper challenges the orthodox sociological notion of what an ‘audience’ is and instead sees audiences as an emerging form of communication and interaction specific to a particular artwork / installation.
Academic Bibliography of Syriac and Christian Arabic Studies in Russian published in 2019.
The visual art of the last decades privileges, explicitly or implicitly, social rather than art historical or aesthetic issues. In sites ranging from university classrooms and journals to museums and biennials, the emphasis is usually put on how effectively art handles the social issues of the day while questions of aesthetic value are often treated as suspicious and ideological. Given this anti-art character in these contexts of mediation, the insistence to perceive the objects as artistic objects constitutes a paradox that has been rarely discussed in sociological terms. This article draws on ethnographic research in order to explore “biennial art” that is to say the art that displayed in contemporary art and international platforms of showcasing. These platforms struggle to maintain a concept of art as social practice while at the same time nurture an exclusive and highbrow environment in which “artfulness” is key. I call this quality artfulness so as to both underline its artificiality as well as the inventiveness and skills required for its production. Artfulness in these sites is enabled through various formal or informal rituals of valorization, including guided tours, curatorial statements, media promoting activities and artist talks. These rituals, positioning certain objects within the sphere of art and producing them as objects meriting aesthetic interpretation, resemble the politics of publicity found in aesthetic capitalism at large.
The paper is focused on cinema career of famous Silver Age theatre actor Boris Glagolin.