Загадка Пьеро. Пьеро делла Франческа
Actual Problems of Theory and History of Art conference is an international academic forum held biannually by Lomonosov Moscow State University and Saint Petersburg State University, supported by major Russian museums. The conference takes place alternately in Moscow and Saint Petersburg. In Saint Petersburg, the State Hermitage Museum acts as its permanent partner. In 2018, the conference is held in Moscow, with the State Tretyakov Gallery as partner museum. The conference is dedicated to a wide range of issues related to history and theory of visual arts and architecture, conservation and interpretation of Russian and international cultural heritage, and interaction between academic science and museum experience. The chronological scope of this interdisciplinary forum spans from prehistoric era to contemporary stage. The conference welcomes art historians, culture theorists, archaeologists, art conservators, museum practitioners, and other humanities scholars whose research areas include architecture, visual and decorative arts.
In addition to an exhaustive anthology with over fifty historical documents written between 1913 and 1964 translated directly from Russian - several of them previously unpublished - this publication includes essays and texts by Boris Groys, Manuel FontÃ¡n del Junco, Christina Kiaer, Ekaterina Degot, Fredric Jameson, Irina Leytes, Alessandro De Magistris, John Bowlt, Hubertus Gassner, Eckhart Gillen, Aage Hansen-LÃ¶ve, Michael Hagemeister and Evgeny Steiner. (From the editorial review).
The article is devoted to the new interpretation of the world history, macro-processes and “longue durée” which has already been characterized as the “global” (“transnational”) turn. It aims to answer the questions what are the reasons of this “turn”, what are the real results of the newly born interest towards macro-processes, and finally, what is the present vision on the combination of the micro- and macro-scales in the historical research. The article locates a place of the “global” (“transnational”) turn in the contemporary historiographical situation with its paradoxical combination of the demand on the “decentralization” (first of all, on overcoming Eurocentrism) and simultaneously the Anglo-Americanization of knowledge. The results of the turn are obvious and are connected with a new critical attitude towards conventional stereotypical generalizations (here we should underline the achievements of the second half of 1970s – 2000s in the struggle with metanarratives) and generally with a growing amount of sources available to historians (digital humanities). The interest, on the one hand, to history transcending conventional national, regional, ethno-confessional boundaries (the enlargement of the spatial dimension) and, on the other hand, to the “longue durée” (the enlargement of the temporal dimension) does not mean abandoning micro-historical methods but present a new criterion: a case should reveal an important large trend. The failures of the turn are also clear: the publications race and the wish to correspond to the most fashionable historiographical trends may lead to the laxity of narrative and the weak source base of conclusions.
International art criticism. Review of the exhibition "Special Fund, 1937-1939," National Art Museum of Ukraine, Kiev.
The second publication of the international art center Kunsthaus Bregenz Arena (Austria).