Бюрократические стихи: кураторство и повествование в конце 1960-х годов
New trends, technologies and symbols of the "Design and advertisement 2013" exhibition with illustrated examples are described in the article.
The book consists of articles of Japanese and Russian researches devoted to humanities.
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.
Development of presentation and exhibition activities is considered as an important factor in providing new competitive advantages at the strategic markets for exporting of transportation services. A specific role for exhibition activities as a factor to overcome market failures arose from imperfect information and incomplete markets is displayed. Exhibitions are considered as a true reflection of most market parameters, as a means to get correct information concerning market capacity and its borders, as an instrument to access to new markets. At the firm level presentation and branding activities should be considered as a modern technology (especially it concerns Russian companies) which provide to hold up already existed markets and to conquer new ones. Presentation and branding activities are an effective technology to promote company trade-mark, competitive advantages for market demand increasing. Comparative analysis of the main exhibitions on transport and logistics issues is fulfilled on the data basecollected by authors. Data observes geographical distribution of transport exhibition and exhibition facilities development at several regions for the last years. The analyses allow to revealing a geographical structure of the exhibitions and its distribution by type of transport. The most promising and economically favorable exhibition areas for the promotion of Russian transport services are shown.
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.
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.