Статья посвящена описанию современного художественного контекста Москвы.
Статья посвящена описанию феномена агитпропа в современном искусстве.
This article explores the way of evaluation of artistic recognition by analysing the materials of critics writings. Focusing on the post-war unofficial contemporary art scene in Soviet Union and Post-soviet Russia, we put an emphasis on mechanisms of legitimation and dynamics of artistic prestige in the restricted field of underground art. The research reveals major patterns for not only the recognitional process of unofficial Soviet art, but also discuss the role of criticism in the transitional period in a Post-Soviet republic. Politics turbulence caused by the dissolution of Soviet Union, facilitated radical changes in conditions for artistic production and transformation. By employing methods of social network analysis (SNA) we reconstruct and evaluate interconnections between unofficial post-war artists and critics, working in three the most significant paper media in the 1990s.
Abstract—This article focuses on media art (and specifically - virtual reality) as a powerful tool which allows transforming social agenda into personal meaning for a participating viewer. VR has recently become an intriguing medium which makes one feel present in the artistic “text”; to maximize the effect of immersion many VR projects give the viewer an opportunity to be not just a witness of a scene, but a participant, a one who takes action influencing the course of the narrative. Thus, we argue that VR should be analyzed as “machine” to gather new experiences and “melt” the boundaries of subjectivity including the illusion of stability of both one’s body and Weltbild. In virtual reality, a user is able to experience the new subjectivity, being-with-the-Other, or – to a certain extent – being the Other. When such “meetings” take place in a safe space of aesthetic experience a spectator can literally take part in these scenarios and experience the affects which would be unimaginable in everyday life, expand his own boundaries of subjectivity and go beyond the limits of an egocentric position.
Authors of the paper are focusing on American artist James Turrell's investigation of the nature of light in his conceptual projects. By the means of creating a specific immersive environment where a spectator is plunging into a unique optical space set up by light installations, the artist reconstructs a sensory synesthesia experience: a synthesis of light, color, music, and meditation. This being the case light becomes the main character of a story told by him. The artist analyses a phenomenon of perception and his specific tentative of creating optical effects which allow spectators to become participants of light performance. Turrell takes the light as his paint and the architecture and the viewers — as his canvas. A colour-light vision of the artist accumulates the grounds of optical physics, astronomy, mathematics, perception psychology, preceding issues of light art and land art. In the series “Space”, “Tall Glass” and “Skyspace” he renders incorporeal and immaterial fields, a certain “presentation of absence” (Merleau-Ponty) when the invisible is being marked by the visible. Viewer's inner sensation, diving into music and meditation become key factors of an art piece. Thus, appears a new landscape with no horizon, top or bottom — a space without borders. In his latest significant project “Roden Crater” Turrell demonstrates the new practices of creating sensory connections and delving into the nature of vision. He constructs a unique illuminating system for an extinct volcano crater in Roden, Arizona. New “architecture of light into space” is establishing specific sensory connections in the perception of natural landscape and illumination.
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.
The article is devoted to contemporary comic series perceived as a kind of "laboratory" designed for experiments with narration. Focusing on the dynamics of spatial and temporal continuums in various types of comics (books, magazines, web-pages, and interactive platforms) we argue that the manner of narration in this "sequential art" resembles that of contemporary media art being built on the principles of montage adjusting to various communicative systems.
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.