Статья посвящена описанию современного художественного контекста Москвы.
Статья посвящена описанию феномена агитпропа в современном искусстве.
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.
In the 1990s a number of Western art critics, with Dave Hickey foremost among them, rejected the critical aesthetics of negation and distance as elitist, favoring a more mutualist, egalitarian potential they associated with beauty. This article tests the legitimacy of paralleling the New Academy and the concurrent beauty trend in the West. The focus of my analysis falls on the career of Olga Tobreluts between 1990 and 2003. As I argue, the similar appeal to beauty in the work of Tobreluts and the New Academy in fact partakes of both negation and affirmation while ignoring their difference, undermining the opposition between enthrallment and estrangement (or beauty and the sublime) that made the Western debate about beauty possible.
In contemporary competitive circumstances destinations strive to raise touristic attractiveness by means of branding. Branding is very often realized with the help of cultural policy. Being a touristic city, St.Petersburg has established an academic image and attracts a steady category of tourists. This research paper is aimed at studying the development of contemporary visual art in St.Petersburg and its influence on the brand of the city. Contemporary art could help to attract new categories of tourists, including young people and creative community. Moreover, the renovation of the city image would contribute to the inflow of additional investments to the culture sphere. This particular study will probably help to support the high touristic attraction of St.Petersburg and raise its level as well. Two methods were used in order to achieve the aim of the study. During the expert survey a questionnaire was developed. It helped to find out an expert opinion about the influence of contemporary art on tourist destination brand (experts are managers of organisations, fine art experts, employees of advertisement departments and departments which work with tourist groups). Content-analysis was used as well in order to analyze the sites of touristic firms for the presence of information about organisations which represent contemporary art. Recommendations for the effective influence of contemporary visual art on the brand of St.Petersburg were prepared.
The book consists of articles of Japanese and Russian researches devoted to humanities.
Статья посвящена описания художественныъ институций в России.
Книга посвящена современному искусству. В "Энциклопедии Трессани" ведущие мировые специалисты в области современного искусства представляют contemporary art в его наиболее существенных проявлениях.
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.