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Scenario of the theatrical performance The Alleater. Stage director: Ani Vaseva, text: Miroslav Hristov, scene design: Georgi Sharov, sound: DataTransporter. With Galia Kostadinova and DataTransporter. The All-eater is the hard, but volatile mass in which we immerse our hand only to find that our fingers are legs and our mouths are asses. The All-eater is the edge beyond which gender, size and matter no longer matter, because it is simultaneously male, female, and in between, miniature, gigantic, consistent and fragile. Stalking in the All-eater’s mouth is a sexy little black hole, blazing in its estrangement; in that hole, there is a yawning nothingness. The performance is staged by Plus, Metheor, The Fridge and Theatre Laboratory Sfumato, with the financial assistance of the Ministry of Culture of Bulgaria. (by Metheor)
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The article examines the basic ideas of the manifestos and aesthetical program of Italian Futurists. The author presents their critique of classical art and classical painting, and their programme for a Futurist art that, under the designation of “transcendental plasticism”, implements Marinetti’s idea of “the beauty of speed”.
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The article attempts to outline the specificity of the art created by Hristo and Jeanne-Claude. The author analyzes the connections and oppositions of their works to the situation in modern art. Their technical strategies are discussed in the context of Walter Benjamin’s views on the lost aura of the work of art under the conditions of its technological reproducibility. The author’s main aim is to show the performative character of Hristo and Jeanne-Claude’s large-scale architectural installations, which actively engage the audience in giving being and meaning to the work.
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Beauty was considered a fundamental category in classical European art ever since the time of Ancient Greece. However, during the 19th century, artists began to reconsider this aesthetic value. Baudelaire expressed his preference for the “bizarre, dynamic and everyday beauty” (Baudelaire 1992: 261), rather than heroic and mythological beauty as treated in classical art. Many of Baudelaire’s ideas were further developed in the 20th century, especially by artists of the avant-garde. Today, performance art, conceptualism or digital art seem to plead in favour of new aesthetic values such as action, direct experience (or immediacy), artistic rational thinking, which excludes the aesthetic dimension, or even the contribution of new media. In this situation, we may ask ourselves whether there is still any place left for aesthetic beauty, or has it rather become a chimera of the past. This is the question the author of the article attempts to answer.
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The article discusses the artistic depiction of the human hand in painting; specifically, in Vladimir Dimitrov- Maystora’s portraits of rural madonnas. The author starts by retracing how the hand was perceived in primitive art, mythology and religion, and continues with a discussion of its function and depiction in Renaissance art. The author points out the role of Maystora in the interpretation of world art traditions in the context of Bulgarian pictorial art. The deep connection between the aesthetical and the ethical in the painter’s views and works is revealed
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The article considers how the non-Еuclidian features make sense of the visual space and daily perceptions. The profiles we face in daily experience and art are explained in terms of a visual illusion which origins from the form of visual space. When a profile is not responding to a unified spatial syntax it turns out to be an anomalous phenomenon. In fact, art and philosophy share the same area revealing unexpected profiles of the things.
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The purpose of the article. The research is connected with the disclosure of the features of Poltavian traditional embroidery. The methodology of the research is based on the principles of historicism, objectivism, comparative analysis, generalization and synthesis of facts aimed at asserting the national identity of the Ukrainians. The scientific novelty of the work lies in the analysis and illumination of the features of Poltava traditional embroidery; it's coloristic and semantics, and the works of famous Poltava artists. Conclusions. As a result of the research, it was found that embroidery occupies the leading place among the common types of folk art in the Poltava region. The calling card of the Poltava region is embroidery "white on white." The peculiarity of Poltava embroidery is a harmonious combination of plant and geometric ornaments with the using of a vast arsenal of techniques, which brings a great variety of motifs in ornaments. Thus, in the current conditions of activation of globalization processes, the issue of revival, popularization, and multiplication of the best folk traditions becomes acute. These include, in Ukraine, embroidery, as an integral part of the history and culture of the Ukrainian people. Young people need to understand that in the current conditions of globalization processes, it is essential not to lose their nationality, signs of ethnocultural. Therefore, it is necessary to preserve, reproduce, and pass on the knowledge of our ancestors to the younger generation, to educate them based on national and cultural traditions. Thanks to folk craftsmen and embroidery centers of the Poltava region, ancient art does not lose its significance and value in our time. The Ukrainian embroidery acts on the heart of each of us with its charms of the native element and is a living balm that fills us with the primordial power of the Ukrainian people. The most important thing is that modern embroidery preserves its spiritual world and proves that folk art is an excellent asset of Ukrainian culture.
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The purpose of the article is to characterize the specifics of the management of the artistic and production part of the Kyiv-Mezhigirsk Faience Factory factory and outline the line of product development in this regard. The methodology includes the association of the historical-chronological approach, historical and cultural, axiological, and a method of assumptions that allow trying to build a line of art management Kyiv-Mezhigirsk Faience Factory within 1798 – 1876. The scientific novelty consists of the judgment of vectors of influence on the development of the manufacture of persons of directors and the main masters, the part from which was artists or engineers. Conclusions. Directors and main masters of Kyiv-Mezhigirsk Faience Factory during 1798 – 1874/1876 formed a line of development of an industrial part of the enterprise as follows: in submission to Kyiv (1798 – 1822) – as directed the Kyiv city council (the modern language – the mayoralties) and the Kyiv governor general and according to own knowledge concerning art specificity of manufacturing of industrial faience and porcelain; during a time of submission of the Office of its imperial majesty in St.-Petersburg (the Cabinet equivalent, with 1822 for 1858) – according to orders personally the emperor (from Paul І, Alexander І, Nikolay І to Alexander ІІ) and its Office at which it was appointed Operating imperial factories, it is frequent during this period on a place directors from engineers and so-called mountain conductors supervised; during last period of activity (1858 – 1874/1876) submission remains to the same, as during previous time, however, as a matter of fact, tenants and proprietors (first of all, brothers M. O. and V. O. Barskie and their main master Karl Peter, and M. V. Govorov about which art part it is not known).
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Purpose of the article. To undertake a thorough analysis of the concept of the "artistic pattern of an art museum" and propose your interpretation of this definition. To prove that due to the perception of the modern museum, not only as of the custodian of the past but also as the creator of the future, as a center of up-to-date information and active communication, there is a need for new forms of organization of museum activity and the entire museum and near-museum space. In this way, the image, museum building architecture becomes especially essential – a museum building should be a work of art. The methodology of the research manifests itself in interdisciplinary. It is based on a system of general scientific and unique methods, which, in their turn, reflect the systematic method, cultural and art study approaches to the study of museum form, information and fractal approach, terminological analysis. The scientific novelty is that the definition of the concept of the "artistic pattern of an art museum" has been proposed and formulated for the first time. It has been proved that the modern art museum not only represents a contemporary and traditional art but also the building of the museum itself is a work of art, design; there is a significant expansion of the museum and cultural space. Conclusions. The art museum is positioned as an artistic ambivalent pattern. It has been proved that architecture serves not only as a tool of cultural communication but also the internal communication of the museum, since the architectural and design solution of its exterior and the near-museum space set the parameters of perception, algorithms of behavior throughout the museum space, immersing the visitor in the world of art culture.
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The purpose of the article is to introduce into scientific circulation and to attribute the unknown drawing by M. Vrubel also to explore a relationship to the one other artist’s works. Methodology. The deduction and comparison, biographical and comparative methods, art study analysis, including semantic and stylistic ones, as well as empirical observation have been used in order to attribute the drawing and to include the one to the context of M. Vrubel heritage. Scientific novelty. The M. Vrubel’s drawing from V. Perevalskyi’s collection has been attributed and introduced into scientific circulation. The work influence the topic of the panel from the series Times of a Day has been determined. Semantic and stylistic connections of the drawing on the mural painting by the artist in St. Cyril’s Church, Kyiv, have been observed. M. Vrubel heritage has been enriched. Conclusions. When creating the image of Nadiya Zabela, the creative process was diametrically opposed: the face of the archangel was manifested in the face of his wife. The semantics of their images are common in the Cyrillic composition and the Image. The Gospel is the beginning of the salvation of mankind, deliverance from the captivity of sin, "from the work of the enemy." Zabel's hope for the artist was the hope of recovering from the devastating illness of a former passion, a new stage in the life of a human creator. New love and a happy marriage for Mikhail Vrubel were an opportunity for salvation as their union strengthened the creative community. It’s the drawing attribution. M. Vrubel. Awakening. Portrait of Nadiia Zabela-Vrubel, the Artist’s Wife. Kharkiv. 1896 (September – December). Paper. Lead pencil. 29 х 38,5. V. Perevalskyi’s collection. Kyiv. M. Vrubel used the awakening topic to create the panel Morning (1897). The artist interpreted his wife’s face as the face of the Archangel Gabriel (1884) painted by him in St. Cyril’s Church, Kyiv. Images of the wife and Archangel had a common semantic and stylistic basis. M. Vrubel associated the Annunciation as the beginning of the salvation of mankind with a new period in his life and work, and with his wife N. Zabela-Vrubel.
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The purpose of the article is to demonstrate the role of spatial and temporal arts in the creation of a choreographic character. To study the relationship between the visual and musical arts as an integral component of the ballet shows. To show the interconnection of the Ukrainian ballet theater, national folklore, and literature. Methodology. A complex of methods has been applied in the study, such as historical, comparative, typological, analysis and generalization method, descriptive, visual, artistic-stylistic (analysis of the creative manner of separate authors, their schools, and art epochs). Owing to these methods we have studied the individual creative manner of separate stage designers, composers, and ballet-masters as well as the synthesis and artistic stylistics of choreographic works. The scientific novelty of this work is in revealing the role of spatial and temporal arts in the creation of a choreographic character, particularly, in demonstration of the underlying interconnection of the visual and musical arts. In this context, we have studied the individual creative manner and the unique style of the known Ukrainian stage designers, composers, musicians, and choreographers. Conclusions. The creation of a highly professional choreographic character using spatial and temporal arts is an exceptionally complicated creative process. In this process, there can be an observed collaboration of the stage director, composer, stage designer, and ballet-master. In this context of great importance is not only the individual but also the collective creative work of the artists involved in the creation of the choreographic character in line with the opportunities and means of those types of art within whose frameworks they do their job. It should be noted that the perfect plastic language of the visual art combined with the musical accompaniment and choreographic plastic produces the whole integral image of the performance. The essential components of the creation of the artistic character are the artistic style and the performance techniques as well as the combination of tradition and pioneering work. However, the study of the points pertaining to the problem of the creation of the choreographic character using spatial and temporal arts still requires greater in-depth investigations.
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Izložba Zlatka Kesera u Klovićevim dvorima već se (usprkos uvjetima u kojima živimo) dva puta produžuje pa umjesto kraja listopada, potom i kraja studenog, navodno traje do početka siječnja. Osobno, nadam se i dalje, jer toliko znakova i akcenata koliko je izložba ovaj put postavila teško će biti ponoviti. Usprkos brojnim ograničenjima koja je umjetnik postavio kustosici, povjesničarki umjetnosti Jasmini Bavoljak. Tako je najprije ograničio mogućnost da mu se za života napravi retrospektiva („jer“, kaže, „nakon retrospektive svi umru“), a onda je počeo „zabadati“ i u detalje: „Nemojte ništa posuditi iz Moderne galerije jer tamo su neke slike koje imam silnu želju popraviti…“. Napisao joj je i pismo (a on piše precizno, ozbiljno i ne samo pisma) da se nešto ne zaboravi, previdi ili preskoči pa će gospođa Bavoljak u uvodu kataloga zapisati „Gledati i vidjeti istim očima kao Keser, a pritom i osjetiti isto što i on, bio je zadatak koji se postavio pred mene. Kako utišati, a ne potpuno izgubiti kustosku slobodu odlučivanja, prikloniti se, a ne pokoriti se autoru djela, slušati i biti saslušana, savjetovati, a ne nametati; biti u suglasju.“ Potrajalo je i bilo naporno i kustosici i umjetniku. S povjerenjem u Jasmininu inicijativu Keser je napokon otvorio put još jednog mogućeg sagledavanja vlastitog djela u kojem je pričao ne priču nego seriju o vlastitom djelu.
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This article is just a marginal part in discovering Witold Urbanowicz’s works. Discovering it once again, but from a different perspective. Urbanowicz was a Polish artist – painter, sculptor and graphic designer living in Paris. The works of the 75-year old Pallottine are a part of a large contribution of Polish artists creating abroad in the XXth and XXIst century which, over the years, have been vastly underappreciated. This analysis is focused on a large-scale representation (created in 2014 with a fresco technique) of two Popes – Pope John Paul II and John XXIII, heading towards the Upper Room. The main motivation behind creating this piece of art in the Pallottines’ bulding in Paris was the fact that both Angelo Giuseppe Roncalli (later to become John XXIII) and Karol Wojtyła visited the place at one point in their lives. The former paid a visit to the bulding in the early 50s of the XXth century while he was still an apostolic nuncio. Meanwhile, the Pole visited the place in 1978, in which he consumed his meals with the nuns at the refectory – the same refectory in which today we can enjoy the work of Urbanowicz. This scene not only represents a significant moment in the Parisian Pallottines’ history, but also brings with itself a number of interpretations that can provoke deep conteplation about the Church’s history.
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Berendt reads Joanna Rajkowska’s work, specifically her interventions in public spaces, in the context of Ernesto Laclau and Chantal Mouffe’s theory of radical democracy and their key concepts of antagonism and hegemony. She reflects on whether the category of weakness as applied to Rajkowska’s art is an adequate definition of her artistic strategies. The discussion of the projects Minaret (2009-11), Oxygenator (2007) and Trafostacja (2016) is accompanied by a reflection on the artist’s hegemonic power while acting in public space and the social effects of her artistic projects.
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Two French ethnologists, doctors by profession, fell in love with Maramureș and Bukovina in 1979. They periodically return to these regions to directly observe the winter customs and traditions. In 1983 they published in France “Terre magique des Carpates” [“The Magical Land of the Carpathians”], an album about Maramureș. They study the animals from the winter customs bestiary and this year they have visited the Romanian villages from Ukraine: Crasna, Boian, Traian, Putna and Putna de Jos [Lower Putna], bordering the Romanian villages of Straja, Falcău, Vicovul de Sus [Upper Vicov] and Vicovul de Jos [Lower Vicov]. With their permission, we will present information about a custom called “malanca”, the straw bear.
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The horrifying images of the terrorist attacks on New York’s World Trade Center on 11 September 2001, in which three thousand civilians were killed, have become some of the most famous images ever committed to film or television. In the decade following the attacks, a wealth of war films were released, including Redacted (Brian De Palma, 2007), The Hurt Locker (Kathryn Bigelow, 2009) and Zero Dark Thirty (Kathryn Bigelow, 2012) amongst many others. Many films from this period of US cinema addressed both the 9/11 attacks as well as the US military’s conflicts in various countries suspected of harboring terrorist groups. When analyzing the ways the military and intelligence agencies (such as the CIA) are represented in some US films from this period, it becomes clear that such representations changed over just a few years: Redacted showed the military to be polarized–a place for pacifists, rapists and murderers. The Hurt Locker later depicted successful soldiers as having a “gung ho” attitude, and the military as a permanent fixture in Iraq. Finally, Zero Dark Thirty included scenes of CIA torture, which is suggested as being necessary and justified. Surprisingly, however, the ways the military and intelligence agencies are represented in these films did not necessarily mirror the political change that was occurring.
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Apstraktni oblici u povijesti umjetnosti imaju svoju specifičnu povijest koja se može pratiti antropološki, kako to rade Wilhelm Worringer u svome čuvenom djelu Abstraktion und Einfühlung iz 1907. ili Hans Belting u knjizi Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst iz 1990. godine. Apstraktnu umjetnost obično smatramo nereferencijalnom utoliko što ne upućuje na vidljive figure iz svijeta prirode i kulture. Objekte nazvane Black Raw Memory 1 i 2 Vladimira Freliha vizualno doživljavamo kao posve apstraktne i zato nereferencijalne. U ovom tekstu ću pokušati pokazati da je njihova apstraktna vizualna priroda tek formalni okvir mnogo kompleksnijega autorovog odnosa prema pojmu i ulozi medija u vizualnoj konstruiranosti suvremene kulture. [...]
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Najnoviji radovi Zlatka Kozine otvaraju prostor različitim vrstama tumačenja, koja, prema mome mišljenju ovise o načinu na koji ih kontekstualiziramo, bez obzira činimo li to unutar povijesti umjetnosti ili slikovne epistemologije u širem smislu. Za početak bismo trebali upotrijebiti neke radne pojmove koji će nam omogućiti da, prvo, preciznije odredimo mjesto tih radova u suvremenome slikovno–kulturalnom imaginariju te da ih potom, što je mnogo značajnije, značenjski i vrijednosno definiramo. [...]
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This is an interview stemming from Jenny’s book, La Brûlure de l’image. L’imaginaire esthétique à l’âge photographique. Laurent Jenny retraces the history of photography taken on film and its connections with painting and poetry.
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