ARTICULT #10 (2-2013)
THE SPACE OF VLADIMIR STERLIGOV: FROM SUPREMATISM TO “CHALICE-DOME”
UDC 18+7 (01+038.14)
Author: Lozovaya Lidiya, National University Kyiv-Mohyla Academy, e-mail: Lidiya.firstname.lastname@example.org
Summary: The creative evolution of Vladimir Sterligov depends on his overcoming of aesthetics of Suprematism. We prove the original processing of the concept “space” of the Russian avant-garde, due to the impact of modern science and spirituality of Eastern Christianity.
Keywords: Sterligov, space in art, Russian avant-garde
THE AVANT-GUARD IDIOM AT THE EUROPEAN PERIPHERIAC LAND
Author: Markov Alexander, PhD, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: email@example.com
ORCID ID: 0000-0001-6874-1073
Summary: This paper clarifies the thesis of the avant-garde as the transition from an aesthetic contemplation to action intentions through the distinction of the two regions of the European avant-garde: the core (European empires) and the periphery (Europe "new" nation-states). Theoretical performances of Odysseas Elytis in this perspective are the top of the Greek (peripheral) avant-garde. Elytis proves that in avant-garde art in the periphery the main element is not a gesture of speech, but the phenomenological return to things.
Keywords: avant-garde, art theory, Elytis, gesture, object, phenomenology
THE AUTHOR AFTER “THE DEATH OF THE AUTHOR”
Author: Chuvorkina Olga, teaching assistant, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-6386-3351
Summary: The article highlights the transformation of the artist’s role at the turn of the XX-XXI centuries and analyses the notion of «authorship» in present day art regarding the post-historical philosophic notions of «subjectivity», «anonymity», «identity» and «nonidentity». The attempt made there is to reconsider the idea of «the death of the author», to find out sources and logic of metamorphosis happened in artistic world. The article also outlines the ways to define the place and role of the «ethics» in the present-day culture.
Keywords: the death of the Author, artist, curator, spectator, identity, subjectivity, dialog, ethics
THE DEMATERIALIZATION OF THE OBJECT OF CONCEPTUAL ART AS WITNESSED BY LUCY LIPPARD
Author: Shuvalova Anna, PhD, graduate program coordinator Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: email@example.com
ORCID ID: 0000-0003-4478-0240
Summary: The article investigates the views of art-critic and curator Lucy Lippard on the tendency of material form’s devaluation in the works of conceptual art, which she called “dematerialization of art-object”. Comparison of Lippard’s theoretical propositions with her curatorial practice justifies her choice of unusual research methodology and particular form of findings report. The critical analysis of dematerialization concept shows that its interpretation is subject to the notion of materiality. Such analysis concludes that dematerialization of art object is related to the change of the artist’s socio-political role, commodity status of the artwork and the form of its representation.
Keywords: conceptual art, dematerialisation, Lucy Lippard, curatorial practice, representation, expanded field of art
Author: Georges Didi-Huberman
Summary: A commented translation of the article of one of the leading theoreticians of contemporary art, commenting of the place of this text in place in the modern theory, demonstratig the radical features of the recent theory.
Keywords: contemporary art, aesthetic impact, beautiful, ugly, experience
IMAGINARY INTERESUBJECTIVITY IN GEORGES BATAILLE'S TRANSGRESSIVE COMMUNITY
Author: Weiser Tatiana, PhD, Presidential Academy of National Economy and Public Administration, e-mail: firstname.lastname@example.org
Summary: The article explores the search of the new forms of communitarian experience within the historical moment when the totalitarian idea reached its fullest flower in 1940s. The loss of communitarian connections, the rupture of communicative relationshipы between people were experienced as the most painful moment of the period. A French philosopher and writer Georges Bataille (1897–1962) proposed a new model of imaginary community that aimed to transgress any traditional notion of sociality and to overcome rational categories of sociological analysis. The imaginary community was constituted as an ecstatic dramatization of communitarian experience within writing, in the literary or philosophical text. The author of the article shows that such a model of community contains implicit dangers as it does not distinguish enough between a subjective aspect of experiencing ecstasy and a moral regulative aspect of intersubjective interaction.
Keywords: community, subjectivity, intersubjectivity, dramatization, imagination
“SAPHIRORUM MATERIA”, SUGER’S TYPOLOGICAL STAINED -GLASS WINDOWS AND “DE ADMINISTRATIONE”
Author: Khripkova Elena, Ph.D (in art history), associate professor of the art history department The Russian State University for the Humanities_(RSUH, Moscow, Russia), e-mail: email@example.com
Summary: The article is dedicated to the interpretation of the twelfth-century iconographic program of Suger’s stained-glass windows for the Saint-Denis basilica and the problem of understanding Suger’s personality. This paper considers the images of typological panels of stained-glass windows for the Suger’s chevet at Saint-Denis and fragments of Suger’s text «De Administratione». The author also analyzes the possible explanations of the usage of colour blue for background in Suger’s stained – glass windows and indicates a direct connection between "materia saphirorum» and the texts of Scripture.
Keywords: Saint-Denis abbey church, abbot Suger, biblical typology, stained-glass windows, iconographic program, “materia saphirorum”
PERM IN NEW YORK: SOUND OF SHIPS, NOISE OF AIRPLANES
Author 1: Antipina Zoya, PhD in Russian Literature, head of the department of the cultural heritage policy and lecturer at the Department of Journalism and Mass Communication State National Research University of Perm, e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-1578-777X
Author 2: Arustamova Anna, D.Habil. in Russian Literature, full professor in Russian Literature at the State National Research University of Perm, e-mail: email@example.com
ORCID ID: 0000-0003-3079-0253
Summary: The article traces moods of representation of the American topics in Vassily Kamensky's prose and poetry as constitutive to the whole image set of the poet and specifying limits of his imagination represented in his works. Particular attention is drawn to the “airplane project” of Kamensky: new landscape model as embodiment of his life. Changes in the system of space-time coordinates in his works are decisive. These changes could be described as juxtaposition of American and Ural (meta-) texts.
Keywords: Kamensky, futurism, representation, America, Perm, aviator, landscape, space
ONTOLOGY OF CINEMA AND PROBLEMATIZATION OF KEY QUESTIONS OF THE THEORETICAL CINEMA STUDIES
UDC 001.8 +791.43.01
Author: Schtein Sergey, PhD in Art, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-4419-1369
Summary: In article is constructed the non-formalized ontology of cinema, such concepts connected with ontology of cinema as the ontological and modelled content are actualized, logically built axiomatic row connected with ontology of cinema is deduced, ontologically of not media character of cinema is substantiated, ontological classification of cinematographic works is entered, and also is raised the question of principle possibility of formation of a methodological paradigm concerning a cinematograph — the full-fledged functional cinema science, allowing to realize such educational programs which would be independent of the personality student, but exclusive from the knowledge presented on an actual time point organized and expressed in the form of a methodological paradigm.
Keywords: methodology of cinema, ontology of cinema, film theory, axiomatic row of ontology of cinema, methodologist of cinema, paradigmolog, methodological paradigm, cinema science, cinema education, ontological classification of movies
THE ONTOLOGY OF FILM IN FOREIGN STUDIES
Author: Khachaturyan Tatevik, graduate student, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: email@example.com
Summary: The article is dedicated to detection, systematization and analysis of the major trends in contemporary foreign studies on the ontology of film.
Keywords: ontology of cinema, film theory
THE CONCEPT OF THE “LITTLE MAN” IN THE FILM BY KIRA MURATOVA “SENSITIVE POLICEMAN” (1992) AND “INTERESTS” (1994)
UDC 791 (43-2+44.071.1)
Author: Kapitonov Dmitry, post-graduate, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: firstname.lastname@example.org
Summary: Problems, which Kira Muratova is analysing, her versions of the "the small person" shows significance in her creativity of the topic of the classics of Russian literature, and of the feminist discourse. Muratova’s movement from avant-garde Russian cinema is very important trend. Her "the small person" is a new anthropological type. Borrowing motifs of traditional culture and discourses of contemporary art, film director, organizes the space with its own laws. Analysis of the features of the concept of the "the small person" in two films 2000s. reveals the mystery of the origin of the unique arsenal of means of expression, which is associated with features of her philosophical and artistic concept.
Keywords: Kira Muratova, «the small person», literary allusions, ex-centrism in cinema
ART OBJECT RED PEOPLE ON THE MENTAL MAP OF PERM REGION
UDC 73 (01)
Author 1: Suvorova Kristina, graduate of the specialty "Journalism", Perm state national research University, Russia, e-mail: email@example.com
Author 2: Cherepanova Larisa, PhD, associate Professor of the journalism and mass communications Department, Perm state national research University, Russia, e-mail: firstname.lastname@example.org
Summary: The article presents results of our study of the art-object «Red people» and its reflection in the mass consciousness of citizens (Perm, Russia). Media discourse is considered as a relevant sphere to analyze mass consciousness. Discourse analysis allows to find out connection and interferences among language meanings, cultural context, citizens fillings and associations. The cultural conflict between local and global culture were considered as the main factor, which influenced on the _recognition and development of the «Red people» semantics in the mass consciousness of the citizens.
Keywords: public art-object, media discourse, mass consciousness, semantics of the image, color, character and mentality, discourse analysis
D. DICKIE’S EARLY INSTITUTIONAL THEORY OF ART. PRECONDITIONS AND SOURCES OF ORIGIN
Author: Inozemtseva Alexandra, Moscow state university Faculty of Philosophy postgraduate Department of aesthetics, e-mail: email@example.com
Summary: In the second half of the XX century the Art practice significantly increased its scope: a specific style, correspondently enhanced the very limits of art. Adding to that, not always the creation rising in modern culture is acknowledged by the recipient it as an art product, unlike the authors, critics and other representatives of the Art world own perception. American aesthetics were among the first to focus on the analysis of modern artistic practices. The idea of impossibility of influencing the universal understanding of art was already shaped by that time, as formed by authors like M.Weitz, P.Ziff, W. Kennick, M. Mandelbaum, B.R. Tilghman basing themselves in Wittgenstein’s theory of ‘language as a form of life’. D Dickie contested this theory and created his own institutional theory of art. In this article, we analyze the preconditions for the emergence of the sources of European and American philosophy, which constituted the basis for the creation of Dickie’s institutional theory of art and attempted to define art as a specific institutional system and bring it to an objective understanding.
Keywords: institutional theory of Art, definition of art, essencialny approach to the definition of art, wittgenstein's theory of language games, «Artworld» , A. Danto, M. Weitz, D. Dickie