Issue 34 (2019, 2) Summary

ARTICULT #34 (2-2019) April-June

SUMMARY

THEORY OF ART

CORPOREALITY IN THE PARADIGM OF TRANSHUMANISM AND POSTFORDISM
UDC 7.01
Author: Fadeeva Tatiana Evgenievna, Ph.D. in Arts, senior lecturer, School of Design of the Faculty of Communications, Media and Design, National Research University Higher School of Economics (12, Malaya Pionerskaya st., Moscow, Russia, 115054), e-mail: tatiana.evg.fadeeva@gmail.com
ORCID ID: 0000-0002-6754-4235
Summary: The article is devoted to the problem of corporeality as a sociocultural phenomenon. Today “corporeality” is being re-evaluated in connection with the “extended body” concept and manifestation of the principle of “morphological freedom”, as well as the development of technologies that allow changing the structure of the human body through surgical, genetic, plastic and other corrections. The article examines such directions of development / “improvement” of a person as “cyborgization” and “virtualization”, and also analyzes some practices of contemporary art and design which dwell upon the concepts of body and transgression. In addition, the article attempts to integrate the “extended body” phenomenon into the current socio-economic context.
Keywords: corporeality, “extended body”, bodimodification, cyborgization, virtual reality

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HISTORY OF ART

WEAPONS OF ANCIENT EGYPT: THE MILITARY AND THE SACRED. PART 1
UDC 7.032(32)+739.7
Author: Reunov Yury Sergeevich, PhD in Art Studies, researcher, Centre for Egyptological Studies, The Russian Academy of Sciences (29-8 Leninsky av., Moscow, Russia, 119071), e-mail: yury.reunov@gmail.com
ORCID ID: 0000-0001-6264-4918
Summary: Weapons of Ancient Egypt are a phenomenon that unites elements of material and spiritual culture. The development of weapons occurred in two directions. The first one was inspired by intention to increase the effectiveness of their use in a battle. This goal was achieved through improvement of manufacturing technology, usage of new materials and searching for optimal form. The peoples of the Middle East had a strong influence on development of military weapons of Ancient Egypt. This influence revealed itself in the second half of the 4th millennium BC, however, the greatest level of its intensity was reached in the first half of the 2nd millennium BC. The second direction of development of Egyptian weapons is connected with its symbolic meaning and ritual use. Mythological thinking endowed objects with the ability to influence reality, ensuring victory over the enemy on the invisible (spiritual) plane. This article is devoted to the study of the armament of the ancient Egyptians as a complex phenomenon that contains military and sacral aspects.
Keywords: Ancient Egypt, weapon, armament, war, ritual, mace, knife, dagger, axe, magic, symbolysm

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TYPES AND SYMBOLIC MEANING OF ANCIENT EGYPTIAN REWARDS IN THE NEW KINGDOM
UDC 7.032(32)
Author: Ershova Elena Sergeevna, lecturer, Department of theory and history of art, School of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: lena.s.ershova@gmail.com
ORCID ID: 0000-0002-1345-7056
Summary: The phenomenon of the king’s rewarding the court officials and warriors for loyal service dates back to the New Kingdom, which is confirmed by lots of historical sources: the officials’ autobiographies, statues and pictures of the officials with the rewards given by the king, as well as the scenes depicting the king’s rewarding the noble people which first were created in private tombs during the reign of Tutmos IV and went on appearing during the whole New kingdom epoch. In that period the reward system known as “gold of honours” or “gold of praise” took its complete form. This article deals with types and symbolic meaning of the rewards in Ancient Egypt, and the role of the “gold of honours” in the society of Ancient Egypt. The whole range of things including food, dishes, incense, jewellery (necklaces, diadems, pendants, earrings, and bracelets) as well as ritual weapon was related to “gold of honours”. Rewarding with “gold of honours” in the Egyptian “praising system” could be considered as expression of the king’s attitude or some special kindness towards a certain official without the traditional division of the society with the use of honourable and professional courtesy titles.
Keywords: Ancient Egypt, New Kingdom, rewarding scenes, gold of honour, rewards

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“LADDER OF LIFE”. ENTERTAINING AUXOLOGY IN RUSSIA AT THE BEGINNING OF THE 18th CENTURY AND A SERIES OF TILES FROM THE NEW JERUSALEM
UDC 7.034.7+7.045+738
Author: Belyaev Leonid Andreevich, Doctor of Sciences (History), Corresponding Member of the Russian Academy of Sciences, Head of the Moscow Russia Department of the Institute of Archeology of the Russian Academy of Sciences, Leading Researcher of the Institute of Art Studies of the Ministry of Culture of the Russian Federation (19 Dmitry Ulyanov st., Moscow 117036), e-mail: labeliaev@bk.ru
ORCID ID: 0000-0001-6825-4988
Summary: During 2010 year excavations in the Novo-Jerusalem monastery under Moscow, Russia, it were found many relief tiles of the end of the 17th - the first third of the 18th centuries with emblematic and allegorical plots. Analysis of one series allowed to identify the plot as "The Ladder of Life" ("The Age of Man"). The topic of “ages as steps” is borrowed from Europe and goes back to the classical era and the Middle Ages. In the 17 and 18 centure, it reached the peak of popularity in European art. New basic scheme (going back to the 16 century) declared stepped podium with the personifications of each age standing on it (usually 7) with the routine attributes and inscriptions. In Russia, this composition spread in the second half of the 18th century as taken from cheap popular prints from Europe. We identify the series from New Jerusalem a the first known European case of use of the composition in the ceramic relief. The Russian version simplifies complex engraving sheets, adapting the composition to a limited plane and thus produces a new, own composition, focusing on traditional local terracotta. This proves complete transfer of main elements of this complex allegorical plot to the monastic and court circles of Russia in early modern times.
Keywords: “Age of Man”, tiles, New Jerusalem, allegorical art, baroque, Russian-European transfer in the 17-18 centuries

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“PARIS IS GOOD, BUT NOT THAT GOOD AS ST. PETERSBURG…”: RUSSIAN RECEPTION OF CIRCULAR PANORAMAS OF PARIS WITHIN THE CONTEXT OF RUSSIAN-FRENCH RELATIONS IN THE FIRST HALF OF THE 19th CENTURY
UDC 75.053
Author: Novik Alina, PhD candidate, European University at St. Petersburg (6/1A Gagarinskaya street, St. Petersburg, Russia, 191187), e-mail: anovick@eu.spb.ru
ORCID ID: 0000-0002-6863-6748
Summary: At the beginning of the nineteenth century, the pan-European fashion for circular panoramas (giant circular pictures) reached St. Petersburg and Moscow. Foreigners who counted to earn on showing paintings to which the European public had already lost its interest brought such pictures to Russia. In order to make these demonstrations attractive to the Russian audience, foreign entrepreneurs and local critics appealed to topical issues that were associated with the paintings’ subject. In particular, the panoramas of Paris that were shown in the Russian capitals during the first half of the nineteenth century were presented through the lens of complicated Russian-French relations. This study aims to restore the history of panoramic exhibition in St. Petersburg and Moscow and demonstrates to what extent the state of Russian-French relations affected the Russian reception of topographically accurate (and therefore seemingly neutral) panoramic images of Paris.
Keywords: panorama, panoramic spectacles, circular panorama, Russian-French relations in the first half of the nineteenth century, Russian-European artistic connections

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CONTEMPORARY ART / VISUAL ARTS

PROBLEMATIZATION OF ARTISTIC ASPECTS OF GLITCH ART IN CONTEMPORARY GLITCH STUDIES
UDC 7.01+7.038
Author: Zhagun-Linnik Elvira Valer’evna, teacher, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: elvirazhagun@gmail.com
ORCID ID: 0000-0002-1291-9271
Summary: The article deals with the main theoretical works on glitch art and glitch aesthetics, allowing to make the complete representation of the current state of research of glitch phenomena and to identify relevant approaches to their study. Glitch art as a new movement in art explores the specific communication between human and machine leading to the emergence of unpredictable situations in the work of computer technology – failure (error) that generates a specific imaginative environment. The error interpreted by the artist as a glitch phenomenon reflects the essence of digital aesthetics, revealing the reality of the conditions of existence of digital and machine systems. Glitch art turn out to be an integral part of interpretive practices that criticize digital culture to promote the project of ideal image transmission. It opens up new opportunities to problematize the author's figure as an interpreter who break ideas about the norm, the ideal which allows us to consider the source unaesthetic material (error) as means of creativity. Such problematization of the author's figure different forms and types of existence of glitch were differentiated, as well as conceptual, social, ethical, aesthetic and artistic principles of glitch art with own set of means of artistic expression and with semiosis regimes.
Keywords: glitch art, glitch theory, glitch aesthetic, critical art, critical theory, shift, extraposition, identity

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CINEMA

TROPHY FILMS IN THE USSR DURING THE 1940s AND 1950s: TO SOME PRACTICES OF FILM EXHIBITION
UDC 791.44.075
Author: Tanis Kristina Aleksandrovna, Research Assistant, The International Centre for the History and Sociology of World War II and Its Consequences, National Research University Higher School of Economics (room L-415, 21/4 Staraya Basmannaya str., Moscow, Russia, 105066), e-mail: ktanis@hse.ru
ORCID ID: 0000-0001-5389-7761
Summary: This paper considers the strategies of trophy films exhibition in the USSR during the first postwar. Through analyzing transcripts of film official’s sessions, resolutions of the Council of Ministers of the USSR and other archival sources, this research is aimed to reconstruct the history of exhibition and circulation of foreign films in the frames of Soviet model of distribution. As multiple studies have shown, the circulation of trophy films was aimed to fulfill the governmental budget. Last but not least, the Soviet film distribution system implied the coexistence of several types of film networks (state network, trade union network, ministerial network), each of which had to fulfill the annual plan of profits. This decentralization resulted in the networks to compete with each other. Under these circumstances, trophy films became a valuable source of revenues. This article shows how the practices of this inter-network competition, such as spreading of Soviet and foreign films, the struggle for cinema theatres, advertising and film exhibition policies, have influenced the history of film distribution in the USSR.
Keywords: Soviet Film Distribution, Trophy Films, Economics of Cinema, Film Networks, Displaced Cultural Valuables

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REVIEW OF THE CINEMATOGRAPHY OF THE REPUBLIC OF KOREA OF THE 50S-70S OF THE TWENTIETH CENTURY AND THE INFLUENCE OF THE SOCIAL AND POLITICAL CONDITIONS PREVAILING IN THE COUNTRY DURING THIS TIME PERIOD ON IT
UDC 791.43.03
Author: Mikheev Vladimir Andreevich, 4-year bachelor student, Department of Oriental and African Studies, Ural Federal University named after the First President of Russia B.N. Yeltsin (51 Lenin Ave, Yekaterinburg, 620075), e-mail: mv123v@yandex.ru
ORCID ID: 0000-0002-3650-5583
Summary: This paper is devoted to the consideration of the process of formation of “auteur cinema” in the Republic of Korea from the fifties to the seventies of the twentieth century, as one of the most important processes for the development of the cinema of this country. The reasons for the formation of this trend in South Korean cinema art in this historical period were considered, including both external cultural influence and the internal political situation of the country. Not only the creative aspect of the works of the directors was taken under consideration, but also the historical circumstances in their works were created. The most influential films that were created in this historical period were considered in this paper. The influence of this process on the further development of the cinema of the country was reviewed, and its role in bringing South Korean cinema to the international level at the end of the twentieth century was assessed.
Keywords: cinematography, Republic of Korea, Korean culture, Korean cinema, auteur cinema, contemporary art

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HISTORY AND THEORY OF CULTURE

THE HOMESTEAD OF MORDVINOV AS AN ARTISTIC COMMUNE
UDC 7.06
Author: Voron (Sklyadneva) Polina Alekseevna, post-graduate student of the Gorky Institute of World Literature of the Russian Academy of Sciences (25A Pvarskaja st., Moscow, Russia, 1210069), e-mail: psklyadneva@gmail.com
ORCID ID: 0000-0001-6245-5869
Summary: The homestead A.A. Mordvinov “Black Valley” of the Lower Dnieper district of the Tauride province is one of the key topos of the russian avant-garde. The guests were V. Hlebnikov, B. Livshits, V. Mayakovsky, N. Goncharova, M. Larionov, a society of “Gilea” was established. The article analyzes the original “iconostasis” of the Gileans, created in Chernyanka by M. Larionov and V. Hlebnikov: these are portraits of Burliuk and V. Hlebnikov brothers by M. Larionov and the “seven-fold code” associated with seven “Gileans” in the art of V. Hlebnikov. There is a connection between the “seven-part code” not only with the estate of Mordvinov, but also with Wordsworth's poetry. Attention is also paid to the numerical search of V. Hlebnikov, the interest of N. Goncharova, M. Larionov to the archaic, arising in Chernyanka. The transformation of the manor myth in the new conditions of the artistic commune is analyzed.
Keywords: homestead topos, homestead myth, seven of us, Wordsworth, Chernyanka, Hlebnikov

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AN ARTIST FIGURE IN PROSE OF 1920S. “WOODPRINT” BY B.LAVRENEV (1928) AND “UNKNOWN ARTIST” BY V.KAVERIN (1931)
UDC 7.072.3
Author: Salienko Aleksandra Petrovna, candidate of Art History, Associate Professor, Section of History of Russian Art, History Department, Lomonosov Moscow State University (119192, Moscow, Lomonosovsky prospect, 27, korp. 4), e-mail: alsalienko@mail.ru
ORCID ID: 0000-0002-9421-475X
Summary: This article analyses a story «Woodprint” by B. Lavrenev (1928) and a novel “Unknown artist” by V. Kaverin (1931). In this case, the specificity of the approach is not in the literary interpretation of texts, but in an attempt by the art historian to understand a literary composition devoted to art and an artist. The method is based on the assumption that, in parallel with art critics, writers write “their own” art history. There is an intersection of surfaces – the superimposement of literary texts on reality (in our case, we are talking about 1920s), when the writer acts as a suspended observer of contemporary events and at the same time as an interested participant in the artistic process. He is interested in the actual problems of art, the psychology of creativity and the behavior of revolutionary artists.
Keywords: Lavrenev, Kaverin, Soviet art, the image of an artist, literature of the 1920s, art and revolution, the artist and the revolution

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METHODOLOGY

THE UNREALIZED PROJECTS OF THE MOSCOW MUSEUM OF APPLIED SCIENCES IN THE FIRST ALEXANDER GARDEN: THE MATERIALS TOWARDS A HISTORY OF RUSSIAN ARCHITECTURE OF THE 1870th
UDC 727.7+727.7:502
Author: Gladkikh Elena Vasilevna, Graduate student of Department of History and Theory of Applied Art and Design, Moscow State Academy of Industrial and Applied Arts named after S.G. Stroganov (9., Volokolamskoye St., Moscow, Russia, 125080), e-mail: egladkih@mail.ru
ORCID ID: 0000-0002-4395-9743
Summary: The article devoted to the story of the creation of The Moscow Museum of applied sciences in the first Alexander garden in 1870th, which marks the early effort to apply the pavilion display system to native urban-planning practice. The unrealized projects were created by the prominent architects such as N.V. Nikitin, L.V. Dal’, N.A. Shokhin, A.S. Kaminskij. The designing of the museum pavilions presents the nature of the architects’ style search specifically in the light of the Russian style state support. The Russian style application in the free-expended ensemble was elaborated in the projects as well as its uses for the public buildings’ facades. The author puts emphasis on the scientific, organizational and financial matters in view its dramatic impact on the projects fate.
Keywords: The Moscow Museum of applied sciences, the first Alexander garden, A.P. Bogdanov, eclecticism, the Russian architecture of the XIX century

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“THE ART OF SOVIET TURKMENIA” AT THE MUSEUM OF FINE ARTS IN MOSCOW. 1935. THE LOST EXHIBITION
UDC 061.43
Author: Abbasova Galina Elbrusovna, The Pushkin State Museum of Fine Arts (12 Volkhonka st., Russia, 119019), e-mail: abbasova_galina@mail.ru
ORCID ID: 0000-0003-0236-912X
Summary: In the article the author attempts to reconstruct the exhibition “Soviet Turkmenistan”, which was organized at The Museum of Fine Arts in Moscow in 1935. According to periodical press and archival documents, the author retrace the exhibition’s history, describes the main exhibited paintings, illuminates the reaction of the Soviet public and critics to the presented paintings, enter “Soviet Turkmenistan” in the context of Central Asian exhibition of the 1930s.
Keywords: The Pushkin State Museum of Fine Arts, exhibitions of Soviet art, Central Asian’s art, Soviet Turkmenistan, artist’s retreat, the horse run Ashgabat-Moscow, MOSSH, Ruvim Mazel, Byashim Nurali, Pavel Sokolov-Skalya, Olga Yanovskaya

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