Issue 43 (2021, 3) Summary


ARTICULT #43 (3-2021) August­-September



Research article
UDC 7.01+791.43.01
DOI: 10.28995/2227-6165-2021-3-6-39
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail:
ORCID ID: 0000-0002-4419-1369
Summary: In the second article from the cycle of works devoted to the analysis of existing and potentially possible algorithms of the research of cinematography, firstly, the logic of identifying an ontological scheme of the thing area of cinema studies, which for cinema studies itself is an unproblematic given, is described, and secondly, a theoretical model of one of the components of this scheme is constructed - material - available in the thing area of cinema studies regardless of the cognitive activity in relation to it. The resulting construction is a kind of “coordinate system” that fixes the key components of the researched and establishes the main functional connections between them. This scheme can be used both to introduce novice researchers into an understanding of the specifics of disciplinary cinema studies, and to unify of cinema studies researches. Also this construction is an important additional tool for thing-elimination of any existing representations in relation to cinematography, their coordination in relation to each other and systematization.
Keywords: cinema studies, cinema science, methodology of cinema studies, thing area of cinema studies, cinematography, cinema education, film, activity approach, author, film production, rental, censorship

For citation:
Schtein S.Yu. “Strategies and methodological scheme of cinema research. Thing area.” Articult. 2021, no. 3(43), pp. 6-39. (in Russ.) DOI: 10.28995/2227-6165-2021-3-6-39

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Research article
UDC 7.01+7.038
DOI: 10.28995/2227-6165-2021-3-40-55
Author: Levina Tatiana Vladimirovna, CandSci in Philosophy, visiting fellow, Institute for Human Sciences (Vienna, Austria), e-mail:
ORCID ID: 0000-0002-4422-3244
Summary: Avant-Garde painters were amazed by fifteenth to sixteenth century “old style” Russian icons, which saw the light of the day in the early twentieth century after two centuries of prohibition. In the seventeenth century, ascetic had been replaced by “Western” mimetic images. Icons had a massive impact on Mikhail Larionov, the founder of Rayonism, who wrote that “Russian icon painters <…> were strongly drawn towards abstraction”. In 1913 he organized an exhibition of his Rayonnist paintings with rays of light reflected from objects. Kazimir Malevich was also influenced by icons. In his theoretical writings, he refers to Gospels. Launching his Suprematism at the “0,10 Exhibition” in 1915, Malevich placed his masterpiece in the “beautiful corner”, as an icon. Alexandre Benois said that the Black Square is a “cult of emptiness, darkness, ‘nothing’”. It will be justified that it was another type of darkness, connected to the concepts of “uncreated light” and “dazzling darkness” in Dionysius the Areopagite and Gregory Palamas’ theology. I refer to Pavel Florensky and Sergey Bulgakov’s philosophy to demonstrate how an application of Palamas’ theory, hesychasm, was reflected in fifteenth-sixteenth-century icon-painting and later in Avant-Garde theory and paintings, in particular by those of Larionov and Malevich.
Keywords: Kazimir Malevich, Mikhail Larionov, Dionysius the Areopagite, Gregory Palamas, hesychasm, suprematism, uncreated light

For citation:
Levina T.V. “Uncreated light and dazzling darkness: Byzantium of Avant-Garde.” Articult. 2021, no. 3(43), pp. 40-55. (in Russ.) DOI: 10.28995/2227-6165-2021-3-40-55

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Research article
UDC 7-049.1
DOI: 10.28995/2227-6165-2021-3-56-67
Author: Davydova Olga Sergeevna, Ph.D. in the History of Arts, Leading Researcher Associate at the Scientific Research Institute of Theory and History of Arts of the Russian Academy of Arts (Moscow, Russia), e-mail:
ORCID ID: 0000-0002-6834-3291
Summary: The article is a conceptual exploration of the life and creative path of Mikhail Aleksandrovich Vrubel (1856-1910) in the context of the individual characteristics of his personality. The relevance of this study is determined by the need to find new conceptual angles in the field of understanding the idealistic component of M.A. Vrubel's work, i.e. in the field of his iconographic poetics. The visual myth-making of the artist, who drew on authentic spiritual prototypes, defined the leading role of Vrubel not only in Russian Symbolism and Modernism, but also in Modernism as a whole. The linking of the biographical aspect with M.A. Vrubel's poetic thinking, examined through the prism of “pure art”, i.e. in the context of the idea of the legitimacy of the independent existence of the self-contained reality of the work, can give entirely new accents of understanding the deep origins and potential meanings of the artist's work at the present stage of development of art history.
Keywords: Art History, Russian Art of the Late 19th – Early 20th Century, Symbolism, Art Nouveau, Modernism, Mikhail Vrubel, Poetics of Creativity, Iconography, Artistic Thinking

For citation:
Davydova O.S. “Mikhail Vrubel in Search of the “Stylishly Beautiful”. The Biographical Aspect.” Articult. 2021, no. 3(43), pp. 56-67. DOI: 10.28995/2227-6165-2021-3-56-67

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Research article
UDC 7.038.14+746.344
DOI: 10.28995/2227-6165-2021-3-68-73
Author: Ignatenko Galina Sergeevna, Phd student, Art and Design School, National Research University “Higher School of Economics” (Moscow, Russia), e-mail:
ORCID ID: 0000-0002-0253-2540
Summary: The article is devoted to the activities of the artel of embroiderers in the village Verbovka, founded by N.M. Davydova in 1900. The collaboration of the artel with artists of the Russian avant-garde, such as: Alexandra Exter, Nadezhda Udaltsova, Olga Rozanova was brave and innovative. The most important principle of the artel was the preservation of craft traditions, as well as the use of abstract sketches in decorative and applied products. This creative experiment is not only an important starting point for the experiments of avant-garde artists in the field of costume, but also one of the first examples of collaboration between folk crafts and artisans. The article also examines not only the role of Verbovka artel in of suprematism expansion, but also the importance of artists' appeal to new media.
Keywords: suprematist embroidery, Amazon avant-garde, stiching art, emproidery, Verbovka

For citation:
Ignatenko G.S. “Stitching avantgarde: suprematist embroidery followed by the activities of Verbovka Artel 1900-1919.” Articult. 2021, no. 3(43), pp. 68-73. (in Russ.) DOI: 10.28995/2227-6165-2021-3-68-73

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Research article
UDC 7.036(5)
DOI: 10.28995/2227-6165-2021-3-74-80
Author-1: Savan Vasim, post-graduate student of the Saint Petersburg State University of Industrial Technologies and Design (Saint Petersburg, Russia), e-mail:
ORCID ID: 0000-0002-7025-9160
Author-2: Vilchinskaya-Butenko Marina Eduardovna, PhD in Pedagogical Sciences, Associate Professor, Head of the Department of History and Theory of Design and Media Communications of the Saint Petersburg State University of Industrial Technologies and Design (Saint Petersburg, Russia, e-mail:
ORCID ID: 0000-0002-8874-4527
Summary: The informatization of everyday practices in the form of digital media and social networks has significantly influenced the artistic life of the countries of the Middle East and North Africa. Traditional art and, in particular, Arabic calligraphy faced the problem of memorialization. The logical evolution of Arabic calligraphy was the direction that appeared in the depths of hurufiya – an aesthetic movement of the mid-twentieth century, which had a development in the Middle East and North Africa – and was called calligraffiti. The points of intersection of Arabic calligraphy and Western graffiti are explained from the point of view of the confrontation between traditionalism and postmodern ideas, using the example of theoretical research and the work of Hassan Massoudi, eL Seed, Karim Jabbari and other street artists. It is noted that today, thanks to the postmodern worldview, which has been clearly embodied in the artistic work of Middle Eastern and North African artists, a cultural remake and hybridization is being recorded in relation to Arabic calligraphy.
Keywords: Arabic calligraphy, calligraffiti, Arabic art, contemporary art, street art

For citation:
Savan V., Vilchinskaya-Butenko M.E. “Remake of Arabic calligraphy: calligraffiti in the city space.” Articult. 2021, no. 3(43), pp. 74-80. (in Russ.) DOI: 10.28995/2227-6165-2021-3-74-80

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Research article
UDC 7.072
DOI: 10.28995/2227-6165-2021-3-81-95
Author: Gayduk Vladislava Leonidovna, Leading expert, The Pushkin State Museum of Fine Arts (Moscow, Russia), e-mail:
ORCID ID: 0000-0002-1131-5732
Summary: The history of the Center for Contemporary Art on Yakimanka is analyzed through the prism of archival documents that are stored in the Media Library of the Pushkin State Museum of Fine Arts. The investigation of the all types of the archival documents allows us to consider the Centre for contemporary art not as an art institution but as the embodiment of the “artistic tusovka”. This term was suggested by Victor Misiano. The magnitude of the exhibition and other art projects that were created in the Center (the newspaper of contemporary art “Vernisage”, the magazine “Artograph”, the Curators’ workshop, Visual Anthropology workshop, etc.) confirms this hypothesis. Despite the weak institutional ties that characterize artistic tusovka, the Centre became one of the important milestones in the development of contemporary Russian art.
Keywords: institutional history of contemporary art, Yakimanka Center for Contemporary Art, Bazhanov, Misiano, Archive of Contemporary art

For citation:
Gayduk V.L. “The history of the Center for Contemporary Art on Yakimanka. Archive optics.” Articult. 2021, no. 3(43), pp. 81-95. (in Russ.) DOI: 10.28995/2227-6165-2021-3-81-95

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Research article
UDC 7.036
DOI: 10.28995/2227-6165-2021-3-96-105
Author: Kuzina Elizaveta Olegovna, research intern in RUDN University (Moscow, Russia), junior researcher in State Institute for Art Studies (Moscow, Russia), International Association of Art Critics, e-mail:
ORCID ID: 0000-0002-0835-9531
Summary: An attempt to analyze the oeuvre of Indian-Portuguese artist Francis Newton Souza is made in this paper, adopting postcolonial theory, especially the concept of ‘hybridity’. Souza creates his special imagery, existing on the border of Indian and European cultures. Re-writing works by well-known European artists, reconsidering compositions by Titian, Picasso as well as some of his contemporaries (Francis Bacon), Souza implicates new traits, designed to discover figure of the Other. Dark color palette, monstrous forms and faces, aggressive sensuality – all these characterize those works by Souza, emerged from the clash of Indian culture and European, on Indian culture, at the same, time reminds repeatedly emerging in Souza’s oeuvre feminine images, referring to images of apsaras, Indian celestial musicians, or yakshinis, ancient nature spirits of forests.
Keywords: Souza, Indian Modern Art, postcolonial studies, hybridity, re-writing, third space

For citation:
Kuzina E.O. “Indian Modernism in postcolonial perspective: hybrid imagery in F.N. Souza’s art (1924-2002).” Articult. 2021, no. 3(43), pp. 96-105. (in Russ.) DOI: 10.28995/2227-6165-2021-3-96-105

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Research article
UDC 398.47+791.43.04
DOI: 10.28995/2227-6165-2021-3-106-114
Author: Abramova Ekaterina Yuryevna, PhD student, Tyumen State Institute of Culture (Tyumen, Russia), e-mail:
ORCID ID: 0000-0002-1256-1871
Summary: The article is devoted to the study of the image of witches in popular culture through the analysis of four American TV series: “Charmed” (1998), “Charmed” (2018), “Sabrina the Little Witch” (1996) and “The Chilling Adventures of Sabrina” (2018). These series were chosen due to their popularity and a new look at the image of witches. Also due to the regional and ideological characteristics of the society that created them. The methodological basis of the work was an informational approach that considers cinema as part of the cultural space and culture as a whole, also used the “classical” method of comparative analysis. The category “witch” itself is considered as a universal of culture, the emphasis is on changing the role and image of witches in the “consumer society”. The historical basis of the article is the analysis of such sources as “The Sum of Theology” by Thomas Aquinas, “The Anthill” by J. Nieder, “The Hammer of Witches” by G. Kramer and J. Sprenger, a collection of medieval treatises “Demonology of the Renaissance”, as well as a number of normative legal documents affecting the issue of witchcraft in Western Europe and New England.
Keywords: witches, feminism, witches in pop culture, witches in USA, the Charmed, Sabrina

For citation:
Abramova E.Yu. “"Sabrina" and "Charmed": the image of witches in original TV series and their reboots.” Articult. 2021, no. 3(43), pp. 106-114. (in Russ.) DOI: 10.28995/2227-6165-2021-3-106-114

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Research article
UDC 316.74:82:7+7.01
DOI: 10.28995/2227-6165-2021-3-115-124
Author: Markov Alexander Viktorovich, Dr.Habil. in philology, full professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail:
ORCID ID: 0000-0001-6874-1073
Summary: Boris Vipper’s project, which authoritatively substantiated the order of operations of the art historian when dealing with various material, was part of an intellectual quest to overcome the contradictions between the formalist understanding of the visual and the neo-Kantian variation of the Ding an sich. These searches in the GAKhN art criticism uncovered two other contradictions: between individual interest in an aesthetic fact and collective experience as the basis of empathy, and between interpretation as a principle of isolation and thematization of social experience and art’s own dynamics as a manifestation of its autonomy. Wipper's early works deal with these contradictions, but unlike the GAKhN colleagues, he asserted the autonomy of artistic worlds, bringing sign and character together. The rejection of the recognition of the autonomy of the social in his later works did not go beyond this convergence, but allowed him to defend the autonomy of art, not directly, but in some terminological caveats. The way of reasoning of the late Vipper is based on a different concept of style than that of the formalists, which allows him to accept Marxism without accepting the ideology of genius, and in his discussion of the causes of art evolution to approach the neo-Marxist understanding of practices and institutionalization not through a change of theoretical optics, but through a reduction of terminology and overcoming the inertia of common turns of phrase.
Keywords: Marxism, sociology of literature, sociology of art, Boris Vipper (alias: Boriss Vipers, Boriss Wipper), GAKhN, neo-Kantianism, Hegelianism

For citation:
Markov A.V. “From Idealism to new Marxism. Part 2. Boris Vipper.” Articult. 2021, no. 3(43), pp. 115-124. (in Russ.) DOI: 10.28995/2227-6165-2021-3-115-124

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