Issue 48 (2022, 4) Summary

ARTICULT #48 (4-2022) ­October-Decenber

SUMMARU

THEORY OF ART

BRUTALIST ARCHITECTURE IN RUSSIAN AND FOREIGN ART HISTORY AFTER REYNER BANHAM
Research article
UDC 7.01+7.072.2+72.036
DOI: 10.28995/2227-6165-2022-4-6-16
Author: Ivaschenko Nikita Andreevich, graduate student at ruissan art history department, faculty of history, Lomonosov Moscow State University (Moscow, Russia), e-mail: nikita.a.ivaschenko@gmail.com
ORCID ID: 0000-0003-4432-2004
Summary: Brutalist architecture is of great interest to contemporary art historians, architecture lovers, designers and musicians. The first large work on brutalist architecture was Reyner Banham’s “The New Brutalism: Ethic or Aesthetic?”, initially published in the beginning of the 1970-s. This text, though not free of contradictions, became the start of a whole tradition of speaking about brutalism in special literature. Still being relevant, Banham’s book serves as a guiding star for the succeeding authors on the one hand and needs to be revised on the other. The article is centered on the texts that form this tradition in the history of art around the world and in Russia after Reyner Banham. It offers the result of collecting these texts on brutalist architecture and an analysis of the points of view of different authors on the problem of brutalist architecture and its history. The key questions of the article are to elaborate on the periodization and characteristic of brutalist architecture and to expose the existing tradition of studying it.
Keywords: architecture, history of architecture, modern architecture, XXth century architecture modernism, brutalism

For citation:
Ivaschenko N.A. “Brutalist Architecture in russian and foreign art history after Reyner Banham.” Articult. 2022, no. 4(48), pp. 6-16. (in Russ.) DOI: 10.28995/2227-6165-2022-4-6-16

read online / download pdf

HISTORY OF ART

THE DOCUMENTARY EPIC AND THE AVANT-GARDE PROJECT OF LIFE-BUILDING
Research article
UDC 7.01+7.036(47+57)"192"
DOI: 10.28995/2227-6165-2022-4-17-26
Author: Fomenko Andrey Nikolaevich, Dr. Habil, Senior Researcher, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: st802682@spbu.ru
ORCID ID: 0000-0002-1497-3984
Summary: The article focuses on a trend in the Soviet avant-garde art, that emerged in the late 1920s and was based on the use of large-scale forms (such as a photo series, photo mural, “bio-interview”, etc). This turn got the most complete theoretical justification in Sergei Tretyakov, who proposed the concept of “documentary epic”, suggesting that it grew out of utilitarian genres. According to Andrey Fomenko, the documentary epic with its archaic and regressive connotations was a natural result of the evolution of the avant-garde movement and its program of “life-building”, in particular.
Keywords: epic, productivism, Soviet avant-garde, photo mural, photo series, factography, photo montage, genre, modernism

For citation:
Fomenko A.N. “The Documentary Epic and the Avant-Garde Project of Life-Building.” Articult. 2022, no. 4(48), pp. 17-26. (in Russ.) DOI: 10.28995/2227-6165-2022-4-17-26

read online / download pdf

CONTEMPORARY ART

RUSSIAN AVANT-GARDE RECEPTIONS IN THE ARTWORKS OF CONTEMPORARY RUSSIAN ARTISTS
Research article
UDC 7.01+7.036
DOI: 10.28995/2227-6165-2022-4-27-35
Author: Afanaseva Irina Anatolyevna, M.A., PhD student, trainee researcher, HSE University (Moscow, Russia), e-mail: iaafanaseva@hse.ru
ORCID ID: 0000-0002-5109-5949
Summary: In this paper, an attempt is made to compare the artistic principles of the artworks of contemporary Russian art and Russian avant-garde. It is not so much about direct artistic reception, but about the general ideas of constructing an isoverbal text. The paper defines an alternative version of the development of visual art in general. The author points out that the general principles of contemporary Russian art and the Russian avant-garde are the experiments with new materials and technologies, connection with social, scientific and technological progress, design, brevity, the desire for the protest and shocking. The article pays special attention to the study of visual rhetoric, the connection between verbal and visual elements. Using specific examples, the author shows that the language in contemporary Russian art, as well as in Russian avant-garde, has not a narrative meaning, but a complex semantic impulse closely related to the visual component.
Keywords: contemporary Russian art, Russian avant-garde, isoverbal text, visual rhetoric, visual art

For citation:
Afanaseva I.A. “Russian avant-garde receptions in the artworks of contemporary Russian artists.” Articult. 2022, no. 4(48), pp. 27-35. (in Russ.) DOI: 10.28995/2227-6165-2022-4-27-35

read online / download pdf

VISUAL ARTS

ARTISTIC FEATURES OF COMPUTER ARTWORKS CREATING WITH MACHINE LEARNING TECHNOLOGY
Research article
UDC 7.01+7.038.53
DOI: 10.28995/2227-6165-2022-4-36-48
Author: Milovidov Stanislav Vyacheslavovich, PhD student, Art and Design School, HSE University (Moscow, Russia), e-mail: smilovidov@hse.ru
ORCID ID: 0000-0003-1406-5406
Summary: This article has analyzed the artworks, the general creative principles, and approaches connected with machine learning and neural networks. The idea that the computer can replace humans for deciding routine, algorithmic, and even analytical tasks, has raised the question about the uses of machines for creative jobs. This process forms new possibilities, non-obvious images, themes, and expressions, which require the addition and refinement of the classification of computer art. As a result, artists have found another system for describing reality represented in the artworks. From 2018-2021 many artists such as Mario Klingemann, Gene Kogan, Vadim Epstein, Anna Ridler, and Memo Akten used machine learning in their art practice. Their artworks in this genre have been to the biennales or many contemporary art exhibitions in Austria, the USA, Russia, Switzerland, Germany, etc.
Keywords: computer art, generative art, artificial intelligence, machine learning, neural network, glitch art, video art

For citation:
Milovidov S.V. “Artistic features of computer artworks creating with machine learning technology.” Articult. 2022, no. 4(48), pp. 36-48. (in Russ.) DOI: 10.28995/2227-6165-2022-4-36-48

read online / download pdf

CINEMA

THE SYMBOLISM OF COLOR IN RUSSIAN DRAMATIC FILMS (2000-2020)
Research article
UDC 791.43-2
DOI: 10.28995/2227-6165-2022-4-49-64
Author: Muzipova Leyla Khalimovna, bachelor in art history (Moscow, Russia), e-mail: leila.muzipova@gmail.com
ORCID ID: 0000-0002-4254-2946
Summary: The article is devoted to the analysis of the symbolic use of color in Russian dramatic films of 2000–2020. The symbolism of color is considered on the material of ten Russian dramatic films: “Mermaid”, “Yuri's Day”, “Silent Souls”, “Yes and Yes”, “Zoology”, “Closeness”, “Acid”, “The Man Who Surprised Everyone”, “Fidelity”, “Beanpole”. As a result of the work carried out, firstly, the circumstances of using color as a symbol in films are determined, and, secondly, the variable semantic amplitude of the use of the symbolism of the same color in different films is revealed. Such variability is explained by the specifics of their authors being in different systems of cultural codes or their own conventions based on the specifics of the form-content integrity of the film being created.
Keywords: symbolism of color, color, Russian cinema, color in cinema, symbolism in cinema, color functions, contemporary Russian cinema

For citation:
Muzipova L.Kh. “The symbolism of color in Russian dramatic films (2000-2020).” Articult. 2022, no. 4(48), pp. 49-64. (in Russ.) DOI: 10.28995/2227-6165-2022-4-49-64

read online / download pdf

THE FUNCTION OF THE DEVIL IN CRIMINAL INVESTIGATION: “THE BROTHERS KARAMAZOV” AND THE SERIES “LUCIFER” BY NETFLIX
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2022-4-65-70
Author: Molnar Angelika, PhD, dr. habil, Associate Professor, Institute of Slavistics, University of Debrecen (Debrecen, Hungary), e-mail: mandzsi@gmail.com
ORCID ID: 0000-0002-7896-1480
Summary: The paper is devoted to the analysis of similar images of the traits in Dostoevsky's novel ''The Brothers Karamazov'' and in Fox – Netflix's series ''Lucifer''. At the same time, the elements that make up the detective layer of the verbal and the visual work are demonstrated. The basis for comparing the products of high and mass culture is created not only by the forms of murder investigations, but also by their transformation into self-reflection. Devilish figures in both cases become humanized, which allows to look at them from a new point of view. They are hereby considered in the context of the conceptualization of sinfulness, the commission of a crime. The author of the paper also touches upon both the issue of moving the fantastic layer into reality, and the presentation of deep philosophical problems in the form of criminal investigation. It turns out that both in a literary work and in a television / streaming production, the techniques of the detective novel are promoted to the background due to the predominance of Christian ideology and creative poetization.
Keywords: Dostoevsky, “The Brothers Karamazov”, series “Lucifer”, detective investigation, the questions of being, redemption, self-reflection

For citation:
Molnar A. “The Image of the Devil in the Investigation: “The Brothers Karamazov” and the series “Lucifer” by Netflix.” Articult. 2022, no. 4(48), pp. 65-70. (in Russ.) DOI: 10.28995/2227-6165-2022-4-65-70

read online / download pdf

HISTORY AND THEORY OF CULTURE

NECESSARY CRUELTY: ON THE ISSUE OF THE GENDER ICONOGRAPHY OF THUTMOSE III
Research article
UDC 7.032(32)+739.7
DOI: 10.28995/2227-6165-2022-4-71-79
Author: Reunov Yury Sergeevich, PhD in Art Studies, researcher, Centre for Egyptological Studies, Russian Academy of Sciences (Moscow, Russia), e-mail: yury.reunov@gmail.com
ORCID ID: 0000-0001-6264-4918
Summary: Thutmose III went down in history as a great warrior pharaoh who expanded borders of Egypt, conquered many peoples in the Middle East and upstream of the Nile, in Nubia. His victories were secured by a professionally trained army, as well as personal qualities of the king himself, such as courage, determination, cunning and the ability to inspire. No less important, as the Egyptians believed, was support of gods who gave the ruler victory over foreigners and power over conquered territories. Triumph over the enemies was imprinted on walls of temples, including one in Karnak. In the scenes, the pharaoh acts as a warrior ruthlessly cracking down on numerous opponents. This paper is devoted to study of gender role of the ruler defeating enemies, as well as artistic techniques of representing this role on reliefs.
Keywords: Ancient Egypt, Thutmose III, battle scenes, gender role, Karnak

For citation:
Reunov Yu.S. “Necessary Cruelty: on the issue of the Gender Iconography of Thutmose III.” Articult. 2022, no. 4(48), pp. 71-79. (in Russ.) DOI: 10.28995/2227-6165-2022-4-71-79

read online / download pdf

PSYCHOLOGY OF CULTURE AND ART

THE PSYCHOLOGY OF ART AS AN ART HISTORY DISCIPLINE
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2022-4-80-101
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: markovius@gmail.com
ORCID ID: 0000-0001-6874-1073
Summary: The article deals with the general educational and special function of the discipline “Psychology of Art” in the system of training art historians. It is proved that this discipline is a part of critical theories, propaedeutic for producing a critical attitude to both aesthetic experience and the usual forms of expression of this experience. Thus, the discipline compensates for shortcomings in the philosophical education of art critics and introduces the principles of constructing a theoretical system as a multiple introduction of new forms of reflection. The historical approach to reading the discipline never contradicts these projects of systematization. The study of the discipline allows students to form the experience of independent research, the fitness to find a theoretical productivity in prominent works on the theory and history of art, and finally, to formulate the problem not as a result of aesthetic experience or individual procedures of knowledge, but as an effect of accepting art as a dynamic system for evaluating and qualifying objects, processes, and actions.
Keywords: psychology of art, pedagogy of art, Vygotsky, methods of teaching art, critical rationalism, critical theory

For citation:
Markov A.V. “The psychology of art as an art history discipline.” Articult. 2022, no. 4(48), pp. 80-101. (in Russ.) DOI: 10.28995/2227-6165-2022-4-80-101

read online / download pdf