Issue 54 (2024, 2) Summary

ARTICULT #54 (2-2024) April-June

SUMMARY

THEORY OF ART

THE METHODOLOGY OF VIDEOART STUDIES IN ART HISTORY IN RUSSIA
Research article
UDC 7.01+7.038.53:791.43
DOI: 10.28995/2227-6165-2024-2-5-16
Received: April 25, 2024. Approved after reviewing: May 15, 2024. Date of publication: June 08, 2024.
Author: Balandina Maria Alexandrovna, MA in Art History, Russian State University for the Humanities (Moscow, Russia), e-mail: balandinam99@gmail.com
ORCID ID: 0009-0003-0989-5023
Summary: The article is devoted to the review of methodological tools used by Russian specialists in videoart studies. The paper identifies key problems of conducting cognitive activity regarding videoart within conceptual and subject-conceptual discourses, as well as classifies various approaches used by Russian art historians in the study of video artworks. The results obtained allow us to record the current amplitude of variability of researchers’ reflection in relation to video art within Russian art history. The conclusions reached can be used to simplify the entry of novice scholars who are focused on videoart into the existing research tradition, but at the same time, to further problematize it and search for more optimal cognitive strategies for understanding this specific form of screen art.
Keywords: videoart, methodology of videoart, methodology of Art History, theory of videoart, conceptional discourses, cognitive situation, reflection of researches, media research

For citation:
Balandina M.A. “The metodology of videoart studies in Art History in Russia.” Articult. 2024, no. 2(54), pp. 5-16. (in Russ.) DOI: 10.28995/2227-6165-2024-2-5-16

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HISTORY OF ART

THE IMAGE OF THE “RED HORSEMAN” IN SOVIET PROPAGANDA ART. ORIGINS AND TRANSFORMATIONS
Research article
UDC 7.04
DOI: 10.28995/2227-6165-2024-2-17-29
Received: March 05, 2024. Approved after reviewing: 28 April, 2024. Date of publication: June 08, 2024.
Author: Voinova Julia Gennadievna, postgraduate student, Saint-Petersburg Stieglitz Academy of Art and Design (Saint Petersburg, Russia), e-mail: Julia.artup@gmail.com
ORCID ID: 0009-0004-4685-7293
Summary: The image of the Red Horseman on a winged horse, which appeared in propaganda art in the first post-revolutionary years has absorbed deep cultural connotations: destruction of the old world, creation of the new, fight against evil and righteous judgment. The most striking examples of this image include: the propaganda plate of Alisa Golenkina “Red Genius” (State Porcelain Factory), the lithograph poster by Vladimir Fidman “The Second Anniversary of the Red Army” (Political Administration Department of the RMSR) and the poster by an unknown artist “Literacy is the way to communism” (Gosizdat), executed in 1920. These images reveal thematic, figurative and compositional similarities. The article describes the possible origins of these images and explores the semantics of propaganda visual communication. Furthermore, it examines the influence of iconographic images on the artistic practices of the post-revolutionary years. It is concluded that the artists of propaganda art turned to the iconography of the ancient sacred image of the Archangel Michael and created new heroes of the revolutionary era on its basis.
Keywords: propaganda porcelain, propaganda poster, State porcelain factory, Red Horseman, Archangel Michael, iconography, 1920-s

For citation:
Voinova J.G. “The Image of the "Red Horseman" in Soviet Propaganda Art. Origins and Transformations.” Articult. 2024, no. 2(54), pp. 17-29. (in Russ.) DOI: 10.28995/2227-6165-2024-2-17-29

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ROMANTICISM AND CONSTRUCTIVISM IN THE POLISH THEATRE OF 1920-1930S
Research article
UDC 792.03
DOI: 10.28995/2227-6165-2024-2-30-40
Received: August 17, 2023. Approved after reviewing: March 05, 2024. Date of publication: June 08, 2024.
Author: Popova Alexandra Viktorovna, MA, applicant for PhD in art history, Russian State Institute of Performing Arts (Saint-Petersburg, Russia), e-mail: alexandrapopova.online@gmail.com
ORCID ID: 0009-0001-2772-459X
Summary: In the 1920-1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage fr om the romantic myth only in some measure, but instead of resetting the national heroes and their heritage fr om the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920-1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.
Keywords: polish theatre, theatrical avant-garde, constructivism, stage space, scenography, simultaneous theatre, theatrical architecture, polish romanticism

For citation:
Popova A.V. “Romanticism and constructivism in the Polish theatre of 1920-1930s.” Articult. 2024, no. 2(54), pp. 30-40. (in Russ.) DOI: 10.28995/2227-6165-2024-2-30-40

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THE BOOK REALITY: ILLUSTRATOR VLADIMIR SALNIKOV (1948–2015)
Research article
UDC 7.071.1+769.2
DOI: 10.28995/2227-6165-2024-2-41-49
Received: September 05, 2023. Approved after reviewing: November 30, 2023. Date of publication: June 08, 2024.
Author: Gribonosova-Grebneva Elena Vladimirovna, PhD in Art Studies, research fellow, Lomonosov Moscow State University (Moscow, Russia), e-mail: gribonosova-grebneva@yandex.ru
ORCID ID: 0000-0001-6714-5683
Summary: Moscow artist Vladimir Salnikov, who would have been 75 in 2023, had a reputation of a remarkably versatile artist known not only for his works in easel painting and graphic art but also as a book designer and illustrator. Fr om the early 1980s he had actively worked with such major publishing houses as Khudozhestvennaya Literatura (Literary Fiction), Sovetsky Pisatel (Soviet Writer), Detskaya Literatura (Children’s Literature), Progress, Kniga (Book), Malysh (Tiny Tot), to name a few. All in all, he had designed and illustrated some twenty books by Russian and foreign authors, including Saltykov-Schedrin, Mayakovsky, Beranger, Neruda, and many more. Salnikov’s illustrations are invariably distinguished for their high craftsmanship, inventive use of the entire range of monochrome and colorful techniques, a fine sense of visual art styles, and a deep perception of the literary text.
Keywords: Vladimir Salnikov; Moscow artist; monochrome and color illustration; book design; Soviet publishing houses

For citation:
Gribonosova-Grebneva E.V. “The Book Reality: Illustrator Vladimir Salnikov (1948-2015).” Articult. 2024, no. 2(54), pp. 41-49. (in Russ.) DOI: 10.28995/2227-6165-2024-2-41-49

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CINEMA

“LIGHT PROP FOR AN ELECTRIC STAGE” AS A SEARCH FOR THE NEW FORM OF CINEMA
Research article
UDC 7.038.3+791.43.01
DOI: 10.28995/2227-6165-2024-2-50-60
Received: September 15, 2023. Approved after reviewing: February 23, 2024. Date of publication: June 08, 2024.
Author: Stebackov Michael Sergeevich, art historian, independent researcher (Saint-Petersburg, Russia), e-mail: stebackov@gmail.com
ORCID ID: 0009-0008-5102-3145
Summary: The kinetic sculpture “Light Prop for an Electric Stage” was conceived by László Moholy-Nagy in 1922. It was completed in the workshops of the theater department of A.E.G. (Allgemeine Elektrizitäts-Geselschaft) in Berlin by the engineer Otto Ball according to the blueprint, accomplished by Stefan Sebök with László Moholy-Nagy in the Walter Gropius Office. This period is marked by the experimental search for the fundamentally new form of cinematographic expression, incipient at a junction of light and movement, which in its turn formed a reproducible light play in space. The new concept of cinematographic form required neither film nor traditional projection equipment. The reproducibility of the cinematographic image was achieved via the use of motorized kinetic construction, which could direct light, passing through refracting and diffusing materials, and create a complex play of moving lights and shadows in its surroundings. This paper traces the Moholy-Nagy’s journey fr om the conception of the sculpture to its implementation.
Keywords: kinetic art, russian constructivism, machine aesthetics, cinematographic means of expression, theatre set, light and movement, motorized kinetic sculpture, light projection into architectural space, Bauhaus, László Moholy-Nagy

For citation:
Stebackov M.S. “"Light Prop for an Electric Stage" as a search for the new form of cinema.” Articult. 2024, no. 2(54), pp. 50-60. (in Russ.) DOI: 10.28995/2227-6165-2024-2-50-60

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CRIME AND PUNISHMENT IN WOODY ALLEN’S FILMS AND F.M. DOSTOEVSKY’S NOVELS: ADAPTATION AND TRANSFIGURATION
Research article
UDC 791.43-2+821.161.1
DOI: 10.28995/2227-6165-2024-2-61-72
Received: March 12, 2024. Approved after reviewing: May 21, 2024. Date of publication: June 08, 2024.
Author: Tsyrkun Nina Aleksandrovna, doctor in arts, Principal researcher, Russian State University for the Humanities (Moscow, Russia), e-mail: tsyrkun@mail.ru
ORCID ID: 0000-0002-6723-5870
Summary: The author considers the films by American scriptwriter and director Woody Allen, connected with the traceable over the course of his creative activity theme of crime and punishment, demonstrating cross-cutting motives connected with novels of F.M. Dostoevsky, first of all The Brothers Karamazov and Crime and Punishment. Alongside with analysis of certain changes in a way of Allen’s tackling of semantic sense bearing conceptions of this filmic body frame treated by the contemporary American author and represented in characteristic of his narrative manner intertextuality, convergence of genres and styles, the article deals with the major discursive vehicles intercepted fr om the Russian classic as distinguished by M.M. Bakhtin: the great dialogue as the pivotal characteristic of polyphony of his novels, personages’ duplicity and carnivalization of the action.
Keywords: Woody Allen, F.M. Dostoevsky, crime and punishment, private comfort, guilt, existence of God

For citation:
Tsyrkun N.A. “Crime and Punishment in Woody Allen's films and F.M. Dostoevsky's novels: adaptation and transfiguration.” Articult. 2024, no. 2(54), pp. 61-72. (in Russ.) DOI: 10.28995/2227-6165-2024-2-61-72

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HISTORY AND THEORY OF CULTURE

THE IMAGE OF THE COLLECTIVE PAST IN THE PALIO DI SIENA FESTIVAL-COMPETITION
Research article
UDC 394.2+791.66
DOI: 10.28995/2227-6165-2024-2-73-81
Received: December 18, 2023. Approved after reviewing: February 07, 2023. Date of publication: June 08, 2024.
Author: Azarova Tatiana Viktorovna, postgraduate student, Lomonosov Moscow State University (Moscow, Russia), e-mail: azarovatv@yandex.ru
ORCID ID: 0000-0001-9068-3543
Summary: The article analyzes the reflection of Italy's collective past expressed in folk festivals, in particular, a detailed description of the il Palio holiday in the city of Siena in the Tuscany region is presented. This event annually gathers many tourists fr om all over the world on the main square of one of the most ancient cities of Italy, and this is due to the presence of a sacred component in the structure of the holiday, as well as thanks to those methods that organically developed at the most important historical moment in the development of a rich and politically successful region. The semantic concepts of the Palio holiday are considered through the prism of research by scientists of the sociological field E. Durkheim, M. Halbwaks, P. Nora, who consistently develop the ideas of the genius of a place, a social fact, an intangible value involving the whole society. The relevance of the work is explained by the continuing interest in festive culture, which is a factor in the reconstruction of the past and its actualization in the present. The allocation of different types of memory makes it possible to expand the sphere of influence of cultural phenomena on public life.
Keywords: Palio di Siena, city holidays, collective memory, reconstruction of the past, genius of the place, places of memory, social fact

For citation:
Azarova T.V. “The image of the collective past in the Palio di Siena festival-competition.” Articult. 2024, no. 2(54), pp. 73-81. (in Russ.) DOI: 10.28995/2227-6165-2024-2-73-81

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METHODOLOGY

THE REPRESENTATION OF POSTHUMAN SUBJECTIVITY IN MODERN SCIENCE-FICTION ON THE EXAMPLE OF THE TV SERIES “LOVE. DEATH & ROBOTS”
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2024-2-82-95
Received: January 28, 2024. Approved after reviewing: March 03, 2024. Date of publication: June 08, 2024.
Author: Kruvko Tatiana Vyacheslavovna, postgraduate student, Russian State University for the Humanities (Moscow, Russia), e-mail: seinklugscheisser@gmail.com
ORCID ID: 0009-0007-8491-588X
Summary: Today, the conversation about the impact of technology on humans is a common place. In humanitarian theory, there is a growing number of approaches that develop new ways to describe a person in a technologized culture. Special attention is paid to it by posthumanism, based on the experience of critical analysis of culture, it offers a description of alternative, posthuman subjectivity. Where is also a reflection on changing human relations with the environment in visual art. Although mass screen culture has transformed and moved away from big screens to gadgets for private viewing, it has not lost its ability to respond sensitively to cultural trends and offers examples of images of posthuman subjectivity. The theory of posthumanism turns out to be a relevant tool for analyzing posthuman images in modern science fiction films. The article will examine representations of posthuman subjectivity in the genre of modern fiction on the example of the TV series “Love. Death. Robots.” The focus of the analysis will be on the images of the main characters and the peculiarities of plot development in relation to traditional cultural constructs.
Keywords: posthuman subjectivity, posthumanism, fiction, cinema, technology

For citation:
Kruvko T.V. “The representation of posthuman subjectivity in modern science-fiction on the example of the TV series “Love. Death & Robots”.” Articult. 2024, no. 2(54), pp. 82-95. (in Russ.) DOI: 10.28995/2227-6165-2024-2-82-95

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