Issue 57 (2025, 1) Summary

ARTICULT #57 (1-2025) January-March

SUMMARY

THEORY OF ART

THE PROBLEM OF CINEMATIC PERIODIZATION
Research article
UDC 791.43.01+791.43.03
DOI: 10.28995/2227-6165-2025-1-5-16
Received: February 20, 2025. Approved after reviewing: March 15, 2025. Date of publication: April 15, 2025.
Author: Aniskin Maksim Aleksandrovich, Lecturer, Russian Presidential Academy of National Economy and Public Administration (Moscow, Russia), e-mail: aniskin-ma@ranepa.ru
ORCID ID: 0009-0002-0741-4815
Summary: The article examines the issue of cinematic periodization through two fundamental methodological approaches: the subject-historical and the subject-conceptual. The former interprets cinema as a reflection of social, political, and economic transformations, linking its evolution to external factors such as regime changes, cultural shifts, and ideological frameworks. The latter focuses on the internal logic of cinematic development, including the evolution of expressive means, genre transformations, and shifts in visual perception. The study analyzes the theoretical perspectives of Eisenstein, Mamiachenkov, Khrenov, and Dadamyan, each offering different models of periodization. The article questions the adequacy of traditional periodization schemes in capturing the complexity of cinematic evolution while identifying the limitations of existing methodological approaches.
Keywords: cinematic periodization, subject-historical approach, subject-conceptual approach, cultural paradigms, cinematic language, artistic evolution, historical determinants, film theory, visual system shifts, film studies methodology

For citation:
Aniskin M.A. “The problem of cinematic periodization.” Articult. 2025, no. 1(57), pp. 5-16. (in Russian) DOI: 10.28995/2227-6165-2025-1-5-16

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HISTORY OF ART

EUROPEAN AVANT-GARDE SCULPTURE IN THE SPACE OF THE ARSENAL EXHIBITION OF 1913. PRO ET CONTRA. THE PROBLEM OF RECEPTION
Research article
UDC 7.036+ 73.03
DOI: 10.28995/2227-6165-2025-1-17-27
Received: April 15, 2024. Approved after reviewing: July 20, 2024. Date of publication: April 15, 2025.
Author: Sadovina Vera Pavlovna, postgraduate student, Russian State University for the Humanities (Moscow, Russia), e-mail: vsadovina@mail.ru
ORCID ID: 0009-0003-5761-9293
Summary: The article is devoted to European avant-garde sculpture, presented in New York in February - March 1913 at the International Exhibition of Modern Art (“Armory Show”) and to the problem of its written and visual reception by professional communities and by New Yorkers. As a first approximation, the article analyzes the reaction of the press, which expressed the opinion of average New Yorkers, art critics, and professional communities to the exposition of European plastics. Emotional and sarcastic remarks, complemented by satirical illustrations, are the expected reaction of the Americans, who are used to reading the author's narrative, to the bold sculptures of European masters. An attempt is also made to reconstruct the visual reception of individual American sculptors participating in the Armory Show by analyzing their creative path before and after the landmark event in order to find traces of the possible influence of modernist European sculpture.
Keywords: sculpture of the 20th century, Armory Show, visual arts, avant-garde

For citation:
Sadovina V.P. “European avant-garde sculpture in the space of the Arsenal exhibition of 1913. Pro et contra. The problem of reception.” Articult. 2025, no. 1(57), pp. 17-27. (in Russian) DOI: 10.28995/2227-6165-2025-1-17-27

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LUGANSK ARTIST SERGEI KONDRASHOV. REFLECTIONS AT THE EXHIBITION. AUGUST 2023
Research article
UDC 7.036(470)+7.044
DOI: 10.28995/2227-6165-2025-1-28-34
Received: July 19, 2024. Approved after reviewing: December 24, 2024. Date of publication: April 15, 2025.
Author: Kalugina Olga Veniaminovna, Doctor of Sciences in Art History, Principal researcher, The Russian State University for the Humanities (Moscow, Russia), e-mail: evaksenia@me.com
ORCID ID: 0000-0002-8024-5379
Summary: The article is devoted to an analysis of the work of the Lugansk painter Sergei Nikolaevich Kondrashov, whose exhibition was presented in the halls of the Central House of Artists in August 2023. The exhibition was launched as part of the project “With Russia in the Heart. Russian classical tradition in the art of the LPR.” The article opens with a brief analysis of the formation of the Russian art school of the New Age and an analysis of the grounds for classifying it as a classical tradition. The work of Sergei Kondrashov is examined on a chronological and typological basis, which allows for a reasoned analysis of his creative method and the features of the figurative design of the paintings. The breadth of Sergei Kondrashov's creative interests is very wide. His artistic practice covers almost all genres and a wide variety of techniques. He is a portrait and landscape painter, a master of still life and elegant nudes, he is equally successful in genre and historical painting. Kondrashov’s subjects are acutely responsive to momentary events and at the same time filled with multi-level connotations, allowing them to be classified as historical paintings.
Keywords: painting, landscape, classic, tradition, portrait, still life, historical genre, thematic painting

For citation:
Kalugina O.V. “Lugansk artist Sergei Kondrashov. Reflections at the exhibition. August 2023.” Articult. 2025, no. 1(57), pp. 28-34. (in Russian) DOI: 10.28995/2227-6165-2025-1-28-34

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CONTEMPORARY ART

PARAINSTITUTIONS AS A LATENT STRATEGY OF INSTITUTIONAL CRITIQUE IN CONTEMPORARY RUSSIAN ART
Research article
UDC 7.01+7.036(470)
DOI: 10.28995/2227-6165-2025-1-35-49
Received: January 7, 2025. Approved after reviewing: March 3, 202?. Date of publication: April 15, 2025.
Author: Allakhverdiev Timur Kazbekovich, Master of Laws, researcher (art history) (Moscow, Russia), e-mail: allerme64@gmail.com
ORCID ID: 0000-0002-3310-7571
Summary: The article is devoted to the Russian realization of a conceptual art movement known as institutional critique. In many countries of the Western world and in some others the tradition of institutional critique is an important component of the local context. At the same time, institutional critique as a global phenomenon had a decisive influence on art in the last quarter of the 20th century, but it has never been systematically studied in Russia. Two strategies of Russian institutional critique – manifest and latent – are distinguished by the author. The latent strategy is implemented through the creation of parainstitutions – speculative organizations. Based on the results of analyzing the principles of work of the selected parainstitutions, it was assumed that artists began to use the institution as a medium. This trend can be characterized as one of the main vectors of institutional critique in the conditions of the so-called “postcritical turn”.
Keywords: institutional critique, conceptual art, parainstitutions, contemporary art, postcritique

For citation:
Allakhverdiev T.K. “Parainstitutions as a latent strategy of institutional critique in contemporary Russian art.” Articult. 2025, no. 1(57), pp. 35-49. (in Russian) DOI: 10.28995/2227-6165-2025-1-35-49

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VISUAL ARTS

SYNTHESIS OF SPATIAL THEORIES IN THE SCULPTURE OF THE PARK PLACE GROUP
Research article
UDC 7.01+73.03
DOI: 10.28995/2227-6165-2025-1-50-68
Received: May 23, 2024. Approved after reviewing: July 22, 2024. Date of publication: April 15, 2025.
Author: Ivanova Elena Fedorovna, BA in Art History, Russian State University for the Humanities (Moscow, Russia), e-mail: panoptik2@yandex.ru
ORCID ID: 0009-0007-2138-8496
Summary: The article analyzes the practices of the sculptors of the Park Place group, considered in the context of the artists' interest in a range of spatial theories, including geometric concepts of a multi-dimensional world. The specific focus of the work of sculptors on the study of spatial structures went beyond the theoretical discourse of the second half of the 20th century. This circumstance predetermined the fact that the group, influential in the artistic environment of the 1960s, was practically forgotten by the beginning of the twenty-first century, and remained unknown in Russian art history. The creative foundations of the Park Place Gallery group sculptors were based on a complex synthesis of artistic, scientific and quasi-scientific concepts. The article provides the most striking examples of spatial solutions in conjunction with the theoretical framework that served as a catalyst, source of inspiration, and sometimes direct guidance in the practices of Park Place. Such an emphasis on the ideological origins of new constructive forms will present a more complete, by no means monolithic picture of the formation of American modernist sculpture in the 1960s.
Keywords: space, spatial structures, fourth dimension, Park Place Gallery group, modernist sculpture, contemporary art

For citation:
Ivanova E.F. “Synthesis of spatial theories in the sculpture of the Park Place group.” Articult. 2025, no. 1(57), pp. 50-68. (in Russian) DOI: 10.28995/2227-6165-2025-1-50-68

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CINEMA

FILM ADAPTATION OF A MODERNIST NOVEL AND THE CULTURE OF REMEMBRANCE. THE REINVENTION OF GOMBROWICZ’S CHARACTER IN JAN JAKUB KOLSKI’S “PORNOGRAFIA”
Research article
UDC 791.43-2
DOI: 10.28995/2227-6165-2025-1-69-78
Received: October 10, 2024. Approved after reviewing: November 29, 2024. Date of publication: April 15, 2025.
Author: Popova Alexandra, PhD in Art History, independent researcher (Almaty, Kazakhstan), e-mail: alexandrapopova.online@gmail.com
ORCID ID: 0009-0001-2772-459X
Summary: The study of Witold Gombrowicz’s „Pornografia” (1960) film adaptation made by Jan Jakub Kolski (2003), drawn in the article, integrates two problems into one critical discourse on modern cinema. Firstly, it reveals the chosen adaptation method of modernist narration, which is, due to its impermeability and the complicated poetical game, considered a matter of particular difficulty for a director. Secondly, it examines this method in the context of the culture of remembrance. The analysis leans upon the authoritative adaptation studies, Gombrowicz’s literature critical interpretations, and narrowly-specialized memory, PTSD, and the Holocaust survival syndrome studies. The article represents two drastically different ways of speaking about the Catastrophe of European Jews and argues that the distinction between the two is determined not only by the artistical identity of each author but also by the state of a culture of remembrance at the moment of the first appearance of the work: in the middle of the XX (in case of the novel) and the beginning of the XXI (in case of the film adaptation) centuries.
Keywords: film adaptation, modernist novel, survivor syndrome, guilt, shame, Holocaust, Catastrophe, character

For citation:
Popova A. “Film adaptation of a modernist novel and the Culture of Remembrance. The reinvention of Gombrowicz’s character in Jan Jakub Kolski’s "Pornografia".” Articult. 2025, no. 1(57), pp. 69-78. (in Russian) DOI: 10.28995/2227-6165-2025-1-69-78

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HISTORY AND THEORY OF CULTURE

ACTUALIZATION OF CLASSICS IN MODERN DANCE CULTURE: AKRAM KHAN’S “GISELLE”
Research article
UDC 78.085.5+792.8
DOI: 10.28995/2227-6165-2025-1-79-89
Received: October 07, 2024. Approved after reviewing: November 21, 2024. Date of publication: April 15, 2025.
Author: Gorvits Emma Markovna, Master’s student, Russian State University for the Humanities (Moscow, Russia), e-mail: gorvits.emma@mail.ru
ORCID ID: 0009-0004-2120-5299
Summary: The article deals with the problem of classics in the context of modern dance culture. Using the example of Akram Khan’s production of ballet “Giselle”, the author analyzes the strategy of “actualization” of ballet as one of the principles of working with classics. The article provides an analysis of each of the levels of ballet: the plot, music, visual code of the performance and choreography. The author pays special attention to plasticity and gesture as the basics of modern ballet performance. The use of emotional, functional, social and ritual gestures, which are highlighted by Doris Humphrey in the book “The Art of Composing Dance. The Emancipation of the Sleeping Beauty.” The article problematizes the relationship between classical ballet, Indian dance “Kathak” and modern choreography. Also, the author is interested in the status of the story in this type of source.
Keywords: classical ballet, actualization, story, physicality, modern choreography, kathak, plasticity, gesture

For citation:
Gorvits E.M. “Actualization of classics in modern dance culture: Akram Khan’s "Giselle".” Articult. 2025, no. 1(57), pp. 79-89. (in Russian) DOI: 10.28995/2227-6165-2025-1-79-89

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ARTIST'S UNIFORM: THE PLACE OF A HOODIE IN THE CREATIVE CLASS WARDROBE SYSTEM
Research article
UDC 7.022.7+7.071.1
DOI: 10.28995/2227-6165-2025-1-90-102
Received: November 05, 2024. Approved after reviewing: December 20, 2024. Date of publication: April 15, 2025.
Author: Kuznetsova Elizaveta Aleksandrovna, postgraduate student, National Research University Higher School of Economics (Moscow, Russia), e-mail: kuznetsova.ea@hse.ru
ORCID ID: 0009-0001-7618-6337
Summary: The article examines the place of the hoodie in the wardrobe system of people engaged in creative work. Along with a white T-shirt or a pair of blue jeans, hoodie might be found in the wardrobes of people with different backgrounds. Nevertheless, when entering the creative field, it acquires special connotations, the connotations that influence the motive for choosing a hoodie, clothes that complete hoodie look and acceptable circumstances for wearing it. In this article we investigate that relying on the social history of the item and the wardrobe method suitable for studying clothing practices. We analyze which factors motivates the creative class to choose a hoodie as workwear used in the process of creating. The materials for our study will be biographies of 20th-century artists, memories and testimonies about their lives related to the construction of the self image through clothing practices, as well as in-depth interviews with contemporary artists about their workwear. Comparison of the vestimentary culture of artists of the past with its current state will allow us to trace the continuity of some practices and explain why the hoodie has become part of the wardrobe of the young generation of artists.
Keywords: hoodie, creative class, bohemia, vestimentary research, wardrobe method, uniform

For citation:
Kuznetsova E.A. “Artist's uniform: The place of a hoodie in the creative class wardrobe system.” Articult. 2025, no. 1(57), pp. 90-102. (in Russian) DOI: 10.28995/2227-6165-2025-1-90-102

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