Issue 60 (2025, 4) Summary

ARTICULT #60 (4-2025) October-December

SUMMARY

THEORY OF ART

LOGICAL REPRESENTATION OF AN ART EXHIBITION
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2025-4-5-19
Received: November 15, 2025. Approved after reviewing: December 05, 2025. Date of publication: December 31, 2025.
Author: Lichagina Anastasia Pavlovna, MA in Art History, assistant, Russian State University for the Humanities (Moscow, Russia), e-mail: li.ana.033@gmail.com
ORCID ID: 0009-0004-5356-4560
Summary: In times of audiovisual flows, exhibition projects that combine material objects with the forms of sensory impact they generate are becoming increasingly widespread. The definition of such exhibitions is usually described within the framework of one or another extremely variable discourse. As a method for studying contemporary art exhibitions, considering the full range of their possible manifestations, the formal language of predicate logic can be employed. Within this paradigm, an exhibition–as something formed in objective reality through human activity–is a distinct object (“an individual”) possessing certain properties (both variable and those without which the object cannot be recognized as an art exhibition) and entering into specific relations with other “individuals” (exhibition venues, technologies, curators, etc.). Examining the individual properties and relations of a contemporary art exhibition, as well as their combinations expressed through logical quantifiers, allows for the formation of an understanding not only of exhibitions that have ever functioned but also of all potentially possible projects that would be recognized as art exhibitions if realized in the future.
Keywords: visual art exhibition, exhibition study, exhibition narrative, storytelling, analytical schemes, formal representation, сurating

For citation:
Lichagina А.P. “Logical representation of an art exhibition.” Articult. 2025, no. 4(60), pp. 5-19. DOI: 10.28995/2227-6165-2025-4-5-19

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HISTORY OF ART

ICONOLOGY AND ITS INFLUENCE ON AESTHETIC PROGRAM OF BRITISH POP ART
Research article
UDC 7.04+7.038.51
DOI: 10.28995/2227-6165-2025-4-20-28
Received: September 29, 2024. Approved after reviewing: December 03, 2025. Date of publication: December 31, 2025.
Author: Shramova Mariya Sergeevna, PhD Student in Art Studies, Saint-Petersburg State Unversity (St. Petersburg, Russia), e-mail: mary.shramova@gmail.com
ORCID ID: 0000-0002-9170-1755
Summary: This article explores the influence of the iconological school on the formation of the aesthetic program of pop art. Despite the fact that pop art is one of the key problems of modern art theory, and its conceptual foundation has become the subject of a variety of interpretations: fr om classical neo-Marxist to postmodern, the question of the connection between the early theory of pop art and the almost synchronous revival of the iconological school in London until recently remained little studied. In contrast to existing notes exploring the connection between iconology and the aesthetic theory of individual representatives of pop art, this article covers various aspects of the influence of iconology on the aesthetic program of pop art based on the activities of the “Independent Group”. An analysis of the intellectual climate of post-war London allows to discover the channels of influence of iconology on the main theorists of pop art (Lawrence Alloway, Rayner Banham) and to reveal the commonality of the methodology of pop artists and art historians of the iconological school. The discovered relationship makes it possible to redefine the boundaries of iconology not only as a methodological tradition in the history of art, but also as a creative method that largely determined the aesthetic principles of pop art.
Keywords: iconology, Aby Warburg, Warburg Institute, Mnemosyne’s Atlas, Edgar Wind, Erwin Panofsky, Rudolf Wittkower, pop art, Independent Group, Lawrence Alloway, Rayner Banham

For citation:
Shramova M.S. “Iconology and its influence on the aesthetic program of British pop-art.” Articult. 2025, no. 4(60), pp. 20-28. DOI: 10.28995/2227-6165-2025-4-20-28

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CONTEMPORARY ART

EARTHWORKS AS THE PREREQUISITES OF LAND ART: EXITING THE GALLERY INTO THE LANDSCAPE
Research article
UDC 7.038.541
DOI: 10.28995/2227-6165-2025-4-31-45
Received: August 06, 2025. Approved after reviewing: November 25, 2025. Date of publication: December 31, 2025.
Author: Guseva Elena Victorovna, postgraduate student, National Research University Higher School of Economics (Moscow, Russia), e-mail: evguseva@hse.ru
ORCID ID: 0009-0008-5709-0445
Summary: The article examines the period of formation of “Earth Art” in late 1960s America. The main focus is on identifying the key moment when artists transitioned from gallery-based work to working directly in the landscape, creating the first earthworks that became precursors to Land Art, characterized by significant and often irreversible changes to the natural environment. To analyze this, it considers two significant exhibitions: “Earthworks” at the Dwan Gallery in New York (1968) and “Earth Art” at the Museum of Art at Cornell University in Ithaca, New York, USA (1969). These exhibitions marked important milestones in the development of the movement, bringing together artists who used natural elements in their works and sought to go beyond traditional art forms. The article provides a detailed discussion of several landmark earthworks from this period, such as Robert Morris’s “Earthwork,” Robert Smithson’s “Non-Site” sculptures and “Spiral Jetty,” and Walter de Maria’s “New York Earth Room.” It also offers definitions of the terms “earthworks,” “Earth Art,” and “Land Art.”
Keywords: Land art, earth art, earthworks, landscape, nature, Robert Smithson, Spiral Jetty, natural material

For citation:
Guseva E.V. “Earthworks as the prerequisites of land art: exiting the gallery into the landscape.” Articult. 2025, no. 4(60), pp. 31-45. DOI: 10.28995/2227-6165-2025-4-31-45

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EMBODIED CO-PRESENCE: SENSORY TURN AND MULTISENSORY PRACTICES IN CONTEMPORARY ART
Research article
UDC 7.01+7.038.53
DOI: 10.28995/2227-6165-2025-4-46-56
Received: November 04, 202?. Approved after reviewing: December 22, 2025. Date of publication: December 31, 2025.
Author: Dvoskin Alexey Sergeevich, postgraduate student, National Research University Higher School of Economics (Moscow, Russia), e-mail: advoskin@hse.ru
ORCID ID: 0009-0007-2362-3701
Summary: The article explores the phenomenon of bodily co-presence in the context of the sensory turn and multisensory artistic practices. It examines the philosophical and cultural premises of the shift from ocularcentrism to embodied perception – from Maurice Merleau-Ponty’s phenomenology and Michel Serres’s concept of sensuous experience to the sensory culture theories of David Howes and Constance Classen. The author demonstrates how the sensory turn has transformed the understanding of aesthetic experience, expanding it to encompass all modalities of perception. Through the analysis of Ernesto Neto’s installations and sculptures, the study investigates how smell, tactility, and movement become integral means of artistic expression and tools of viewer engagement. The article concludes that multisensory art shapes a new ethics of perception grounded in bodily involvement and resonates with posthumanist thought within contemporary artistic practice.
Keywords: multisensory, sensory turn, modern art, corporeality, Ernesto Neto

For citation:
Dvoskin A.S. “Embodied сo-presence: sensory turn and multisensory practices in contemporary art.” Articult. 2025, no. 4(60), pp. 46-56. DOI: 10.28995/2227-6165-2025-4-46-56

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VISUAL ARTS

THE IRRATIONAL AS A MEDIUM: PERFORMANCE MAGIC IN THE AGE OF THE  POST-MEDIUM CONDITION
Research article
UDC 7.038.531+793.8
DOI: 10.28995/2227-6165-2025-4-57-63
Received: August 07, 2025. Approved after reviewing: December 10, 2025. Date of publication: December 31, 2025.
Author: Senkeev Alexey Arkadievich, Ph.D. Student, Russian State University for the Humanities (Moscow, Russia), e-mail: irrationalmedium@gmail.com
ORCID ID: 0009-0007-9652-1933
Summary: This article examines the phenomenon of performance magic within the framework of contemporary art theory and offers a critical analysis of its conceptual foundations. Illusionism is considered not as a form of spectacle but as a specific type of experience – «experience of magic», «experience of the impossible» and others. Building on these approaches, the article proposes a reconceptualization of the genre through the category of the «irrational» as an artistic medium. This theoretical perspective allows for the expansion of the conceptual and categorical framework applicable to the study of both performance magic and a broader range of performative practices. The analysis focuses on works by interdisciplinary artists and illusionists who engage with the irrational medium within the context of contemporary art.
Keywords: theatrical magic, irrational, medium, postmediality, performance, contemporary art

For citation:
Senkeev A.A. “The Irrational as a Medium: Performance magic in the Age of the Post Medium Condition.” Articult. 2025, no. 4(60), pp. 57-63. DOI: 10.28995/2227-6165-2025-4-57-63

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CINEMA

THE ACTOR-FUNCTIONAL PRINCIPLE OF PERIODIZATION OF NATIONAL CINEMATOGRAPHIES
Research article
UDC 791.43.01+791.43.03
DOI: 10.28995/2227-6165-2025-4-64-79
Received: November 20, 2025. Approved after reviewing: December 05, 2025. Date of publication: December 31, 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 proposes a novel methodological approach to the periodization of national cinematographies through the lens of the distribution of the right to realize the authorial function (RRAF) among key actors in the cinematic process. The author critically analyzes the limitations of existing periodization principles: the subject-historical approach, which determines cinema through socio-political processes, and the subject-conceptual approach, which explains transformations through the immanent evolution of artistic forms. Both approaches eliminate the question of specific subjects making decisions about the film's formal-content integrity. The developed theoretical model of the socio-cinematographic process identifies four actor-abstractions: the Author, the Studio, the State, and the Viewer, each possessing specific target functions and mechanisms of influence on film production. The actor-functional periodization principle is based on determining the dominant bearer of RRAF in a specific historical period. Period transitions are marked by the transfer of RRAF between actors, which determines qualitative transformations of national cinema. The methodological work is performed at an abstract level of cognition using the activity-based approach, ensuring universal applicability of the principle to empirical material of any national cinematography.
Keywords: cinema periodization, right to realize authorial function, actor-functional approach, socio-cinematographic process, activity-based approach, film studies methodology, formal-content integrity, national cinematography

For citation:
Aniskin M.A. “The Actor-Functional Principle of Periodization of National Cinematographies.” Articult. 2025, no. 4(60), pp. 64-79. DOI: 10.28995/2227-6165-2025-4-64-79

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INTERTEXTUAL FILM ANALYSIS: METHODOLOGICAL FRAMEWORKS IN CONTEMPORARY RUSSIAN FILM STUDIES
Research article
UDC 7.01+791.43.01+791.45.072
DOI: 10.28995/2227-6165-2025-4-80-89
Received: November 01, 2025. Approved after reviewing: November 30, 2025. Date of publication: December 31, 2025.
Author: Kozhokaru Tatiana Igorevna, MA in Art History, PhD Student, Russian State University for the Humanities, (Moscow, Russia), e-mail: tatiana@journalist.com
ORCID ID: 0000-0002-8987-4032
Summary: The article examines, systematizes, and critically evaluates the advantages and limitations of intertextual analysis models applied to narrative cinema in contemporary Russian film studies. On the basis of this study, it identifies the core elements of a methodologically sound approach to the intertextual analysis of a cinematic work. By drawing on established analytical frameworks, adapting them to specific research objectives, and subjecting them to critical reassessment and refinement, film scholars can develop an optimal strategy for intertextual film analysis. The findings are also relevant to pedagogical practice in film schools and departments of screen and media arts, wh ere they may inform the development of teaching materials for courses in film analysis.
Keywords: film analysis, analytical tools, methodological frameworks, intertextuality, intertextual film analysis, contemporary Russian film studies

For citation:
Kozhokaru T.I. “Intertextual film analysis: methodological frameworks in contemporary Russian film studies.” Articult. 2025, no. 4(60), pp. 80-89. DOI: 10.28995/2227-6165-2025-4-80-89

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METHODOLOGY

REFLECTION AS A PROPAEDEUTIC TOOL FOR CREATIVE AND SCIENTIFIC RESEARCH ACTIVITIES
Research article
UDC 159.955.4+7.01+791.43.01
DOI: 10.28995/2227-6165-2025-4-90-113
Received: November 18, 2025. Approved after reviewing: December 10, 2025. Date of publication: December 31, 2025.
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Russian State University for the Humanities (Moscow, Russia), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: This article explains reflection as a methodological tool that can be used to introduce an understanding of the nature and specifics of creative and scientific research activities. The schematization of possible levels of reflection and key situations from which a reflective outcome can be achieved, on the one hand, demonstrates the possibilities of individual and collective use of reflection and its function for scientific disciplines, and on the other hand, is a vivid illustration of the dependence of any human activity on existing scientific knowledge, the quality of which directly depends on the quality of reflection implemented by scientists. Such a reflective understanding of reflection gives a person who is just getting involved or is already immersed in creative or scientific research activities a powerful inoculation against any conceptual ideas and situational attitudes imposed by society, while at the same time forming a critical (reflective) attitude towards their own activity and worldview self-identification.
Keywords: reflection, activity-based approach, creativity, scientific research, humanities, art history, film studies, art education, creative education, film education

For citation:
Schtein S.Yu. “Reflection as a propaedeutic tool for creative and scientific research activities.” Articult. 2025, no. 4(60), pp. 90-113. (in Russian) DOI: 10.28995/2227-6165-2025-4-90-113

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