Art installation from glass and steel with elements of museum collection for exposition of State literary museum of Yanka Kupala

2018 ◽  
Author(s):  
Павел Владимирович Войницкий ◽  
Елена Михайловна Златкович
Keyword(s):  
Contemporary Art ◽  
World Literature ◽  
Museum Collection ◽  
Historical Events ◽  
Time Line ◽  
The Real ◽  
Art Installation ◽  
Moral Leader ◽  
Exposition Time ◽  
Main Material

Статья посвящена инсталляции «Путь поэта», выполненной авторами для Государственного литературного музея Янки Купалы (Минск, Беларусь) в 2014 году. Это произведение современного искусства, репрезентирующее последние минуты жизни Народного поэта БССР Янки Купалы. В то же время оно представляет собой фрагмент музейной экспозиции, посвященный трагическому окончанию жизненного пути поэта, и включает в себя реальные экспонаты из музейной коллекции, имеющие отношение к смерти Купалы. Остальные составляющие инсталляции – сталь, стекло, звук и направленный электрический свет. Инсталляция должна была стать не только драматическим контрапунктом экспозиционного тайм-лайна, но также и послужить прозаичным оборудованием для демонстрации музейных предметов. В результате длительной работы над эскизами выкристаллизовалась вертикальная композиция объекта, напоминающего лестницу и составленного из стеклянных листов-ступеней, которая и была, в итоге, воплощена. В статье раскрывается концепция произведения, его привязка к конкретным историческим событиям, а также особенности образно-художественного решения. Особое внимание уделено специфике использования стекла в качестве основного материала инсталляции. The paper is devoted to the art installation «Way of Poet» created by the authors for the State Literary Museum of Yanka Kupala (Minsk, Belarus) in 2014. It is a work of contemporary art that represents the very last moments of life of People's poet of the Byelorussian SSR Yanka Kupala. At the same time, it is a fragment of the Museum exposition dedicated to the tragic end of the Poet's life, and includes the real exhibits related to the death of Kupala from the Museum collection. Other components of the installation are steel, glass, sound and spotted electric light. Yanka Kupala (1882 – 1942) was the classic writer of Belarusian and world literature, one of the founders of modern Belarusian literature and literary Belarusian language, the spiritual and moral leader of national rebirth in Belarus. On 28 June 1942 he tragically died in unexplained circumstances, having fallen into the staircase opening at the 10th floor of the hotel «Moscow» in Moscow. The installation is not only a dramatic counterpoint of the exposition time-line, but it also serves as prosaic equipment for demonstrating the Museum’s items. As a result of long work on the sketches, the vertical composition of the object was invented and embodied. It resembles a stairway that composed of glass sheets-steps. The paper reveals the concept of the work, its connection to specific historical events, as well as its original artistic features. Particular attention is paid to the specific use of glass as the main material of the installation.

scholarly journals Conceptualizing the Aurora: An Exploration of Performative Understanding through Interactive Art

Nordlit ◽  
2020 ◽  
Author(s):  
Signe Kjaer Jensen ◽  
Cristina Pop-Tiron
Keyword(s):  
Contemporary Art ◽  
Critical Discussion ◽  
Natural Phenomena ◽  
Interactive Art ◽  
Stepping Stone ◽  
The Real ◽  
Art Installation ◽  
Everyday Lives ◽  
Scientific Representations ◽  
Video Documentation

Aurora – Connecting Senses is a multimodal, interactive art installation which explores the ideas of the Northern Lights through sound, light, colour, and interaction. The installation creates a space where the colours, magic, and mystique of the aurora are brought down to earth and into people’s everyday lives. It is inspired by popular and scientific representations of the real aurora and invites audiences to create yet another interpretation of the natural wonder. In doing so, audiences are also invited to reflect upon the nature of the aurora and on the act of interpretation and exploration. In this article, we provide a thorough description of the ideas and development of the installation, along with photo and video documentation, and offer a critical discussion of the installation as a performative art piece with certain affordances for interaction, performativity, and active reflection. Our discussion is grounded in our observations of audiences engaging with the installation, aspiring to relate the theoretically available affordances for interaction with the differences in observed audience behaviour. The theme and reflective potential of the installation is further compared to other contemporary art pieces dealing with conceptualizations of nature or natural phenomena. By doing this, we aim to use the aurora installation as a stepping stone for addressing the potential of interactive art to highlight or even construct certain understandings of a natural ‘reality’ and for engaging audiences in a further negotiation of these understandings.

Richard Sisson and Leo E. Rose. War and Secession: Pakistan, India and the Creation of Bangladesh. New Delhi: Vistaar Publications. 1990. 338 pp.Price Rs 225.00 (Hardbound).

1991 ◽  
Vol 30 (1) ◽  
pp. 95-99
Author(s):  
Ziaul Haque
Keyword(s):  
Political Polarization ◽  
The Political ◽  
New Delhi ◽  
Historical Events ◽  
National Elections ◽  
The Real ◽  
Global Issues ◽  
Political Processes ◽  
Political Events ◽  
The Creation

After thirteen long years of military dictatorship, national elections on the basis of adult franchise were held in Pakistan in December 1970. The Awami League, led by Sheikh Mujibur Rahman, and the Pakistan Peoples Party, under Zulfiqar Ali Bhutto, emerged as the two majority political parties in East Pakistan and West Pakistan respectively. The political party commanding a majority in one wing of the country had almost no following in the other. This ended in a political and constitutional deadlock, since this split mandate and political exclusiveness gradually led to the parting of ways and political polarization. Power was not transferred to the majority party (that is, the Awami League) within the legally prescribed time; instead, in the wake of the political/ constitutional crisis, a civil war broke out in East Pakistan which soon led to an open war between India and Pakistan in December 1971. This ultimately resulted in the dismemberment of Pakistan, and in the creation of Bangladesh as a sovereign country. The book under review is a political study of the causes and consequences of this crisis and the war, based on a reconstruction of the real facts, historical events, political processes and developments. It candidly recapitulates the respective roles of the political elites (both of India and Pakistan), their leaders and governments, and assesses their perceptions of the real situation. It is an absorbing narrative of almost thirteen months, from 7 December, 1970, when elections were held in Pakistan, to 17 December, 1971 when the war ended after the Pakistani army's surrender to the Indian army in Dhaka (on December 16, 1971). The authors, who are trained political scientists, give fresh interpretations of these historical events and processes and relate them to the broader regional and global issues, thus assessing the crisis in a broader perspective. This change of perspective enhances our understanding of the problems the authors discuss. Their focus on the problems under discussion is sharp, cogent, enlightening, and circumspect, whether or not the reader agrees with their conclusions. The grasp of the source material is masterly; their narration of fast-moving political events is superbly anchored in their scientific methodology and political philosophy.

scholarly journals The “legendary style” in “The comprehensive life of Constantin (Cyril) the Philosopher”

2020 ◽  
Vol 26 (1) ◽  
pp. 11-16
Author(s):  
Svitlana Borshch
Keyword(s):  
Phenomenological Analysis ◽  
Historical Events ◽  
The Real ◽  
Historical Method ◽  
Slavonic Language ◽  
The New Testament ◽  
The Subject ◽  
Real Person ◽  
The Universe ◽  
Christian Society

The subject of the study is the “legendary style” of one of the most iconic hagiographic text of the IX century “The Comprehensive Life of Constantine (Cyril) the Philosopher”. This Pannonian legend belongs to the texts of Cyril-Methodius cycle and has the description of the re-finding and transportation Saint Clement’s relics by Constantine the Philosopher from Korsun (Chersonesus) to Rome. This episode is an important part of the process of legalizing the translation of the Divine Books to the so-called Church-Slavonic language. The phrase “legendary style” was borrowed from I. Franko’s work “Saint Clement in Korsun” (Lviv, 1902–1905) and has not been explained as a term yet. The purpose and the novelty of our research is to find out how “legendary style” was formed, which techniques were needed to create this concept. The relevance of this study is due to the analyzing sources for the legend as a genre (it was formed on the base of the hagiographical texts such as Jacobus da Varagine’s "The Golden Legend", XIII century). Ideological description of historical events ("tendentious historicity"), disclosure of holiness and using the category of the miraculous were clarified as the technique of “legendary style”, using the cultural-historical method, elements of comparative, structural and phenomenological analysis. Holiness, called by J. Le Goff “the most important value of Christian society”, is a predetermined aspect in “The Comprehensive Life of Constantine (Cyril) the Philosopher” and it connected the saint’s life with the events of the New Testament. The category of the miraculous is considered from the point of mythological view: miracles regulated the universe, restored harmony and established true rules and laws. According to A. Losev, the true Christian miracle occurred when the real person dialectically synthesized with his/her inner ideal at a certain moment. “Tendentious historicity” is observed in the episode about saint relics of Pope Clement I. There are variations in the very process of re-finding the holy remains: locations, heroes and time in some stories are not the same in different texts from the so-called Cyril-Methodius cycle. It gives reasons to consider these texts ideologically involved. It is advisable to include other hagiographic texts to confirm or refute, expand or narrow the “legendary style” as a term in further research.

How Can We Seize the Past?

Philosophy ◽  
1989 ◽  
Vol 64 (247) ◽  
pp. 67-78
Author(s):  
Christopher Cherry
Keyword(s):  
Philosophy Of History ◽  
Direct Access ◽  
Perceptual Awareness ◽  
Historical Events ◽  
The Real ◽  
The Past ◽  
Direct Acquaintance ◽  
Real People ◽  
Intelligible World ◽  
Historical Past

My concern is to understand how it is that contemplation of the past— better, of this or that preferred past—evokes in some people an impression which is distinctively weird. It is unmistakable; and anyone who has felt it will soon know what I am talking about. What is the impression, and whence the impressionability?To help identify my concern (and make it seem less eccentric) I shall let it emerge from some highly selective remarks about an issue in philosophy of history which is, by contrast, familiar and respectable: the debate between constructionists and realists. We cannot conceivably have direct acquaintance with, direct access to, the past; by their very nature, past events are over and done with and so unavailable for inspection. This much both camps agree on. However, they differ massively over what follows from this truth. For the constructionist concludes that what he calls the ‘real past’, what actually happened, can play no part whatsoever in historical thought. It is necessarily hidden, and we can have no inkling of it. What, and all, the historian can sensibly claim to know is the ‘historical past’, something which is constituted by and exists only in relation to his thought. Against this, the realist maintains that of course historians do not, necessarily or even typically, constitute the past; rather, they construct accounts of it which will be true if they conform to it as it actually was and false if they do not. And he charges his opponent with a number of fundamental confusions: mistaking accounts of historical events for the events themselves, confusing epistemological matters with ontological, and worst of all equating knowledge with direct perceptual awareness. Now, the realist is, in basics at least, fairly obviously right. And his criticisms are reinforced when we note that constructionists tend to combine with their vision of the impenetrability of the ‘real’ past the thesis that we undoubtedly know that there is a real past, with real people and real events. However, this piece of knowledge must for him, like that of an intelligible world for Kant, ever remain contentless, ‘factually vacuous’.

A Ruse for the Real

2017 ◽  
Author(s):  
Jennifer Friedlander
Keyword(s):  
Public Art ◽  
Asylum Seekers ◽  
Reality Tv ◽  
The Real ◽  
Public Square ◽  
Art Installation ◽  
Big Brother ◽  
Tv Show

This chapter analyzes “Bitte liebt Österreich” (“Please Love Austria”), the controversial public art installation created by the late German conceptual artist and provocateur Christoph Schlingensief. Schlingensief staged a variation on the reality TV show Big Brother, in which asylum seekers were housed in a structure in a public square in Vienna, Austria. Passersby were invited to cast their vote each night for which detainee should be evicted the following day. By staging his intervention as a “game” that borrowed from the familiar “reality TV” genre, Schlingensief invites us to consider the question of whether using a fictional, game-like mode of representation to describe a politically reactionary event may help to subvert it. He thus offers an important twist to the logic which undergirds the position that realistic depictions of revolutionary events can themselves be politically potent.

scholarly journals Oor die bestaan van God en oor niksheid

1997 ◽  
Vol 53 (4) ◽  
Author(s):  
Kobus Labuschagne
Keyword(s):  
Karl Barth ◽  
Historical Research ◽  
The Other ◽  
Historical Events ◽  
Existence Of God ◽  
The Real ◽  
Subjective Approach ◽  
Existentialist Philosophy ◽  
The One ◽  
Point Of Departure

On the existence of God and on nothingness The views of Karl Barth and the 'Heilsgeschichte'-tradition on the one hand, and those of Rudolf Bultmann and the 'Formkritik'-tradition on the other hand, do not differ so much on the method of objective historical research. The real differences start to appear on the hermeneutical front, where facts and events referred to in the Scriptures are evaluated and explained. The 'Heilsgeschichte' -tradition is consistent in maintaining an objective point of departure, whilst Bultmann and the 'Form-kritik'-tradition, influenced by existentialist philosophy, reveals a subjective approach. For Bultmann the kerygma cannot be verified historically but only subjectively or existentially. For Barth the kerygma cannot be separated from its true basis of historical events, in and through the person of Jesus Christ. These two different approaches have enormous con-sequences for the question of the existence of God.

scholarly journals ГЕНЕЗА ДУМИ ПРО БРИТАНКУ ЮРІЯ ЯНОВСЬКОГО В КОНТЕКСТІ ТРАДИЦІЙ РАДЯНСЬКОЇ ДРАМАТУРГІЇ

2021 ◽  
Vol 9 (2) ◽  
pp. 107-116
Author(s):  
SWITŁANA KONDRATIEWA
Keyword(s):  
Literary Theory ◽  
Original Version ◽  
Real Case ◽  
Important Process ◽  
Historical Events ◽  
General Process ◽  
The Real ◽  
Original Idea ◽  
The Social ◽  
Literary Trend

The specificity of this article is the consideration not only of the completed text entitled A Duma about Brytanka, but also of the play-forming and creating process, which became possible due to the presence of drafts and draft notes to the work. Therefore, this study is conducted not only in along the lines of literary theory, but also textology. The relevance of the study is that the view from above allows us to comprehend, or even rethink, the play A Duma about Brytanka in the context of the author’s work and also in the context of the Soviet drama landscape in general. Understanding and rethinking the work of predecessors is an important process for comprehending the development of literature as a general process and its development within the national borders. The aim of the study at hand is to determine how the realities of the time and especially the accepted literary trend and historical events influenced the formation of the text of the play. The results of the study show that the original idea of A Duma about Brytanka had much more romantic features, as romanticism as a style of thinking was inherent for Yuri Yanovskyi. However, in the process of creating the play, the author began to rely on the documents that showed the real case of the social republic. The author abandoned the original version and completed the play so that it became much closer to the Soviet canon than to romanticism.

Painting the Painter

2012 ◽  
Vol 5 (2) ◽  
pp. 8-22
Author(s):  
Fabrice Leroy
Keyword(s):  
Life Story ◽  
Visual Representation ◽  
Real Life ◽  
Historical Events ◽  
The Real ◽  
Bande Dessinee ◽  
Marc Chagall ◽  
Art Historians ◽  
Life Journey

French cartoonist and filmmaker Joann Sfar has often used the comics medium to reflect on visual representation. His latest bande dessinée, Chagall en Russie ['Chagall in Russia'] (2010-2011), continues some of the meta-pictural elements previously found in his Pascin (2000-2002), which already featured Chagall in several episodes, as well as his acclaimed series, The Rabbi's Cat, where Sfar introduced the character of an anonymous Russian painter, whose biography and artistic stance seemingly referred to that of Marc Chagall. Although Chagall en Russie explicitly refers to the real-life Franco-Russian modernist painter, it is certainly not a standard biographical exercise. By offering a synthetic and often symbolic version of personal and historical events experienced by Chagall, Sfar takes certain liberties with the painter's life story as it was outlined by the artist (in My Life, his 1922 autobiography) and by many biographers and art historians. Sfar does not seek an authentic depiction of his subject's verifiable life journey, but rather views it through a metaphorical narrative, which is itself inspired by Chagall's artistic universe and raises questions about the figurative possibilities of comics.

The Cinema of Francesco Rosi

2020 ◽  
Author(s):  
Gaetana Marrone
Keyword(s):  
Narrative Structure ◽  
Historical Events ◽  
The Real ◽  
World Cinema ◽  
Material Reality ◽  
Logical Investigations ◽  
Political Realities

Francesco Rosi’s work, which includes an impressive number of individually celebrated films, occupies a unique place in postwar Italian, indeed postwar world, cinema. Over the years, Rosi has offered films that trace an intricate path between the real and the fictive, the factual and the imagined. His films show an extraordinarily consistent formal balance while representing historical events as social emblems that examine, shape, and reflect the national self. They rely on a labyrinthine narrative structure, in which the sense of an enigma replaces the unidirectional path leading ineluctably to a designated end and solution. The truth itself, so fragmented and confused, may never be discovered. Rosi’s logical investigations are conducted by an omniscient eye and translated into a cinematic approach that embraces the details of material reality with the panoramic perspective of a dispassionate observer. This study addresses Rosi’s films as mosaics fashioned out of “clips” collected from the various stages of production, most specifically from the director’s own archival materials. It examines Rosi’s creative use of film as document (and as spectacle). This is, inevitably then, a study of the specific cinematic techniques that characterize Rosi’s work and that visually, compositionally, express his vision of history and the elusive “truth” of past and present social and political realities.

Sign in / Sign up

Export Citation Format

Share Document