Supplements to: Galina Tsvetkova. ‘Flying Shirts’ Creative Project: Vernissage

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Galina Tsvetkova
Keyword(s):  
1942 ◽  
Vol 28 (6) ◽  
pp. 48
Author(s):  
Jose' D. Masters

Author(s):  
Оксана Александровна Абальмасова

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.


2014 ◽  
Vol 17 (1) ◽  
pp. 52-75
Author(s):  
Leon AG Oerlemans ◽  
Frien Van Kessel ◽  
Saskia Van Stroe

This paper examines the relationship between perceptions of organizational culture, academics’ social embeddedness, and their creative paper project output. It argues that the extent to which researchers working on paper projects are socially embedded by having social ties with colleagues inside and outside their academic department (but within the same university) is a causal step linking organizational values and norms to creative outputs. This study, however, does not find support for the proposed mediating effects. Instead, results indicate that three organizational culture dimensions – i.e. performance orientation, environmental orientation, and innovation support – affect employees’ creative project output through their social embeddedness outside the department (but within their own university). As the organizational culture and social embeddedness of employees outside the department are both contextual factors that (either indirectly or directly) matter for the generation of creative project outputs by researchers, this study concludes that “no creative person and no project is an island”. 


Author(s):  
Hannah S. Schwadron

This paper addresses the subjects of dance and exile in relation to diverse cultural histories in Germany and their resonances across distinct time periods. As my central example, I introduce Dancing Exile, an ongoing improvisation and performance project developed across borders, cultures, and experiences. The project underscores the work of political and artistic representation past and present in Hamburg, by looking at the lives of contemporary refugees alongside earlier Jewish holocaust histories tied to the cityscape. Sharing the collaborative work of performers from Afghanistan, Germany, and the US, including myself, I discuss the aesthetic and social dynamics of this ongoing creative project in relation to questions of migration, mobility, relationship, and exchange.


Author(s):  
Pia Ednie-Brown

In this chapter Pia Ednie Brown takes a vitally materialist approach to discussing the nonhuman creativity that comes from the house which, like any creative project, is like a living creature whose personality changes in time and whose vitality of matter is wild. Architecture as assemblages of forces, humans as a force that becomes part of a tangled ecology and the house, acting like any personality, perpetually evolving and being discovered, while in relation to us humans, it is yet another responsibility for which we are never utterly in control of. The chapter attempts to approach anthropomorphising without falling into its indisputable dangers. As the author suggests, new forms of value can be generated if things can be thought of as persons. That way we may manage to usher their activity to attention.


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