Problems of restoration and development of urban environment of old industrial centers]

The paper considers the urban development and reconstruction of industrial centers on the example of different cities. Design proposals are given for the renovation of the Russian factories and landscaping of industrial historic cities. Examples are given for the reconstruction of silk weaving enterprises near Moscow. Many factories are now in a derelict condition, and for the normal urban development need revitalization of enterprises and comprehensive improvement of adjacent areas. Thanks to the development of cloth production, small settlements in central Russia became industrial city-forming centers more than two hundred years ago. Small manufactories were transformed into large industrial complexes, and the unique exquisite fabrics surpassed the best European ones in price and quality. Russian fabrics were universally welcomed at international exhibitions, awarded with medals and long-term orders. Cities were growing, the economy was developing, housing construction helped to solve social problems, transportation and infrastructure of cities and settlements were developing. Early in the 21st century, glorious weaving factories became an integral part of historic cities, their decoration and pride. Architectural ensembles of industrial enterprises became not only monuments of the Russian cultural heritage, but also an important component of the Russian cities.

'True direction': Aspects of aestheticism in New Zealand (1880-1913)

<p>This thesis examines aspects of Aestheticism in New Zealand. Despite the paucity of literature written on Aestheticism in colonial contexts, there is evidence that Aesthetic tendencies flourished in the art and literature of the ‘South Seas’. Aestheticism in Australia and New Zealand has been categorised as ‘insignificant’ within national art histories, overlooking the complex ways whereby aspects of Aestheticism arrived in the antipodes through international exhibitions, touring theatre productions, academically trained artists from Europe, and dispersal through literature. It is a moment in our national art history that should be recognised. My research is the first comprehensive study of Aestheticism and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular focus on James McLauchlan Nairn and Charles Frederick Goldie, this study revises the status of two New Zealand artists who have been viewed as representative of opposing artistic camps—Nairn, a bohemian promoting Impressionist and open air landscape practice, and Goldie, a painter of the ‘Old World’ tradition of academic instruction. I suggest the oppositional status that has been applied to these painters in New Zealand’s art history is no more than a polemical device. By contrast, Aestheticism allows us to understand how both artists are not too dissimilar in certain aspects of their artistic ambition. They were both educated in Paris and this alone provided them with a sense of authority to dictate art and fashion when advising their upper-class clientele in New Zealand. My research has revealed how Nairn and Goldie inhabited similar social circles, in Wellington and Auckland respectively, and integrated aspects of the ‘cult of beauty’ into their art and living environments. Based on this research, I argue for a more nuanced understanding of how local and international tendencies interacted within New Zealand’s art.</p>

'True direction': Aspects of aestheticism in New Zealand (1880-1913)

<p>This thesis examines aspects of Aestheticism in New Zealand. Despite the paucity of literature written on Aestheticism in colonial contexts, there is evidence that Aesthetic tendencies flourished in the art and literature of the ‘South Seas’. Aestheticism in Australia and New Zealand has been categorised as ‘insignificant’ within national art histories, overlooking the complex ways whereby aspects of Aestheticism arrived in the antipodes through international exhibitions, touring theatre productions, academically trained artists from Europe, and dispersal through literature. It is a moment in our national art history that should be recognised. My research is the first comprehensive study of Aestheticism and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular focus on James McLauchlan Nairn and Charles Frederick Goldie, this study revises the status of two New Zealand artists who have been viewed as representative of opposing artistic camps—Nairn, a bohemian promoting Impressionist and open air landscape practice, and Goldie, a painter of the ‘Old World’ tradition of academic instruction. I suggest the oppositional status that has been applied to these painters in New Zealand’s art history is no more than a polemical device. By contrast, Aestheticism allows us to understand how both artists are not too dissimilar in certain aspects of their artistic ambition. They were both educated in Paris and this alone provided them with a sense of authority to dictate art and fashion when advising their upper-class clientele in New Zealand. My research has revealed how Nairn and Goldie inhabited similar social circles, in Wellington and Auckland respectively, and integrated aspects of the ‘cult of beauty’ into their art and living environments. Based on this research, I argue for a more nuanced understanding of how local and international tendencies interacted within New Zealand’s art.</p>

Labour in a Single Shot

This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and videomaker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honouring the original Lumière film’s basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world.

From IRL (in-real-life) to URL: Capturing the art biennial amid COVID-19

In early 2020, the unforeseen COVID-19 has brought the art world to its knees, particularly the contemporary art scene needs viewers and feedback to survive. Artists require new channels connecting them with their audiences, while artists’ work needs to be seen and appreciated by the public to sustain its value. In the face of social distancing restrictions and limited visitors, however, many international exhibitions are forced to cancel or postponed. With less to no patronage, will the global pandemic bring the end of the art world? As the global pandemic has forced most social and cultural events moving online, the art biennials are no exception. This article examines the art biennial, the Olympics of the art world, to rediscover the meaning of ‘art’ before and after COVID-19. Integrating virtual presentation and digital campaign between the Taipei Biennial and the Shanghai Biennale, the first running art biennials across the Taiwan Strait, this article analyses and presents the art world’s potential shifts in the post-pandemic future.

Sacred Sounds, Secular Spaces

This book is the first comprehensive study that reevaluates music’s role in the relationship between the French state and the Catholic Church at the end of the nineteenth century. As the divide between Church and State widened on the political stage, more and more composers began writing religious—even liturgical—music for performance in decidedly secular venues, including popular cabaret theaters, prestigious opera houses, and international exhibitions: a trend that coincided with Pope Leo XIII’s Ralliement politics that encouraged conservative Catholics to “rally” with the Republican government. But the idea of a musical Ralliement has largely gone unquestioned by historians and musicologists alike who have long accepted a somewhat simplistic epistemological position that emphasizes a sharp division between the Church and the “secular” Republic during this period. Drawing on extensive archival research, critical reception studies, and musical analysis, this book reveals how composers and critics from often opposing ideological factions undermined the secular/sacred binary. From the opera house and niche puppet theaters to Parisian parish churches and Montmartre’s famed cabarets, composers and critics from opposing ideological factions used music in their effort to craft a brand of Frenchness that was built on the dual foundations of secular Republicanism and the heritage of the French Catholic Church.

Modern Areas of Light and Colour Application in Architecture

The paper examines modern trends and techniques for the use of light and colour in architecture. The variety of existing approaches and technical capabilities in the light-colour organization of various types of spaces is systematized and presented in four areas: umbra (lat., illusion), spectrum (lat., spectrum), nuntius (lat., message), affectio (lat., mood). Each of those directions is characterized and illustrated with examples of actual and educational projects. The experience of Russia, Europe, and America since the mid-1980s is highlighted (the main examples are after 2000). Among the projects under consideration, there are objects demonstrated at international exhibitions (Expo 2015 in Milan, 58th Biennale of Contemporary Art in Venice 2019), large cultural centres (Louvre and the Musical Seine complex in Paris, Zaryadye Concert Hall in Moscow), virtual installations by the American bureau «Diller + Scofidio» for a number of public buildings, a competition project for the reconstruction of the Sukharev tower in Moscow, and diploma projects for the renovation of industrial territories - the former «Znamya Truda» plant in Moscow and the central part of the Moscow region town of Pavlovsky Posad. Simultaneously with the allocation of these four areas, a conclusion is made about the impossibility of their isolated existence. We are talking about the priority or emphasis of one of the directions (approaches) in a specific project, depending on environmental factors and the architect’s intention. A review of world experience allows us to conclude that lighting design and its artistic use turn space into an event, fill it with special dynamics and expressiveness, implement the communicative function of architecture, sharpening the emotionality of perception.

Satirical graphics in the creation of the plastic artist Iurie Rumeanțev

d cultural barometer, it highlighted the perception and plastic reflection of events and changes typical of the weather. Quite a few plastic artists contributed to this, among whom the graphic artist Iurie Rumeanțev. The artist showed skill, artistry and originality in the perspective of emphasizing some interesting facets of everyday life. During his creative activity, the artist creates numerous satirical sheets that see the light of day in various publications, including the satire and humor magazine "Chipăruș", the magazine "Femeia Moldovei", the newspaper "Tinerimea Moldovei", etc. Frequently participating in international exhibitions, Iurie Rumeanțev is appreciated with diplomas and medals both for his caricatures and for his book graphics. Artistically reflecting the social life of the era in which he worked, Iurie Rumeanțev managed to create valuable graphic sheets in which, situations, frequently encountered in everyday life, are mirrored in an ironic way. At the same time, the artist excludes distortions of shape and hideousness in the representation of the characters, emphasizing the artistic revelations of the human essence. Simultaneously with the satirical graphics, Iurie Rumeanțev also manages to persevere in book graphics by making reference works.

The characteristics of Great Cultural Projects and their impact on architectural and urban heritage (1850–2012)

This study examines Great Cultural Projects (GCPs) as an element of the developmental process of cities. For this study, GCPs are regarded as a global phenomenon rather than cases that must be analyzed independently. The study focused on four types of GCPs: world and international exhibitions, horticultural exhibitions, Olympic Games, and the European Capitals of Culture. The research sample comprised 183 GCPs globally, organized between the middle of the 19th century to the beginning of the 21st century. The study analyzed the influence of different GCPs on city structure and urban heritage and focused on the distinctive development of each GCP type. The study’s novelty lies in recognition of the four main types of GCPs’ potential for multidimensional urban development and their diversified impact on the transformation of modern cities, along with the identification of potential threats, benefits, and development opportunities related to different GCP types.

Showcasing the Empire

The second half of the nineteenth century and the first half of the twentieth were remarkable for large-scale international exhibitions of agricultural products, manufactured goods, technological inventions, and artworks that were staged in major cities in purpose-built buildings and visited by very large numbers of people. These events were demonstrations of national pride, functioned as engines of modernity, and promoted the global exchange of knowledge, global competition, and global trade. The chapter discusses how Napoleon III used the Paris exhibitions of 1855 and 1867 to promote himself and his Empire and how Franz Joseph engaged in international diplomacy during the Viennese world exhibition on 1873. Pedro II used his prestige to promote Brazilian exhibits in Paris in 1862 and 1857, in Vienna in 1873 and in Philadelphia in 1876.