MEMORY AND SPACE IN AYSE ERKMEN'S ARTWORKS

Ayse Erkmen is known for her site-specific installations and she created some of her artworks by making use of memory of the space. In these works, the artist transforms the space with its memory into an art material. By making simple but extraordinary interventions to the space, she grasps the past and memories of the space. In this way, in her works she touches the memory of the space created with a minimal reality. In her own words, the practice of the artist, standing at a point "between being an art and not being an art", brings forward the relationship between space and memory with an innovative approach. This research examines the relationship between memory and space that is especially inherent in the artist’s site-specific works. Therefore, a detailed research is carried out on the practice of the artist, who deals with this relation ship in a postmodern context. The aim of this article is to conduct a research on the relationship between space and memory in postmodern art, based on Ayse Erkmen’s site-specific works. In the research, document analysis method, which is one of the qualitative research methods, was applied. In the article, it has been concluded that the relationship between space and memory in Ayşe Erkmen's works does not contain an utopian discourse. Instead without creating a nostalgic feeling, this relationship carries a postmodern context with minor narratives. Keywords: Space Memory, Postmodern Art

The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.

Echoes of The Pandemic in Postmodern Aesthetic Communication

The paper analyses how some types of postmodern art have been used as a means of copying by the aid of humour with the unpleasant restrictions and changes of the way of life during the emergency and alert states in Romania. Artă Reinterpretată is a Facebook page that offers posts on various aspects of life during the pandemics quarantine and lockdown, including isolation or exploiting love, couple and family difficulties; during the relaxation measurement and, finally, during rights restriction for those whom do not have The Green Covid Card. It does so by reinterpreting classical paintings, by adding to them a text or an image or both and thus creating a humourist situation meant to ease upon the hardships of a situation we cannot change.

NAIVE ART: FEATURES OF CREATIVE PERCEPTION

The purpose of the article is to define the specificity of the concept of "naive", to analyse the peculiarities of the works of art of this direction, their distinctive features on the basis of the visual works of Ukrainian naivists. Methodology. The research methodology is based on the art history analysis, the complex use of historical and comparative methods, system analysis, synthesis and eneralization. Results. The concept of naïve has been defined, its specificity in relation to the related, but not identical terms, such as "primitive art" and "outsider art" has been singled out, and the components of the development of the given tendency have been studied. On the example of Ukrainian naive art representatives, the characteristic features of the artists of this direction were defined. The urgency of the application of artistic images of naive in the realities of contemporary design is underlined. The scientific novelty. The category of artistic and compositional features of this kind of art in the works of Ukrainian naïve artists have been investigated, the characteristic visual techniques of this artistic direction, which are actual for the application in the modern design projects, have been determined. Practical significance. The identified features of the concept of naive, originality of creative implementation of this trend can contribute to the further research of this topical for the design of postmodern art form, and become a part of the discipline of art studies of students-designers to enhance their competitiveness in creating a visual culture of the modern society on the basis of images close to the national mentality.

The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.

Kant’s Theory of Modern Art?

Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.

“APPROPRIATION” AS A FORM OF PRODUCTION IN POSTMODERN ART: THE YASUMASA MORIMURA CASE

Although "appropriation", in other words "appropriation/adaptation", is a production approach that originates the productions of modern period artists, it has been one of the artistic orientations that form the roof of the Postmodern artistic pluralist structure, which basically has an eclectic body. Artists, who adopt and defend this mode of production, have reinterpreted and circulated existing or previously produced works/images/forms, contrary to the new production approach. At the same time, these artists, who consciously use the symbolic importance of the works they appropriate, while creating the cultural framework of their own production, seek a construction of meaning based on concepts such as reference, citation, irony, parody and incongruity, as well as a structure that tries to draw attention to the richness of meaning in contemporary art. have been placed on their agenda. This concept, which has developed an attitude against the notion of "originality" of modernism, has developed new arguments on the concepts of gender and racial discrimination, social language and discourse, identity, culture and representation, especially after the 1980s, examining the social codes that took shape through certain power relations. It has been shaped even more by the production practices of the artists. In this study, the "appropriation" approach, which is the source of many productions of postmodern art, is mentioned and a quick introduction to the sanctuary of art in the name of the interpretation and analysis of this concept and bringing the "authenticity/originality" discussions in art to the agenda again; The works of Japanese artist Yasumasa Morimura, who revived the masterpieces of art history and popular culture icons in his own body, in order to find himself again in other bodies, to experience and learn, are mentioned. Keywords: Postmodern art, appropriation, reproduction, Yasumasa Morimura

Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya

This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to be anti-modernism put into practice or is modernist thinking dead? The statement also dissects various notions or is it true that there is no precise and clear interpretation or understanding between "modern art" and "postmodern art"? This is also marked by the emergence of various interpretations and the existence of polemics or discussions among scholars, especially in the discourse of art and culture. This study is using secondary research based on various theories of disciplines and conducting an interview with art critics and art historians in resolving this question. Although there are various doubts in the separation between "modernism" and "postmodernism" but it provides an interesting input that is often associated with the emergence of some characteristics of the postmodern era thought and style that differs in terms of ideas, concepts, approaches, materials, appearance, presentation, ideas, interpretation and it is meaning that leads to the transformation of visual arts in the current socio-cultural context.

Visual Arts: Postmodernism

Postmodernism is notoriously difficult to define in any concise manner. Its start dates (and end dates, for that matter) exist in a state of flux, often varying by decades in the historiographies of major disciplines. In an attempt to begin to understand postmodernism, many theorists, art historians, and philosophers choose to take a rather apophatic approach by describing that which it is not, namely starting by understanding modernism. After all, that is embedded into the term postmodernism itself; at its core, postmodernism is connected to modernism. Essentially, modernism as a movement was predicated upon an avant-gardism that envisioned modern art as the cure-all for the broken world, working toward a utopian ideal. In understanding art’s engagement with religion in the postmodern era, it is also necessary to consider the shifting social landscape of institutional religion and politics at this time. The culture wars of the end of the 20th century both shaped and were shaped by postmodern art, with famous clashes between artists and the emerging religious right and/or prominent political figures dominating the headlines. Largely because of these events, many critical narratives have promoted the idea that art and religion had little to do with each other in this period. While secularization theories are gradually unraveling in the field at large, these ideas still figure prominently in many discussions of modernism and postmodernism. Regardless, artists have continued to engage with religious subject matter throughout the 20th and 21st centuries. The appearance of secularization is imperative to note, particularly as a number of postmodern artists (indeed, some of the most recognizable names in the art world) have engaged with religion in their work. This is not to say that postmodern artworks with religious themes all celebrate religion uncritically, nor do they all examine religion from outside the realm of belief in a strictly anthropological manner. One of the main difficulties in interpreting postmodernism’s rather vexed relationship with institutional religion is the multivalence of many of the artworks. Multiplicity of meaning in both artistic intent (if such a thing is granted) and reception is common in postmodernism, which should caution critics from attempting to make concrete assertions about any presence of pure religiosity or pure secularism. Trends in postmodern artistic practices, such as the mixing of high and low art forms and media, the use of appropriation, pastiche, institutional critique, and more, along with the increasing diversification of artists and contexts, have resulted in the examination of religious subjects in ways that are particularly postmodern.

MODERN UKRAINIAN PHOTO BOOK AS AN OBJECT OF CONCEPTUAL ART OF POSTMODERNISM

Purpose. The purpose of the study is to identify the features of modern Ukrainian photo books, which have become a striking example of following the trends of postmodern art. Methodology. The study is based on the integrated use of historical, comparative methods, systems analysis, synthesis, generalization. Results. The modern Ukrainian photo book is considered as a work of conceptual art of postmodernism. Certain artistic and compositional features and design techniques of Ukranian photobooks are identified; originality of form; author's presentation of textual, content and visual components of the indoor unit: inclusion of ready-made images (ready-made) and photo manipulation, use of collages, photos of utilitarian objects, etc. Scientific novelty. On the example of art history analysis of a number of well-known Ukrainian photobooks, the characteristic features of the photobook as an object of modern conceptual art is determined, the features of figurative, stylistic, artistic and compositional design solutions are systematized. Practical significance. The artistic and compositional features and design techniques used by photographers in the implementation of creative ideas have been identified, the theoretical basis of modern conceptual art have been expanded that can be useful in future creative projects of photobooks that will have both artistic and commercial value.