Living Simulacrum

The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).

‘We Are Gathering Experience’

In recent years, critics and art historians have pointed to an ‘educational turn’, a rise in participatory pedagogical art projects and artist-led experimental schools. This essay considers artist-led projects and museum programmes that restage or reenact educational experiments from the past, analysing their limits and possibilities in the study and presentation of modern art history. Much like performance art, pedagogy is ephemeral and contingent, and yet it differs in that it does not establish a fixed spectatorial role. To be understood it must be participated in, for, as Josef Albers described his teaching, ‘we are gathering experience’.

The Future of Winckelmann’s Classical Form

Winckelmann’s thought and writing are routinely acknowledged to have had a profound influence on the artistic practices of the half-century after his death, known under the label ‘Neoclassicism’. Standard accounts of modernism in the arts, however, assume that this influence came to an abrupt end around 1815. According to such accounts, the anti-classical reaction that followed the Battle of Waterloo and the demise of Neoclassicism was itself a motive force in the generation of modern art and modernism. This paper argues, on the contrary, that Winckelmann’s ideas not only remained relevant, but gained in power through the generations after the fall of Napoleon. Mediated by critics and artists among whom Walter Pater and Frederic Leighton serve as the principal examples, Winckelmann’s thought made a decisive contribution to twentieth-century modernism. In particular, the articulation in both criticism and artistic practice of ideas about classical form, indebted to Winckelmann, had a subtler and more complex impact on the modernist doctrine of ‘formalism’ than literary or art historians have acknowledged. A renewed attention to classical form will help future scholars to write a more nuanced account of modernism in the visual arts. More importantly, it will call attention to artistic projects that have been excluded from histories of modern art due to reductive assumptions that classicism and modernism are inherently contradictory. The paper concentrates on Frederic Leighton as a case study of an artist whose historical importance and aesthetic merit have been occluded by reductive thinking of this kind.

Production Activities in Market Conditions: Specifics and Ways of Optimization

The purpose of the article is to substantiate the theoretical provisions of the peculiarities of the production of cultural and artistic products in the modern art space. The research methodology is based on the principles of a logical approach. Comparative and interdisciplinary approaches are applied. The scientific novelty lies in identifying the main factors that determine the effectiveness of production activities, actualize and stimulate scientific discourse regarding methods of managing the cultural sphere, reveal the features and ways of optimizing the creation, proposal, and production of precisely those projects that demonstrate significant advantages of the producer over competitors, stimulate the creation in Ukraine, a reduced market for cultural services. Conclusion. Deep and comprehensive modernization of the art sphere requires the search for new approaches to optimizing content production. The optimization of production activities is focused on structuring the costs of the cultural and artistic project by deepening, expanding, and updating the professional knowledge, skills, and practical experience of the producer. It is determined that production activity is a multicomponent process in which financial, technical, legal, and labor resources are involved. All these components, one way or another, are related to creativity. In order for a cultural and artistic project to be competitive, it is necessary to take into account the following factors: digitalization of the consumer audience; tastes of the consumer audience; content criticism. Keywords: producer, production activity, production project, art management, art industry, art dealer, art businessman, optimization of production activities.

CHARACTERISTICS OF ARTISTIC AND ACTIVITY CRITERION OF FORMATION OF CREATIVITY OF A CHILD OF PRESCHOOL AGE BY MEANS OF A MODERN ARTISTPLAYER

The article analyzes the contemporaneity and relevance of the point of creation of preschool children. In the framework of scientific and pedagogical research, creativity considers as a qualitative change in human ability that corresponds to the psychophysical and psycho-emotional processes of the preschool period of personality formation. With the help of the conducted experimental work based on children’s preschool institutions of Poltava region, the art-activity criterion of creativity of children of 5-7 years with the involvement of modern art-game material has been revealed. Particular attention has been paid to modern scientific research, which is devoted to the matter of children’s creativity, which is developing in creative activities. As a result of experimental work, we identified indicators of artistic and creative criteria of creativity of preschool children, namely the indicator of artistic and game literacy, the indicator of artistic and playful actions, and the indicator of improvisation and creative activity.Special attention should be paid to identifying the levels of indicators of artistic and creative criteria of creativity of preschool children with the involvement of contemporary art and game material in the experiment - high, medium, and low levels of creativity, their features, and quality examples. Our article contains a diagnosis of the problems faced by preschool children when playing, as a leading activity or when getting acquainted with the developmental potential of modern art and game material from the standpoint of an artistic and creative criterion of creativity. Prospects for further development in the direction of forming the creativity of preschool children using modern art and game material are aimed at preparing a curriculum in this thematic area.

Free indirect speech in Croatian oral folk tales

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.