The simultaneous existence of modernist and neo-avant-garde tendencies in nonconformist art of Ukraine in the 1980s

In the early 1980s, the nonconformist art movement in Odesa, which had been developing since the mid-1950s, was widened by a new generation of artists. Their art searches differed significantly from their senior colleagues, which led to the formation of a separate movement within nonconformism, which later became known as APTART. The differences were mainly in the worldview of artists, aesthetics, themes, artistic techniques. The art of the new generation was closer to the Western neo-avant-garde, while their older colleagues tended toward modernism. The presence of two different well-defined movements within the nonconformism, a phenomenon in itself countercultural to official culture, distinguished the artistic process in Odesa in the 1980s from other cities in Ukraine. It is these features of the artistic life of that time, still insufficiently covered and analysed. The text considers the part of the work of the Odesa APTART artists, which the most clearly displays the elements of neo-avant-garde aesthetics, that, accordingly, affected the artistic means: acts, performances happenings; the differences between the two groups of artists belonging to the nonconformist subculture were analysed. Specific acts, works of the APTART artists opposed to the background of creative activity of their colleagues are considered. The stages of the APTART artists’ creativity development are traced. Within the disclosure of the research theme, the text highlights the processes of nonconformist artistic life in the main cities of Ukraine, traces parallels to similar phenomena in world art. Due to the experience of recent researches, the terms that directly affect the subject of the paper are specified: nonconformism, informal art, avant-garde, modernism, neo-avant-garde.

Romantic arts in modern mass culture

В статье рассматриваются некоторые виды романтического искусства, их связь с внешним и внутренним свойством личности, принцип субъективности. По Гегелю, в классическом искусстве имеет место совершенное слияние идеального содержания и чувственной формы. Но дух не есть просто единичный конечный дух, соединенный с единичным телом; он есть божественное и бесконечное. И в романтическом искусстве, христианском по всем своим целям и устремлениям, никакое чувственное воплощение не ощущается адекватным духовному содержанию. Определяется первое искусство в ряду романтических искусств, которое должно указанным способом сделать видимым свое содержание в формах внешнего человеческого облика и всех природных творений, но без того, чтобы задерживаться на чувственности и абстракции. Выполнение этой задачи ставит перед собой живопись. В статье определяется место массового искусства в современной культуре, где творческая личность как создатель и потребитель этого искусства транслирует новое искусство, которое должно выдерживать новую реальность XXI в. Этап смены укладов вносит в искусство свои правила и пожелания, а также требует подчиняться новым законам в художественной жизни современного общества. The paper discusses some types of romantic art, their connection with the external and internal properties of the person, and the principle of subjectivity. According to Hegel, in classical art there is a perfect fusion of ideal content and sensual form. But the spirit is not just a single finite spirit connected to a single body; it is divine and infinite. Also, in romantic art, which is Christian in all its goals and aspirations, no sensual embodiment is felt adequate to spiritual content. The first art in the range of romantic arts is defined, which should, in this way, make visible its content in the forms of external human appearance and all natural creations, but without lingering on sensuality and abstraction. The fulfillment of this task is set by painting. The publication defines the place of mass art in modern culture, where the creative personality, as the creator and consumer of this art, translates new art, which should withstand the new reality of the 21 century. The stage of changing styles introduces its rules and wishes into art, as well as requires obeying new laws in the artistic life of modern society.

On the threshold of the Tunis School

On the occasion of the inauguration of the first gallery founded by artists in Tunis, the painters Moses Levy, Pierre Boucherle, Antonio Corpora and Jules Lellouche published in 1936 a manifesto affirming their autonomy, beyond mercantile logics and national assignments. However, a national reading of their works prevailed in the press, at that time. This article proposes to put this founding event of the « École de Tunis » into context, by reinscribing it in a century-old history. This past is marked by the presence of French and Italian artists between 1840 and 1880, by the failure of a policy of asserting a French artistic model with an aborted project for a French museum around 1890, and by the affirmation of an artistic life characterised since the 1910s by its pluralism and even its eclecticism. This article thus intends to contribute, through the example of pictorial production, to the historicisation of discourses on the plurality or cultural identity of Tunisia, which are still today objects of debate.

The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century

Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.

Makna Balaganjur Dalam Aktivitas Sosial Masyarakat Bali

Balaganjur is a form of performance arts and audio- visually it might be an independent art. Balaganjur is a musical communication that instigates sensation and emotional response between the composer, players and viewers. It might influence the fan who are familier with the background of Balinese social life. This article is meant to see and analyze how Balinese people value the function of Balaganjur, especially in the context of festive social activity. The performance of Balaganjur is always conected to a religious life, traditional lore, and aspect of artistic life in response to the development of the cultural millie. Generally, Balaganjur complements the implementation of religious ritual. However, when Balaganjur is secularly composed and performed as an aesthetic presentation, Balaganjur develops its function toward profan values.

Пейзаж в творчестве Василия Переплётчикова

The purpose of this article is to reveal the creative biography of Vasily Vasilyevich Perepletchikov as an landscape lyricist. The article analyzes the difficult creative path of the artist, who was generously gifted in various fields of fine art (engaged in painting and graphics), literature (wrote prose and poetry), had a sharp mind, observation, desire for various achievements in artistic life (organized exhibitions, participated in the creation of new associations). In addition, he was a keen traveler, which is reflected in all his work, one of the main themes in which was the North. Landscape drawings, paintings and sketches of different periods of the artist's work are consistently analyzed, characteristic features are noted. The historical and biographical method was used as the main one in this study. Целью данной статьи является раскрытие творческой биографии Василия Васильевича Переплётчикова как пейзажиста-лирика. Рассмотрен творческий путь художника, одаренного в различных областях изобразительного искусства (живопись, графика), литературы (проза, стихи), обладавшего острым умом, наблюдательностью, желанием разнообразных свершений в художественной жизни (организовывал выставки, участвовал в создании новых объединений). Кроме того, В.В. Переплётчиков был увлеченным путешественником, что нашло отражение во всем его творчестве, одной из главных тем в котором был Север. Последовательно проанализированы пейзажные рисунки, картины и этюды разных периодов творчества художника, отмечены характерные черты. В качестве основного в данном исследовании использован историко-биографический метод.

Вопросы коллекционирования графики в переписке искусствоведов и художников 1920–1930-х годов

The article examines the statements about collecting graphics contained in the letters of art historians and artists of the 1920s and 1930s. These sources rarely come to the attention of scientists, many of them have not yet been published. However, they contain extremely interesting information about the artistic life of those years, including how the collections of famous connoisseurs and researchers of graphics were formed, what principles guided the collectors, what materials they preferred. The purpose of the work is to identify the range of issues that were especially often raised in the correspondence of art historians and graphic artists, to clarify their positions on the key problems of collecting. The epistolary heritage of P. Ettinger, E. Gollerbach, A. Sidorov, V. Voinov and their correspondents is analyzed using a complex of source studies, art studies, and comparative-historical methods. The author comes to the following conclusions: private collections of graphics played an important role in the culture of the 1920s and 1930s; the creation of these collections was a natural continuation of the scientific work of the owners. Art historians-collectors sought to acquire works that were not in the museum collections, it was important for them to draw the attention of colleagues to small forms of applied graphics, to the work of the best modern masters of engraving. В статье рассматриваются высказывания о коллекционировании графики, содержащиеся в письмах искусствоведов и художников 1920–1930-х гг. Эти источники нечасто попадают в поле зрения ученых, многие из них до сих пор не опубликованы. Однако в них имеются исключительно интересные сведения о художественной жизни тех лет, в том числе о том, как формировались коллекции известных знатоков и исследователей графики, какими принципами руководствовались собиратели, каким материалам они отдавали предпочтение. Цель работы — выявление круга вопросов, особенно часто поднимавшихся в переписке искусствоведов и графиков, уяснение их позиций по ключевым проблемам коллекционирования. Эпистолярное наследие П.Д. Эттингера, Э.Ф. Голлербаха, А.А. Сидорова, В.В. Воинова и их корреспондентов анализируется с помощью комплекса источниковедческих, искусствоведческих, сравнительно-исторических методов. Автор приходит к следующим выводам: частные собрания графики сыграли важную роль в культуре 1920–1930-х гг.; создание этих коллекций было естественным продолжением научной работы владельцев. Искусствоведы-собиратели стремились приобретать произведения, отсутствующие в музейных фондах, им важно было привлечь внимание коллег к малым формам прикладной графики, к творчеству лучших современных мастеров гравюры.

Alexander Siloti and Jean Roger-Ducasse: About the Production of the Mimodrama “Orpheus” in Petrograd

Based on archival data, memoirs and letters, the article describes the joint work of the pianist Alexander Ilyich Siloti (1863—1945) and the great creators of the Silver Age — choreographer Mikhail Fokin and artist Léon Bakst — on the production of the mimodrama “Orpheus” by the French composer Jean Jules Aimable Roger-Ducasse at the Mariinsky Theatre. The author notes the originality of this composition, new stage solutions, an innovative approach to the production that combines opera and ballet. There are described in detail the decorations and costumes made by Bakst for this production, which could be seen at the exhibition dedicated to the 150th anniversary of the artist in 2016. The premiere was scheduled for the 1915/1916 season, but did not take place. The article explains what prevented the presentation. There are provided some fragments of the correspondence between Siloti and the participants of the production of “Orpheus”, and fragments of reviews for the concert performance of this composition. The article aims at showing new facets of Siloti’s activities, particularly in popularizing the music of French composers in the programs of the entreprise “Concerts of A. Siloti”, which was of great importance in the culture of Petersburg at the beginning of the 20th century. Siloti would often become the first performer of works by foreign authors, which were a “fresh breath” in the cultural and artistic atmosphere of the capital. He tried to enlighten and educate the audience with his concerts, to develop their desire to go to concerts and listen to music. The article gives a general assessment of the activities of A.I. Siloti — a propagandist, educator, pianist, conductor, public figure, a talented organizer of new forms of artistic life and promotion of the best achievements of musical classics and modern creative process.

THE FEATURES OF THE IDIOSTYLE OF ZULFIA

Introduction. This article examines the poetic heritage of the outstanding Uzbek poetess Zulfiya, who is the brightest figure in Uzbek poetry. The 30-90s of the XX century, when Zulfiya made her debut and became famous for her poems, was a time of intense search in the artistic life of Uzbekistan. Description of the specifics of the individual style of the Uzbek poetess of the XX century Zulfiya is an urgent task of modern literary criticism. It should also be recognized that Zulfiya's connections with the previous tradition are insufficiently studied in revealing the inner world of the lyric heroine. Research methods. The research methodology is based on an integrated approach that includes various methods: biographical, historical-literary, relative-comparative, structural-semantic. Results and discussions. In the works of the poetess, one can trace an appeal to classical literature.