Resounding Difficult Histories

Prompt, Immediate, Now / Very Restrained and Cautious (2013), Defending Territory in a Networked World (2013) and Afgang 04.00 (2017) are three sound pieces that lean on events of historical proportions. They involve addressing the artistic challenge of letting difficult historical narratives resonate in the present. The artistic process for all three works involved finding fitting modes of reenactment and providing a present-day position on why and how these materials may be incorporated in artworks today, as well as contributing to historical revision and political resistance.

Rakenteiden törmäys. Taiteellinen toimintatutkimus Teatterikorkeakoulun ja Sibelius-Akatemian yleisökontaktikurssista

Colliding structures: Artistic action research on audience contact course at the Sibelius and Theatre Academies. This article focuses on a period between 2018–2019 when students from the Sibelius Academy were invited to take part in an audience contact course offered by the Theatre Academy. The experiment was carried out as an artistic activity analysis. During the course, theatre and music students formed working groups which encountered people from different habitation units and organized art workshops for them. Based on their experiences, the groups prepared performances which they performed in the health care and social security units as well as in prisons. We focus especially on what we term ‘structural collisions’ taking place between different practices: firstly, we examine the collision between Uniarts students and reception center workers in organizing art workshops. Another structural collision we discuss rose from the collaboration between different academies. We consider how representatives of different art genres discuss the work concept of a collaboration-based performance and how different work concepts define the agency of the artists within a work-group-based artistic process. The aim is to offer visions on how the Theatre Academy and the Sibelius Academy might develop collaborative communal art education at the Uniarts Helsinki.

The role of museums in the modern artistic process of Buryatia

Автор рассматривает роль государственных музеев и центров современного искусства в развитии изобразительного искусства Бурятии. В частности, показано, как решаются проблемы, порожденные географической удаленностью республики от культурных столиц России и сложившимся в русле академизма стереотипом «национального своеобразия». В настоящее время в Республике Бурятия достаточно заметны признаки активного развития современного искусства, поддерживаются молодые таланты. При этом автор отмечает, что ведущую роль в сохранении, продвижении произведений изобразительного искусства и художников играют именно государственные музеи. Именно там работы художников становятся музейными предметами — культурными ценностями, имеющими значение для истории и культуры государства и обладающими особыми признаками, которые делают необходимыми для общества их сохранение, изучение и публичное представление. The author examines the role of state museums and centers of contemporary art in the development of the fine arts of Buryatia. In this development process, it is important to solve the problems generated by the geographic remoteness of the republic from the cultural capitals of Russia and the stereotype of “national identity” that has developed in line with academism. At present, signs of active development of contemporary art are quite noticeable in the republic, young talents are supported. At the same time, the author notes that it is the state museums that play the leading role in the preservation and promotion of works of fine art and artists. It is in museums that the works of artists become museum objects — cultural values ​​that are significant for the history and culture of the state and possess special characteristics that make it necessary for society to preserve, study and publicize them.

Vitaly Ilyich Kandyba is the first art critic of Primorye: materials for biography

Виталий Ильич Кандыба (1943–2016) — первый и на протяжении десятилетий единственный искусствовед в Приморском крае, преподаватель истории искусств в Дальневосточном институте искусств, арт-критик, разносторонне и глубоко погруженный в художественный процесс современного ему регионального искусства. Он не только представлял художников Дальнего Востока на всероссийском и всесоюзном уровне в советскую эпоху, но и в какой-то мере указывал направление развития дальневосточного искусства. Виталий Кандыба — автор книг об истории возникновения и путях развития изобразительного искусства Приморья, Хабаровского края, Амурской области с 1860-х до 1930-х годов, об образовании и деятельности Приморской организации Союза художников России, до сих пор являющихся обязательным источником для искусствоведов, посвятивших себя изучению творчества художников региона. Тем не менее его жизнь и творчество до настоящего времени недостаточно изучены. В статье делается попытка представить очерк творческой биографии В.И. Кандыбы, дать оценку роли и значения его деятельности. Vitaly I. Kandyba (1943–2016) is the first and for decades the only art critic in Primorye, a teacher of art history at the Far Eastern Institute of Arts, versatile and deeply immersed in the artistic process of contemporary regional art. He not only represented artists of the Far East at the All-Russian and All-Union level during the Soviet period, but also to some extent indicated the direction of development of Far Eastern art. Vitaly Kandyba is the author of books about the history of the emergence and development of fine art of Primorye, Khabarovsk Krai, Amur Region from the 1860s to the 1930s, about the formation and activities of the Primorye Organization of the Union of Artists of Russia, which are still a mandatory source for art historians who have devoted themselves to studying the creativity of artists of the region. Nevertheless, his life and work have not been sufficiently studied to date. The article attempts to present an outline of the creative biography of V.I. Kandyba, to assess the role and significance of his activities.

Specific study of biblical parables in a pedagogical university

The author of the article focuses on the analysis of specific methods and techniques for identifying the universal and unique cultural meanings of biblical parables in the study of the disciplines of the humanities cycle in a pedagogical university. The purpose of the article is to develop techniques for working with parables for practical classes in the cultural cycle at the Pedagogical University. Research methodology and methods. The work is based on the use of the methodology of the sociocultural and activity-based approach to the psychological development of the individual, as well as systemic and holistic approaches to education. When decoding the meanings of parables as texts of culture, it is proposed to use axiological, semiotic, cognitive and systemic approaches. The systemic culturological approach allows you to create conditions for the development of aesthetic taste, artistic thinking. Research results. As the scientific literature and the practice of teaching culturological disciplines at the Pedagogical University show, working with parables teaches us to personally and emotionally perceive the text of culture, to adequately assess the relationship in the system man-man and man-world, to recode the content from one semiotic system to another. Through the interpretation of the text, the individual creative abilities of students are developed, a steady interest in modern art practices is formed. Interpretation of the categories of culture, embodied in human and natural images of the transcendental, time, space, make it possible to essentially comprehend the texts of culture containing the plots of biblical parables. Conclusion. The consistent identification of the specifics of the study of parables in the context of the spiritual quest of a certain historical period contributes to the emergence of interest and the formation of a respectful attitude towards the cultural heritage, the values of world culture. Cultural practices of working with cultural texts contribute to an adequate understanding of the place of national culture in the world artistic process and its creative enhancement.

Formation of the modern paradigm of management in the legal and cultural space

Purpose of the article. The study reveals the theoretical and practical problems of implementing legal projects in Ukraine through the prism of creativity and the role of the director in the structure of legal education activities. Professional educational training of future directors is a specific educational process aimed at the development of graduates as highly experienced creative figures. The essence of the above training will allow developing in a wider range of cultures and law. It is the skillful organization of the educational and artistic process, in particular, future professionals at all stages from directing to the realization of creative vision in the student body, ultimately aimed at the development and self-realization of artistic and creative abilities of youth and their moral and ethical education. Methodology. In theoretical and methodological terms, the analyzed and presented aspects were previously presented in the works of K.S. Stanislavsky, B.E. Zakhava, I.G. Sharoev, A.A. Goncharov, and others. In higher education, all plans are needed - creative and organizational indivisible holistic learning process, which will allow students to put into practice their powerful knowledge in terms of management. Relevant approaches to their study are identified. The methodology is to find a conceptual and creative activity of the director, revealing his ability to qualitatively implement legal materials through the prism of cultural activities in the educational process, influencing in parallel and the educational component. The scientific novelty of the work lies in the disclosure of the organic combination of functions of director-creator, director-organizer, and director-manager, for the quality implementation of the legal-cultural project "I have the right". Conclusions. New forms of cultural realization are being expanded and offered to teachers, which will help in the future to answer the question of how to find creative directing techniques for implementing cultural projects together with state legal institutions, indicating the right vector of general improvement and development of society. Key words: director, director-organizer, organization management, directing practice, cultural creation, cultural space, dramatization, Ukrainian legal culture, legal consciousness, culture, legal educational activities

Creative dimensions of dniprovs's underground artists: Volodymyr Bublyk and Anatoly Sologub

The purpose of the article is to analyze the creative layer of the little-known Dnipro underground representatives in Ukrainian art criticism Volodymyr Bublyk (1950–2007) and Anatolii Solohub (1953–2014). As the methodology of scientific research was used an art history analysis based on the complex systematization, comparison, and generalization. The scientific novelty is in the introduction into scientific circulation of a significant part of the graphic heritage of Volodymyr Bublyk and Anatolii Solohub in the Dnipro region underground context of the 1980 s – 2000 s. Conclusions. An analysis of Volodymyr Bublyk and Anatolii Solohub’s work reveals a number of important aspects for characterizing the Dnipro “art of resistance”. The latter was formed in the conditions of a “closed” city, the impossibility of official exhibiting due to an alienated attitude towards the dominant ideology in the artistic process of that time. For many artists, these factors often became the cause of the existential catastrophe of every creative person. With contemporaries-brothers Volodymyr Loboda (1943), Serhii Aliev-Kovyka (1956), Oleksandr Nemiatyi (1954), the above-mentioned masters were related by the chosen format of radicalism, which was truly underground. However, the methods of creative communication of each person differed depending on the acquired life experience, the available body of knowledge, and personal temperament. The paintings of Volodymyr Bubluk combine the expression of images in a coloristic system that goes back to the aesthetics of the Fauves. A similar stylistic model of the master's painting can be delineated by the category of intuitive expressionism. The works of Anatolii Solohub are closely related to the folk tradition in their subject matter. The inner tension of his compositions, combined with unrestrained dynamics, strives for visual communication with the viewer. Key words: Dnipro underground, plein air, painting, graphics, sculpture, folk painting, art society "Steppe".

A relação entre texto literário e peritextos: uma análise do romance O meu amante de domingo, de Alexandra Lucas Coelho / The Relationship Between Literary Text and Peritexts: An Analysis of the Novel O meu amante de domingo, by Alexandra Lucas Coelho

Resumo: Por muito tempo, o trabalho intelectual, público e artístico foi feito majoritariamente por homens. É sabido que, às mulheres, foi relegado o ambiente doméstico e a vida privada. No entanto, o mundo está em processo de mudança – ainda que lenta e gradual. Atualmente, não só a nossa sociedade, mas também os estudos literários estão atentos às produções de outras vozes que foram silenciadas durante grande parte da História e que agora se levantam com uma força arrebatadora e irrefreável: vozes de mulheres, negros, indígenas, homossexuais, transexuais, dentre outros corpos que foram alijados da possibilidade de se ins(es)creverem no processo histórico, político, social e artístico. Nessa esteira, contemporaneamente, é, sobretudo, um ato político estudar textos não só escritos, mas também protagonizados por sujeitos que foram historicamente subalternizados. Concebendo o trabalho acadêmico como uma prática política, este artigo tem como objetivo realizar uma análise de alguns elementos peritextuais presentes no livro O meu amante de domingo (2014), da portuguesa Alexandra Lucas Coelho, enfocando nas suas relações com o texto literário. Para isso, utilizaremos, principalmente, como aporte teórico, a obra Paratextos editoriais, de Genette (2009).Palavras-chave: Alexandra Lucas Coelho; O meu amante de domingo; paratexto; peritexto.Abstract: For a long time, intellectual, public and artistic work was done mostly by men. It is known that women have been left out of the home environment and private life. However, the world is in the process of changing – albeit slow and gradual. Nowadays, not only our society, but also literary studies, are attentive to the productions of other voices that have been silenced during much of History and that now arise with an overwhelming and unstoppable force: voices of women, blacks, indigenous people, homosexuals, transsexuals, among other bodies that were excluded from the possibility of write in the historical, political, social and artistic process. At the same time, it is, above all, a political act to study texts not only written, but also carried out by subjects who have historically been subordinated. Conceiving academic work also as a political practice, this article aims to carry out an analysis of some peritextual elements present in the book O meu amante de domingo (2014), by portuguese Alexandra Lucas Coelho, focusing on their relations with the literary text. For this, we will use, mainly, as a theoretical contribution, the work of Genette (2009).Keywords: Alexandra Lucas Coelho; O meu amante de domingo; paratext; peritext.

Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program

This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.

FORMATION OF THE NEW HERO IMAGE IN RUSSIAN ART OF THE 1920’S AND 1930’S

The art of the Soviet era attracts more and more attention of researchers and the public year by year. The exhibitions held over the past decades in Russia and abroad, the published monographs dedicated to works of art of the era and particular artists, the international creative contacts in cultural field — all of that has introduced previously unknown works into art history studies, which has allowed to re-evaluate the objectives and tasks of the art of the period and the development of the artistic process in general. That is why it is of great interest to study the ways the plastic arts formed and developed in the 1920’s and 1930’s. The 1917 revolution in its foundations had not just a change in social and political reality, but also a change in the very essence of man. The new era demanded a new hero, shaped his appearance in its works. The soviet man, thought of as a new man, became a fundamentally new object of art. If the 1920’s became the time of the search in proletarian art and the flourishing of avant-gardism, then in the 1930’s the objective of art in building the lifeworld of a new man began to be understood much narrower and stricter, and this Man who perceives art began to be described as a “normal” (that is, average, “ordinary”) consumer of cultural tradition. The “New Man” in the plastic arts of the 1920’s and 1930’s was formed as the new hero of society; avant-garde artists sought his originality in the images of generalized and abstract aviators, peasants, women; artists of socialist realism began to form the images of “typical” heroes of the time (military men, athletes, rural workers, scientists) as new “Renaissance people”, equally ready for work and defense. At the same time, two main tendencies, two directions that correspond to the two tasks of socialist realism, clearly lie in the image of the “new” Soviet man: the depiction of reality (that is, the new Soviet man that really exists) and the depiction of the ideal (that is, the ideal man).