Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space

The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

Attribution Markers and Data Mining in Art Authentication

Today’s global art market is a billion-dollar business, attracting not only investors but also forgers. The high number of forged works requires reliable authentication procedures to mitigate the risk of investments. However, with the developments in the methodology, continuous time pressure and the threat of litigation, authenticating artwork is becoming increasingly complex. In this paper, we examined whether the decision process involved in the authenticity examination may be supported by machine learning algorithms. The idea is motivated by existing clinical decision support systems. We used a set of 55 artworks (including 12 forged ones) with determined attribution markers to train a decision tree model. From our preliminary results, it follows that it is a very promising technique able to support art experts. Decision trees are able to summarize the existing knowledge about all investigations and may also be used as a classifier for new paintings with known markers. However, larger datasets with artworks of known provenance are needed to build robust classification models. The method can also utilize the most important markers and, consequently, reduce the costs of investigations.

The Factors of Market Success and Failure of Contemporary Artists from ASEAN countries | ปัจจัยทางการตลาด ที่ทำาให้ศิลปินร่วมสมัยจากประเทศอาเซียนประสบ ความสำาเร็จ หรือ ล้มเหลว

The market of contemporary art from Southeast Asia hasn’t been explored in-depth, despite its rise in sales and notoriety over the last two decades at national and international levels. Our aim is to identify the factors of success and failure of contemporary artists from ASEAN countries in the global art market. To do so, we map the trajectories of those artists and evaluate the role of the other stakeholders of the art world. Our methodology relies on a multidisciplinary approach, balancing quantitative and qualitative data. The period of study focuses on the art market data since 2000.

The art episteme of national self-identification in the context of postcolonial cultural trauma

At the turn of the millennia, the narrative of the art sciences was enriched by an extensive analytical polylogue: from eschatological forecasts of the end of the crisis of theories and practices to the multicultural utopias of “global art”. A solid sector in this context is made up of trans-disciplinary studies of the problems of national self-identification and the revision of regional art epistemes in the new geocultural realities, in particular, those refracted in the field of postcolonial trauma of national consciousness discourse. This aspect is especially relevant for the countries of the post-Soviet space, because their cultural and artistic development is under the pressure of two equally traumatic paradigms: the Russification one belonging to the past, and the Westernization paradigm that declares itself to be the manifestation of democratic freedoms. However, each of them leads to amnesia in the historical and cultural memory of nations, threatening to collapse. Only a careful study of the causes and consequences of this civilizational phenomenon, as well as the study of the negative impact of the market ideology of the culture industry, will help to avoid depersonalization of national arts and cultures, while preserving the possibility of indigenous flourishing in the future. The article pinpoints the pain points identifies the sensitive issues in solving this problem by contemporary artists and critics from different countries, including Ukraine, leaving open the final effective fixation of the situation, which increases the catastrophic bifurcation by unstable development

The Impact of Pandemics Sentiment on the Global Art Market

This paper investigates the effects of pandemics sentiment (the World Pandemics Discussion Index) on the returns of the global art market from 1998Q1 to 2021Q2 at the global level. The Ordinary Least Squares and the Quantile Regression estimations indicate that global pandemics sentiment positively affects the returns of the global art market. This evidence means that investing in the art market can hedge the uncertainty shocks related to pandemics at the global level.

Moscow Conceptualism through Collective and Private Memory. The Archive as an Artistic Self-historicising Practice in Vadim Zakharov

"In an era characterised by the growing tension between local and global, the multiple activities acted by the artist Vadim Zakharov offer an important case study to investigate critically the relationship between artists and the art institutions at the time of the Global Art History. Artist, archivist, collector and editor in the frame of Moscow Conceptualism, since the end of the 1970s up to today, Zakharov embodies the figure of the “artist as institution” in the attempt to reach his artistic autonomy. This text introduces to his expansion of the archival attitude typical of Moscow conceptualism, a Soviet unofficial art movement developed in the marginal, underground, and self-referential context in the capital of USSR since the 1970s. Due to its transnationality, Zakharov’s story gives the opportunity to trace parallels, comparisons and differences to what happened next, when he moved in Germany in 1989, after the fall of USSR, and with the appearance of the new labels of “post-Soviet” and “Russian contemporary art”. Within this socio-historical framework, he joined a more cosmopolitan artistic scene, enlarging his archival practices with the aim to self-institutionalize and self-historicize his own artistic practices and the circle of Moscow Conceptualism in an international scene. Keywords: Vadim Zakharov, Moscow Conceptualism, Russian Contemporary Art, Contemporary Art, Global Art History, Archival fever. "

The Collaboration Between Art History and Genetics – An Unlikely Marriage of Disciplines

Our fruits, vegetables, and cereal crops stem from a wild ancestor and have undergone major changes through millennia of domestication and selection. There are various ways to reveal plant diversity over time, and one of these is through the combination of art history and genetics (also known as #ArtGenetics). Here, we discuss this approach from the art historian’s point of view and flag the advantages and caveats of such an approach. We also advocate for the development of an integrated, global art database to facilitate such analyses.

Reprowebs: a conceptual approach to elasticity and change in the global assisted reproduction industry

In the last few decades, assisted reproductive technologies (ARTs) have become increasingly transregional and transnational, often involving travel within or between countries or even continents. Until recently, the global ART industry was marked by so-called ‘reprohubs’—places (such as southern California, Dubai, Anand, and Mumbai) specializing in the provision of reproductive services. While reprohubs continue to exist, in the last few years, many have splayed out, transforming into something more akin to webs that encompass, but go beyond these hubs. These webs show a unique dynamic capability to tighten, entangle, or extend in reaction to local and global changes, a characteristic which became particularly obvious during the global Covid-19 pandemic. In this paper, we propose conceptualizing this new dynamic capability as ‘reprowebs’—an approach that adds a new dimension to the existing conceptualization of reproductive travel and helps us to better understand current developments in the global ART industry.

GLOBAL ART: РАЦІОНАЛІЗАЦІЯ ІДЕНТИЧНОСТІ

У сучасному транснаціональному арт-просторі діють кризові енергії дихотомічних кластерів, один з яких визначається протистоянням парадигм так званого global art і локальних його версій, де local art підлягає репресивному тиску з боку універсальної «пост-етнічної» ідеології вульгарного мультикультуралізму, що перетворює само-ідентифікаційні інтенції націй на реплікацію індиферентного пастішу світових ринкових брендів культуріндустрії. Девальвацію творчої особистості в суспільстві масового споживання доби пізнього капіталізму віддзеркалює тоталізація реїфікованої свідомості митців. Проте єдиним шляхом повернення духовного культуротворення є еволюція свідомості соціуму (відповідно і мистецької свідомості) з щабля масової раціоналізації «інструментального мислення» до щабля трансцендентно-спроможних естетичного світосприйняття, критичного судження і практичного втілення алетеї.