2014 - Translation and the dynamics of Russian literary tradition // Pervoe sentiabria, 2014, no. 12, pp. 44-47. (original) (raw)
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At first approximation works by Yelena and Viktor Vorobyevs may be termed visual phenomenology of modern Kazakhstan, and, more broadly, of all former Soviet republics. They mirror the social, political and economic processes that occurred in this region. But in fact the Vorobyevs’ works may equally well be considered a guide to the paradigms of modernist art.
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Ars & Humanitas, 2021
The study of time, space and movement as constituent art elements was a focus of attention of avant-garde artists. The theatre where events unfold both in space and time became a place of consolidation of Ukrainian artists, with the synergistic association of representatives in various art branches and movements. A scenographic sketch, that is, a two-dimensional realisation of idea of a future four-dimensional work, is a unique phenomenon to study the evolution of the avant-garde’s concept of the space-time continuum. Through the example of works of both distinguished and less known Ukrainian theatre artists we have studied features of the realisation of time and space categories according to the key stylistic directions of the Ukrainian avant-garde: cubism, futurism, cubo-futurism, constructivism, suprematism. A theoretical basis for the study has been provided by works of Western thinkers of the late nineteenth and early twentieth centuries: Edmund Husserl, Henri Bergson, Oswald S...
The Revolutionary Aesthetics of the Second Russian Avant-Garde
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Praxis of the Soviet Avant-Garde
Dianoia: The Undergraduate Philosophy Journal of Boston College, 2018
I n the Dialectic of Enlightenment, Max Horkheimer and Theodor Adorno discuss how the culture industry is backed by a noncommittal vagueness of ideology, which, in turn, influences the production of art. Horkheimer and Adorno argue that, like the culture industry 1 , art is bound to its struggle with tradition and is unable to transcend a new reality-or give way to a new cultural identity. The authors look towards autonomous art, recognized in the presentation of the avant-garde, to transcend the milieu of the culture industry. Yet, as they argue, "the claims of art are always also ideology" 2-this holds especially true for avant-garde art. Even in the midst of society's attempting to sever itself from tradition (in hopes of striving for a new identity), avant-garde art does not transcend reality, for it is nonetheless backed by the instrumentalization of ideology and places the artist's identity into crisis. Art is understood as the presentation of truth claims that reveal the current condition of the social order. Horkheimer and Adorno argue that art is able to transcend reality when it breaks from its tradition or its style; however, style is shaped by tradition,
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2009
One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics.