The Avant-Garde and Politics Research Papers (original) (raw)

2025, Иванова Е. От МХК к ГИНХУКу: попытка научной институционализации авангарда

В настоящей статье процесс образования Музея художественной культуры (МХК) и его дальнейшей трансформации в Государственный институт художественной культуры (ГИНХУК) рассматривается как пример научной институционализации авангарда, тесно связанный с вопросом борьбы за влияние в сфере искусства. Интерпретационной рамкой для этого рассмотрения служит теория социальных полей П. Бурдье, что позволяет выделить ту ключевую роль, которую играло в этом процессе понятие «художественной культуры», а также проинтерпретировать проблему признания и непризнания «научности» в работе ГИНХУКа со стороны деятелей науки и искусства

2025

Это рабочий вариант статьи, знакомящей с воспоминаниями и письмами австрийского художника Генриха Голпейна. Они охватывают 1835-1860-е годы и раскрывают детали его жизни и творчества в Вене, Праге, Российской империи - в Петербурге и в Украине, и в Италии. Работа не завершена окончательно, и может ещё быть дополнена и изменена. Учитывая, что исследование и поиск материалов проходил на фоне войны в Украине, контакты и обсуждения с украинскими коллегами были затруднены. Я благодарю украинские музеи и их сотрудников, которые откликнулись на мои запросы, вступили в диалог и предоставили запрашиваемые сведения. Но статья, а особенно каталог работ художника не претендует на полноту. Автор будет благодарен за любые дополнительные сведения.

2025, Chapter by Johann Pillai and Anber Onar in Michael J. K. Walsh, ed. A Dilemma of English Modernism: Visual and Verbal Politics in the Life and Work of C. R. W. Nevinson (1889-1946). Newark: University of Delaware Press.

This is a close, detailed analysis of the language, context and reception of Marinetti and Nevinson's English Futurist manifesto, "Vital English Art" (June 1914).

2025

In 1921, a group of young Yugoslav artists led by the poet Ljubomir Micić published the inaugural issue of the Zenit journal, thereby launching Zenitism, Yugoslavia's first avant-garde movement. Zenitism quickly developed an extensive network of international collaborators, including Italy's Futurists. Zenitists had much in common with the Futurists; they shared not only an interest in all things modern, but also in the notion of barbarism as a force of cultural (and political) rejuvenation. This essay examines the concept of barbarism within Zenitist production and reflects on its evolution in relation to Italian Futurism by focussing on three key areas: (geo)politics, embodiment and the poetics of modern barbarism. In doing so, it offers new insight into the dynamic relationship between Balkan avant-gardism and Futurism and creates a foundation for rethinking barbarism as a cultural and political principle that continues to hold currency today.

2025, Journal of Foreign Languages and Cultures

This paper begins by suggesting that travel between China and the Americas occurred long before the arrival of Christopher Columbus from Europe in the Caribbean, and the conference on "Latin America and China in World Literature" is, thus, to be seen as the resumption of a dialogue that had been interrupted rather than a completely new venture. The paper then moves to a discussion of the cultural meaning of magical realism which is seen as the symptom of the cultural upheaval caused by the chasm between the way the inhabitants of the Americas felt and understood reality, as contrasted with the values and rationality of the Western world. The Peruvian poet, César Vallejo, along with other poets such as the Chilean Pablo Neruda, played a crucial role in the articulation and expression of the roots of that cultural upheaval in the early decades of the 20th centurytheir signature can be divined, for example, behind the linguistic innovation of the novels of the Boom Generation-and Vallejo's role in particular is traced in the final section of the essay. Vallejo's Quechua soul struggles to emerge from within the confines of the Spanish language, and this struggle leads to the emergence of a universalist voice which speaks directly and emotively to nations across the world, as witnessed by the translation of his work into so many foreign languages.

2025, Poetry and Contemporary Visual Culture / Lyrik und zeitgenössische Visuelle Kultur, edited by Magdalena Elisabeth Korecka and Wiebke Vorrath, Berlin, Boston: De Gruyter

This article deals with the linguistic poetics of deixis as one of the key mechanisms for expressing subjectivity in poetic communication.1 The aim of the study is to discuss the specifics of deictic words and constructions in visually innovative poetic discourse. The particular focus of analysis is on the functions of personal, spatial and discourse (textual) deixis in the visual layout of a poetic text (spatial design of verse). The material for analysis extends from early avant-garde practices of visualising deixis (in e.e. cummings’ experimental verse) through neo-avant-garde conceptual poetry (in Moscow Conceptualism and American LanguageWriting) to contemporary poetry that foregrounds the deictic units as carriers of new subjectivities in the age of digital media (namely in poems of the Covid pandemic as well as Ukrainian anti-war poems). We will argue that the deictic means of language, interacting with the visual space of the poetic text, actualise the dynamic subjectivity of the aesthetic utterance “on & off the page” (Perloff 1998).

2025, Modern Language Quarterly

forthcoming

2025, "Нимфеи" К. Моне в контексте японизма

Данная работа анализирует глубокое влияние японизма на творчество Клода Моне, с особым акцентом на серию его картин "Нимфеи". Исследуя взаимодействие Моне с японской культурой и эстетикой, работа демонстрирует, как японские гравюры,... more

2025, 나의 축제는 거칠 것이 없어라. 백남준 탄생 90주년 기념 도록

2025

A.A. Zolotov
THE EVOLUTION OF ART CRITICISM
The article discusses how classical art studies of the second half of the 20th century and the early 21st century are not always flexible in interpreting a number of contemporary art phenomena that undermine the established foundations of art. The need to reconsider and refine our understanding of the artistic process in its temporal entirety has become increasingly evident, as well as the necessity to establish convincing “foundations” for a vibrant methodology in modern-day art criticism, a methodology that would allow to perceive and evaluate the artistic validity of diverse contemporary art phenomena, including the “daringly non-classical” ones. Two tasks (and two aspirations) arise in this connection. The first is to recognise major artistic achievements of the past beyond the limits of social aspects and political attitudes. The second calls for a reevaluation of the nature of critical vision itself. Here, specific research priorities related to the personal qualities of the researcher, their “free will”, take on particular significance. Accordingly, it is crucial to identify the underlying reasons behind shifts and changes inherent in associative imagery itself, and on this basis to verify the artistic validity of emerging stylistic and other trends.

2025, Studia Slavica et Balcanica Petropolitana

26 октября 2020 года ушла в вечность Татьяна Валериановна Ильина-доктор искусствоведения, профессор, почетный профессор Санкт-Петербургского государственного университета, глава петербургской научной школы искусствознания, ученый, внесший фундаментальный вклад в изучение истории русского искусства «златого осьмнадцатого столетия», замечательный педагог, воспитавший не одно поколение искусствоведов, автор многочисленных любимых студентами учебников.

2025, Scientific Papers

The article is devoted to the problem of the Impressionist still life, aesthetic and stylistic interpretation in the creative work of P. Gauguin in the period of his successive assimilation of the artistic method of this art movement (1880-1884). In the course of research the basic figurative and plastic qualities of the Impressionist still life are revealed; the specifics of Gauguin’s introduction to this movement’s method and the role of C. Pissarro in this process are characterized; the program painting, submitted by Gauguin to the 1882 Impressionist exhibition (“Interior, Rue Carcel”, 1881) is analyzed from the point of view of the definition of Gauguin’s individual comprehension of the Impressionist genre conception.

2025

Nach der Kapitulation Frankreichs im Juni 1940 und der Besetzung der Nordzone Frankreichs durch die deutsche Armee begann ein System der industriellen Ausplünderung aller landwirtschaftlichen, industriellen und kulturellen Ressourcen durch Dritte Reich. Dies sollte vier Jahre lang andauern und sich ab 1942, nach der Landung der Alliierten in Nordafrika und der damit verbundenen Invasion der deutschen Armee in der Südzone, auf ganz Frankreich ausdehnen. Diese Plünderung betraf von Beginn der Besatzung an die allgemeine Enteignung des Eigentums französischer und nichtfranzösischer Juden, insbesondere von Privatsammlungen und Kunsthändlern. Ganze Züge wurden mit Kunstwerken und Wertgegenständen gefüllt, die direkt nach Deutschland verschifft wurden. Die von den wichtigsten Naziführern, darunter Adolf Hitler und Herman Göring, offiziell eingesetzten Strukturen organisierten diese Plünderung methodisch und beauftragten Kunsthistoriker und Kunsthändler, die diesem Manna profitierten, um sich zu bereichern und unschätzbare Sammlungen geraubter Kunstwerke aufzubauen.

2025, FORMA: A Journal of Latin American Criticism & Theory

C ontemporary Latin American literary criticism often alludes to the first half of the twentieth century as a foil for its diagnoses: as the moment in which the autonomy of art was taken for granted; as a situation in which art still possessed a critical power; as a conjuncture in which literature expresses the ambitions of modernization. As the contributions to this special issue of FORMA demonstrate in compelling detail, if we more explicitly engage with the period in question, a richer picture of these dynamics and of unexpected contradictions can be drawn. In February 1922, an energetic and iconoclastic group of Brazilian artists organized the Semana de Arte Moderna. The artists involved in this week-long art exhibition-including, among others, the painters Anita Malfatti and Emiliano Di Calvacanti and the poets Oswald de Andrade and Mário de Andrade-stridently rejected the formalism that dominated the Academia de Letras, turning for inspiration instead to both the European avant-gardes and popular and indigenous cultural forms in Brazil. For literary critics, the Semana de Arte Moderna represents not only the foundational moment of a specific artistic movement-namely, Brazilian modernismo-but also as a pivotal step in the formation of a modern aesthetic attuned to the specific realities of Brazil. Indeed, we could say that Brazilian modernismo presents us with the most self-conscious articulation of a dominant tendency in Latin American art and literature at the time, namely, the effort to assert autonomy from Europe through its engagement with the European art scene, to beat the European avant-gardes at their own game, so to speak, by formulating a local primitivism that could challenge their imported primitivism. In this way, Brazilian modernismo operates with a conception of autonomy as cultural autonomy, and, as we will see, this orientation would become closely linked to a specific form of modernization in the twentieth century. In his 1933 preface to Serafim Ponte Grande (1928), Oswald de Andrade echoes this notion of autonomy when he suggests that the modernistas imagined that "the rise in the price of coffee," which had spurred the Brazilian economy in the early twentieth century, "would place the literature of the semi-colonial nouveau riche alongside the

2025, Вестник Кемеровского государственного университета культуры и искусств

Статья посвящена рассмотрению шедевра русской портретной живописи XVIII века – «Портрета М.И. Лопухиной», созданного известным мастером В.Л. Боровиковским (1757-1825) в 1797 году. При огромной популярности данного произведения в научной... more

2024, The North in the Journalism of V. Vereshchagin (On the Inter-Source Connections in the Artist’s Verbal Works)

Аннотация. В статье проблема соотношения словесного и визуального в творчестве В.В. Верещагина рассматривается через призму анализа его текстов, посвященных Северу России, в том числе выявленных в Отделе рукописей Государственной Третьяковской галереи черновиков статей для «Новостей и биржевой газеты». Показано, что в словеснотворческом развитии Верещагин представляет собой тип художника, со временем преодолевающий узко-цеховые рамки профессии и переходящий к исследованию более масштабных общественно значимых проблем. Логичным поэтому представляется его обращение к публицистическому письму. Словесное творчество никогда не теряет у Верещагина генетической связи с визуальным по видо-жанровой специфике, стилю, а в каком-то смысле и по инструментарию -но в процессе развития обнаруживает тенденцию к обособлению. Здесь характерны монтажность построения, частый межвидовой и внутривидовой перенос одних и тех же структурно-содержательных компонентов. «Северные» тексты Верещагина 1880-1890-х гг., поначалу бывшие пояснением и дополнением живописных работ, затем меняются с ними местами по значимости, а в итоге освобождаются от всякого визуального сопровождения, становясь полноценными публицистическими высказываниями. Вслед за этим меняется и региональная оптика. Начав с отдельных «раскрытий» Севера как жизненного фона в биографических нарративах, Верещагин движется к его целостному восприятию как жизненного ареала и осмыслению © Всеволодов А.В., 2024 © Vsevolodov A., 2024 Междисциплинарная дискуссионная площадка А.В. Всеволодов. Север в публицистике В.В. Верещагина (о межисточниковых связях в словесном творчестве художника)

2024, “GREAT” – “SIGNIFICANT” – “GREAT” AGAIN: HOW VASILY VERESHCHAGIN'S PLACE IN THE SOVIET CULTURE OF THE 1920s AND 1960s WAS SOUGHT

Определение «художник-баталист» применительно к В. В. Верещагину (1842-1904) давно стало клише. Однако его история в контексте российской / советской культуры XX в. не становилась, насколько известно, предметом специального анализа. В настоящей статье оно рассматривается как маркер сопряженных политико-идеологических и теоретикометодологических изменений, задававших восприятие личности и творчества Верещагина, прежде всего в профессиональном сообществе историков искусства. Апроприация верещагинского наследия послереволюционной культурой, его оценивание в ряду других деятелей искусства проходили в несколько этапов. В 1920-е гг. Верещагин был отнесен к числу «буржуазных» художников, обслуживавших колониальные интересы российского империализма. Но уже тогда он воспринимался как близкий (порой до степени смешения) к кругу передвижников, а его живопись -как жанровое выражение общей с ними идейноэстетической программы. Такая амбивалентность во многом подготовила процессы серединывторой половины 1930-х гг., когда на фоне полемики о «формализме» в изобразительном искусстве оценки Верещагина сместились ближе к реалистическому спектру, хотя формальноиерархически он по-прежнему стоял ниже и в отдалении от Репина, Сурикова, Перова, Крамского и других живописцев, безусловно относившихся тогда к категории великих или выдающихся. К концу 1930-х гг., благодаря усилиям искусствоведа А. К. Лебедева (1908-1993), за Верещагиным закрепляется репутация «крупнейшего» или «выдающегося» русского баталиста. Одновременно в его восприятии заметно ослабевает этнографическая / ориенталистская перспектива. В оценках 1940-х -начала 1950-х гг. следы былой альтернативности еще сохраняются, но в атмосфере позднего сталинизма востребованным оказывается батальное начало. Тезис об антимилитаристском значении творчества Верещагина модифицируется в идею о его живописи как средстве борьбы за мир. Складывается и набор дискурсивных формул, которыми в дальнейшем будут описываться место и роль художника в отечественном искусстве. Наконец, во второй половине 1950-х гг., с публикацией обобщающей монографии А. К. Лебедева, формируется представление о Верещагине как о классике русского реалистического искусства, сопоставимом по значению с передвижниками, и «одном из крупнейших баталистов всей мировой истории искусства». Несмотря на неоднозначное отношение к этой схеме в академической среде, именно она легла в основу всех позднейших связанных с художником культурных паттернов и стереотипов. Ключевые слова: В. В. Верещагин, восприятие, оценка, дискурс, культурный стереотип, баталист, советская культура. Вводные замечания Оценка -как внешняя, так и высказываемая самим субъектом, либо вмененная конвенциональным способом произведению, отчего оно начинает «говорить» за себя, -неизбежна в судьбе любого явления культуры. Она фокусирует связанные с этим явлением разнообразные флуктуации публичной сферы, но уже в силу своей выраженности в слове не может быть ни полностью релевантной, ни окончательной. Как часть инструментария культуры и одновременно индикатор ее состояния, оценкадисциплинирующий механизм, средство генерализации, соотнесения единичного с системой и обособления от нее. Во втором, сигнальном, значении она характеризует скорее то, для чего и почему ею пользуются, а главное -как устанавливается соответствие между актуальными оценочными категориями и конкретным содержанием культуры, которое они передают. Когда категории при их использовании теряют аналитический, т.е. в первую очередь дифференцирующий, смысл и становятся простыми констатациями, это может быть симптомом формирования стереотипов, признаком зрелости репутации или знаком попадания в культурный канон. Здесь важно учитывать вносимое М. Вебером разделение технического и эстетического аспектов оценки художественного произведения. Техническая оценка касается эмпирически данного мастерства творца -как системы средств, способов и подходов к созданию произведения. Она составляет, очевидно, главный предмет интереса истории искусства. Оценка эстетическая имеет целью понимание смысла произведения. Историку, если он рискнет вторгнуться в эту область, «грозит опасность, что он в своем "объяснении" сочтет следствием "ошибки" или "упадка" то, что могло быть просто результатом чуждых ему идеалов деятелей рассматриваемого им периода» [Вебер, 2021, с. 306]. Потому его удел -факты, а не интерпретации. Поскольку эстетическая критика до некоторой степени всегда спекулятивна, веберовское наставление не отрываться в работе от почвы эмпирических фактов рано или поздно становится предостережением. Тем более -если в предпринимаемый историком искусства анализ вмешивается идеология. Бесспорно, идеологически чувствительные основания и критерии оценки могут выбираться по разным причинам, но это в любом случае отражается на прагматике, тактиках и итогах ее использования. Получив идеологическую «прививку», оценка рано или поздно перестает выполнять главную свою задачу -стимулировать работу мысли, порождая споры. С исчезновением полемического потенциала она постепенно нагружается не новым, а прошлым опытом (не только общекультурным, но и индивидуально-авторским) до тех пор, пока совсем не перестает меняться и словесно, и содержательно. Далее, вследствие усиливающейся инерции, она превращается в клише. Пользуясь типологией форм движения в литературе, предложенной И. Н. Розановым [Розанов, 1990, с. 20 и др.], можно сказать, что теперь оцениваемое явление больше не имеет динамики: оно не вызывает ни «притяжения», ни «отталкивания», поскольку его место и значение давно определились, и потребность обсуждать их отпала сама собой. Клише требуют для себя замкнутых нарративных структур -таких, в которых можно безбоязненно менять даты, имена и цифры, другие значимые данные, но всегда добиваться с их помощью желаемого результата. Сбои в воспроизводстве этих структур, подобные тем, что описал А. Юрчак на материалах из позднесоветской символической сферы [Юрчак, 2014], однажды начавшись, обозначают рубеж, по достижении которого искомое культурное явление становится трудно или даже невозможно осмыслить в прежних дискурсивных рамках. Тогда вокруг него начинает накапливаться интеллектуальное и творческое напряжение, подготавливающее очередную смену представлений о нем. Судьба В. В. Верещагина в отечественной культуре XX в. замечательна тем, что сегодняшнее его восприятие отвечает тем творческим и жизненным принципам, которые он сам себе установил. Сознательно не примыкая ни к какой группе или направлению, он создал себе репутацию, которую едва ли можно включить в некий иерархически организованный ряд. В сонме классиков нашей живописи он стоит и не среди, и не позади кого-то, а где-то рядомне настолько, чтобы его имя сразу всплыло в памяти, но и не так далеко, чтобы вовсе не быть

2024, Collection Culture and the Russian Avant-garde.

Collection Culture and the Russian Avant-garde. Proceedings of the Fourth Khardzhiev Conference. The Fourth International Nikolai Khardzhiev Conference, entitled Collector Culture and the Russian Avant-Garde, was held on October 22–23, 2021, at MOMus, Thessaloniki, and was co-organized by the Khardzhiev Foundation, the Stedelijk Museum, Amsterdam, and MOMus - Museum of Modern Art-Costakis Collection.

2024, L'Arengario Studio Bibliografico, "Arte e Ideologia - 29"

"Per quanto voi vi crediate assolti / siete per sempre coinvolti" (Fabrizio De André). Senza etica le arti sono povera cosa. Ma l’etica implica una assunzione di responsabilità, costa tempo e fatica, coerenza, dolore. D’altra parte senza etica l’impegno politico è un ridicolo “mi piace” sui social, un’opinione. Se l’etica, secondo un’antica definizione, è la percezione di quel che è buono, l’estetica è il sentimento del bello: ma buono e bello stanno tra loro in un rapporto dialettico perché anche il male può esser bello e il buono può provocare il male - il negativo esiste, per fortuna. L’opera d’arte, come qualunque opera di poesia, può mettere insieme tutto questo, è capace di comprendere e sopportare il negativo, non emette giudizi, induce a pensare, e a dubitare. Ma quale artista, quale poeta oggi è disposto a pagare per questa responsabilità? (A proposito della mostra Warhol Banksy inaugurata a Roma due giorni fa).
- - -
"Though you may believe yourselves absolved / you are forever involved (Fabrizio e André). Without ethics, the arts are a poor thing. But ethics involves taking responsibility - it demands time, effort, consistency, and pain. On the other hand, without ethics, political commitment becomes a ridiculous “like” on social media, an opinion. If ethics, as an ancient definition suggests, is the perception of what is good, aesthetics is the feeling of what is beautiful. But good and beautiful exist in a dialectical relationship because evil can also be beautiful, and good can provoke evil - the negative exists, fortunately. A work of art, like any poetic creation, can bring all this together. It can embrace and endure the negative, refraining from judgment while prompting thought and doubt. But which artist, which poet today is willing to pay the price for this responsibility? (About the Warhol Banksy exhibition inaugurated in Rome two days ago).

2024, The Anthropology of East Europe Review

2024, Wiener Slawistischer Almanach, 92, pp. 299–306

Рецензия на публикацию дневников поэта "Филологической школы" Михаила Красильникова

2024, НОВОЕ ИСКУССТВОЗНАНИЕ (NEW ART STUDIES)

В статье рассказано о круге авторов, статьи которых опубликованы в этом выпуске «Нового искусствознания», их научных и человеческих связях с Татьяной Валериановной Ильиной, а также о том, как тематика их работ, представленных здесь,... more

2024, Choice Reviews Online

The Museum of Modern Art has collected and exhibited illustrated books from its earliest years. In addition, through the inspiration of its founding director, Alfred H. Barr, Jr., who made the first of three visits to Russia in the winter of 1927-28, a year before the Museum opened in 1929, this institution has built an extraordinary collection of Russian avant-garde art in all mediums. It was, therefore, with excitement and gratitude that the Museum accepted The Judith Rothschild Foundation gift of some 1,100 illustrated books and 100 related works from this seminal period. Considered the finest of its kind in the world, this collection will now be available for future generations to be exhibited and studied in the context of nearly 400 Russian avant-garde works from the Museum's Departments of Painting and Sculpture, Drawings, Photography, Film and Media, Architecture and Design, Prints and Illustrated Books, and the Library. This publication, and the accompanying exhibition, proudly celebrate this momentous gift and also demonstrate to our audience the fundamental importance of the book medium in this moment of historic creativity. The idea for forming this collection of Russian avant-garde books came from Harvey S. Shipley Miller, Trustee of The Judith Rothschild Foundation. Knowing of the interest of Judith Rothschild, and that of her family, in this period, he set out to make a definitive collection with the purpose of donating it to an institution. Formed in an aston ishing burst of activity with the help of Jared Ash, The Judith Rothschild Foundation Curator, this collection is unique in its breadth and depth, and includes all the major books by such masters as Kazimir Malevich, Olga Rozanova, El Lissitzky, and Aleksandr Rodchenko, as well as publications in areas of special interest such as provincial mate rial, children's literature, architecture, and Judaica. In addition to the current exhibition and catalogue, the Museum's plans for this unique collection include a variety of initiatives. The first will be a Web-based catalogue raisonne with animations that display turning pages of the most important volumes. It is further hoped that a program for scholars will be established for collection-based research projects in art history, as well as related fields of literature and graphic design. Seminars for college students and Museum members are also planned to allow for the study of this material in the original rather than through slides. This exhibition and catalogue would not have been possible without the dedication and commitment of its co-organizers: Deborah Wye, Chief Curator of the Department of Prints and Illustrated Books, an ardent proponent of Russian avant-garde printed art, and Margit Rowell, former Chief Curator in the Department of Drawings and Guest Curator for this project, a widely respected scholar of the period. They, along with the team of Jared Ash Nina Gurianova, primary consultant; Gerald Janecek, consultant; Harper Montgomery, Assistant Curator; and the staff of the Department of Prints and Illustrated Books have brought this project to fruition in a remarkably short time with superlative results. On this occasion, I wish to convey my special thanks to Harvey S. Shipley Miller, the originator and tireless supporter of this project and a devoted friend of The Museum of Modern Art. A committed patron of the arts, Mr. Miller has shown his passion as a collector and his infinite imagination and intelligence in compiling this superb collection This exhibition and publication are testament to his vision and creativity.

2024, Устюгова Е.Н. Идея «творящей формы» в эстетике русского авангарда 1920-х годов // Художественная культура. 2024. № 1. С. 12–33. https://doi.org/10.51678/2226-0072-2024-1-12-33.

The Russian avant-garde of the 1920s was a time of a utopian thinking crisis in theoretical aesthetics and in art. The utopianism of the avant-garde project consisted in the impracticability of the mission of art to totally transform reality and man through aesthetic means. The key idea of the avant-garde aesthetic concepts was the effectiveness of the creative form building the integrity of the life creative matter. The concept of the “creative form” was developed in different directions: from the concept of a single style in all spheres of life and the theory of synthesis of arts to the aesthetics of functionally appropriate forms of the objective environment. The symbolic language of style was a universal aesthetic translation of metaphysical ideas into sensual ontological image of the wholeness of being; synthesis of arts was seen as a means of expressing the initial wholeness of cosmic being; and a functionally appropriate form of the objective environment was understood as a means of direct involvement of man, spontaneously causing his active creative response. The utopianism of the idea of the “creative form” determined its rapid demise, which had a complex of philosophical, social, political and human reasons. The major of them included the totality of the wholeness project, the undervaluation of the individual artistic subject’s creative freedom, the rejection of a substantial spiritual and value-based interpretation of culture, the hope that the aesthetic influence might transform the masses into creative subjects, the narrowing of the potentialities of the utopian project by the attempt to turn it into a methodology of action, the pursuit of realization that limited the growth of its inner potential, and the undervaluation of the real conditions for its implementation. / 1920-е годы в России — время кризиса утопического мышления в теоретической эстетике и в искусстве. Утопизм авангардного проекта состоял в неосуществимости возложенной на искусство миссии тотального преобразования реальности и человека эстетическими средствами воздействия. Ключевой идеей эстетических концептов авангарда была действенность творящей формы, создающей целостность творческой материи жизни. Концепт «творящей формы» разрабатывался по разным направлениям: от концепции единого стиля во всех сферах жизни и теории синтеза искусств до эстетики функционально целесообразных форм предметной среды. Символический язык стиля являл собой универсальное эстетическое претворение метафизических идей в чувственно-онтологический образ целостности бытия; в синтезе искусств видели способ выражения изначальной целостности космического бытия, а функционально целесообразная форма предметности понималась как средство вовлечения человека, вызывающее его действенный творческий отклик. Утопизм идеи «творящей формы» обусловил ее быстрый конец, имеющий комплекс мировоззренческих, социальных, политических, человеческих причин. Главные из них — тотальность проекта целостности, недооценка творческой свободы индивидуального художественного субъекта, отказ от содержательной духовно-ценностной трактовки культуры, надежды на возможность эстетическим воздействием преобразовать человека массы в творческого субъекта, сужение потенциальных возможностей утопического проекта попыткой превратить его в методологию действия, стремление к реализации, отсекающей разрастание его внутреннего потенциала, недооценка реальных условий его осуществления.

2024, 15 лет две тысячи седьмой: Каталог выставки / сост. О.О. Непоспехов. – Ярославль, 2022 – 32 с., ил.

Каталог выставки, состоявшейся в Городском выставочном зале им. Н.А. Нужина (Ярославль) 1-22 февраля 2022 года. Куратор Олег Непоспехов, художник Павел Зарослов. Дизайн каталога Ольга Волкова.

2024, African American Review

In 1967, Wilmer Lucas wrote that N. H. Pritchard’s poems “decompose the reader by sight and sound.” This essay follows Lucas’s prompt in several ways. It examines Pritchard’s early poetry in the context of the New York art scene and the Umbra Poets Workshop, outlining his development of the concept of “transrealism” and the subsequent visual reorganization of his work, before focusing on the sonic dimensions of his poetry, and suggesting that his approach ultimately led him toward silence. The conclusion emphasizes Pritchard’s legacy in the work of new generations of experimental musicians and poets and its continuing relevance today.

2024

Avant-Garde and the End of the World
International scientific conference with artistic programme
10.-12. 10. 2024, Nova Gorica, Slovenia

2024, Iowa Journal of Cultural Studies

Of the various texts that led to my adopting a cultural studies approach to my field-nineteenth-century American women's poetry-the two that affected me the most were The Heath Anthology of American Literature, edited by Paul Lauter, and The West as America: Reinterpreting Images of the Frontier, edited by William Truettner. A revolutionary rethinking of the standard college textbook, the Heath (first edition 1990) radically altered the landscape of American literature as taught in classrooms throughout the U. S., since its emphasis on marginalized writers virtually mandated that teachers address the cultural work such literature selections did. Given the uncontested hegemony that the 1991 exhibition organized by the Smithsonian's National Museum of American Art for which it served as catalog, represented an equally revolutionary intervention into its field. Overflowing with images whose ideological content was as undeniable as was their aesthetic appeal, the exhibit successfully argued the political role that even "great" works of artlandscapes by Thomas Cole and Alfred Bierstadt, for instance-could and did play in nineteenth-century American social life. Since the Heath's importance to U.S. cultural studies is inarguable, I will focus here on why my reading of The West as America and art books like it, most published in the 1990s, was no less important in making me rethink my field, especially with respect to the relation between the aesthetic and the political in it. During the same decade in which The West as America appeared, academic interest in poetry had reached its nadir. Despite all the evidence to the contrary accruing elsewhere in the culture-not least, the active role poets played in the

2024, Journal of the Short Story in English. Les Cahiers de la nouvelle

Dans « Daughter », publie dans Anvil en 1933, Erskine Caldell remet en question la mythologie du Sud, reecrit la mythologie grecque, et cree un mythe nouveau. Son pauvre metayer Jim Carlisle, travailleur mais affame, et trop fier pour mendier, est en prison pour avoir tue sa fille, qui s'etait encore plainte d'avoir faim. Le proprietaire, le colonel Henry Maxwell, « prenait toutes les parts », tenant Jim responsable de la mort d'une mule. Caldwell detourne les attentes et use savamment de la repetition pour creer un mythe socialiste de la solidarite entre les travailleurs ; la foule rend justice elle-meme, decidant que « ca ne semble pas correct » que Jim soit condamne. J'explique brievement en quoi la fin de « Daughter », motivee par un but politique, la distingue des nouvelles plus sombres que Caldwell ecrit habituellement sur les metayers ; mais la vision desabusee du Sud est typique de l'auteur de Tobacco Road. Si ce recit semble confirmer l'opposition qu...

2024, Electrification. Light and current in the art and culture of the 1920s and 1930s

A series of articles published in the catalogue of the exhibition 'Electrification. Light and Current in the Art of the 1920s-1930s' (Museum of Moscow, 2021, curated by Aleksandra Selivanova and Katerina Telegina) explores the influence of electricity and the GOELRO plan on artistic processes, as well as on the ideas of Soviet art and human body in the future. The catalogue also includes an article on the extermination of participants in the Electrification Plan during Stalin's repressions, along with an article discussing the structure and concept of the exhibition.
Author-compilers of the catalogue: Ksenia Guseva, Aleksandra Selivanova.

2024, Декоративное искусство и предметно-пространственная среда. Вестник МГХПА им. С.Г. Строганова

Статья посвящена историографическим проблемам провинциальной портретной живописи 2 пол. XVIII-середины XIX в., а также обоснованию термина «провинциальный портрет» в отечественном искусствознании. The article concentrates on the... more

2024, L'Arengario Studio Bibliografico

L’ultima opera di Marinetti è intitolata a una delle più feroci unità anti-partigiane: il «Quarto d’ora di poesia della X Mas». La composizione riflette la consapevolezza della sconfitta, una sconfitta che riguarda solo marginalmente l’aspetto militare: l’istituzione della Repubblica Sociale, rievocando gli ideali anti-monarchici e socialisti disattesi durante il ventennio, ne rivelava maldestramente l’uso strumentale per sostenere un governo fantoccio: dimostrava nella pratica l’inconsistenza teorica ed etica del fascismo, quando già non fosse bastata l’istituzione delle leggi razziali. Ai vincitori più che ai vinti è dedicato il verso: «Io non ho nulla da insegnarvi mondo come sono di ogni quotidianismo e faro di una aeropoesia fuori tempo spazio». Schierandosi dalla parte del potere, Marinetti e i suoi compagni si erano illusi di cambiarne la natura e ora ne seguivano le sorti, non essendo loro rimasta altra poesia che quella coerenza: «Saremo siamo le inginocchiate mitragliatrici a canne palpitanti di preghiere / bacio ribaciare le armi chiodate di mille mille mille cuori traforati dal veemente oblio eterno». (F.T. Marinetti, «Quarto d’ora di poesia della X Mas», 1945).
- - -
Marinetti's last work is titled after one of the most ferocious anti-partisan units: «The Quarter Hour of Poetry of the X Mas». The composition reflects the awareness of defeat, a defeat that concerns only marginally the military aspect: the establishment of the Social Republic, by evoking anti-monarchist and socialist ideals neglected during the twenty years of fascism, clumsily revealed their instrumental use to support a puppet government. It practically demonstrated the theoretical and ethical inconsistency of fascism, as if the enactment of racial laws had not already been enough. More to the winners than to the losers is dedicated this verse: “I have nothing to teach you, as I am free from all quotidianism and beacon of an aeropoetry beyond time space”. By siding with power, Marinetti and his comrades deluded themselves into thinking they could change its nature, and later followed its fate, as that consistency was the only poetry left to them: “We will be we are the kneeling machine guns with barrels throbbing with prayers / kiss, re-kiss the spiked weapons of a thousand thousand thousand hearts pierced by the vehement eternal oblivion” (F.T. Marinetti, «Quarto d’ora di poesia della X Mas», 1945).

2024, A QAJAR BATTLE SCENE CANVAS FROM THE COLLECTION OF THE STATE MUSEUM OF ORIENTAL ART, MOSCOW

Полотно «Битва при Хайбаре» из собрания Государственного музея Востока в Москве-исключительный образец персидской живописи XIX в. Новые данные, полученные в связи с атрибуцией и попытками датировать работу, помогают очертить общекультурный контекст бытования предмета, а также поставить ряд вопросов для дальнейшего исследования. Ключевые слова: Государственный музей Востока (г. Москва), фонд Ближнего и Среднего Востока, Южной и Центральной Азии, Каджары, «живопись кофеен», тазийе, станковая живопись, батальный жанр

2024

As a courageous contemporary of the revolutionary fervor of the 1960s, Situationist International ‘director’ Guy Debord held his gaze firmly upon political events in order to comprehend his own time in thought. In the words of Giorgio Agamben, Debord was a contemporary who firmly held his gaze on his own time so as to perceive not its light, but its darkness. Agamben’s contemporary never belongs to their time, but neither do they try to adjust to its demands. Debord himself was a ghostly figure. He understood that it was his shadowy presence that was denounced every time someone complained about his revolutionary tactics. “The more famous our [SI] theses become,” he wrote in 1971, “the more shadowy our own presence will be.” Not only did Debord operate clandestinely, in darkness, but he did so by steadfastly refusing to follow the paths laid down by previous left-wing intellectuals

2024, Arquitectura Viva, 229, 2020, p. 47.

El pintor y también arquitecto Juan Serrano fue uno de los fundadores de Equipo 57, grupo pionero en España de la abstracción geométrica.

2024

The paper investigates the contradictory position of Italian Futurism as a European collaborative and revolutionary movement later absorbed and appropriated by the hegemonic logic of Fascism. This will be possible by focusing on the intrinsically European dimension of Italian Futurismo, shedding light on its position on the global stage and the role of Filippo Tommaso Marinetti, notoriously known as 'the caffeine of Europe', in shaping a flourishing network of exchange, as assessed by the 1914 Free International Futurist Exhibition. The stern juxtaposition between the movement's openness towards the European stage will thus draw attention to what could be defined as the reactionary scandal of Futurismo, which turned from a collaborative, anarchical and essentially anti-establishment position towards an institutionalised position within the Fascist regime. By turning the focus towards the effort at de-subjectification that is typical of Futurist programmatic literature, and by highlighting its ambivalent position as a movement active in the ‘state of exception’ of war conflict and autarchy, the paper will seek to answer the question concerning the apparent shift of Futurismo from anarchism to official regime aesthetics. This will prove fundamental in addressing one of the most evident aporias of avant-garde, that is the slow but steady deactivation of its revolutionary drive in the years leading to WW2 and beyond.

2024, L'Arengario Studio Bibliografico

"La trasfigurazione lirica non era che l’atto di adesione alla realtà dei fatti, all’orrore della storia. Ma in quella adesione, più o meno entusiastica e cosciente, si consumava una disperata affermazione di sé: il senso del tragico, sapere che solo nell’essere disposti a morire è il senso del vivere: guerra sola igiene del mondo. Confrontiamo gli entusiasmi di allora e quelli che ora si contrappongono nel gioco delle parti, in Africa e in Europa. L’orrore è lo stesso, nel nome di Dio, dello Stato, della Patria, ma nessun lirismo ne tempera la volgarità. Dove sono, che fanno oggi gli artisti, i poeti? La guerra è la principale risorsa di un sistema economico che per continuare a esistere deve periodicamente distruggere quello che ha sovraprodotto. E questo avviene nell’indifferenza di chi è lontano da quei conflitti, in ameni dibattiti, nei consessi internazionali e nelle trattative in cui si esibiscono personaggi farseschi, nello spettacolo che deve continuare, senza coscienza, senza rimorsi, senza vergogna" (dal testo introduttivo).
- - -
"The lyrical transfiguration was nothing more than an act of adherence to the reality of events, to the horror of history. But in that adherence, more or less enthusiastic and conscious, a desperate affirmation of self was consumed: the sense of tragic, knowing that only in being willing to die lies the meaning of living: war, sole hygiene of the world. Let us compare the enthusiasms of yesterday with those of today opposing each other in the play of roles, in Africa and Europe. The horror is the same, in the name of God, of State,of Homeland, but no lyricism tempers its vulgarity. Where are the artists, the poets now? War is the main resource of an economic system that, to continue existing, must periodically destroy what it has overproduced. And this happens amidst the indifference of those far from those conflicts, in pleasant debates, in international assemblies, and in negotiations where farcical figures parade, in the spectacle that must go on, without conscience, without remorse, without shame".

2024, L'Arengario Studio Bibliografico

"L’allontanamento dal lavoro e dalle cariche pubbliche delle persone di razza ebraica, la discriminazione sociale, l’invito alla delazione, e l’egida «scientifica» che permeava questi provvedimenti, l’eco martellante all’unisono della stampa e della pubblicità non trovarono una eco nell’ambito del futurismo ma a parte rare eccezioni neanche una decisa opposizione. La resa dell’avanguardia si espresse nella illusione di rappresentare le istanze più o meno rivoluzionarie che il potere mitizzava: il compromesso sembrava necessario. Notava Glauco Viazzi, riferendosi al libro di Emilio Buccafusca «Studenti fascisti cantano così» (1938): «...un futurismo che non sta più all’opposizione rispetto al potere, vi si identifica invece, e interamente, con l’ambizione di rappresentarne la vera natura, l’autentica tendenza (mentre il potere dà evidenti segni di pensarla altrimenti)»” (dal testo introduttivo).
- - -
"The dismissal of Jewish people from jobs and public positions, social discrimination, the invitation to denounce, and the “scientific” endorsement that permeated these measures, along with the relentless echo from the press and the advertising campaigns, found little resonance in Futurism, but, apart from a few rare exceptions, no firm opposition either. The surrender of the avant-garde was expressed in the illusion of representing the revolutionary demands that Power mythologized: compromise seemed necessary. Glauco Viazzi, referring to Emilio Buccafusca’s book Students Fascists Sing Like This (1938), noted: «...it was a Futurism that no longer stood in opposition to Power but instead identified fully with it, with the ambition of representing its true nature, its authentic tendency (while Power showed clear signs of thinking otherwise)»”.

2024, Мир искусств: Вестник Международного института антиквариата

АННОТАЦИЯ: в статье рассмотрен формат картины как способ организации живописных материалов и его значение в создании гармоничной композиции. На примере коллекции итальянской живописи XVI-XVIII веков из Большого собрания изящных искусств ASG анализируются предпочтения художников в выборе формата в контексте их объективной обусловленности (архитектура, интерьер) и специфики авторской манеры.

2024, Диалог искусств

Рецензия на выставку в Центре «Эрмитаж-Казань»
Казань, территория Кремль, 12
До 29 сентября 2024 г.

2024, The Integrity of the Avant-Garde: Karel Teige and the Biography of an Ambition

Gold Open Access eBook of my monograph on Karel Teige and the theory of the interwar European Avant-Garde. In addition to Teige, major figures examined include Walter Benjamin, Le Corbusier, Georg Lukács, and Jan Mukařovský.

2024

The question concerning foreign masters who worked in Russia in the 18th century is one of the main ones among the historians of this epoch's Russian art. According to the tradition established in Russian historiography, artists moving between the monarchic courts of Europe are usually called "migrating", "traveling" or "visiting" masters. Contrary to the relevance of this topic, many representatives of this group still remain outside the field of scientific discussion, as well as some aspects of their artistic biographies, despite their works appearing in museums and private collections, as well as existing archival sources. Such an unstudied figure is the French painter and miniaturist Nicolas Benjamin Delapierre, one of the numerous master portraitists of the 18th century who left his homeland to work in other European countries and for a long time connected his life and work with the Russian Empire. This article is an attempt to scientifically reconstruct the master's biography, which remains almost unknown to Russian researchers and only partially studied in France. The main task set by the author is to systematize and analyze both the scattered biographical data available in the academic literature and a variety of archival data, mostly stored in France, about the artist's life and work.

2024

Paper presented at a panel discussion organized by the Tricontinental Institute for Social Research and Studio Safdar in New Delhi on March 2nd, 2024. Fellow panelists: Shukla Sawant and Anupam Roy.

2024, Boletín de Estética

Este trabajo presenta y ofrece en español el prefacio de Tristan Tzara a Les Champs délicieux (1922), álbum de rayogramas del fotógrafo estadounidense Man Ray, que fue traducido por Walter Benjamin para la revista alemana de vanguardia Zeitschrift für elementare Gestaltung. Muestra la rela-ción de Benjamin con Hans Richert, editor de esta revista, así como con otros de los dadaístas de Zúrich durante su estancia en Suiza, y señala el modo en que su propia traducción de Tzara fue recuperada por Benjamin en un relevante pasaje de “Kleine Geschichte der Photographie” (1931).

2024, НАУЧНЫЕ ТРУДЫ. Вып. 49.

The author explores how the introduction of the Royal portrait into another
portrait (both graphic and painting) emphasized and enriched the symbolic meaning of the whole painting. The court portrait in Spain never was a mere painting of the appearance. The article presents a study of the important hidden message the Spanish portraits convey, such as ideas of legitimacy, dynastical inheritance, kings presence and approval.
Keywords: portrait; House of Habsburg; Early modern period; Spanish art.

2024, Hans-Joachim Dahms (Hg.), Franz Roh 1890-1965. Kunstkritiker, Vorkämpfer der Kultur-Moderne. Eine Kollektivbiographie. VALEP: Wien

Rohs von seiner Studentenzeit bis hin in seine letzten Lebensjahre und dessen Ausstrahlung in andere Bereich der Kultur abzubilden. Voraussetzung für die Einladung zur Tagung war gewesen, dass sämtliche Teilnehmer nicht nur bereit waren, sich in die weltweit verstreuten Archivalien des Roh-Nachlasses und seiner Korrespondenzpartner zu vertiefen, sondern in diesem historischen Vorgehen auch schon umfangreiche Expertise gewonnen hatten. Denn Rohs Nachlass ist recht verstreut und sein umfangreiches personelles Netzwerk ohne diese Archivalien nicht leicht zu entdecken. Unter den Organisatoren und Teilnehmern der genannten Wiener Konferenz gab es an ihrem Ende Einigkeit, dass die Referate der Roh-Tagung als Sammelband veröffentlicht werden sollten. Aber verschiedene Versuche, dafür einen Verlag zu finden, scheiterten: die einen forderten ganz übertriebene Druckkostenzuschüsse, andere stellten zwar eine Zusage in Aussicht, wurden dann aber von einer plötzlichen Insolvenz ereilt. Vielleicht ist es auch generell schwierig, für ein dezidiert interdisziplinäres Projekt Verleger zu finden, die bereit sind, auch umfangreiche Bildstrecken zu drucken. Von diesen Schwierigkeiten soll hier nicht weiter berichtet werden. Denn wie schon Wilhelm Busch-in etwas anderem Zusammenhang-schrieb: "gehabte Schmerzen, die hab ich gern".

2024, Актуальные проблемы теории и истории искусства: сб. науч. статей. Вып. 6 / Под ред. А. В. Захаровой, С. В. Мальцевой, Е. Ю. Станюкович-Денисовой. – СПб.: НП-Принт, 2016. С. 698–705. ISSN 2312-2129

Alexey Parshkov’s (born 1947) paintings are well known in Kuban region and abroad. The article
is devoted to his theory of composition that has never been studied before. Compositions by the painter are
based on a toroidal structure. The structure, according to Parshkov, is an expression of the geometry of space
and interpreted by analogy with field and energetic processes. However, the philosophy of nature in this case
has a poetic character, becomes the basis of a universal metaphor. Parshkov’s ideas were developed in intellec-
tual atmosphere of the 1970s which is characterized by an interest in Gestalt theory, structuralism and semi-
otics. It was important for the author to study Russian icons through interpretations given by Pavel Florensky
and Lev Zhegin. Parshkov’s theory of composition becomes the poetics of the universal and the self-poetics,
allows us to find the meaning of his artworks. Among the parallels to his theoretical works, there is a “cup-
cupola-space” of Vladimir Sterligov or “hieratures” of Michail Schwarzman. Alexey Parshkov’s theory is an
original author’s conception which reflects the intellectual and spiritual trends of the 70–80s.

2024, American Contact. Objects of Intercultural Encounters and the Boundaries of Book History

already well known in literary and journalistic circles, was incarcerated in the northern city of Trujillo on accusations of instigating public disturbance in his hometown of Santiago de Chuco, about one hundred miles to the east. The confusing events had taken place on August 1, 1920, while Vallejo, who had been living and studying in Lima since 1916, was visiting Santiago de Chuco to take part in the annual cele brations of the town's patron saint Santiago Apóstol (St. James the Apostle). Due in part to pressure from writers and some politicians, he was released on February 26, 1921, but the trial against him continued. He would leave Peru for Europe in 1923, largely to escape legal prosecution. At the time of his death in Paris in 1938, the case against him was still open. Vallejo's first book, Los heraldos negros (The Black Heralds), had been published in 1919 and praised in Lima's literary circles. He continued writing poetry and, during the time he spent in jail, penned several new poems and revised others he had already written. Back in Lima after his release, he assembled those poems for publication. In those years, there were no commercial publishers in Peru, so authors had to use their own financial resources and personal connections to have their books printed. When the time came to choose a printing press to produce his new book, Vallejo opted for the printing and binding workshop that functioned inside the Lima penitentiary, also known as "el panóptico" (the panopticon). Released late in 1922, the book, titled Trilce, today a true bibliographical treasure, 1 was manufactured by inmate-workers at the Lima penitentiary, a