Theory of Avant-Garde

20. vuosisataa on kutsuttu äärimmäisyyksien vuosisadaksi, sillä sitä leimasivat monet mullistukset: sodat, vallankumoukset ja poliittiset joukkoliikkeet sekä teknologian ennennäkemättömän laaja vaikutus arkielämään. Taiteessa tämän vuosisadan murros, taiteen avantgarde, oli voimakkaimmillaan maailmansotien välisenä aikana 1914-1940.

The Paris museum of rare letters and manuscripts (Musee des lettres et manuscrits) preserves the letters from Vasily V. Kandinsky, written during his living in Munich, to his friend A.A. Pappe. This correspondence from the early 1900’s gradually reveals the fundamental principles of the progressive European art education at the turn of the 20th century. Kandinsky was a student of the renowned art teacher Anton Azhbe, whose art studio was a center of the artistic learning and enlightenment for artists from Europe, the USA and Russia. Azhbe’s unique art system which nowadays became a part of the academic education was preserved due to the recollections of his contemporaries. The letters of Kandinsky to Pappe signifi cantly amplify the collection of the prominent writings devoted to this subject. However, the real value of these documents lies in the fact that this correspondence is the first documented evidence of the transfer of knowledge which would be the base of the pedagogical ac...

Sonic remembering of older citizens in a live radio show An interactive three-hour live radio programme Äänien ilta (“Evening of Sounds”) is composed of phone-in requests on environmental sounds and callers’ narratives on their personal memories of historical and contemporary sonic phenomena from diverse settings. Fulfilled requests are accompanied by discussions between callers and studio personnel aiming to elicit further information on emotionally and intellectually exceptional sounds and soundscapes. The Finnish radio format was developed into a transnational programme in collaboration with B-Air – Art Infinity Radio. Creating Sound Art for Babies, Toddlers and Vulnerable Groups project to raise awareness in diverse sound cultures in European countries. By analysing the phone calls and fieldwork material collected among the older citizens, the article will present how sound memories and the acts of remembering are constructed in radio live shows and in an interview situation. Sp...

The avant-gardes have had their history. Since that time, their heroic past has been now relived in accounts in which the course of time is overturned and they re-emerge to "enliven their time" and accomplish history. The term "avant-garde" derives from military vocabulary and designates those groups that advance ahead of the main body of

Сборник научных статей содержит материалы Международной конференции молодых специалистов, проходившей на историческом факультете МГУ имени М.В. Ломоносова 21-24 ноября 2013 г. и посвященной актуальным вопросам истории искусства и культуры от древности до современности. В статьях отечественных и иностранных авторов (на русском и английском языках) представлены результаты исследований в области изучения искусства Древнего мира, Византии, Древней Руси, Западной Европы от Средневековья до Нового и Новейшего времени, России XVIII-XX вв., а также теории искусства. Издание предназначено в первую очередь для специалистов. Может быть использовано в учебной, научно-практической деятельности, а также интересно широкому кругу любителей искусства. Th e collection of articles presents the materials of the International Conference of Young Specialists held at the Faculty of History of Lomonosov Moscow State University on November 21-24, 2013. It deals with the actual problems of art history and theory from Antiquity to the present day. Th e articles by Russian and foreign authors (in Russian and in English) present the results of research in the art of the Ancient World, Byzantium, Medieval Russia, Western Europe from the Middle Ages to the 20th c., Russian art from the 18th to the 20th c., theory of art. Th e edition is addressed to art historians, historians, art students and art lovers.

Summing up the results of the conference "Actual Problems of Theory and History of Art VII", held in autumn 2016 in the State Hermitage and Saint Petersburg State University, the authors of this article note a significant extension of the definitional possibilities of the terms "artifact" and "art object" in Modern and Contemporary eras. The main theoretical conclusions are made with an eye for the works of T. de Duve, J. Baudrillard, T. Adorno, G. Dickie and other authors. Turning to a direct analysis of the texts included in the collection of articles, the authors point to a variety of analytical approaches chosen by the participants in the conference to define the terms "artifact" and "art object" in the fine arts of the 17 th-21 st centuries.

The history of music in the twentieth century is viewed as a process of expanding the sonic material of music to include all sound. Technological barriers to the full exploitation of the domain of sound are suggested as causing the process to take more time than it would otherwise due to cultural or aesthetic factors alone. Important historical developments in music over the last century are reconsidered to be, at least in part, strategies for circumventing technological limitations to manipulating and accessing all sound. Support for this perspective is found in the words of artists and composers of the time and in comparisons between the technologies available for creation in the visual and the sonic arts. Sound modelling is examined as a post all-sound paradigm holding promise for normalising the relationship between sound and music.

TIIVISTELMA Tutkimus selvittöd suomalaisten l<rirdjdtuomareiden ja syyttdjien kuuntelemisen luisitteelle antamiq merkityssisciltöjd. Kuuntelemisen kdsite on monitulkintainen, muttø yleisesti sen voidaan katsoa merkitsevðn kognitiivista informaation organi-sointiø ja sanoman lvüftistd arviointia. Samqlla senvoidqanndhdci olevanvdline suhteiden rakentamßessa ja ylldpitdmisessci sekd oppimisessa jø informaation yhdistelemisessri. Qmhof 2003.) Kuuntelemisen krßitteelle qnnetut merkityssi-sällöt myös ennustavat kuuntelemislcciyttöytymistd (Fitch-Hauser 1990; Imhof & Janusik 2006, 8I). Oikeudellinen viestintcþmpörßtö on kuuntelemisen kannaltq haasteellinen tutkimuskohde sen toiminnan muodollisuuden, hierqrkkisten rakenteiden ja osa-puolten asymmetristenviestintdsuhteidenvuoksi (Vdlikoski 2004b). Kdröjdtuoma-reiden jø syyttdjien kuuntelemisen krisilteelle antamia merkityssisöltöjö pdästiin tutkimulçsessa tqrkastelemaan Imhofin ja Janusikin (2006) kuuntelemisen mitta-rin (Listening Conce...

Asiahakemisto 436 Henkilöhakemisto 440 8 Kiitokset Avantgarde Suomessa-kirjan idea syntyi Suomen avantgarden ja modernismin seurassa alkuvuonna 2018. Lämmin kiitos kaikille kirjoittajille, kirjan ideointiin aktiivisesti osallistuneille, tekstejä kommentoineille sekä anonyymeille vertaisarvioijille.

In this essay, the Czech avant-gardist Karel Teige's dual program of Constructivism/Poetism is interrogated in the context of his own claim that architectural historicism was degraded by the rupture into a duality of structure and ornament. This inability to escape the terms of his own critique is shown to be the result of Teige's articulation of avant-garde culture as the embodiment of the historical identity or style of the present.

The concept of the musical avant-garde has been defined in many different and even conflicting ways in the critical discourses of new music, musical modernism and the avant-garde. In my presentation, I approach the question of the musical avant-garde from the perspective of experimental music, especially through the concept of musical experimentalism. My starting point here is the two-part division of the musical avant-garde: modernism and experimentalism (Nyman 1999 [1974]; Born 1995). I examine this division on the basis of Peter Bürger's Theory of the Avant-garde (1984). In his theory of the avant-garde Bürger argues that avant-garde art protests against the autonomous status of art which is manifested in the separation of art from the praxis of life. From the Bürgerian point of view, avant-garde art rebels against the idea of ̳art as an institution‘, a concept by which Bürger means both the productive and distributive apparatus (museums, concert institutions and so on) and t...

Classical legacy as it was presented in the works of Western European and Russian artists of the 20th century is discussed in the essay. Touching upon creativity of Serov, Bakst, Deyneka, Beckmann, Breker, and some other artists, whose work is significant for the discussion, the author attempts to trace the periods within which Classical antiquity was treated differently basically depending upon the exact historical and cultural circumstances of the milieu.

Elina Arminen Ylirajaisen kirjallisuudentutkimuksen metodologiaa. Heidi Grönstrand, Ralf Kauranen, Olli Löytty, Kukku Melkas, Hanna-Leena Nissilä ja Mikko Pollari: Kansallisen katveesta. Suomen kirjallisuuden ylirajaisuudesta Viola Parente-Čapková Avantgarden energiasokeudesta jälkifossiiliseen kokeellisuuteen Antti Salminen: Kokeellisuudesta. Historiallisesta avantgardesta jälkifossiiliseen elämään

Tekinsizlik kavramı üzerinden kentsel mekanın deneyim ile yeniden üretimini tartışmaya açan tez çalışması; Sigmund Freud tarafından kavramsallaştırılan tekinsizliği negatif bir alfabe ile değil, kentsel mekanı anlamak, deneyimlemek ya da tekrar inşa etmek için taşıdığı potansiyeller üzerinden tartışmaya açmaktadır. Tezin ikinci bölümünde tekinsizlik kavramının literatürdeki yeri açıklanmaktadır, sonra kavram kendisini besleyen, var eden ya da diyalog halinde iletişim kurduğu eş kavramlar (rüya, hayal edilebilir, muğlak, ikiz / tekrar, karanlık) üzerinden tartışılmaya açılmıştır. Tekinsizlik ilk olarak 1919 yılında Freud tarafından yazılan "Das Unheimlich" isimli makalede bir kavram olarak ele alınarak; ev/tanıdık yer üzerinden saklanmaya çalışılanın açığa çıkması; uzun zamandır bilindik olan bir şeyin aşinasızlaşması olarak gündeme getirilir. Freud tekinsiz olan korkutucu olandan farklıdır diyerek aslında tekinsizliğin potansiyellerini tartışmaya açar. Tekinsizliğin Almancası das unheimlich, heim/heimlich kökünden gelmektedir ve heimlich, evi/güvenli bir alanı tanımlamaktadır. Heimlich, Almanca olumsuzluk ön eki "un-" ile evi; gizli ya da bastırılmış / üstü kapatılmış, mahrem olarak tanımlar. Diğer bir tabirle unheimlich, yersizlik – yurtsuzluk, evsizlik, tanıdık-yabancı arasındaki gerilim olarak da tanımlanabilir. Freud yazısında tekinsiz durumları bir zamanlar bastırılmış tanıdık nesnelerin, ansızın beklenmedik formlarda geri dönmesi, tanıdık olanın-yani ev'in aniden kişiye yabancılaşması ya da kişinin yabancı bir ortamda evinden bir parça bulması, tekrarla nesnelerin/dilin anlamını yitirmesi, ikilik durumları ile açıklamaya çalışmaktadır. Tekinsizliğin bilinçaltından, yani örtülmüş/bastırılmış olandan gelen bir deneyim olduğunu vurgular. Tekinsizliği bir kavram olarak incelemekten çok deneyiminin kendisini ve bu deneyimin potansiyellerini tartışmak için tekinsizlik diyalog içinde olduğu bir kavram seti üzerinden incelenmiştir. Bu eş kavramlar hem tekinsizlik deneyimine ortam sağlayan, hem de bu deneyim ile iletişimi olan durumları işaret eder. Tekinsizliği bir kavram ya da atmosfer tarifi için kullanan çeşitli ana kaynakların sökümü ile elde edilen bu eş kavramlar (rüya, hayal edilebilir, muğlak, ikiz/tekrar, karanlık) tekinsizlik üzerinden irdelenmiştir. Tezin üçüncü bölümünde ev ile ilişkili olan tekinsizliğin neden sokakta arandığı ve kent üzerine spekülasyonlar üreten 20.Yüzyılın ilk yarısındaki avangard topluluklar tartışmaya açılmıştır. Kentin, yani ev olmayanın, ev / güvenilir bölge (heimlich) olması; iç – dış, mahrem – kamusal ayrımını muğlaklaştırır, arada bir durum tariflemektedir. Birbiri yerine geçen aradalık durumu psikanalist Jacques Lacan'ın ex-timate kavramı üzerinden de okunabilir. Ben ve başkası, dışarısı ve mahrem aradalığı; ev ile kent arasındaki sınırları açmada ilginç ve potansiyelli bir durum vadetmektedir. Kentsel mekan bu araştırmada tekinsiz deneyimin tartışmaya açıldığı yer; hem en güvenilir olan / ev / mahrem hem de yabancı / dışarısıdır. Kentteki tekinsiz deneyimi deşmek, ortaya çıkartmak için öncelikle sürrealistlerin geliştirdikleri, var olan gerçeklik algısının yıkımı ve bilinçaltı ile yeni deneyimlerin inşasına olanak sağlayan yöntemler incelenerek; bu yöntemler sürrealistlerin ardılı olan avangard gruplardan Harfçiler ve Durumcuların kent üzerine olan söylemleri ile tekrar tartışılmıştır. Çalışma kapsamında tartışmaya açılan tekinsiz deneyimin potansiyeli ile avangard grupların kentsel algıyı yıkarak, gündelik hayat ile yeni bir devrim yapma yöntemi olarak öne sürdükleri durum, saptırma, sürüklenme gibi pratiklerle, kentliler üzerinde yaratmak istedikleri etki benzerlikler taşımaktadır. Avangard toplulukların uyanma olarak tariflediği ve kentsel mekandaki algıyı yıkarak yeni bir deneyim / mekan üretimi vadeden pratiklerinin kentliler üzerinde bıraktığı etkiyi tekinsizlik olarak tariflemek mümkündür. Tezin dördüncü bölümünde kentsel mekanı tekinsizlik üzerinden tartışmaya açmak için Durumcu Enternasyonalin dérive ve psikocoğrafya taktiği İstanbul üzerinde denenmiştir. Çalışmanın ikinci ve üçüncü bölümlerinden toplanan kuramsal altyapı ve metodolojik araştırmalar; çalışma kapsamında sadece yazarın deneyimlerini deşifre etmesi için değil, başka araştırmacıların da kentte benzer bir keşfe çıkabilmesine olanak sağlamak için Tekinsiz Kent Araştırmaları: İstanbul isimli bir kart oyun seti olarak tekrar üretilmiştir. Bir tür kentsel mekandaki tekinsiz deneyim dedektifliği olan oyun; üç adet kart seti ve bir İstanbul haritasından oluşmaktadır. Tez kapsamında bu oyun üç farklı ekibe oynatılmış ve çıktıları karşılaştırılmıştır. Sonuç bölümünde tekinsizlik deneyiminin kentteki karşılığına dair didaktik ve bitmiş bir söylem üretmek değil; kentsel deneyime yönelik yeni spekülasyonlar, denemeler ve okumalara olanak sağlayacak bir tartışma alanı açılması nihai nokta olarak belirtilmiştir. Görme ve göz hegemonyasındaki bu dönemde kentsel mekanın içerdiği gizli katmanların deşifre edilmesinde yeni yöntemler ve bakış açıları sunmaya çalışan araştırmada; öncelikle tekinsizlik kavramı ve deneyimi teze özgü bir tavır ile söküme uğratılmıştır.

https://www.worldcat.org/title/william-hogarth-frederick-antal-and-deconstruction/oclc/8869028016&referer=brief_results 

Aktualʹnye problemy teorii i istorii iskusstva = Actual problems of theory and history of art : sbornik nauchnykh stateĭ = collection of articles.
Sankt-Peterburg : Sankt-Peterburgskiĭ gosudarstvennyĭ universitet : Moskovskiĭ gosudarstvennyĭ universitet im. M.V. Lomonosova, 2011-

Творчество Уильяма Хогарта рассматривается в статье с точки зрения теории и практики постструктуралистских стратегий. Фредерик Анталь, автор фундаментальной монографии о Хогарте, в своей интерпретации затрагивает ряд близких механизму деконструкции (как научного и художественного метода) проблем (пародии, экспрессии, карикатуры, критики «больших стилей»). Его концепция «маньеристического», многоуровневого произведения искусства, не получившая завершённого теоретического оформления, может быть эксплицирована из его текстов по истории искусства. В данной статье интуиции Ф. Анталя, А. Хаузера и других исследователей прошлого помещаются в современный научный контекст. Анализируются такие работы Хогарта, как «Королевская власть, епископство и суд» (1724) и «Изображённый энтузиазм» (1762). Особое внимание уделяется также его живописному произведению «Суд» (Музей Фицуильяма, Кембридж) и одноимённой гравюре 1758 г., которые сравниваются с модернистским (Одилон Редон, Пикассо) и классическим (Леонардо, Микеланджело, Маньяско) искусством. Метод деконструкции в творчестве Хогарта интерпретируется в единстве с культурой его эпохи (Джон Локк, Генри Филдинг, Дэвид Юм, Джон Гей). Статья продолжает исследовательский проект автора, связанный с изучением происхождения искусства авангарда/реализма.

В данном очерке представлен отчет о работе заседания, которое
состоялось 25 января 2020 г. в Русской христианской гуманитарной академии. Мероприятие было приурочено к 30-летней годовщине смерти С. И. Параджанова (1924—1990). На этом заседании историк А. А. Синицын, философ М. Д. Рахманинова, религиовед и культуролог В. А. Егоров выступили с докладами, посвященными творчеству выдающегося советского режиссера, сценариста и художника. В продолжение мемориального
научного мероприятия в Галерее «15» РХГА состоялось открытие персональной выставки работ петербургского художника-фотографа Марии Рахманиновой, посвященной памяти Сергея Параджанова.

Let us take a short walk first, and then try to map it in theory and in politics of avant-garde respectively. Central Europe is a space which is in no way the centre of Europe. It is an in-between; under avant-garde terms it is a space between Paris and Moscow, between Berlin and Moscow, and between New York and Moscow; different accents with different in-betweens in different times of the Twentieth Century. Speaking politically, it was in-between modernized West and backward East, it was in-between Western decadence and Eastern health, in-between communist freedom and capitalist/imperialist exploitation, in-between two imperialisms and totalitarianisms, then liberated from one totalitarianism to belong to the other, and again liberated from socialism to enter capitalism once again-as an in-between. What next? This in-between was felt as a division of the first avant-garde in different cultures between prevalence of constructivism or surrealism (for instance in Polish and Hungarian constructivism, and in Serbian or Czech surrealism and poetism). At the start, after trying to adopt avant-garde proposals from all sides of Europe including Russian Proletkult and constructivism, and Italian Futurism and French Dada, Micić expressed this in between withhis Zenitist formula: To save Europe, radical new position has to be adopted. Italian futurism is civilized and individualist. Russian avant-garde is barbarian and collectivist. What is needed, however, is a barbarian individualist, and that is what Balkan (i.e. Serbian) barbarogenius represents. Balkan barbarogenius can save Europe. Two points of theoretical interest are involved: one, that dependent relationship with the West from the period of nation-building and the first industrialization during and after the First World War developed into this in-between to be understood as a source of the renaissance and redemption of the West; second, that the position of equal influence of Paris and Moscow could very early change into Aristotelian equidistance from these two extremes, or two ways of avant-garde failure.

In avant-garde rhetoric, as appropriated by contemporary art, the ideas of social engagement and artistic achievement have been almost identical: after art’s self-sublation, its principal goal has supposedly been social engagement. Yet despite the internalization of the avant-garde’s socially oriented legacy, the true episteme and achievement of art since the 1960s has been conceptual surplus rather than social involvement. The negative antisocial character and vicious genealogy inherent to art since early modernist practices fostered various manipulations of this conceptual surplus, which eventually turned into the surplus value—the “metaphysical index”—of art’s economics, as Diedrich Diederichsen puts it. Regardless of whether this surplus is a cognitive gimmick, symbolic capital enhancing the cultural impact of an artwork, or a financialized abstraction simply increasing the cost of art, it has functioned as a hidden power of art in contemporaneity, and has been effectively disguised by art’s stated good will and emancipatory intentions. But what happens to art as an institution of contemporaneity if its codex of self-sublation and the logic of conceptual surplus are demolished by post-secular, post-conceptual cyber-fantasies?

The most experimental and radical artistic practices In the art history of the twentieth century are usually defined as “avant-garde”,  the concept originally owned from the military dictionary. At the same time the theorists of the avant-garde art notice that the concept was not a self-name for the artistic movements of the first decades of the twentieth century. Whether it was a search for a new artistic language or anticipation of future social and political transformations, poets and artists however were inspired precisely by the military rhetoric and phraseology. Encouraging poetry to be a “brutal attack” (Marinetti), to “shoot old stuff” (Mayakovsky), or “declaring a fight to his enemies” (“Youth Union”), urging “to follow the breakthrough line” (Left Front of Arts), the art of historical avant-garde widely used images of struggle and violence. The article explores the evolution of rhetorical figures of the war in Russian and European avant-garde art of the 1910s and 1920s.

Lazareva, Ekaterina. "War Rhetoric in Avant-Garde Art." "Standing upon
the Furthest Promontory of the Ages”: World War I and Cultural Change / Bobrinskaya E., Vyazova E. eds. State Institute of Art Studies, Moscow, 2018. P. 99-106.

В истории искусства ХХ века наиболее смелые и радикальные художественные эксперименты принято обозначать понятием «авангард», происходящим, как известно, из военного словаря. При этом теоретики авангарда, как правило, указывают, что это понятие не было самоназванием для искусства первых десятилетий ХХ века. Вместе с тем, шла ли речь о поиске нового художественного языка или о предвосхищении грядущих общественных и политических трансформаций, поэты и художники вдохновлялись именно военной риторикой и фразеологией. Призывая поэзию быть «жестокой атакой» (Маринетти), «расстреливать старьё» (Маяковский), «объявляя борьбу своим врагам» («Союз молодежи»), призывая «пойти по линии прорыва» (ЛЕФ), и т.д. – искусство исторического авангарда активно использует образы борьбы и насилия. Статья посвящена эволюции риторических фигур войны в искусстве русского и европейского авангарда 1910-1920-х гг.

Лазарева Е. Военная риторика в искусстве авангарда // «На крайнем пределе веков»: Первая мировая война и культура [сборник статей] / сост. Е. А. Бобринская, Е. С. Вязова. – М.: ГИИ, 2017. – С. 104–111.

Carl Einstein war Teil und Motor der europäischen Avantgarde.  Mit Werken wie z.B. "Negerplastik" und "Bebuquin oder die Dilettanten des Wunders" sowie mit seiner inter- und transdisziplinären Positionierung zwischen Literatur, Kunst, Kritik, Aktivismus, mit der Vielzahl seiner Wirkungsräume,  seinem weitläufigen Netzwerk und in der Rezeptionsgeschichte seines Werkes ist Einstein fester Bestandteil der Avantgardeforschung. Darüber hinaus ist die Beschäftigung mit seinem Leben und Werk Teil der Arbeit an der Definition von Avantgarde.  Die Beschäftigung mit Carl Einstein scheint insofern besonders geeignet um gegenwärtige Verschiebungen in Ge-brauch, Verständnis und Theorie der Avantgarde kritisch in den Blick zu nehmen.

The paper explores the peculiarities of interpretation of Jacques Lacan’s concept of “the mirror stage” in surrealist photography. In the context of addressing to the concept of “the mirror stage”  surrealist photography concentrates on the problems of the encounter of a person with his double, and also of narcissism and gender identifi cation. The author makes the conclusion that practice of using the mirrors and other ways of duplication of an image in the surrealist photography may be considered as fixation on “the mirror stage”, as well as the interpretation of the photographic process as the medium of an endless repetition of an image of the other.

Котломанов А.О. "Сизифов труд". Рецензия на книгу «Искусство с 1900 года: модернизм, антимодернизм, постмодернизм» // Вестн. С.-Петерб. гос. ун-та. Сер. 15. Искусствоведение. 2016. Вып. 3. С. 115—120.
Kotlomanov A.O. Sisyphean toil. Review of “Art Since 1900: modernism, antimodernism, postmodernism”. Vestnik of Saint Petersburg University. Series 15. Arts, 2016, issue 3, pp. 115–120. DOI: 10.21638/11701spbu15.2016.309 (In Russian)

Citado por Maiakovski y su grupo como maestro e inspirador y al mismo tiempo autor de una obra monumental donde la imaginación del futuro compite con la resonacia romántica de los tipos eslavos, la figura extraña, casi secreta, de Velimir Khlebnikov (1885-1922) aparece en el centro del pandemonio de ideas y obras artísticas que la Rusia de las primeras décadas del siglo XX. Parte del dossier "La ecuación Khlebnikov", dirigido por Daniel Samolovich, este trabajo comprende la traducción del francés de  "Sombrío y otros poemas" (1912-1914), así como la traducción  del inglés de los escritos programáticos "Cachetada al gusto del público" (1912), "Manifiesto de los Presidentes del Globo Terráqueo" (1917) , "El país de los cisnes en el futuro" (1918) y "Sobre la poesía (1920), a partir de las únicas ediciones de Khlebnikov hasta entonces disponibles en Occidente. Todos los textos llevan notas del traductor. Se presenta aquí el dossier completo.

https://searchworks.stanford.edu/articles/edselr__edselr.24397062 

https://cyberleninka.ru/article/n/formalizm-avangard-klassika-genrih-velflin-kak-teoretik-iskusstva 

The issues of classic aesthetics in Heinrich Woelfflin's works are considered in this paper in the context of avant-garde discourse. The notions of visual, bodily, ideological are examined in relation to Swiss art historian's system. The paper explores the points of convergence between Woelfflin's theories and different trends in Contemporary Art History (semiotics, post-structuralism etc.). Special attention is paid to philosophical foundations of Woelfflin's system, its closeness to Friedrich Nietzsche's intuitions. Theory of classic art is interpreted taking into account its social connotations, its totalitarian, normativistic and utopian dimension. The author comes to conclusion that the elements of reductionism and extremism are important for Woelfflin's Neo-Kantian «essentialism», which is «value-neutral» but amenable to the interpretation theory of «radical conservatism». According to this methodological strategy politico-philosophical program of formalism (as the precursor of the Social History of Art) can be (re)constructed.

Аннотация: Статья ставит своей целью подробно проанализировать «парадигматический сдвиг» в искусстве от уникального произведения (артефакта) к художественному жесту и поведению (арте-акту). За отправную точку такого сдвига берется реди-мейд Марселя Дюшана, который французский искусствовед Тьерри Де Дюв через «онтологию номинализма» причисляет к разряду (именующих) перформативных актов. В статье производится попытка ре-концептуализации реди-мейда («обратный реди-мейд») и установления условий для возникновения художественного высказывания совершенного иного, нового типа (арте-акт), наделяющего «готовую вещь» активной ролью агента социального действия.
Ключевые слова: реди-мейд, артефакт, перформативный акт, вещь, медиум искусства, медиа-среда, арте-акт

FROM ARTEFACT TO ART-ACT: READY-MADE AS AN AGENT OF SOCIAL ACTION
Author: Osminkin Roman, Ph.D. Student at the Russian Institute of Art History (Moscow, Russia), e-mail: osminkin@gmail.com
Summary: This article aims to analyze in detail the paradigm shift in art from the unique “arte-fact” to the (performative) artistic gesture. Marcel Duchamp’s ready-made is taken as the starting point of this shift. The article examines the ready-made as a performative act – exhibiting what Thierry de Duve’s calls “nominalist ontology”. The article attempts a re-conceptualization of the ready-made (“reverse ready-made”*), which is often mistakenly re-objectified as a unique arte-fact, by giving full consideration to the conditions and the possibilities of a completely different, new type of artistic expression: the “arte-act” performs an active role of the agent of social action.
Keywords: ready-made, artefact, performative act, a thing, a medium of art, media-space, arte-act

Важнейшая проблема левого искусства в эпоху исторического и нео-авангарда – отношение между методом и материалом, флагрантность которого необходимо было сохранить, организовав его с помощью конструктивного принципа. Если в Советской России 1920-х гг., эта задача наиболее оригинально решалась в литературе факта, опиравшейся на демократические медиа и сочетавшей «объективную фиксацию» действительных фактов с их «диалектическим монтажом», то во франкофонной культуре один из самых экстравагантных вариантов синтеза предложил Марсель Дюшан в своей технике реди-мейда, также основанной на выборе реальных объектов с их последующим «вмонтированием» в оптику художника. Несмотря на очевидные различия между широкой сетью рабкоров и селькоров, рапортующих о социалистическом строительстве на местах, и эстетом-одиночкой, выставляющим в 1917 писсуар в нью-йоркской галерее, теми, и другим двигал один и тот же авангардный импульс выявления и расшатывания институционального субстрата современного искусства/литературы и расширения привилегии авторства на аудиторию – литературы, создаваемой читателями, и картин, создаваемых зрителями («les regardeurs, qui font les tableaux»). Кроме схожего направления удара по институту искусства (отрицание притязаний на индивидуальную креативность), теоретиков «фактографии» и «редимейда» объединяло и само стремление к созданию неорганического произведения искусства и смешанная прагматическая стратегия - не стремиться произвести «целостное впечатление», но сохранять возможность самостоятельной семантической активности элементов и оставлять незамаскированным сам факт художественной манипуляции.

Политизация поля искусства: исторические версии, теоретические подходы, эстетическая специфика. Под ред. Т. А. Круглова, Ж. Сапиро. Екатеринбург: Кабинетный ученый, 2015.
В коллективную монографию вошли статьи, написанные на основе докладов конференции «Трансформации левой идеи в художественной культуре СССР и Франции» и «Политизация поля искусства: советские художники в поисках идентичности» (руководители — профессор Т. А. Круглова, Екатеринбург, и профессор Ж. Сапиро, Париж). 312 стр. ISBN 978-5-7525-3078-4 (Кабинетный ученый)

This research studies the concept of musical experimentalism in the manifestos of musical avant-garde. It theorises the concept of musical experimentalism, clarifies the confusion between the concepts of avant-garde and modernism in music research, and locates the most important manifestos in reference to the idea of musical experimentalism.

The main finding of the study is that musical experimentalism is a radical ethos concerning the making of music: aside from working as a musical technique, it can also serve as a way to be in the world and a way to change society.

The research examines, among other things, contemporary classical music, electronic music, sound art, noise and free improvisation. The salient material of the study comprises manifestos written by well-known avant-garde and experimental composers such as Edgard Varèse (1883–1965), John Cage (1912–1992) and Pauline Oliveros (1932–). The material also consists of writings by R. Murray Schafer (1933–) and Hildegard Westerkamp (1946–), both representing the field of acoustic ecology.

Few previous studies have explored some of the manifestos underlying the idea of musical experimentalism in this study such as the writings of composers Frederik Rzewski (1938–) and Cornelius Cardew (1936–1981). The material also includes manifestos by artists from different domains of art, such as texts by the Italian futurist painter Luigi Russolo (1883–1947), the Russian futurist auteur Dziga Vertov (1896–1954) and the American beat writer William S. Burroughs (1914–1997).

This research is based on avant-garde theory (e.g. Bürger 2006 [1974], Ziarek 2001, Calinescu 1987; Huyssen 1986; Poggioli 1968 [1962]) and experimental music studies (e.g. Demers 2010; Saunders 2009; Hegarty 2007; Attali 2006 [1977]; Nyman 1999 [1974]; Mauceri 1997). The research builds the theory of musical experimentalism from the viewpoint of Martin Heidegger’s (e.g. 2010 [1929]; 2007 [1962/1988]; 2000 [1927]; 1998 [1935/1936]) and Herbert Marcuse’s (2011 [1977]; 1969) philosophies using Heidegger’s concepts of ‘being-in-the-world’, ‘uncanny’ and ‘nothingness’, and Marcuse’s concepts of ‘aesthetic ethos’ and ‘counter-societal experience’. The study also considers the idea of experimentalism from the viewpoint of etymology, phenomenological philosophy, transcendentalism and anarchism.

The research presents an interpretation of the ethos of musical experimentalism as a mode of musical and cultural subversion. It argues that musical experimentalism does not operate within conventional musical laws, theories, preconditions or definitions, but is based on the idea that music can happen anywhere at anytime.

The ethos of musical experimentalism requires openness to the world and acceptance of the indeterminate essence of reality. Musical experimentalism depends on the instability of being and aims to radicalise experience through seeing, hearing and understanding reality in a new way. Musical experimentalism questions the accepted reality and replaces it with a new, artistically formulated reality. In this way, musical experimentalism is also radically political in that it aims not just to subvert musical experience, but also the experience of reality. In other words, musical experimentalism aims to change the world by changing individuals; not only the laws of music, but also cultural values are to be questioned.