History of Art - Academia.edu
Victoria Marchenkova Никола Димитров Elena Khripkova Yury Gabrov
Academia.edu is a place to share and follow research.
//a.academia-assets.com/images/favicons/favicon-production.ico
Purpose of this article is revealing a method of research of Gene Youngblood, one of the first video art ' theorist in USA, and to estimate possibility of its application to Russian video art . Subject of analysis is book Expanded Cinema... more

Purpose of this article is revealing a method of research of Gene Youngblood, one of the first video art ' theorist in USA, and to estimate possibility of its application to Russian video art . Subject of analysis is book Expanded Cinema on example of what we can reveal Youngblood's method. Except revealing of a method, potentially suitable for the analysis of different directions inside video art , possibility of the task of a point between cinema and video is of interest; that allows us to apply tools of the analysis developed in the theory of cinema to narrative videos. Also article contains the short review of the ideas stated in the investigated book concerning the nature of video and problems which artists of video, cinema and theater put before themselves in California in 60s, at the beginning of video art, and their correlation with work of the Russian artists in 90's.

The phrase “psychic public space” sounds awkward and strange but this is how I want to define the results of the work of some Hollywood directors. Siegfried Kracauer wrote that cinema has the possibility not only to redeem the physical... more

The phrase “psychic public space” sounds awkward and strange but this is how I want to define the results of the work of some Hollywood directors. Siegfried Kracauer wrote that cinema has the possibility not only to redeem the physical reality but also to reproduce the psychic states. In his book “Theory of Film”, he quoted Luis Bunuel’s words that films possess three kinds of revealing functions: “They tend to reveal things normally unseen; phenomena overwhelming consciousness; and certain aspects of the outer world which may be called “special modes of reality”.

"THE POSITION OF NARRATIVE VIDEOS IN THE CONTEMPORARY ART The article is dedicated to modes of representation of the narrative video art typical for 2000th. These installations “flirt” with spectators, erasing the borders between video... more

"THE POSITION OF NARRATIVE VIDEOS

IN THE CONTEMPORARY ART

The article is dedicated to modes of representation of the narrative video art typical for 2000th. These installations “flirt” with spectators, erasing the borders between video and cinema. The author analyzes some methods of creation the video films by number of artists. One of the main characteristics of art narrative video is the possibility to demonstrate it on the different “territories”.

В тексте есть опечатка: М.Боумана (правильно - Боуман).

Creating representations of space and international sensibility in "The Red Tapes" by Vito Acconci (1977) and "Zidane A 21st Century Portrait" by Douglas Gordon and Philippe Parreno (2006) Abstract: Author analyzes creating methods of... more

Creating representations of space and international sensibility in "The Red Tapes" by Vito Acconci (1977) and "Zidane A 21st Century Portrait" by Douglas Gordon and Philippe Parreno (2006)

Abstract: Author analyzes creating methods of representations of spaces in two pieces of video art and looks how video artists regulate distance between spectator and these closed worlds. Immersion and repulsion are main narrative elements. They give an opportunity to transmit sensibility of international subject.

Keywords: video art, narrative, representation of space, system of contemporary art.

Yulian Mitev, Editor-in-Chief. INTERNATIONAL ARAT RESEARCH & REVIEW, №1, 2015.International cross-industry trilingual quarterly journal for research in the field of art and its presentation Международный межотраслевой трехмесячный журнал... more

Yulian Mitev, Editor-in-Chief. INTERNATIONAL ARAT RESEARCH & REVIEW, №1, 2015.International cross-industry trilingual quarterly journal for research in the field of art and its

presentation

Международный межотраслевой трехмесячный журнал для научных исследований по искусству и его представления

Международно междуотраслово триезиково тримесечно списание за научи изследвания в областта на изкуството и неговото представяне

№1, 2015 (І, ІІ, ІІІ), Sofia, Bulgaria

№ 1, 2015 (януари, февруари, март), София, Блгария

№ 1, 2015 (январь, февраль, март), София, Болгари

Narrative in video art is defined by synchronous art movements and structures of modern and postmodern literature. Video as medium is influenced by existing narrative structures. A researcher should synthesize strategies of contemporary... more

Narrative in video art is defined by synchronous art movements and structures of modern and postmodern literature. Video as medium is influenced by existing narrative structures. A researcher should synthesize strategies of contemporary art interpretation and film semiotics to analyze narrative video art pieces.

Moscow Conceptualism and Neoacademism influenced Russian narrative video art (Boris Yukhananov, Kirill Preobrazhenskiy, Yuriy Leiderman, Chto Delat, AES+F, etc.). Chinese narrative video art (Wu Wenguang, Wang Jianwei, Yang Fudong, Cao Fei, etc.) is connected with the iconography of Socialist realism, mass and traditional cultures. It is conceptually accessible to the masses. The image of a new subject has appeared inside this movement. This subject was formed by political and socio-cultural changes of the end of the 1980s.

I single out two formal strategies in Russian video art. The first is connected with the process of dissolving inside of a social context. Subjects of this type of video express themselves in aesthetic choices. The second is based on inclusive strategy, “fluxes” and aesthetic mixing. The main strategy of Chinese artists is representation of contradictions between individual wishes and a social system.

Victoria Marchenkova: <noskivgoroshek@gmail.com>. Ph.D. diss., Russian State University for the Humanities, Moscow, Russia, 2013.

Narrative in video art is defined by synchronous art movements and structures of modern and postmodern literature. Video as medium is influenced by existing narrative structures. A researcher should synthesize strategies of contemporary... more

Narrative in video art is defined by synchronous art movements and structures of modern and postmodern literature. Video as medium is influenced by existing narrative structures. A researcher should synthesize strategies of contemporary art interpretation and film semiotics to analyze narrative video art pieces. Moscow Conceptualism and Neoacademism influenced Russian narrative video art (Boris Yukhananov, Kirill Preobrazhenskiy, Yuriy Leiderman, Chto Delat, AES+F, etc.). Chinese narrative video art (Wu Wenguang, Wang Jianwei, Yang Fudong, Cao Fei, etc.) is connected with the iconography of Socialist realism, mass and traditional cultures. It is conceptually accessible to the masses. The image of a new subject has appeared inside this movement. This subject was formed by political and socio-cultural changes of the end of the 1980s. I single out two formal strategies in Russian video art. The first is connected with the process of dissolving inside of a social context. Subjects of this type of video express themselves in aesthetic choices. The second is based on inclusive strategy, “fluxes” and aesthetic mixing. The main strategy of Chinese artists is representation of contradictions between individual wishes and a social system. Victoria Marchenkova: &amp;lt;noskivgoroshek@gmail.com&amp;gt;. Ph.D. diss., Russian State University for the Humanities, Moscow, Russia, 2013.

Narrative in video art is defined by synchronous art movements and structures of modern and postmodern literature. Video as medium is influenced by existing narrative structures. A researcher should synthesize strategies of contemporary... more

Narrative in video art is defined by synchronous art movements and structures of modern and postmodern literature. Video as medium is influenced by existing narrative structures. A researcher should synthesize strategies of contemporary art interpretation and film semiotics to analyze narrative video art pieces. Moscow Conceptualism and Neoacademism influenced Russian narrative video art (Boris Yukhananov, Kirill Preobrazhenskiy, Yuriy Leiderman, Chto Delat, AES+F, etc.). Chinese narrative video art (Wu Wenguang, Wang Jianwei, Yang Fudong, Cao Fei, etc.) is connected with the iconography of Socialist realism, mass and traditional cultures. It is conceptually accessible to the masses. The image of a new subject has appeared inside this movement. This subject was formed by political and socio-cultural changes of the end of the 1980s. I single out two formal strategies in Russian video art. The first is connected with the process of dissolving inside of a social context. Subjects of th...