Cultural Hero and Personage: Representation in Contemporary Visual Art of Ukraine

Victor Sydorenko

Özet


The article focuses on the research of the semantic links between the concepts of a cultural hero and a personage, on substantiation of their existence and representation in the context of social and artistic processes of the visual art of Ukraine. I shall argue that artistic conceptualization of non-hierarchical “personages” is an ongoing issue in contemporary art. Ukrainian artists in their projects continue experiments with the boundaries of contemporary personages. Nevertheless, cultural hero, his main roles and functions become situational and processual these days. It was discovered that representativity builds up and corrects the links between the author and the personage of a visual artwork, through approximation or, on the contrary, distancing the author from the personage, when a certain goal of the artist in this artistic communication is revealed. It was concluded that reconstruction—as a representative strategy—aims to recover the authentic foundations of national identity and form the advanced typology of Ukrainian cultural heroes; while deconstruction is aimed at ruining totalitarian senses of Ukrainian culture and demolishing the figure of the cultural hero of Soviet times. In the latter process, both the artist and the character of the visual artwork are anonymized, so that the new foundations of contemporary heroization could be discovered.


Anahtar Kelimeler


Cultural hero, character, representation, visual art, Ukraine.

Tam Metin:

PDF (English)

Referanslar


Abraham, K. (1998). Snovidenie i mif [A dream and a myth]. In Mezhdu Edipom i Ozirisom [Between Oedipus and Osiris] (pp. 65–123). Initsiativa.

Alfiorova, Z. (2019). Dysypatyvnist yak pryntsyp morfolohichnykh transformatsii audiovizualnoho mystetstva [Dissipativity as a principle of morphological transformations of audiovisual art]. Kultura Ukrainy: zb. nauk. pr., 65, 191-195.

Babenko, O. (1999). Obraz geroya v kulture [Image of hero in culture] [Candidate of Philosophy thesis abstract, Rostov State Building University].

Bakhtin, M. (2000). Avtor i geroy: k filosofskim osnovam gumanitarnyih nauk [Author and hero: On the philosophical foundations of the humanities]. Azbuka.

Burlaka, V. (2003). Fihuratyvnyi zhyvopys kintsia 1980-kh—pochatku 2000-kh rokiv: tendentsii rozvytku [Figurative painting of the late 1980s to the early 2000s]. Suchasne mystetstvo, 1, 7–33.

Burlaka, V. (2005). Perevirka realnosti—postmediinyi realizm u tvorchosti suchasnykh ukrainskykh myttsiv [Reality check: post-media realism in the works of contemporary Ukrainian artsists]. Suchasne mystetstvo, 2, 20–30.

Busova, N. (1998). Homo publicus geroy nashego vremeni [Homo publicus: The of our time]. Sotsis: Issledovaniya, 4, 108–111.

Campbell, J. (1999). Heroi iz tysiacheiu oblych [The Hero with a Thousand Faces]. Alternatyvy.

Camus, A. (1990). Buntuyuschiy chelovek. Filosofiya. Politika. Iskusstvo [The Rebel. Philosophy. Politics. Art]. Politizdat.

Canning, P. (2003). Reprezentatsiia [Representation]. In Winquist, C. & Taylor, V. (Eds.), Entsyklopediia postmodernizmu [Encyclopedia of Postmodernism] (pp. 358–361). Vydavnytstvo Solomii Pavlychko “Osnovy.”

Carlson, W. (2003). A Critical Story of Computer Graphics and Animation. The Department of Industrial Interior and Visual communication of the College of Arts of The Ohio State University. http://design.osu.edu/carlson/history/ID797.html

Crary, J. (1990). Techniques of the Observer. MIT Press.

Eliade, M. (1995). Aspekty mifa [Aspects of a myth]. Moscow: Academia.

Freud, S. (1995). Khudozhnik i fantazirovanie [Artist and phantasy]. Respublika.

Golosovker, J. (1987). Logika mifa [Logic of a myth]. Moscow: Nauka.

Gottlieb, L. (2008). Graffiti art styles: A classification system and theoretical analysis. McFarland & Company.

Gross, D. & Gross, T. (1993). Tagging: Changing visual patterns and rhetorical implications of a new form of graffiti. Et Cetera, 251–264.

Kagan, M. (1986). Izobrazitelnoe iskusstvo v sfere chelovecheskogo obscheniya [Fine art in the sphere of human communication]. In Kriterii i suzhdeniya v iskusstvoznanii: sbornik [Criteria and Judgements in art studies: Collection of articles] (pp. 145–175). Sovetskiy khudozhnik.

Kovtun N. (2007). Refleksiia arkhetypu kulturnoho heroia v ukrainskii dukhovnii tradytsii [Reflections of the archetype of cultural hero in Ukrainian spiritual tradition]. Ukrainska polonistyka, 3-4, 60-72.

Losev, A. and Taho-Godi, A. (2002). Bogi i geroi Drevney Gretsii [Gods and heroes of Ancient Greece]. Moscow: Slovo,

Loshmanova, M. (2006). Kontsept geroya v istoriko-filosofskom protsesse [Concept of a hero in historical and philosophical process] [Candidate of philosophy thesis abstract, Saratov State Technical University].

Nietzsche, F. (2005). Volya k vlasti. Opyt pereotsenki vseh tsennostey [The Will to Power. Revaluation of All Values]. Kulturnaya Revolyutsiya.

Personalna vystavka Oleha Tistola “M 1:2” (masshtab): kataloh [M 1:2 (scale): Oleg Tistol’s solo exhibition: A catalog] (2013). Dymchuk Gallery.

Proekt “Levitatsiia”. Pres-reliz [Levitation project. Press release] (2009). Natsionalnyi khudozhnii muzei, Instytut problem suchasnoho mystetstva.

Protas, M. (2003). Kontynualne mystetstvoznavstvo i vizualni praktyky [Continual art studies and visual practices]. Suchasne mystetstvo, 1, 51–69.

Rank, O. (1997). Mif o rozhdenii geroya [The Myth of the Birth of the Hero]. Refl-buk.

Soloviov, O. (2006). “Kompleks mumii”, abo Sens synestezii: kontekstualni notatky [“Complex of a mummy,” or The sense of synesthesia: Contextual notes]. Suchasne mystetstvo, 3, 32–36.

Sydorenko, V. (2004). Kulturolohichni aspekty khudozhno-stylovoi evoliutsii vizualnoho mystetstva Ukrainy (XX — pochatok XXI st.) [Culturologic aspects of artististic and style evolution of visual art of Ukraine (20th and early 21st centuries)] [Candidate of Art Studies thesis abstract, Kharkiv State Academy of Culture].

Sydorenko, V. (2005). Vizualne mystetstvo Ukrainy kintsia XX — pochatku XXI st. [Visual art of Ukraine of the late 20th through the early 21t centuries]. Suchasne mystetstvo, 2, 52–63.

Sydorenko, V. (2012). Obrashchenye k nevedenyiu [Appeal to ignorance]. Suchasne mystetstvo, 8, 8–9.

Sydor-Gibelinda, O. (2006). Narodylas liudyna? (“Autentyfikatsiia” Viktora Sydorenka) [A man was born? (Authentification project by Victor Sydorenko)]. Suchasne mystetstvo, 3, 28–31.

Tofan, I. (2019, November 5). Chomu tak nudno. Pro vystavku finalistiv konkursu MUKhi-2019 [Why it is so boring. On the exhibition of shortlisted young Ukrainian artists MUKhi-2019]. https://ukr.lb.ua/culture/2019/11/05/441433_chomu_nudno_pro_vistavku.html

Vysheslavsky, G. (2002). Chomu “heroi” i navishcho “kulturnyi”? [Why “heroes” and why “cultural”?]. In Festyval Kulturni heroi: kataloh [Cultural Heroes festival: A catalog] (pp. 157–159). Hnozys.

Ziborova, D. (2009). Antropolohiia ta poetyka tryvalosti u konteksti filosofii inshoho [Anthropology and poetics of continuity in the context of philosophy of the Other] [Candidate of Art Studies thesis abstract, V. N. Karazin Kharkiv National University].




DOI: http://dx.doi.org/10.7596/taksad.v9i4.2905

Refback'ler

  • Şu halde refbacks yoktur.




Telif Hakkı (c) 2020 Journal of History Culture and Art Research

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.