A report on the condition of culture and ngos in - Kultura Enter

More documents

Recommendations

Info

Provisionally, the older generation consists of representatives of the phenomenonthat has a few names – “the New Wave,” “the Southern Wave,” Ukrainianneobaroque, trans avant-garde. Schematically speaking, these are artists bornin the late 1950s and early 1960 whose coming into art falls in the middle 1980sand is preserved with general social transformations of the epoch. A fresh visionof images, appeal to the mythological core, reconsidering baroque heritage, theattempt to create a post-modernist network of allusions and citations formed a setof peculiarities of the generation that usually includes O. Hlynytsky, O. Holosiy,A. Savadov, H. Senchenko, I. Chichkan,V. Tsaholov. Odesa-based artists A. Roytburdand V. Riabchenko are worth a separate mention.The middle 1990s are spent by artists in experiments, exploring new areas ofcontemporary art – video, performance, installation, and photography. Withinseveral decades and in a revolutionary way, Ukrainian art has made an attemptto bridge the gap that is a result of the single dominating social-realist style,which excluded Ukrainian context from world trends. Experience of photo andvideo experiments leaves a particularly remarkable imprint on the creativity ofA. Savadov and V. Tsaholov when they reach a new career stage – retuning topainting. Media vision transforms the pictorial technique of the artists and, let’ssay, in the case of V. Tsaholov becomes one of the main themes of his worksthat are focused on exploring the phenomenon of mass media influencing theconsciousness of average citizens and the way media construct reality.The general tendency of the 2000s was artists of the New Wave returning topainting and forming their recognizable artistic manner. In the 2000s, Ukraine witnessesthe beginning of the art-market and a new stage of institutionalization ofthe art process, and later – modern Ukrainian art leaving underground. The artistsof the New Wave find themselves on the peak of exhibition projects and interestof collectors, confirming their status of key art figures. However, confirming therole modern art classics is followed by a reverse, negative process – the artists ofthe generation ceasing the experimental search and creating prevailingly typicalartistic production, as a result of which the artist finds themselves in the shacklesof their own brand’s “recognizable artistic manner.”11 See: O. Balashova, Pokazatelnyye vystupleniya na arene istorii, http://korydor.in.ua/reviews/416-Pokazatelnie-vistupleniya-na-arene-istorii, and T. Zlobina, Holos pokolinnia 87, http://www.korydor.in.ua/reviews/325-Golos-pokolinnya-8790 oleksandr mykhed
Two extremely important theses are a counter-argument against the artists ofthe older generation ceasing the bold artistic search. Firstly, it is possible to saythat the evolutionism of artistic decisions is typical for the younger generation.Secondly, financial disability and low interest of institutions in financing newradical and large-scale art projects are evident.Simultaneously with the process of “older” artists anchoring, artists of a newgeneration, which can be provisionally called “Those who came in the 2000s,”appear (it is how a collective exhibition, supervised by O. Tytarenko, in the centreof modern M17 was called).2 The list of the exhibition participants, for sure,does not fully represent the key players of the 2000s artistic process, but it stillis a guide through names.Mentioning the younger generation of Ukrainian artists inevitably leads tospeaking about the REP (Revolutionary Experimental Space) group,3 the frameworkof which was formed against the background of the Orange Revolution,2004. In the course of time, the constant membership of the group is established:K. Hnylytska, N. Kadan, Zh. Kadyrova, V. Kuznietsov, and L. Nakonechna. The youngartists are united by a common idea of reaction to social problems and projectssent to the social context. Thus, dealing with political and social problems, thegroup compensated for what had been missing and is still missing in modernUkrainian culture, particularly Ukrainian literature and cinematograph: reflectingsocial and pressing problems in art and its connection with modernity. Separatepersonal projects by the members of the group were close to it, as well as worksby the group SOSka, T. Kamennoy, and others. Meanwhile, the main part of literatureand almost not existing cinematograph start entering this unexploredterritory. Certainly, it can be said that literature and cinematograph are not ableto react to certain events directly, increasing time of reflection and creating theoptics of perception through the time prism. However, the general wish to workon social phenomena remains important. Let’s say, the projects by N. Kadan ThePedestal. The Practice of Extrusion4 and M. Ridny The Platforms and The Monuments5are dedicated to the phenomenon known in any post-totalitarian country – the2 http:// www.m17.com.ua/ru/projects/archive/2010-08-05-05-39-133 http://www.rep.tinka.cc/4 http:// www.pinchukartcentre.org/en/exhibitions/artists/164585 http://www.artukraine.com.ua/ukr/articles/983.html (in the context of wider conversationabout the participants of Arsenale 2012)the search for a formula of modern ukrainian art 91
Page 1:
A reporton the con
Page 4 and 5:
“A Report on the Condition of Cul
Page 12 and 13:
Mykola Riabchuk*Ukrainian Culture a
Page 15 and 16:
Ukraine seems to be problematic. Th
Page 17 and 18:
language from functioning on a larg
Page 19 and 20:
side wants to avoid trouble, even a
Page 21 and 22:
in the Soviet and pre-Soviet times.
Page 27 and 28:
CULTURE AS A PROCESSSystematization
Page 29:
It is has already been twenty years
Page 32 and 33:
Another chance and challenge for Lv
Page 34 and 35:
Managing the modernizing process is
Page 37 and 38:
eal monetary value of the percentag
Page 39 and 40: of respective cultural establishmen
Page 41: Such a workshop took place in Kyiv
Page 44 and 45: Terry Sandell*Ukraine and the EU -
Page 46 and 47: covers culture and the arts. Althou
Page 48 and 49: The stage of progress of the fiftee
Page 50 and 51: irked Ukraine to be described as an
Page 52 and 53: and contradictions related to local
Page 55 and 56: UKRAINIAN CULTURE - AN ATTEMPTAT CO
Page 57 and 58: “Independent Ukrainian culture”
Page 59 and 60: Volodymyr Tykhyi*What is your diagn
Page 61 and 62: of meaningless, long ago forgotten
Page 63 and 64: OuLiPo, which, by limiting itself t
Page 65: CULTURE - ARTICLES
Page 68 and 69: Every time when I have a similar co
Page 70 and 71: Similar mechanisms have led to the
Page 72 and 73: P. L.: How do you assess the cultur
Page 74 and 75: does not need to be the shortest wa
Page 76 and 77: P. L.: Do you know of any solution
Page 78 and 79: One of the huge culture-related pro
Page 80 and 81: The art of oligarchs, artists, and
Page 82 and 83: it to the mighty Viktor Pinchuk’s
Page 84 and 85: Ukraine. Her each new project provo
Page 86 and 87: a genuine, sensitive and open platf
Page 88 and 89: Oleksandr Mykhed*The Search for a F
Page 92 and 93: monuments of the old regime are dec
Page 94 and 95: in Modern Art and united 100 artist
Page 96 and 97: Stipulator by Odessa artist I. Husi
Page 98: The leading position of Pinchuk Art
Page 101 and 102: It is thanks to such combinations o
Page 103 and 104: the world at the time. The Soros Ce
Page 105 and 106: far from dreaming of independence a
Page 107 and 108: 2008. In the 14 years of the Center
Page 109 and 110: Worth mentioning here is Ukraine’
Page 111 and 112: National Art Museum, but it is high
Page 113 and 114: totally either to quixotic types, p
Page 115 and 116: family parties or numerous meetings
Page 117 and 118: tropes of the artistic language cha
Page 119 and 120: created there, namely Savadov and S
Page 121 and 122: the artistic possibilities of progr
Page 123 and 124: media art in Ukraine. Unfortunately
Page 125 and 126: Oksana Zabuzhko*Ukraine: Europe’s
Page 127 and 128: civilizational influences and trans
Page 129 and 130: their own interests in all fields o
Page 131 and 132: Andriy Lyubka*“SuchUkrLit”1:Lit
Page 133 and 134: Pavlychko, Volodymyr Yavorivsky, th
Page 135 and 136: generally to “distinguished” el
Page 137 and 138: There are, however, a few rather bi
Page 139 and 140: Publishing houses and the system of
Page 141 and 142:
literature. Nevertheless, private p
Page 143 and 144:
Andrey Kurkov*Ukrainian CultureCan
Page 145 and 146:
favorably disposed toward Russia. T
Page 147 and 148:
A. K.: During one decade of its exi
Page 149 and 150:
A. K.: These are individual texts.
Page 151 and 152:
invited to Frankfurt just once, and
Page 153 and 154:
Mykhailo Brynykh*The One Whose Pipe
Page 155 and 156:
Andriusha?! You have to move to clo
Page 157 and 158:
all sceptics that a “film for spe
Page 159 and 160:
Ukrainian cinema distribution and e
Page 161 and 162:
on Ukrainian film market, two third
Page 163 and 164:
OLEKSANDR Yevtushenko*The Musical
Page 165 and 166:
independent channels - TVi and 5 Ch
Page 167:
Cultural shock or refined non-confo
Page 170 and 171:
achievements of the trend and have
Page 172 and 173:
state… Ukrainian young rock-stage
Page 174 and 175:
approximately fifty music festivals
Page 176 and 177:
Other more or less large-scale musi
Page 178 and 179:
assessment of their abilities. I ha
Page 180 and 181:
the situation concerning modern dra
Page 182 and 183:
Another important starting point is
Page 185 and 186:
UKRAINIAN NGO SECTOR - AN ATTEMPTAT
Page 187 and 188:
Therefore, there is a significant a
Page 189 and 190:
is why, for example, administrative
Page 191 and 192:
as positive. Besides, I am witnessi
Page 193 and 194:
legally; there is also a different
Page 195 and 196:
in the consumer rights area (qualit
Page 197 and 198:
Natalia Gmurkowska*What is your dia
Page 199 and 200:
The main factors awakening the unta
Page 201 and 202:
Paweł Prokop*What is your diagnosi
Page 203:
To what extent is it possible to tr
Page 206 and 207:
Piotr Kaźmierkiewicz*The Condition
Page 208 and 209:
deterioration; this process has eve
Page 210 and 211:
1990s, the wages of third sector ex
Page 212 and 213:
it was estimated that less than 9%
Page 214 and 215:
to limit the autonomy of universiti
Page 216 and 217:
allowing burgeoning organizations,
Page 218 and 219:
stage started for public organizati
Page 220 and 221:
can be solved due to the adoption o
Page 222 and 223:
2010 became a time when new associa
Page 224 and 225:
elevant region places, respectively
Page 226 and 227:
Researches) and two organizations e
Page 228 and 229:
which is a reflection of Soviet for
Page 230 and 231:
examples of how young public figure
Page 232 and 233:
In 2010, Ukraine was excluded from
Page 234 and 235:
which were fulfilled. Meanwhile, ex
Page 236 and 237:
gas supply. The claim of the Congre
Page 238 and 239:
Conclusions and recommendationsCivi
Page 240 and 241:
Yevhen Borisov*Andriy Yanovych**Loc
Page 242 and 243:
participant to do something. The in
Page 244 and 245:
The day their tents were taken down
Page 246 and 247:
it was possible to keep modern youn
Page 248 and 249:
The expansion of the movement is es
Page 250 and 251:
Rüstem Ablâtif (Rustem Аblyatif)
Page 252 and 253:
5) religion - about 350 of the Crim
Page 254 and 255:
mass media, popularization of the e
Page 256 and 257:
ecommendations of international org
Page 258 and 259:
contacts and cooperation with Ukrai
Page 260 and 261:
Now it should be stressed that the
Page 262 and 263:
Today, the power elected the princi
Page 264 and 265:
Oksana Kis*Feminism in Contemporary
Page 266 and 267:
The women’s movement and women’
Page 268 and 269:
community through publications, con
Page 270 and 271:
document brought forth the first ex
Page 272 and 273:
Properly speaking, in comparison to
Page 274 and 275:
powers-that-be, who declare their d
Page 276 and 277:
engines of the “anti-gender” ca
Page 278 and 279:
278 oksana kis
Page 280:
R E A D / D O W N L O A Dwww.kultur
show all

A report on the condition of culture and ngos in - Kultura Enter

Create successful ePaper yourself

Delete template?

Save as template?