Повний текст - Інститут проблем сучасного мистецтва

Olexiy Rogotchenkothe similar culture. The USSR was under Bolsheviks supervision in the twenties(except for the Central Asia). Structuring of the Soviet republics finalizedbetween 1924 and 1934. Nevertheless, the nationalism remained a constant threatfor the stability of the state. Stalin understood and recognized that the nationalculture issues were closely connected with the political allegiance to Moscow andthat is why the special attention was given to determination of the very essence ofnon-Russian cultures in the Soviet state. In May of 1925 Stalin made his speech«On the Political Tasks of the Eastern Nations» where he stated «What is thenational culture? How can it be agreed with the proletarian culture? Was not itLenin who said that there are two cultures — bourgeois and socialist; the nationalculture slogan is a reactionary motto of bourgeoisie which tries to blight theworking people with the poison of nationalism?» During the following fifty yearsthe word combination of «proletarian culture» was used by the Soviet artexperts.Ukraine had a considerably brighter art among the two European republics— Ukraine and Belarus. Thus, the Moscow policy aimed at subordinating theUkrainian fine arts and at forcing it to serve the state devaluating the art qualityof the genres. The literary form came into the fist place in painting, graphic artsand sculpture of the thirties pushing out the plastic character. The new type ofthe art, determined as socialist realism, was a dominant on the whole territory ofthe USSR between the thirties and seventies. This trend was discovered and programmedby the politicians who artificially introduced it into the art life of thecountry. The global idea of the socialist realism in the USSR had to rely on theinternational experience (as International in the politics) and to be firmly establishedby the creation of non-Soviet artists and cultural figures. The messenger ofits victory was the mythical prerequisites of the Cultural Revolution and its mainachievement — a triumph of the socialist realism that had already become notonly a method but a way of life of the art society. The First All-Union Congressof the Soviet Writers declared the socialist realism as the key art method in theSoviet Union on August 30, 1934. The following sixty years were a totalitarianepoch marked with the intrusion of the punitive and party institutions into theculture. The Congress formulated the new art ideology so that there would be nodoubt as to the usage of the method. The government policy managed to bend tosubmission the fine arts forcing them to execute the state orders and this can beconsidered as one of the oddest phenomena of the totalitarian countries. The fear586