Analysis of the works of Krasnoyarsk painters B.Ya. Ryauzov, A.M. Znak and A.I. Volokitin from the point of view of phenomenology

The article analyzes slang humorous and ironic phraseological units of the late 20th - early 21st century in the linguistic, cognitive and cultural aspects, containing direct or indirect nominations of socially significant realities in their internal form. The purpose of the work is to identify the sources and semantics of these idioms. The material of the study was 262 phraseological units identified in special dictionaries of the late 20th - early 21st century, as well as in the author's personal file cabinet. On the basis of a complex methodology, including modern semantic, functional-stylistic, linguo-cognitive and linguo-culturological methods of analyzing language units, thematic groups of socially significant phenomena reflected in the internal form of idioms were identified; their semantics is analyzed, as well as some features of the picture of the world of slang carriers of the late 20th - early 21st century. It is noted that lexemes and precedent texts related to domestic socio-political, ideological and cultural realities of the Soviet era become the main source of playfully ironic phraseological units. It is emphasized that the basic property of the semantics of phraseological units is their anthropocentricity - with an emphasis on physiology and negative personal and social properties of a person. It is concluded that jokingly ironic slang phraseological units reflect the everyday picture of the world of the "average" Russian city dweller of the late 20th - early 21st century.

Sound images of percussion instruments: modernity and retrospections

The article examines the influence of structuralism on the formation of plastic art in Ukraine in the second half of the 20th and early 21st centuries. First of all, we are talking about the creativity of the artists working in the field of fine and decorative arts and using wood as a material. It was outlined the defining principles of structuralism based on the works of contemporary researchers. Various structuralist approaches in cultural studies, philosophy and art are considered. For a deeper understanding of the nature of the Ukrainian plastic art the prerequisites for the development of structuralism in the visual arts on the basis of C. Monet's creative revolution and P. Cézanne's deep structural study of nature through geometry have been determined. The importance of P. Mondrian's creative experiments and the concept of neoplasticism introduced by him has been emphasized. The structuralist manifestos of C. Biederman, E. Bornstein and E. Wilmott have been analyzed. The creative method of structural reliefs of the Canadian artist of Ukrainian origin R. Kostyniuk, his inspirations and his own concepts of constructed compositions based on geometric shapes have been studied. In contrast to regular mechanical units and new technical material, the structural sculptures of E. Zelenak revealed the use of biomorphic forms built on the basis of repeating modules. D. Samil's constructed canvases of folded bright planes are mentioned. The article demonstrates the importance of the phenomenon of nonconformism in the Ukrainian artistic environment. Certain peculiarities of the application of theoretical developments in the figurative and plastic author's models of contemporary Ukrainian artists have been highlighted. A number of artistic interpretations and stylistic features in the formation of plastic art in Ukraine in the second half of the 20th and early 21st centuries have been revealed. The works of Ukrainian and diaspora artists who worked and continue to work in the second half of the 20th and early 21st centuries in Ukraine and abroad, namely R. Kostyniuk, E. Zelenak, D. Samyla, S. Savchenko, I. Stefiuk, V. Andrushko, Y. Titenkov, N. Symotiuk, D. Shavala, A. Savchuk, and I. Solovyov, have been considered. The research objective is to identify and investigate the influence of structuralism on the formation of contemporary Ukrainian plastic art, as well as to analyze the works of artists who used the structural method in their works. Research methodology. The methods of observation, comparison, analogy, experiment, formal analysis and synthesis have been used. Relevance and scientific novelty. In Ukrainian art history, the concept of "structuralism" in three-dimensional structures, sculpture, and plastic art remains poorly understood and requires a deeper study of the connections between the artist's intentions, materials, as well as the historical and cultural context in which the artwork has been created. The research of the influence of structuralism on contemporary Ukrainian sculpture and other forms of plastic art, which are formed on such basic principles of the structural method as code, sign, structure, symbol, and color, reveals a new critical approach to the interpretation of creative experiments as an identifier of a completely new artistic paradigm.

The article reveals the peculiarities of ethnic design in the applied arts of the late 20th – early 21st century. Due to their versatility and multidimensionality, applied arts are enriched by ethnic design. The use of various elements of ethnic design in decorative arts depends on their appropriateness and the author’s preferences, the tastes of the consumer for whom the work is meant. Traditionalism is the key path of ethnic design development, which involves the emergence of the new at the expense of the old, or the creation of the new by entering the old. Thus, there is a constant renewal of the tradition. This traditionalist trend has a definite link to regional, socioeconomic, natural, climatic, and local conditions. On the other hand, the appeal to the past and popular sources of culture laid the foundation of ethnic design primarily as a phenomenon of stylization rather than style. The works of professional artists trace the use of established folk traditions and the tendency to create spatial compositions of figurative and associative content in order to convey deep philosophical thoughts, mood, emotions, and worldview in different materials by elastic means; to embody a certain idea, a specific image. The professional decorative Ukrainian art of this period constitutes a large layer of national culture, which is formed within the framework of the pan-European artistic process. Carpets and decorative glass are being increasingly used as a cultural space to embody symbolic images in vivid decorative forms.The purpose of specializing the ethnic design of the subject environment is to use regional ethnic cultural traditions, the environment conceptually offered as a basis for the development of design projects and creative experiments in the field of non-duplicated design. It is concluded that the folklore stylization (ethnic design) is not a rejection of the present, not a restoration. It is a human need for spiritual support of national traditions and interconnectedness of generations.

Drawing with eyes closed and other non-visual art practices in the late 20th – early 21st centuries clearly resonate with the avant-garde critique of rational vision and the post-war tradition of overcoming collective trauma. Being affected by current personal or geopolitical events, contemporary artists are often ready to close their eyes. This paper aims at tracing the origins of non-visual techniques in the art of the early 21st century, as well as at comparing them with the methods of the Dada, Surrealists, Futurists, and other experiment groups of the early 20th century. Let us trace how drawing reveals a connection with tactility and bodily interaction in different periods, how blind and automatic drawing becomes a method of exploring a non-obvious, deferred meaning. These practices allow multiple interpretations of the art work and such polysemy becomes a part of the artistic statement — there can be no certainty about what exactly we see and how we relate to it. The article provides examples of different artistic strategies for using blindness as a creative method in the late 20th – early 21st centuries, when rethinking of traditional creative techniques, among other things, leads to the rejection of visual control and dominance of one sensory channel.

The relevance and scientific novelty of the research. The review of Ukrainian music of the independence period shows the considerable interest of the national composers in the spiritual music of the orthodox tradition. This field of art is historically very important for the national tradition, which determines the relevance of its research in the fields of musicology, culture and theology. Within the framework of the study, a distinction is made between “church” and “secular” composers who work in the genres of orthodox liturgical music. Methodology of research consists in the application of cultural, historical and comparative methods, which allowed us to analyze the peculiarities of the work of Ukrainian composers in the context of using traditional and avant-garde techniques in sacred music, to consider the significance of their work in the light of the revival of the sacred music of the orthodox tradition in the late 20th — early 21st centuries. Findings and conclusions. The development of Ukrainian orthodoxy music in the sociocultural space of the late 20th — early 21st centuries is taking place in the context of its revival and significant renewal. Composers are divided into those who are priests (Metropolitan Ionafan, I. Sakhno, V. Fainer, etc.) and those who are secular representatives of the music community (L. Dychko, V. Stepurko, M. Shukh and many others). The work of church composers relates mainly to the liturgy. They strive to create compositions taking into account the centuries-old traditions of liturgical practice adhering to canonical requirements both in poetic and musical-stylistic terms. The creative search for secular composers leads to individualization of creative incarnations, genre transformation and combination of the canonical foundations of orthodox music with national folklore and modern musical language and belongs to the paraliturgical and extra-liturgical directions.The significance of the research. The analysis of choral works on the canonical texts of Metropolitan Ionafan, I. Sakhno, V. Fainer, L. Dychko, V. Stepurko, M. Shukh reveals individual stylistic features that characterize their creativity in terms of their belonging to the liturgical, paraliturgical and extra-liturgical directions of orthodox spiritual music.

Statement of the problem. Historically, choral performance and conducting in China got extraordinary development in the late 20th and early 21st centuries. But the artistic achievements of Chinese choral performance, the formation of organizational foundations and concert traditions of leading choral groups, the creative manner and achievements of outstanding conductors have not received adequate coverage and generalization in scientific literature. Only since the beginning of the 21st century, some attention of musicologists has been paid to conducting and choral practice and education (Ma Xu, A. Rastrygina, Liu Zhenyan), the activities of regional choral groups (Gui Junjie), the work of some outstanding artists and their groups (Tang Fang). The insufficient research of the stated problem actualizes the topic of the proposed article. Objectives, methods, and novelty of the research. The scientific novelty is due to the purpose of the article – to highlight the creative achievements of outstanding choral conductors and collectives, to reveal the formation of organizational foundations and concert traditions of Chinese choral art of the second half of the 20th – beginning of the 21st century, which did not become the subject of a separate study. A complex of scientific methods and approaches was used, the main of which are historical and cultural (for identification of the features of development, specifics, stylistics and forms of concert performance), historical and biographical (for covering the creative path of outstanding Chinese choral conductors and groups), musicological (analysis of individual performance style, artistic interpretation, repertoire policy), generalization (historical assessment of concert performance achievements of choral art in China). Research results and conclusion. A review of the development of choral art in China in the second half of the 20th – beginning of the 21st century proved that until the 1980s, the features of its development were determined by the ideology and policy of the Communist Party. It was found that the concert activity of the leading Chinese choirs is characterized by a peculiar manner of performance. The concert programs were analyzed, and it was found that the basis of the repertoire of most choirs are plays by Chinese composers and arrangements of songs of various peoples of China. Works of the world repertoire are mainly performed by Chinese groups during participation in international events. Since the 1990s, the organization of national and international choral competitions and festivals has played a significant role in the development of concert traditions and the spread of choral concert activities in China. At the beginning of the 21st century, the expressiveness of the musical component has been enhanced by theatrical performance. With the spread of Internet networks and computer technologies, new virtual forms of choral concert work are being introduced.

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehen- sion of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20 th century, then in this article we want to turn to the visual art of the second half of the 20 th century — the beginning of the 21 st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kos- suth, the movement of “new realists” and photo- realists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philo- sophical analysis of visual art of the second half of the 20 th — early 21 st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following gen- eral scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard con- temporary art as a visual philosophy. Philosophiz- ing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp be- ing. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20 th century — early 21 st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and be- ing in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

In cultural space of the past and present, Siberia is one of the relevant topics of contemporary Russian Art Studies and Culturologie. The peculiarity of regional identity and self-consciousness of a creative person, the specificity of style and art technique can be revealed through the prism of this theme. Forming regional cultural identity through works of art is becoming a promising perspective in interdisciplinary research related to the multidimensional study of the Krasnoyarsk Territory culture. The article is devoted to the issues of defining regional identity by exploring the theme of Siberia imprinted in the creative heritage of Krasnoyarsk composers of the late 20th — early 21st century. The paper attempts to systematize themes and images of music Siberiade in the works by Krasnoyarsk authors. The research has shown that the personality of the brilliant Krasnoyarsk artist Vasily Surikov has often been taken as a favourite image while his historical paintings have become a source of inspiration for a number of composers. The creative activities of our contemporary Viktor Astafyev who brought the Krasnoyarsk land worldwide fame has also attracted musicians’ attention. The image of the majestic Yenisei river — a symbol of Krasnoyarsk and Siberia — occupies a distinct niche in the music Siberiade. The research results enrich scientific knowledge about music culture of the region, complement cultural “landscape” of the Yenisei Siberia, determine the significance of the Krasnoyarsk composers’ contribution to forming a unique socio- cultural image of the region.

The art market as a value-semantic space of art actualization is studied, the defining principles of which are considered through the prism of the theory of spontaneous order. This concept was proposed by Nobel Laureate in Economics Friedrich Hayek in the context of the potential of the market system development. It significantly influenced works of art presentation and circulation in the second half of the 20th and early 21st centuries. The author has introduced the basic concept of the philosophy of economics for culturological research concerning the art market. Ukrainian and foreign scientific review and analytical articles are used as sources. They contribute to a new understanding of the essence of contemporary art and art in general. The concept of spontaneous art is considered on the basis of research made by Paul Cantor and Stephen Cox, as well as scientific research by Troy Camplin. The art market was analyzed as a space for the circulation of ideas and meanings and the functioning of art to fulfill the interests of many objects (art galleries, art fairs, biennials, artists, experts, collectors, art dealers). The reason for the growing role of the art market in the 20th and 21st centuries was found, which is due to the peculiarities of contemporary art and the need for a new space for its operation. The modern art market corresponds to the idea of spontaneous order both in organizational conditions and in the nature of contemporary art. Thus, there was a need for a gradual reorientation from the conscious in which creative activity was regulated through the guilds, art academies, official galleries, to a spontaneous order. The potential of application of the concept of spontaneous order in the context of studying the art market as a valuesemantic space is substantiated. This approach allows a new interpretation of the art market, which is considered in Ukrainian science in the context of economics (for example, pricing), primarily taking into account the meanings and values that arise during the actualization of art due to the possibilities of the art market. Therefore, some purposes of the modern art market are to demonstrate, to discuss and to give the meaning to works of art. It is proved that these processes are currently carried out without intervention and centralized regulation (as it would be within the concept of conscious order), because one of the basis of the art market can be considered as a spontaneous order, which is a significant power of market potential and in a certain way corresponds to the nature of art. This is what denies any deliberate interference.

Дана стаття присвячена дослідженню творів харківської художниці Наталі Іванівни Вергун (1938 р. н.), чиї полотна залишаються об’єктом уваги мистецтвознавчого середовища протягом усього творчого шляху мисткині. Зважаючи на усвідомлення внеску майстрині в формування мистецького фонду України, своєрідний живописний стиль та національну спрямованість її творчості стає зрозумілою актуальність вивчення формування колекції творів художниці в музейних зібраннях. Дослідженням було уточнено кількість робіт в колекціях, виявлено шляхи формування зібрань. Твори Наталі Вергун експонувалися на багатьох виставках, були придбані в приватні колекції й поряд з цим численні збірки робіт на сьогодні представлені в Харківському художньому музеї, Національному художньому музеї України, одиничні роботи – Красноградському краєзнавчому музеї ім. П.Д. Мартиновича, Кременецькому краєзнавчому музеї, Чернігівському обласному художньому музеї ім. Г. Галагана та ін. Опрацювання музейної документації виявило закономірності у технологічному, жанровому і тематичному спрямуванні доробку мисткині. Це надає можливість краще зрозуміти еволюцію її творчого стилю, визначити основні теми та жанри, які й обумовили напрямки її творчої активності. Дане дослідження відкриває нові перспективи для глибшого розуміння внеску Наталі Вергун в культурний контекст України та сприяє розширенню уявлень про загальний розвиток українського мистецтва другої половини ХХ – початку ХХІ сторіччя.

Art restitution is the return of stolen or improperly traded cultural property to its rightful owner. Critical to determining whether a work of art should be restituted is if it was subject to a transfer that was unlawful or invalid, such as a theft, expropriation, illicit trafficking, or a sale made under duress. The process of restitution therefore hinges on the provenance (history of possession and physical movement) of the object in question, along with a consideration of applicable laws that may govern ownership, import and export, and other ethical and policy frameworks. While there have been disputes over the ownership of works of art for years, the topic grew increasingly important during the 20th century, when many nations passed legislation seeking to prevent the removal of culturally significant artifacts from their borders. Artwork was restituted on a large scale following the widespread displacement of cultural property under the National Socialist regime and during World War II. The rightful ownership of archaeological material became the focus of particular scrutiny after the signing of the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. In 1990, the United States passed the Native American Graves Protection and Repatriation Act to facilitate claims for Native American human remains, burial goods, sacred objects, and items of cultural patrimony. It was not, however, until the turn of the 21st century that these issues came fully to the fore in the art world. In the 1990s and early 2000s, high-profile restitution claims for art stolen during the Holocaust and World War II and for antiquities looted and smuggled from their countries of origin prompted participants in the art trade to become more aware of the importance of provenance and rightful ownership. Since then, there have been increasing calls to restitute works of art removed from previously colonized areas, especially in the Global South, to their current countries of origin. Ownership claims have been facilitated by the expansion of the internet, which has made the holdings of museums, commercial galleries, and auction houses publicly accessible. The increasing transparency of the art world and the development of online databases have expedited the resolution of claims. Thanks to such tools, it has become possible more easily to register and locate lost or stolen works of art. As the field of art restitution is relatively new, the body of literature on the topic is principally from the late 20th and early 21st centuries and continues to grow rapidly.

The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way "regulated" the processes of the movement of works of art in society.
 Key words: art marketing, art market, works of art «wild market», marketing technologies.

Students' difficulties in visualizing learning material often cannot be explained only through text or static images. Apart from that, the lack of student involvement in traditional learning and changes in the demands of learning needs in the digital era, make the development of interactive infographic media important in the current digital context. This research aims to highlight the importance of needs analysis in determining suitable learning media, especially appropriate infographic media, to support learning in elementary schools. This research uses quantitative descriptive methods. The Guttman scale questionnaire is used to collect data on the needs of students, teachers, learning media, and learning objectives. The subjects involved in this research were students. The aspects measured include pedagogical, technical, cognitive, aesthetic, socio-cultural and evaluative aspects, which are then analyzed from questionnaire data to determine the most appropriate learning media. The results of the analysis show that the highest criteria are the pedagogical aspect, followed by the technical aspect, then the cognitive aspect, the aesthetic aspect, the socio-cultural aspect, and finally the evaluative aspect. This concludes the need to consider interactive infographic media that can improve the quality of learning. Implications of this research make significant contributions to the development of technology-based education at the elementary level.

Adi Sumarmo airport in Surakarta is an international airport located at Boyolali regency which is close to Surakarta city. The aesthetic aspects and elements of the architecture and interior of the airport as an international one should give a strong impression. The character, style and meaning of the aesthetic elements used to beautify the interior and exterior should be adjusted to the vision and mission of Adisumarmo airport, in this case Angasa Pura I. This research was carried out as an effort to discourse on an alternative design of a publick space. That’s why, this research studied the aesthetic elements of a public space and it aimed at providing Angkasa Pura I, Adi Sumarmo airport an alternative design of a public space. The other goal was that Adi Sumarmo airport would look more beautiful with the wisdom of local culture. This research is designed as a research studying the creation of a work of public art in a publick space located at Adi Sumarmo airport. The steps of the research are adjusted to the method for creating a work of art such as (1) an observation on the space form into which the work of art would be placed and the library study on public art and culture which would be an icon of Surakarta. (2) the data analysis and validation which would be used as the base or souce of creation, (3) the designing stage which brings out some alternative designs of a work of publick art which later become the aesthetic elements of the airport and a landmark of Surakarta as a city of culture. The result of this research is an alternative design of public art for the interior of Adi Sumarmo airport (Angkasa Pura I) consisting of a mural, reliefs of stone or brass/ bronze, threedimension statue, and a glass painting. The alternative design of public art for the interior of Adi Sumarmo airport (Angkasa Pura I) is adjusted to the image of the airport, the vision and mission of the airport as well as the aesthetic elements taken from the local culture, Javanese culture. Keywords: public art, publick space, Adi Sumarmo airport, cultural identity Â