Abstract This article interrogates the entrenched binary between modernism and realism in postwar Korean art through an analysis of the multifaceted practice of Shin Hak-chul (b. 1943). While often associated with 1980s minjung (people’s) art, Shin’s work resists reductive classification, exploring both modernist experimentation and realist critique. From the 1960s to the 1980s, his trajectory challenged the formalism of institutional modernism while reimagining the conceptual, affective, and material scope of realism. Examining his use of object-installation, photomontage, sculpture, and painting, this study shows how his work rendered the real as a convergence of material presence, perceptual immediacy, and historical consciousness. Central to the analysis is Shin’s Modern Korean History series (1980–1985), which exemplifies what I term “monumental corporeality”: a visual language of embodied memory and historical trauma. Situating Shin’s practice within both the Korean art world and broader postwar currents, the article advances an original, elastic historiography of contemporary Korean art – one attentive to how artists negotiated intersecting esthetic and sociohistorical imperatives amid rapid modernization. More broadly, it reframes realism as both a critical method and a transhistorical form within global debates over history, form, and representation.

This article examines the practice of connoisseurship as articulated by Bernard Berenson (1865–1959) and its reception in the South American art world, with particular attention to Brazil. Drawing on dispersed archival materials, Berenson’s social networks across Europe and the Americas, the provenance of works in the collection of the São Paulo Museum of Art (MASP), and the circulation of his translated writings in Argentina and Brazil, we reconstruct his role—together with local intermediaries—in shaping collections of traditional European art. The article also reflects on the continued presence of connoisseurship in today’s art system and its paradoxical relationship with the technical and scientific analyses that expanded throughout the twentieth century and substantially advanced the material study of artworks.

“Gone in a Breath” ventures beyond the spotlight, delving into the world of artists whose dedication often remains unnoticed amidst society’s fixation on grandeur. This photo essay is a tribute to artists whose passion and commitment endure in the face of neglect and hardship, shedding light on the raw beauty and perseverance that thrive beyond the proscenium arch. In a culture that glorifies visible success, this initiative serves as a poignant reminder of the challenges faced by artists deemed inconsequential by societal norms. The unrecognized dancers within our midst embody this struggle, navigating a path often devoid of recognition and support. Through their resilience, they exemplify the profound beauty and complexity of human existence, fostering connections that transcend the boundaries of acclaim. As a retired Bharatanatyam dancer turned photographer, this endeavor holds personal significance. It merges my lifelong dedication to movement with a profound understanding of the trials endured by artists in their pursuit of true expression. “Gone in a Breath” not only captures moments of artistic finesse but also offers a glimpse into the challenges and triumphs that define the dance community. Through a delicate balance between rehearsal authenticity and performance grace, this project aims to portray the art form while honoring the indomitable spirit of artists.

The urgency of spiritual and intellectual education in the 21st century is heightened against the background of profound historical traumas that have left a mark on Ukraine's national memory (Holodomors, wars, repressions). The artistic comprehension of these events (painting, cinematography, installations, new media) serves as a powerful instrument for developing critical thinking, historical empathy, and national and cultural identity among youth. Art is capable of conveying not only the factual content but also the emotional and symbolic depth of traumatic experience, facilitating dialogue between historical reality and subjective perception. This cultivates a value-based attitude toward the past, develops analytical skills, and moral and ethical consciousness. In the context of the War for Ukraine’s Independence, which has created a new field for understanding, the formation of an effective culture of memory and resistance to the manipulative technologies of Russian propaganda gains particular importance. The interdisciplinary analysis of the phenomenon of memory integrates history, cultural studies, and psychology. Practices, particularly art therapy, highlight key mechanisms for working with trauma: the transformation of memories into detached history, progressive exposure, and the externalization of traumatic experience (the detachment of trauma from the «Self»). This allows for the safe and non-verbal processing of difficult material. The artistic comprehension of traumatic history fulfills memory-forming, emotional-psychological, and educational-communicative functions, integrating difficult experience into the structure of national memory and personal identity. This fosters the development of deep reflection and resilience as the basis of a mature personality. Examples from world art (the «Shoes on the Danube Bank» monument, P. Picasso's «Guernica», W. A. Mozart’s «Requiem») demonstrate universal ways of artistic understanding of suffering that can serve as an educational tool for the conscious experience of the past, the formation of civic position, and the ability to counteract information manipulation. Interdisciplinary approaches were applied: cultural anthropology, memory studies, art historical analysis, hermeneutics, phenomenology, analysis of artistic texts, and visual artifacts.

Gender violence is defined as any act that results in or may result in physical, sexual, or psychological harm to women, including threats, coercion, or arbitrary deprivation of liberty, both in public and private life. The phenomenon of violence has afflicted humanity throughout its history. Explicit violence can be found in the world of art, where it germinates with enormous ease. In terms of gender violence, the main medico-legal action that should be taken by health centers is to issue a certificate of injury. The objective of this study was to describe the historical, artistic, psychological, and medico-legal aspects of gender violence. It was concluded that gender violence is also a health problem that requires medico-legal action and intervention, and that its image in art has been reflected in all forms of expression. Twenty-one bibliographies were consulted.

Mixed Martial Arts (MMA) is one of the fastest growing sports in the world. Although rare, cervical spine injuries can occur in MMA athletes. We report a unique case of a professional MMA world champion that successfully underwent 2 motion preservation surgeries to treat cervical radiculopathy. The athlete was able to return to elite competition after both operations. This case highlights that cervical spine motion preservation procedures can be used for safe and successful return to combat sports in the properly indicated patient.

The article examines the nature of the comic in A.P. Chekhov's work and the use of ancient cultural images in the play "The Cherry Orchard." Special attention is paid to how the traditions of Italian commedia dell'arte (masked comedy) are reflected in Russian literature. The relevance of the work is tied to the need to view Chekhov's humor in a new light. Modern scholars often write about the writer's connection to popular theater; however, the way in which stage roles transform into living characters has been studied little. The theoretical foundation is based on M.M. Bakhtin's idea that the mask is associated not only with festive merriment but also with mockery. The focus of analysis is on the work of the archetype of the mask and its various manifestations (parody, caricature, grimaces). The author explores how elements of carnival culture become an important part of the artistic world of the play and create a complex system of relationships between the characters. The work employs comparative typological and structural text analysis. The methodology includes identifying traditional stage roles (Harlequin, Pierrot, Colombina) and investigating the principle of mirror reflection, whereby secondary characters are viewed as parodic doubles of the main characters, revealing the hidden motivations behind their behavior. The scientific novelty of the research lies in proving that the mask in "The Cherry Orchard" is not just an external comic device but a form of unconscious psychological defense for the characters. The article argues that the characters intuitively choose role-playing behaviors to hide from a traumatic reality: Ranevskaya plays the role of the "generous landowner," and Gayev plays the "aristocrat," trying to preserve the illusion of the old world. It concludes that through a system of mirror images (Yasha as a caricature of Harlequin, Yepikhodov as a shadow of Pierrot), Chekhov transforms the structure of commedia dell'arte. The servants, by parodying their masters, diminish the pathos of their experiences and lay bare the true motives of their characters. Thus, the external carnival-like quality of the play serves as a tool to reveal the deep internal conflict of a personality unable to accept the pragmatics of a new era.

The heritage preserved in Ukrainian cities, fragments of historic cult buildings, have their own cultural characteristics and integrity. Historic buildings in Ukrainian cities form an aesthetic and comfortable socio-cultural environment. The connection with architectural traditions and style, the borrowing of stone architectural cult decorations with the characteristic architecture of the city, the overall scale and nature of the division create harmony in the architectural ensemble and have an emotional and aesthetic impact. This allows Ukrainian architecture to make a special contribution to global diversity – the multiculturalism of the environment. Ukrainian cult architectural heritage, which belongs to the world's art treasures, is a model of protection and preservation that is relevant and requires a deep contemporary scientific understanding. The preservation of historical cultural heritage sites is one of the most problematic areas of activity in the fields of culture, construction, anthropology, politics and philosophy. This is especially true for monuments of religious architecture, which are being destroyed as a result of wars, conflicts, natural and man-made phenomena. Our hypothesis is that it is necessary to develop a modern algorithm and mechanism for the restoration and rehabilitation of material and spiritual heritage, based on the principles of scientific and comprehensive cooperation after its destruction and massive damage. The issue of restoring or changing the architectural ensemble of the city, restoring its original style, and using new methods and technological capabilities in construction requires the involvement of specialists in the fields of religious studies, architecture, construction, art, law, and state building. Therefore, in the context of a full-scale invasion, we consider it necessary today to develop an algorithm for preserving cultural heritage in the modern world, as well as to identify a mechanism for developing an architectural philosophy for the protection of religious and cultural objects. This is despite the fact that there are no academic, systematic, generalised and documented studies by contemporary philosophers, religious scholars and architects.

Looking at Oswald Mathias Ungers’s work as a system between art and architecture is an opportunity for two different reasons. First of all, the affinity between art and architecture is an interesting point of view for contextualising Ungers's work in the cultural panorama of his time. His voluntary solitude is shattered in his relationship with art, through which he manages to establish fruitful links with the contemporary cultural debate that characterises the artistic environment. On the other hand, Ungers looks at the art world with curious eyes, interpreting it as a complementary element of his work in architecture. This paper seeks to identify one of the common ground between these two worlds, focusing specifically on design work in collaboration with artists. This point of tangency identifies an interstitial space that puts two distinct dimensions into dialogue according to spatial overlaps and visual connections in a stratified system of relationships.

Introduction . In modern society, tourism is an area of cultural and business integration, attracting an increasing number of both consumers and producers of tourism services. Industrial tourism occupies a special place in this field, focusing on the artificialization of technological processes and the transformation of manufacturing enterprises into tourist attractions in the region. Industrial tourism has a history dating back more than a century. The phenomenon has been studied by cultural scholars, historians, economists, ecologists, and representatives of other scientific fields. The purpose of this study is to examine the issue of industrial tourism in the context of its impact on the optimization of the production and personnel structure of enterprises engaged in excursion and tourism activities. Materials and Methods . The materials consisted of interdisciplinary theoretical studies that broadened the understanding of the significance of tourism in general and industrial tourism in particular for the development of the regional sociocultural situation. The basic method was a comparative analysis of the positive consequences and results of the excursion process for tourists, on the one hand, and enterprises, on the other. An empirical approach based on personal experience of visiting industrial enterprises for excursion purposes was also used. For a comprehensive study of the topic, a combination of methods from several scientific fields is used: semiotic and discourse analysis, participant observation, content analysis, network analysis, and case study method. Results . The genesis and evolution of a specific type of tourist activity based on the openness of production processes to outside visitors are considered. The so-called “machine halls” of the first world art and industrial exhibitions of the second half of the 19 th century, when ordinary people became interested witnesses of real technological cycles, are identified as the prototype of the phenomenon under study. The experience of artifying industrial processes was subsequently used everywhere. The Rostov region, which has rich natural and production resources that are attractive to tourists, has had positive experience in the development of industrial tourism. Discussion and Conclusion . The obvious marketing benefits of industrial tours contributed to the active development of industrial tourism in the 20 th and 21 st centuries. This has led to the development of a symbiotic relationship between participants in tourism activities: tourists gain vivid impressions and increase their level of erudition during tours, while enterprises optimize their production and personnel structures and ensure effective self-promotion, which is recouped through the payment for tour services. In today’s world, industrial tourism is not only becoming a driver of industrial progress, but also has a positive impact on the development of regional culture, improves the economy, and forms an effective basis for employment.

The purpose of this study was to explore how visual journal-based art expression activities designed to promote self-reflection impacted self-awareness and perceptions of art experienced by high school freshmen. A 12-session art program was implemented, focusing on students' daily lives, emotions, and individual experiences. The results revealed three key outcomes: First, students became more aware of their emotions and personal characteristics, recognizing their unique ways of expression. Secondly, the students realized that there are no fixed answers in artistic expression and that perfection is not necessary. They came to recognize new forms of the art world and fully enjoyed the freedom of expressing themselves in their own unique ways. Third, through sharing their completed visual journals with peers, they developed empathy and appreciation for diverse perspectives. This study explored the potential of the visual journal as an art educational tool to promote students’ self-reflection and creative self-expression. It also provides practical implications for art education that supports self-reflection and self-understanding as essential aspects of life.

This study aimed to explore the ontological significance of the artistic world of individuals with autism and propose directions for autism art education from a neurodiversity perspective. To this end, four adults with autism and a mediator were selected as research participants. The findings reveal that the artistic world of individuals with autism manifests itself in four ontological dimensions. First, ‘request for existence’, as a visual language that allows for expressing the mind; second, it functioned as an ‘art of coexistence’, enabling togetherness; third, it manifested as a unique artistic world of ‘bricolage’ where imitation and creation intersect; fourth, it revealed the meaning of ‘art brut’, expressing the joy of existence through immersion. From a neurodiversity perspective, art education should be aimed at promoting ontological growth between ‘let it be’ and ‘let it grow’, and enabling individuals to seek sustainable life possibilities between ‘leisure participation’ and ‘professional artistic activity’. The findings imply a need for lifelong educational support to enable individuals with autism to live independently and continue learning.

Contemporary communication practices are transforming the museum on multiple levels, including the way it interacts with its audience. In the context of digital transformation, traditional one-way communication models are gradually being replaced by interactive, personalized and two-way forms of exchange. The use of social networks, mobile applications, virtual platforms and multimedia resources allows institutions not only to expand their reach, but also to encourage more active audience participation. In this new context, visitors are no longer just observers – they become co-creators in the production, interpretation and dissemination of cultural content. The study examines both the advantages of this communication transition and the challenges related to engagement, authenticity and cultural dialogue in a digital environment. The application of a strategic approach to the use of new communication forms is key to the successful functioning of the museum institution.

The modern art market underwent profound transformations from the late nineteenth to the early twentieth century, as traditional systems of aristocratic patronage gradually gave way to a free market in which galleries, auction houses, and collectors assumed central roles. This article seeks to elucidate the factors that constitute the value of an artwork, including its aesthetic, historical, and social significance, as well as the reputation of the artist, while also identifying the determinants of its economic valuation – the reasons why works of art command such high prices. At the same time, the article examines the shift from an art world grounded in spiritual and cultural values to one marked by intensified commercialization, in which artworks are assessed not only for their intrinsic qualities but also for their investment potential. This process has been closely intertwined with industrialization and globalization, expanding access to and the development of the art market on a global scale, with the Vietnamese art market – though relatively young – being no exception.

With the fast adoption of fintech payment systems, fintech has changed transactional relationships in cultural and visual art spaces, but the empirical study on audience intention and loyalty in the experience setting is not highly researched. This paper will look at the drivers of audience intention and loyalty to the fintech payment systems in cultural and visual art venues in the Delhi National Capital Region (NCR). Based on Technology Acceptance Model, Unified Theory of Acceptance and Use of Technology, Trust Theory, and Relationship Marketing Theory, a conceptual framework was formulated and empirically verified with the help of survey data, processed with the help of Partial Least Squares Structural Equation Modeling (PLS-SEM). The results indicate that perceived usefulness, perceived ease of use, perceived security, and trust play a key role in the intention of the audience to use fintech payment platforms. The intention to the audience has a positive influence on satisfaction, and consequently, a central mediator of loyalty to fintech platforms. The findings indicate that the fintech adoption is fundamentally shifted towards trust and experience satisfaction that drives it to audience engagement in the cultural and visual art world. The project builds on existing studies on fintech adoption in cultural economies and offers applicable findings to cultural bodies, fintech services infrastructure, and the policy community on how to enhance digital payment infrastructures and customer retention in the creative industries.

E.M. Remarque's novel «Three Comrades» is one of the most popular works in world literature about friendship and love. Like all works about the «lost generation», the novel is characterized by its simple language, first-person narrative, and portrayal of ordinary people facing the challenges of post-war life, such as poverty, loss of loved ones, and the destruction of traditional values. The article examines the phenomenon of olfactory vocabulary related to smells and the sense of smell in general, and its role in creating artistic images, conveying the emotional states of characters, and shaping the overall atmosphere of a work. The original text (in German), which presents the post-war atmosphere of Germany – the world of the Weimar Republic, full of deep despair and fragile hope – is compared to its translations into Russian and English. It seems that an analysis of the olfactory vocabulary associated with the description of one of the most complex of the five human senses – smell – will allow us to delve deeper into the artistic world of the work.

E.M. Remarque's novel «Three Comrades» is one of the most popular works in world literature about friendship and love. Like all works about the «lost generation», the novel is characterized by its simple language, first-person narrative, and portrayal of ordinary people facing the challenges of post-war life, such as poverty, loss of loved ones, and the destruction of traditional values. The article examines the phenomenon of olfactory vocabulary related to smells and the sense of smell in general, and its role in creating artistic images, conveying the emotional states of characters, and shaping the overall atmosphere of a work. The original text (in German), which presents the post-war atmosphere of Germany – the world of the Weimar Republic, full of deep despair and fragile hope – is compared to its translations into Russian and English. It seems that an analysis of the olfactory vocabulary associated with the description of one of the most complex of the five human senses – smell – will allow us to delve deeper into the artistic world of the work.

The aim of this article is to attempt to reflect on the impact of art on the processes of creative transformations of life, mainly from a hermeneutic-phenomenological perspective. The issue seems important, if only because of the discrepancy between theory and practice in the perception of art and creativity. While art is theoretically attributed with important functions, such as the ability to transform human life or shape the vision of the world, in practice artistic activities are often trivialized and their connections with broadly understood creative thought processes and life transformations are not noticed. As if there were no connections between art and broadly understood creativity or there were no connections between them and other matters important to man. This problem seems to be close to those who connect art and artistic creativity with educational activity. Here we can mention art educators, aesthetic educators, art educators or art therapists. Their work, according to Rudolf Arnheim (2013), is often marginalized, and artistic activities are treated as entertainment and pleasure, not requiring intellectual engagement. Meanwhile, acquiring creative experiences is a complex and to some extent unpleasant process, requiring the abandonment of self-satisfaction and opening up to new things, which involves the need to expand knowledge and disappointment. In this approach, it seems particularly important to analyze the meaning of 'experience' and the issue of turning towards basic questions and a sense of dissatisfaction. The above aspects can constitute the basis for creative 'transformations of the spirit' that resonate with the world of art.

Experiential aesthetics has become a key point of focus in attempting to comprehend how modern viewers approach visual arts outside of the frame of formal analysis in a way that focuses on experience, emotion, and engagement of the imagination. The paper examines the inter-relationship between fantasy, emotion, and enjoyment in determining visual art consumption as a part of contemporary art experiences. The study uses phenomenological aesthetics and cognitive-affective theories, in which the conceptualization of aesthetic engagement is an embodied process with an interpretive and emotionally situated process. Fantasy is explored as one of the most important experiential forces that allow the viewers to immerse in the story, create symbolic meaning and imaginary worlds of art, creating their own meanings and speculative worlds as they engage with works of art. The paper also examines the emotional aspects of visual art viewing, such as emotion eliciting mechanisms, empathic resonance, mood, and affective bonding, and the moderating role of cultural, social and contextual factors. Pleasure is conceptualized in the context of hedonic enjoyment and eudaimonic satisfaction and it emphasizes flow, absorption, and reflective pleasure as the keys to long-term aesthetic values and recurring interest and involvement. The paper is methodologically designed in terms of a mixed-methods approach that incorporates both qualitative interviews, observational and narrative analyses with quantitative survey instruments and psychometric modeling to produce both subjective depth and the quantifiable patterns.

During the upheaval of the early civil war months in Lebanon in 1975, Mona Hatoum (b. 1952) found herself stranded in London, where she decided to study art. In the early 1980s, she graduated from the Slade School of Art, where she immersed herself in postmodern thought and the concurrent development of critical theory in the United Kingdom. Inspired by artistic movements challenging the norms of contemporary British art, she shaped her artistic approach by blending the artistic, social, and political realms. The ideas of Rasheed Araeen gave her a conceptual framework, exploring his reflections on Third World art, postcolonialism, questions of identity, and the notion of “black artist” in the United Kingdom. This article aims to examine Hatoum’s involvement in British Black Arts through her activities with Rasheed Araeen, presenting a fresh analysis of key works that assess their critical impact. While she is now a globally recognized artist, there has been limited research dedicated to the phase of her life when she existed on the fringes of art history during her youth in Beirut, then working in the then-contested field of performance and video, and often being considered a migrant artist, or as she once wrote: a black one. Drawing from an exclusive interview with the artist, this article offers an intersectional approach to both western art history and that from the SWANA (Southwest Asia and North Africa) region, shedding new light on this crucial period in her artistic development and its broader implications for understanding diverse artistic narratives.