Field Of Contemporary Art Research Articles

Видеоигровые изобразительные стили

The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.

Letter from the editor

Dear readers, We are pleased to present to you Issue 4, 2021, of the scientific and analytical journal Burganov House. The Space of Culture . Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scien - tific Journals and Publications in which the main sci - entific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by lead - ing specialists in various humanitarian fields, doctor - al students, and graduate students. Research areas concern topical problems in multiple areas of cul - ture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the jour - nal, which represents the current state of the cul - tural space. The journal traditionally opens with the Aca - demic Interview rubric. In the issue, we present an outstanding figure of world culture — Nikolai Tsis - karidze, a Member of the Council for Culture and Art under the President of the Russian Federation, People’s Artist of Russia, Rector of the Vaganova Academy of Russian Ballet. His charismatic image personifies the Russian ballet school. The article “The Liar’s Paradox –a wild interation. Part II. Difthong “Aristotel-Anokhin” (continuation)” by E.Menshikova develops the theme of the para - doxes of the modern space of culture. The author explores such concepts as consciousness as a “res - onant system” and various types of thinking, com - paring modernity with the ancient philosophical and cultural tradition. In his article “On the Issue of Organising Space in Book Miniatures of Late Antiquity and the Early Middle Ages. 4th-7th Centuries”, M.Bankov analy - ses polychrome miniature in the context of the book creation art. The author believes that the develop - ment of spatial constructions in miniature painting is an indivisible process in which each new stage is derived from the previous one. The views of animal painters of the 19th-20th centuries on the world of wildlife, the factor of the relationship between man and nature, reflected in works of art, are considered by I.Portnova in the ar - ticle “Russian Animalistic Art of the 19th-20th Cen - turies in the Views on the World of Flora and Fauna”. The extensive correspondence of Empress Cathe - rine II with politicians, scientists and cultural figures of Europe during the period of difficult relations be - tween Russia and China is investigated by N.Suraeva in the article “The Image of China in the Corre - spondence of Catherine II”. Particular emphasis is placed on the correspondence between Catherine II and Voltaire. In the article “Architectural Space in Dance as an Artistic-figurative System”, T.Portnova considers the expressive means of dance and architecture, anal - yses the general and the specific in their artistic language, reveals the degree of interaction of ar - chitectural principles with dance drama and chore - ographic composition. In the article “Practice as Research: Creative and Research Practice in the Format of Postgraduate Ed - ucation”, the team of authors, L.Alyabyeva, I.Sakhno and T.Fadeeva, summarise the experience of Euro - pean educational programs and, after their critical understanding, create the author’s concept. The au - thors believe that practice and research have long been inseparable in educational programs in the field of contemporary art and design. In the article “Artistic Potential of Graphic Digi - tal Modelling. The Convergence of Traditional and Multimedia Exhibition Means in the Display of Dig - ital Art Works”, E.Zayeva-Burdonskaya and D.Kar - dashenko study the artistic potential of computer graphic modelling in the space of contemporary ar - tistic creation and artistic exhibition systems. The authors provide examples of contemporary exhibi - tions that implement the complex convergence of traditional and multimedia exhibition means in the display of digital art works. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

Art, Life and Capitalist Social Reproduction: Curating Social Practice

Addressing the latest encounter between feminist politics and art, this article identifies a curatorially driven turn towards social reproduction processes and infrastructures across the contemporary art field. It analyses the curatorial mediation of social practice through two UK-based projects that foreground social and economic justice issues, specifically through the politics and economies of food: Effy Harle and Finbar Prior’s Wandering Womb (2018), commissioned by Manual Labours for Nottingham Contemporary, and WochenKlausur’s Women-led Workers’ Cooperative (2013), initiated through Glasgow’s Centre for Contemporary Arts as part of the ECONOMY exhibition project. The central argument is that a rigorous engagement with social reproduction perspectives and theoretical vectors is vital to the analysis and critique of feminist curatorial work within the contemporary art institution.

PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

Отображение личности художника в его живописном творчестве на примере автопортретов некоторых омских художников

The paper touches upon the topic of the nature of art and the personality of an artist. As his main task the author sets to determine how the world of artist's experiences affects the output of his work, and while studying fundamental works in the field of aesthetics, psychology and psychoanalysis, he tries to answer the question of whether it is possible for an artist, sharing his personal experiences, not to become carrier of global ideas. The author considers the historical approaches toward these issues appealing to the paintings by Omsk artists M. Usova and G. Kichigin and mentions the increased interest in the self-portrait genre in the Siberian region. In addition, the author identifies the vector of development of the self-portrait genre in the field of contemporary art from the standpoint of the needs of modern society.

ОСОБЕННОСТИ ВОСПРИЯТИЯ СОВРЕМЕННОГО ИСКУССТВА ШКОЛЬНЫМ УЧИТЕЛЕМ: ОЦЕНКИ, СУЖДЕНИЯ, УРОВЕНЬ КОМПЕТЕНТНОСТИ

The phenomenon of contemporary art is considered as the content basis of education. The reasons for the contradiction between the educational potential of works of contemporary art and their rare use by teachers for solving educational tasks are determined. The results of qualitative and quantitative analysis of questionnaire materials received from 227 teachers of General education organizations are presented. The article clarifies the concept of contemporary art as the art of the second half of the twentieth century and the present day, aimed at the study and interpretation of a complex, rapidly changing world using a variety of artistic and expressive means and languages, based on philosophical, psychological, socio-cultural concepts and new technologies; having the attributes of experimentation, non-canonicity, topicality, innovation, critical content. The prospects of introducing the results of the study into educational practice by increasing the level of knowledge of teachers about contemporary art are shown.The subject of the article - contemporary art as a meaningful basis for education. The main theme - to identify the possibilities of contemporary art in the education of schoolchildren. The work Purpose - to analyze the results of the survey, which allow us to judge the professional and personal position of teachers in relation to contemporary art, the level of their competence in the field of contemporary art and culture. Methodology of the work: qualitative analysis-hermeneutical and content analysis of visual material when working with works of contemporary art, interpretive and comparative analysis of respondents' assessments and judgments about contemporary art and its educational potential; quantitative method-statistical analysis of empirical data. Results: the analysis of examples of works of contemporary art used to solve educational and / or educational tasks revealed that teachers prefer to use works of art created at the end of the XX – first decades of the XXI century, continuing the classical tradition, as well as the most fashionable and relevant examples of mass culture in their work. Non-classical works of art are used by 10.6% of respondents. Scope of results is the educational space of the school and pedagogical University. Conclusions. Teachers are open to new experiences and are interested in using works of contemporary art to solve educational problems.

Newness and openness in new media arts and digital performances: contextualizing Greece in the Balkan scene

ABSTRACT The paper focuses on the current developments of the Greek new media arts scene and digital performances, a field of contemporary art which still remains non-contextualized in a particular socio-political environment by art theoreticians in Greece. The present study explores the concept of newness in new media arts and provides an overview and a critical reflection on the role of the non-profit and non-governmental organizations (NPOs/NGOs) in structuring a new media art scene in the post-communist countries of the Balkans. Consequently, the paper seeks to contextualize the Greek scene in this historical background provided by the Balkans’ recent past in contemporary new media arts. The study suggests that the current Greek scene is in a precursor phase of what took place a few decades earlier in the northern countries of the Balkans, given the fact that its new media art scene currently passes the threshold of the collaboration with a – yet limited – number of national NPOs/NGOs. Although there is not an immediate political analogy between the Balkans and Greece, nevertheless the financial and political crisis in Greece the past few years has clearly functioned as a condition for comparable politics of art management to be implemented.

Querelas que interessam: Forensic Architecture e os paradoxos da arte e da política

A indecidibilidade entre arte e não-arte, inerente à cena artística desde Marcel Duchamp e característica fundamental do regime estético das artes, será tomada aqui como ponto de partida para pensar as intervenções do coletivo Forensic Architecture. Atuando entre tribunais internacionais de direitos humanos e museus de arte contemporânea, suas montagens lidam com vídeos, simulações 3D, diagramas, entrevistas, reconstruções arquitetônicas, sempre partindo de litígios reais cujos vereditos foram dados em situações de assimetria de poder. Independentemente de ser ou não-arte, o Forensic usa os espaços da arte e este “estado de arte sem arte” como fórum necessário para ampliar o debate sobre o que podemos ver, como recortamos o que cabe ser visto, qual nossa responsabilidade sobre o visível. Eles trazem para dentro do museu e do campo paradoxal da arte contemporânea um debate complexo sobre política, justiça e bem comum.

Positioning contemporary art worlds and art publics in Southeast Asia

This essay positions the rapidly changing field of contemporary art in Southeast Asia, and the shifting structure, dynamics and influence of the region's contemporary ‘art worlds' and ‘art publics’. It seeks to open up new horizons and frameworks for understanding the particular character of art worlds and art publics in Southeast Asia by being especially attuned to the local contexts and histories of contemporary art in the region and their particular ecologies. We contend that while contemporary art worlds and art publics in Southeast Asia might bear similar structures and dynamics to contemporary art worlds and publics elsewhere, they are nevertheless indicative of culturally specific and localised developments. Indeed, the various past and present practices and mediation of art and its publics in the region are suggestive of the ways in which art worlds take on nuanced character and meaning in Southeast Asia, are diversely configured and imagined, and are multiply located and complexly interconnected. The worldliness of these practices are, moreover, indicative of the ways in which Southeast Asian artists continue to respond to the exigencies of the everyday and the political economy of survival in an increasingly challenging world.

Management Educator as Curator: Resetting Rationality at the Business School

This essay reframes the role of the management educator as a curator who creates transformative learning experiences with students. We begin by tracing the evolution of the role of the curator within the institution of the museum, focusing on recent developments in the field of contemporary art. In the interest of moving beyond a simple metaphor, we present a detailed account of Bruno Latour’s recent work curating art shows designed to ‘reset modernity’, and we consider how this activity relates to practices in the business school classroom. We conclude by speculating about the implications for the field of management education of viewing rationality as the art of learning through a multiplicity of perspectives and transformative experiences.

Breaking Canons: Intersectional Feminism and Anti-Racism in the Work of Black Women Artists

In this essay, I will argue for the relevance of the visual production of several contemporary black women artists for the shattering of Eurocentric stereotypes and racist and patriarchal narratives, which, as legacies of the colonial and enslaving past, continue to wound the social and psychic lives of non-white people. While envisaging contemporary artistic practice as being in close dialogue with, or located within, other epistemic and cultural practices – such as the disciplinary fields of history and art history, and visual culture at large –, which have produced and reproduced racist discourses and racialized subjectivities for centuries, I will examine the ways in which black women artists break Eurocentric canons and counter racism, patriarchy, capitalism, homophobia, transphobia, and ableism from within the specific field of contemporary art, in between theory and practice, and drawing on the invaluable lessons of intersectional feminism. Relevant examples will be works by Grada Kilomba (Portugal, 1968), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), and Keyezua (Angola, 1988). This essay will consider the ethico-political valences of such critiques through contemporary art, while not avoiding the problems that are inherent to the ways in which neo-liberal capitalism and white privilege remain structurally at the heart of numerous artistic institutions.

El proceso de evaluación de la investigación y la producción artística. La Licenciatura en Arte Contemporáneo de la Universidad Autónoma de San Luis Potosí como caso de estudio

<p>El objetivo de este artículo es mostrar los instrumentos de evaluación de proyectos de investigación y de producción artística, que permitan ponderar los proyectos que el alumnado de la Licenciatura en arte contemporáneo de la Universidad Autónoma de San Luis Potosí en México, realizan durante su formación. El seguimiento del proceso de evaluación por parte del profesorado ha propiciado el diseño de instrumentos a fin de que los estudiantes comprendan cómo y qué se evalúa. El desarrollo de un proyecto comprende desde la parte conceptual hasta la culminación en una pieza artística. Los conceptos a evaluar son cinco: 1) bitácora; 2) fichas referenciales; 3) proyecto escrito; 4) registro de talleréo y desarrollo de producción (RTP); 5) pieza final y montaje de la obra. Con estos criterios los y las docentes establecen razones claras para la evaluación y mayor certeza a la hora de calificar y retroalimentar al alumnado. En la bitácora el alumnado vacía sus ideas por medio de esquemas, dibujos, bocetos, avances de investigación, que ayudan a que el proceso creativo sea ordenado, pero a la vez libre. Las Fichas referenciales hacen visible y medible la investigación. El Proyecto escrito describe los objetivos, la justificación de la obra, el cronograma de trabajo y el presupuesto necesario para su realización; en él se mide la argumentación, claridad y alcances. Los dos últimos instrumentos son el RTP y la pieza final; en el caso del RTP se trata de un documento en donde el alumnado evidencia todo su proceso de investigación, experimentación y montaje de la pieza.</p>

Artspace Germany Sergisi Örneği ve Türkiye'de Çağdaş Sanat Politikaları

Her 5 yılda bir dünyanın farklı kentlerinde sergilenen ve bu yıl 10 Ocak – 9 Şubat 2019 tarihleri arasında İFA (Institut für Auslandsbeziehungen) ve Goethe Institut-İstanbul işbirliğiyle İstanbul Milli Reasürans Galerisinde açılan Artspace Germany sergisi, büyük ve usta sanatçılar üzerinden temellenen seçkisinin ötesinde, bu sanatçıların bir araya getirilişinin arkasında yatan güçlü neoliberal politikaları, bireysel özgürlük ve farklılıkları kapsayan çoğulcu demokratik zemini ile Alman Federal Cumhuriyet'inin çağdaş sanat alanındaki çok uluslu kültürel yapıya olan inancını paylaşmaktadır. Türkiye'de de çağdaş sanatın dili ve söylemleri üzerinden demokratik ve çoğulcu bir anlayışa geçmekte yaşanan zorlukları, bu sergi vesilesiyle tartışabilir, kültür politikalarının çağımızda küresel bir aktör olma yolunda ne kadar önemli olduğunu görebiliriz. Bu çerçeveden bakılarak ele alınan makale, Artspace Germany sergisi bağlamında Almanya'nın izlediği kültür – sanat stratejileri ve bunların çağdaş dünyanın temel değerleri ve kazanımları ile olan ilişkisi üzerinden (çok uluslu kültürel yapısını değerlendirerek) Türkiye'de devletin izlediği kültür - sanat politikalarına dönük konuları tartışmayı hedeflemektedir.

Showing-knowing: the exhibition, the student, and the higher education art institution

ABSTRACTThe student exhibition is a format and a genre which is both under-theorized and under-historicized. It is not properly contextualized or explored within the field(s) of contemporary art, curation or fine art pedagogy. This paper maps, analyses and discusses the student exhibition in terms of the format, the potential, and the institutional agencies, with reference to the relevant pedagogic literature as seen in relation to the wider field of contemporary art practice, exhibition practice, and curatorial praxis. For this article, the central example of the student exhibition is the degree show. This event is not just the ‘showcase’ for individual students or cohorts, it is the public face of the institution. This is notable because it positions the student exhibition in general and the degree show in particular as a nexus between the vision and reputation of the institution and the individual student’s artistic production and future career.

Is The Honeymoon Over? The Tumultuous Love Affair Between the Museum and the Arts of Sound

This text considers points of intersection between the arts of sound and visual arts institutions and examines their rapidly changing relationships from the beginning of the twenty-first century to the present day. Combining an autoethnographic approach, drawing on the author’s curatorial work with sound-based practices as the director of the London-based commissioning art agency Electra, and sustained observations of broader issues emerging around sound-led work in the field of contemporary art, the text identifies a number of ways in which “sonic substance” enters visual arts institutions. The author considers how these dynamics have changed over the past twenty years and analyses ruptures that emerge along the way.

Gendering the Environmental Artivism: Ekofeminisme and Unjuk Rasa of Arahmaiani’s Art

This article focuses on Indonesian contemporary art with an activist agenda, meant to create awareness about environmental issues and mobilise a critical or problem-solving response. I examine the work of Arahmaiani, which stands out for providing a gendered perspective on the socio-political dimensions of environmental problems and solutions. In examining Arahmaiani’s oeuvre, I use the concepts of unjuk rasa and ekofeminisme, which are derived from Indonesian academic and artistic debates around environmental art and activism. This approach extends the interconnections between creativity, gender and environmental activism beyond the field of contemporary art to include traditional and popular media and platforms of creativity. I argue that Arahmaiani’s personalised nomadism has facilitated reconnections with Indonesia’s past, alternative interpretations of the homeland and the nation-state, and visions of more just and inclusive forms of community. This includes environmental projects in Java, Tibet and elsewhere of an increasingly practical nature. [End Page 3]

Exhibition Networks in the “Globalized” Contemporary Art Field — The Case of Contemporary Artists from Croatia

The contemporary art field is increasingly the object of distant reading, in particular when examining the globalization of the immensely expanded field and the complexity of relations that configure it. Despite the rise in the availability of structured data that such a practice presupposes, lacunae reflecting global asymmetries remain. Highlighting the issue for Croatia, the paper examines the impact of globalization processes on the contemporary artists from Croatia.Artists’ biographies are used as a source for mapping the artists’ circulation, and as a data source for network analysis. The analysis of the exhibition activity of sixty-one artists for a twenty-year period brings insights into the geographical and institutional distribution of the exhibitions, as well as into the construction of artists’ international “careers.” The examination of artists-institutions networks sheds light on the conditions of their international intersections. Finally, an indication of future research is given, directed towards uncovering potential subsystems, beyond those which have thus far been recognized to have been created under the impact of territorial or status-related factors.

Working in the World

At RMIT University, we pride ourselves in achieving outcomes that not only prepare for, but enhance the future careers of our graduates. ‘Work ready’ is a term often used to describe these qualities; those who complete our programs are seen as future leaders in, indeed the shapers of, the ‘world of work’. In this sense, every graduate works in public space. But what do we mean by the term ‘work’ in the field of contemporary art? Do we mean the artworks themselves; or, work as practice? Is this working for the betterment of society; or, supplying the art market, that supports artists’ and gallerists’ livelihoods? Do we mean work undertaken in the wider ‘creative industries’, an increasingly important dimension of national and international economies; or, in so-called ‘cottage industries’ - local, often not for profit communities of practitioners that focus on felt rather than theoretical issues, to develop their own models of exchange and sustainability? We can use the notion of ‘engagement’ to consider the role of public art in this world of work: engaging across disciplines, nationalities and cultures; but also with industries, communities and the world at large. The artists discussed in this special issue of the Journal of Public Space have each identified their individual response to the role of art ‘working’ in the world. Indeed, this edition is characterised by the diversity of practices it encompasses and how work and activism can coincide.

Empowerment and Disempowerment in the Participatory Culture of TransCoding

In this article, I consider implications of outreach practices in the field of contemporary music for the field itself and for the professional artists involved. I am interested in what happens if we facilitate access to contemporary music for audiences of any kind of demographic, break down barriers, share authority between participating non-professionals and professional artists and allow all participants of a project influence on jointly created artworks. I investigate in how far the organisational or structural change in the creative practice and the creative outcome – that comes along with bringing new players into the field – has consequences on the personal practice of the professional actors in such a project. I base my article on theories of sociologist Pierre Bourdieu, communication scholar Henry Jenkins, art historian Claire Bishop, musicologist Elena Ungeheuer and my own research into social structures of the contemporary art field, and apply them to a single case study: the artistic research project TransCoding – From ‘Highbrow Art’ to Participatory Culture, funded by the Austrian Science Fund. Using the method of thick description, I take the reader through the history of TransCoding, give account of field experiences and put the found patterns of cultural-social experiences into a theoretical context. I investigate the power shifts from professional artists to audience that occurred on the basis of creative, participatory processes within this project. In doing so, I would like to raise questions and stimulate discussion with regard to the conditions and social organisations of creative practice in the contemporary music field, the distribution of power and how this is felt when ‘bringing new audiences to new music’ into the core practice of professional artists, the actual creation of a new work.

КИЇВСЬКІ СТОРІНКИ ТВОРЧОЇ БІОГРАФІЇ Є. МУСАТОВОЇ-КУЛЬЖЕНКО

An active participant in the musical life of Kyiv at the end of the 19th - early 20th centuries was E. Musatovа - Kulzhenko - a talented singer (soprano), a pedagogue, a popular activist of modern music and organizer of a number of bright, remarkable artistic events. Unfortunately, the Kyiv period of the performer's biography has not yet received a detailed coverage of musicology literature, this explains the relevance and novelty of this work. Study of Kyiv's biography pages Musatova-Kulzhenko will contribute not only to a more complete reflection of the artist's creative path, as detailed as possible the reproduction of the musical panorama of Kyiv, but also to the reconstruction of the biography of the famous Kulzhenko family, to which the singer belonged. The archival materials of the newspaper periodicals department of the National Library of Ukraine named after V.I. Vernadsky, materials of the Central State Archives - theMuseum ofLiterature and Art of Ukraine, the Museum of theatrical, musical and cinema of Ukraine, the House of theMuseum ofM. Lysenko became the main source for the study.Participation of E. Musatova- Kulzhenko in the musical life of Kyiv was quite diverse: she performed with solo programs, consisting of symphonic, chamber assemblies, «polygenre» and spiritual concerts, as organizer and participant of charity concert events. The activity of performer had a clear educational orientation, as evidenced by her participation in lectures – concerts, themed concerts, literary musical evenings. About the active civil position of Mysatova - Kulzhenko, her indifferent attitude towards Ukrainian culture testifies to the participation of the singer in the work of the societies «Boyan», «Literary and Artistic Society». Kyiv artists' concerts were accompanied by a stable success, constant attention and interest from the side of music professionals, reviewers of local periodicals and ordinary listeners. All critics unanimously acknowledged the presence of excellent voice and a solid vocal school, natural musicality and sophisticated artistic taste in the performer. The repertoire of the singer was diverse and quite numerous, covering vocal literature of different eras and national schools. But in the history of musical culture of the city Е. Musatovа - Kulzhenko entered first of all as a tireless «pioneer» in the field of contemporary art. The artist launched «Evenings of a Modern Song» in Kyiv, organized the «Evening of the Children's Song» for the first time. She was an indefatigable proponent of the vocal work of O. Grechaninov, L. Nikolayev; the first performer of vocal opuses of some Western European authors.Sophisticated and versatile activity of E. Musatova - Kulzhenko greatly enriched the cultural space of Kyiv, contributed to the «modernization» of concert life, the diversification of his genre and repertoire components. Performances of the singer had an important not only artistic - aesthetic, but also educational, cognitive value. After all, the residents of Kievhave the opportunity to get acquainted with the latest samples of vocal literature and to join in the processes that took place at the time in the Western European music world. The great activity of Musatova - Kulzhenko contributed to the development of Ukrainian chamber vocal performances, the formation of a national vocal pedagogical school.Since 1921, the singer has lived abroad, and about this period of her biography, which lasted almost thirty years, information is not enough. One of the sources of information about staying E Musatova - Kulzhenko in a foreign country can be the materials of the Croatian State Archives inZagrebso this research direction should be a priority in the future in order to thoroughly recreate the life and creative path of the prominent Ukrainian performer.The article is devoted to the coverage of the Kyiv period of the creative biography of the outstanding Ukrainian singer E. Musatova- Kulzhenko. The role of the artist in the development of the cultural space of Kyiv, the enrichment and «upgrading» of its concert life, in the formation of domestic chamber vocal performances and vocal pedagogical school is determined.