Art Space Research Articles

Cultural Censorship and Institutional Trust in Africa

What are the consequences of cultural censorship on trust? Previous literature on institutional and political trust informs this article which extends the work to consider the importance of artistic spaces for shaping political attitudes. These spaces may allow individuals to form trust relationships with each other. The importance of these cultural spaces is highlighted when, in both democracies and autocracies, we observed cultural censorship. While the rationale for censorship may differ across regime types, some of the effects look strikingly similar. Using survey data from the Afrobarometer and measures of censorship from Varieties of Democracy, this article suggests that trust in executive and legislative institutions among regime supporters is increased, when autocracies engage in cultural censorship. Additionally, this article argues that trust in the ruling party increases and trust in the opposition party decreases with more cultural censorship in both autocracies and democracies. Taken together this descriptive initial test of the theory, consistent with the theory presented, offers additional insights about how authoritarian regimes might use cultural censorship to maintain system support, but also suggest reasons why even democratic regimes can be motivated to engage in censorship for political gain.

Intermediality of Modern Art and Technologies of its Perception

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial.

Folklore and Jazz Narratives of Transformation and Interpretation Author's Concept of Volodymyr Hodlevskyi in “Introduction and Tokata” Composition

The purpose of the work is to define and specify the folklore-jazz narratives of the transformational-interpretive authorial concept of Volodymyr Hodlevskyi in the composition “Introduction and Toccata”, to propose an algorithm for the introduction of the latest artistic possibilities when mixing folklore and jazz, as a promising trend of the modern musical environment. The research methodology consists in considering analytical and systematic approaches to reveal the main principles and methods of applying folklore and jazz in compositional practice, as well as in approbation of the influence of the folklore-jazz direction on the artistic and performing aspect of the modern accordion and legend art of Ukraine in the first quarter of the 21st century. Scientific novelty. For the first time, the analysis and approbation of the transformative-interpretive author's concept of Volodymyr Hodlevskyi was conducted on the example of the author's composition “Introduction and Toccata”; the capacity and universality of the artistic and stylistic content of a certain author's composition are considered; new ideas and perspectives are proposed regarding the disclosure of the author's transformative-interpretive conceptual thought in the mixing and synthesis of folklore and jazz. Conclusions. Folk-jazz narratives of the modern transformative-interpretive author's concept of Volodymyr Hodlevskyi’s “Introduction and Toccata” consist in the introduction, improvement, growth and adaptation of modern artistic possibilities by mixing folklore, as a stronghold of traditional and stable ornamentation of cultural heritage, and jazz – modern, contemporary and the newest musical continent, which constantly needs development and modification in the prism of the improvised content of the present and transcription into the future cultural and artistic space.

Synthesis of Arts by means of Sculpture Forms

The purpose of the work is to characterise the syncretism of sculptural forms in the development of monumental Ukrainian sculpture; emphasise the national features of the development of national sculpture on the example of the works of modern Ukrainian sculptors. The methodology of the work consists in the principles of holistic and systemic approaches to the study of the synthesis of arts in the sculptural forms of Ukrainian artists. An analytical method was applied to study scientific approaches to the synthesis of arts, as well as an artistic-stylistic method, as well as a system-functional method to the structuring of artistic works as a phenomenon of modern monumental sculpture. The scientific novelty of the study consists in the discourse on the synthesis of arts in the art history environment, characterising some works of art that belong to the category of monumental sculpture. Conclusions. It should be noted that in the Ukrainian art space there is a synthesis between classical forms and intermedia installations, which creates a complex and multi-layered context for modern artists. The perception of time, space and material becomes plastic and changeable, and this, in turn, stimulates the development of new aesthetic forms. Sculptural images have a significant influence on the formation of styles of young artists, where the emphasis is not only on silhouettes, but also on specific elements originating from various forms. Artists build associative visual sequences, embodying unrealistic, yet deeply symbolic images that resonate with viewers on an emotional level. In the examples from the workshops you mentioned, we see how a variety of materials and art forms and execution methods are used to create coherent and complete images that reflect the synthesis of different arts. The theme of the synthesis of arts in different sculptural forms, which sometimes seem completely incompatible, is indeed one of the most relevant for research.

Deliberation through contestation: EU investments in cultural and artistic spaces beyond the EU

ABSTRACT The role of culture in democratization processes has increasingly been emphasized by the EU. Insisting on the value of culture for peaceful inter-community relations, the European Commission argues that cultural and artistic spaces can function as spaces for deliberation facilitating alternative engagement with politics through debate, education and free expression. The need for such spaces has become more urgent in a time in which democracies have come under pressure. This article examines how civil society actors in the Western Balkans create spaces of deliberation by engaging in EU funded cultural initiatives. In the projects that are being developed, civil society actors experiment with different forms of community-based management of resources and co-production, opening up new perspectives for social and political transformation. Their insistence to generate radical imagination through culture and arts and to create instances in which a different world can be prefigured has led to a boost of citizen participation in cultural projects which resulted in the emergence of ‘counter-public’, self-managed, post-Yugoslav spheres. In indirect, unexpected and contradictory ways, the EU funding schemes are both subject as well as facilitators of the discussions held at these spaces adding new dimensions to European democratization processes.

Main routes and attractions of Crimea in the sphere of art tourism

This article examines the key routes and attractions of Crimea, which play a significant role in the development of art tourism on the peninsula. Crimea, with its rich historical and cultural heritage, attracts artists, writers and art lovers from all over the world. In the article, we analyze the most interesting points, such as: Bakhchisarai, Yalta, Sevastopol and Simferopol, where art galleries, museums, plein airs and cultural events are concentrated. Particular attention is paid to places of nature that inspired famous artists, as well as modern art spaces that contribute to the development of creative initiatives. During the study, we note the impact of art tourism on the economy of the region and its potential for the sustainable development of the cultural environment of Crimea. The article also includes recommendations for organizing cultural routes for tourists, taking into account the artistic context, which contributes to immersion in the unique atmosphere of Crimean art.

ОППОЗИЦИЯ «ВЕРХ – НИЗ» В РАННЕЙ ЛИРИКЕ К. Д. БАЛЬМОНТА

The article is devoted to the study of the specifics of the artistic world of K. D. Balmont as a secondary reality that projects the author’s worldview and value system. In the course of the study, the implementation of the mental opposition “top — bottom” is considered as the construction of an axiological vertical that determines the nature of the artistic space in general and its main varieties (real, astronomical, oneiric, mythological, folklore and syncretic) in particular. The symbolism of the “top” appears in the early lyrics of K. D. Balmont not only as a spatial, but also as a value guideline, reflecting the lyrical subject’s desire for higher truths and understanding of the integrity of the universe. “Bottom” is associated with a gloomy “wordlessness” and generates a desire to change space. At the same time, the author’s model of the world, which includes “upper” and “lower” spaces, is a dynamic system within which their confrontation occurs. The intentions of the “bottom” tend to spread to the world of the “top,” however, the axiological comprehensiveness of the latter, overcoming the opposition “temporary — eternal,” makes it possible to draw a conclusion about the author’s ideological attitudes. The spatial vertical is explicated through images of human habitation, plains, forests, swamps, on the one hand, and the sky, mountain and tree peaks, moon and sun, on the other, as well as solar and lunar rays connecting the “poles” of the poet’s artistic world.

THE POETICS OF SPACE IN LITERARY WORKS

This article explores the poetics of space in the literary works of Fyodor Dostoevsky, Franz Kafka, and Nazar Eshankul, focusing on its forms and characteristics. The comparative analysis of these writers’ works reveals distinct approaches to the creation of artistic space. Additionally, the stylistic methods employed by each author in shaping the narrative space are examined. The study also emphasizes the unique aspects of the poetics of space in prose compared to other literary genres.

Забавные народные истории об умниках Южного Вьетнама: развитие и особенности жанра

The article presents a relatively new genre of South Vietnamese folk funny stories about wise men called "truyen trang", which is literally translated from Vietnamese as tales about wise folk wits, and has not yet been sufficiently studied by Vietnamese folklorists. The author explores South Vietnamese tales about a birdcatcher named O from Ben Tre province (26 tales) and tales about Uncle Ba Phi from the Ca Mau region, which is located in the extreme south of Vietnam (54 tales). Their typical plot structures, basic techniques of composition and organization of artistic space are explored. A comparative analysis of Chuyen Trang tales with similar tales from the northern and other regions of Vietnam is carried out. This article is the first step towards getting acquainted with the genre of funny stories about truyen trang smart guys, which became widespread in South Vietnam. For the first time, it examines the history of the emergence of this genre, its development and features.

The artistic space in the fantastic story with the prerequisites of O.I. Senkovsky's fantasy "Satan's Big Exit"

The artistic space in the fantastic story with the prerequisites of O.I. Senkovsky's fantasy "Satan's Big Exit"

Research on The Application of Interactive Design in Subway Public Art

China's urbanization is developing rapidly, and subway space, as an important part of urban construction, is receiving more and more attention from society and the government. The subway has alleviated the city's traffic congestion problem to the greatest extent, and has made rational use of the city's public space system. Public art in underground space has also become a window for urban cultural propaganda. Underground space is transforming from a functional space to a humanistic art space. In recent years, China's subway public art has developed rapidly and presented a diverse state, but there are still some common problems, such as the passive and single communication between space art and passengers, the lack of a certain degree of artistic publicity, and the failure to better meet people's current needs for humanistic art.

Dual-Axis Worship Space of Buddha, Dharma, and Ancestors in Huayansi, Western Capital: The Liao Dynasty’s Political and Diplomatic Context (10th–11th Centuries)

The Huayansi 華嚴寺, situated at the frontier stronghold of the Liao Dynasty in the Western Capital, is a significant royal temple that preserves two main halls from the Liao and Jin Dynasties to this day. Through a systematic examination of the Liaoshi 《遼史》 and the related literature, this study offers a novel interpretation of the east–west dual-axial layout of the Huayansi and its historical significance. It further discusses the integral artistic space of the Buddha and the Dharma within the Bhagavata Scriptures Hall 薄伽教藏殿, which shapes the spiritual realm of the Western Pure Land, thereby repositioning and enhancing the historical value of the Bhagavata Scriptures Hall. The article elucidates the political and cultural core elements embedded within the formation of the parallel axes of the Bhagavata Scriptures Hall and the Mahavira Hall, which are closely associated with three pivotal years in the Liao Dynasty: 1038, 1044, and 1062. This not only reflects the grand historical context of the Liao Dynasty’s domestic governance and foreign policy during the 10th and 11th centuries but also encapsulates the rich and diverse religious beliefs and cultural traits of the Khitan 契丹 people. The axis space of the Bhagavata Scriptures Hall, constructed earlier during the reign of Xingzong 興宗 to house the Liao Canon 《遼藏》, along with the architectural complex of the Huayansi—named and commissioned by Emperor Daozong 道宗 24 years later—collectively establishes a dual-axial worship space at the Grand Huayansi, sanctified by the triad of the Buddha 佛, the Dharma 法, and the Ancestors 祖. This underscores the Liao Dynasty’s political objectives of deterring hostile states and ensuring national security within the framework of Buddhist veneration and ancestor worship.

The Body and the Gallery: Cross Exhibition Review of Sarah Lucas: HAPPY GAS, Women in Revolt!, and If Not Now, When?

From autumn 2023 to spring 2024, several of London's galleries showcased the works of contemporary women artists, including Sarah Lucas and Helen Chadwick. This review critically examines three key exhibitions: Women in Revolt! and Sarah Lucas: HAPPY GAS at Tate Britain, and If Not Now, When? at Saatchi Gallery’s Season on Sculpture. As the exhibitions highlight themes of identity, resilience, and empowerment, particularly focusing on the female body as a powerful medium of expression, this review explores how women artists utilise the female body in contemporary art as a form of resistance against traditionally repressive, male-dominated art practices. The female body, a common feature in feminist art, is often used as a symbol of rebellion, with artists asserting control and autonomy over their bodies through their work. By occupying these contemporary art spaces, these artists affirm their positions within both the public sphere and the broader art discourse. This cross-exhibition review delves into the current renaissance of the gallery space as a site of resistance, examining its contributions to wider feminist discourses and art practices.

Method Of Acting Training At The Art Space Foundation In Tuban District

The training method for an actor is the first step that becomes an important part of the success of a theater performance. The right training for actors is training that can develop their potential, such as the actor training conducted by the Ruang Seni Foundation in Tuban Regency. Actor training conducted by the Ruang Seni Pribumi Foundation is carried out once a year and is attended by high school / junior high school / high school theater communities in Tuban Regency. The research method used is qualitative with a qualitative descriptive approach that uses data collection techniques in the form of direct observation, structured interviews and field documentation in the form of photographs. Researchers used triangulation of sources and techniques to test the validity and truth of the research. The results showed that the Ruang Seni Pribumi Foundation in the acting training conducted absorbed Constanin Stanislavsky's theory of acting from 15 stages into 5 stages to make it easier for trainees to understand the concept of playing a role for an actor. The results of the application of the acting training method can be seen in the performance of actors in portraying characters when participating in festivals and winning, as well as in the best presenter category and the best actor and actress nominations.

The Human Condition in the 21st Century: Body and Architectural Space in Contemporary Art

Architectural practices that sustain economic power structures often overlook the complexity of place, prioritizing rationality and utility for funding while perpetuating issues like climate crises and income inequality. In contrast, art offers critical perspectives unconstrained by immediate practicality. This research examines how contemporary artists understand and create space to reach a spatial design approach that activates subjects and fosters new connections between humans and non-humans. In the scope of this research, seven contemporary artists who produce artworks related to either the body or space have been chosen. The discourses of artists exploring the body-space relationships serve as primary sources. Two methods are employed: logical argumentation and analysis by analogy. The latter involves visualizing the analysis of textual discourses through messy word maps to extract insights from artists’ concepts and tactics. “Artist topographies” contribute to a collective “cognitive topography,” revealing commonalities around themes of exploitation, oppression, profit, borders, otherness, agency, and complexity. The conclusion presents suggestions for an alternative spatial design approach based on the discourses and cognitive topography.

“The urge to tell and its consequences”: women’s memoirs of schizophrenia and schizoaffective disorder

Purpose This paper aims to explore the efforts of four American women living with psychosis to chart their recovery process in published memoirs. Design/methodology/approach This paper looks at the different types of stigma that the patient-authors claim to encounter. Findings The author discusses the impact that the patient-authors see stigma as having on their recovery, and why they need artistic spaces to express themselves. Originality/value The memoirs offer a space for the women to revisit their memories of psychosis, and to achieve at least a partial acceptance of these experiences.

Eksplorasi Sosial dalam Seni: Proses Kreatif Komunitas FORMMISI-YK di ISI Yogyakarta

The ability and the same vision of each member spurs the growth of the arts space which can become a new platform and means of self-actualization. Communities can be the forerunner to the birth of creative and innovative human resources. The Formmisi-Yk community in ISI Yogyakarta is a model for creating creative people. How Formmisi-Yk maintains their creative process is a question that needs to be further investigated because it relates to efforts to maintain their existence. This research was conducted using a qualitative-descriptive method based on the theory of Vera L. Zolberg and Howard S. Becker which explains how the construction of art is influenced by various supporting agents. Things that are a factor in efforts to maintain the existence of Formmisi-Yk are a sense of kinship, similar educational backgrounds, work competence, establishing good relationships and embracing generations who will continue Formmisi-Yk.

Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic

ABSTRACT This paper discusses the development of artistic collaboration during the global lockdown, related to the COVID-19 pandemic. The art work under study involves the author’s practices of ecological sound art and intercultural collaboration in collaboration with Canadian composer and improviser John Oliver. A primary outcome of this work was the album Isolation Journal, released in 2020, in the midst of the pandemic. One feature of Isolation Journal was how it revisited site-specific recordings made in Vietnam, on the countryside north of Hanoi, for an installation made by Östersjö in collaboration with Nguyễn Thanh Thủy and Matthew Sansom [Östersjö, Stefan, and Thanh Thủy Nguyễn. 2016. “The Sounds of Hanoi and the After-Image of the Homeland.” Journal of Sonic Studies 12. https://www.researchcatalogue.net/view/246523/246546]. Through remote interactions, and by building a complex sampler instrument using Östersjö's recordings of Aeolian đàn đáy, a traditional Vietnamese lute, as well as field recordings from the site, Oliver and Östersjö created the album Isolation Journal through remote interaction. This in turn became a fundamental building block when the author's Vietnamese/Swedish group The Six Tones took the initiative to develop a scene for telematic performance at Manzi Art Space in Hanoi. This series started out with a concert with John Oliver, The Six Tones and guest performers from Hanoi in July 2020. Building on audio and video documentation, as well as on qualitative interviews with the participating co-performers, an analysis of the emergence of discursive voice [Gorton, David, and Stefan Östersjö. 2019. “Austerity Measures I: Performing the Discursive Voice.” In Voices, Bodies, Practices: Performing Musical Subjectivities, edited by Catherine Laws, William Brooks, David Gorton, Nguyễn Thanh Thủy, Stefan Östersjö, and Jeremy J. Wells, 29–79. Orpheus Institute Series. Leuven: Leuven University Press] is drawn from these two internally linked artistic projects. The paper develops the analytical framework of tele-copresence, a synthesis of the contrasting concepts of telepresence and copresence, as a means for analysing the virtual presence which emerges through such remote musical interaction.

OIKONIMICON OF LESYA UKRAINKA’S DRAMATURGY

The article analyzes the semantic features of the oikonyms of Lesya Ukrainka’s drama. The main focus is on connotations acquired by oikonyms in the artistic expression of Lesya Ukrainka. Oikonyms, i.e. proper names of settlements, are historical and cultural heritage, since they reflect historical events, life, culture of the people, as well as their customs and traditions. Semantic, derivational and stylistic features of oikonyms depend on the individual characteristics of the author of the work, genre specificity, time of creation, literary direction and method. The purpose of the article is to analyze the functional load and semantic content of oikonyms that occur in Lesya Ukrainka’s dramatic works. The object of the research is the toponymic vocabulary in Lesya Ukrainka’s drama, the subject is the semantic and functional features of oikonyms as a component of the artistic and figurative system of the work. During our research, a number of methods were used, among which the descriptive method (used to analyze factual material), the quantitative counting method (to indicate the number of oikonyms in the work of art), and elements of the component analysis method, have a leading role. Oikonymicon in the artistic space of Lesya Ukrainka’s dramas is an active artistic technique that illustrates the author’s voice, the author’s concept of the characters and of the work in general, an important factor in character formation and plot development. And even the absence of oikonyms in the context of drama or its muted function becomes the manifestation and shade of the most important thing that the dramatist lays into the artistic background of the work. This helps reveal other problems that the author considers too important and for the sake of which gives life to her poetic masterpieces in pain and exhaustion, which suffered such a difficult stage fate and which are only now being read to full extent by a Ukrainian reader. We define the semantic study of the oikonymy of modern writers as the further direction of our exploration.

Pola Perilaku Pengunjung terhadap Penggunaan Fasilitas di Orasis Art Space Surabaya

The application of behavioral concepts in the form of privacy, and public space is present at Orasis Art Space. The pattern of visitor distribution causes social interaction for visitors to do activities at Orasis Art Space. The pattern of visitor distribution has a great influence on the number of visitors and the quality of social interaction created in Orasis Art Space. This research aims to gain a deeper understanding of the various elements of interior design, from lighting, spatial layout, use of color, to the arrangement of artwork exhibitions, and how the combination of all these factors can create an atmosphere that influences visitors' perceptions, emotions, and interactions with the artworks on display. The methodology in this study uses a qualitative descriptive approach. The qualitative descriptive approach aims to describe the current situation with observation techniques and data collection methods using the Person Centered Mapping method, which is used to determine the activity patterns of a group of people in the tendency to spread patterns of social interaction and space utilization. or grouping their behavior in a certain situation, time and place. The results of this study are to describe the principles and characters of behavioral architecture, and identify the relationship between usage behavior and design in Orasis Art Space.