Myth as narrative form in contemporary Russian art

神话作为当代俄罗斯艺术的叙事形式

• 批准号: 457323374
• 负责人: Privatdozentin Dr. Viola Hildebrand-Schat
• 金额: --
• 依托单位: Kunstgeschichtliches Institut
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/457323374?language=en
• 关键词: Myth; narrative; form; contemporary; Russian

Myth as a conceptual form of contemporary art will be examined using Russian art as an example. The motives that motivate artists to create their own myths in different places and under different conditions will be shown. Beyond individual disposition, socio-political as well as technological-media conditions are to be assumed as prerequisites for the creation of myths. Last but not least, in connection with information and communication technologies, phenomena occur which inseparably merge reality and fiction. Parallel and illusory worlds or fake news are some manifestations of border dissolution. The crossing and dissolution of borders reflect in a similar way the myths of the artist's own work that are at our disposal. The aim here is to examine to what extent the myths can be read as a reaction to the new phenomena - in accordance with what Schmidt said for the digital samizdat - and to what extent they are located in a tradition that can be traced back to the non-conformist art of the Soviet era via a phenomenon that can be described as a flight from reality or escapism, or even beyond that to the utopias of the avant-garde of the late 19th and the first decades of the 20th century.The question that follows concerns the specificity of the myth in a contemporary context, since intermediality references that combine written and sign language with pictorial forms are currently becoming conspicuous. The linking of medially differentiated forms of expression leads to specific objects that can expand into space-consuming installations. Corresponding with the medial crossing of boundaries is the dazzling role that artists play within the cosmos they conceive. That of the collector, the archivist or the archaeologist only insufficiently outlines the artistic self-location. No less striking is the materiality linked to the myths inherent in the artist's own work. Another aspect of the investigation into the significance of myth as a narrative of contemporary art will be the role of the language of the material and the symbolism inherent in the material in the constitution of the artist's own myths.The objects of investigation are 1) the new edition of the myth and myth-characterizing qualities as a narrative of contemporary art creation in the Russian context, 2) its conceptual and material transformation, thus a material specificity supporting the mythical narrative, 3) the prerequisites and points of reference of contemporary concepts in forms of writing and art of the late 19th and 20th centuries, and 4) similarities and differences of mythization in Russian and international art creation, from which explanatory modes of myth formation in art are derived.

神话作为当代艺术的一种概念形式，将以俄罗斯艺术为例进行研究。艺术家在不同的地方和不同的条件下创造自己的神话的动机将被展示。除了个人的性格，社会政治以及技术媒体的条件被认为是创造神话的先决条件。最后但并非最不重要的是，在信息和通信技术方面，出现了现实与虚构不可分割地结合在一起的现象。平行和虚幻的世界或假新闻是边界解体的一些表现。边界的跨越和消解也以类似的方式反映了艺术家自己作品的神话，这些神话是我们可以支配的。这里的目的是研究这些神话在多大程度上可以被解读为对新现象的反应--根据施密特对数字地下出版物的说法--以及它们在多大程度上位于一种传统之中，这种传统可以通过一种可以被描述为逃离现实或逃避现实的现象而追溯到苏联时代的不墨守成规的艺术，或者甚至超越这一点，到19世纪末和世纪前几十年的先锋派乌托邦。接下来的问题涉及到神话在当代语境中的特殊性，因为联合收割机将书面和手语与图像形式结合起来的中介性参考目前正变得越来越明显。中间差异化的表达形式的联系导致特定的对象，可以扩展到空间消耗装置。与边界的中间交叉相对应的是艺术家在他们所构想的宇宙中所扮演的令人眼花缭乱的角色。收藏家、档案管理员或考古学家的身份，只是不足以勾勒出艺术的自我定位。同样引人注目的是与艺术家自己作品中固有的神话联系在一起的物质性。研究神话作为当代艺术叙事的意义的另一个方面是材料的语言和材料中固有的象征主义在艺术家自己的神话构成中的作用。研究的对象是1）俄罗斯语境下作为当代艺术创作叙事的神话和神话特征的新版本，2）它的概念和物质的转变，从而支持神话叙事的材料特异性，3）19世纪末和20世纪的写作和艺术形式中当代概念的前提和参考点，以及4）俄罗斯和国际艺术创作中神话化的异同，由此衍生出艺术中神话形成的解释模式。