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Випперовские Чтения» «Классика И Современность. Отражения» 26–28 Февраля 2018 Года

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Випперовские Чтения» «Классика И Современность. Отражения» 26–28 Февраля 2018 Года МЕЖДУНАРОДНАЯ НАУЧНАЯ КОНФЕРЕНЦИЯ «ВИППЕРОВСКИЕ ЧТЕНИЯ» «КЛАССИКА И СОВРЕМЕННОСТЬ. ОТРАЖЕНИЯ» 26–28 февраля 2018 года INTERNATIONAL RESEARCH VIPPER CONFERENCE “CLASSICS AND CONTEMPORANEITY. REFLECTIONS” 26–28 February, 2018 1 ПРОГРАММА феноменов искусства, наделенных статусом «классиче- with the Apollon journal came up with the specific dis- interventions, contemporary museum increasingly ских». Будут проанализированы разные формы диалога course, which, by appealing to the museum categories, prefers extra- systematic and extra-historical caram- PROGRAM с искусством прошлого, с его классическими образцами, made the impressionist and post- impressionist painting bolage (J.-H. Martin) view that assumes the maximum их творческий потенциал, функции и цели, границы их acceptable by the educated public. The problem was set scope of associations, comparisons, and interpreta- 26 ФЕВРАЛЯ, ПОНЕДЕЛЬНИК смыслообразующих и формообразующих возможностей. again after the October, when in 1918–1920 the Moscow tions. At the same time, different museums, such as ГЛАВНОЕ ЗДАНИЕ ГМИИ им. А.С. ПУШКИНА, Krasimira Lukitcheva (Russia) museum community proposed a number of alternative Louvre, Versaille, Prado, Villa Borghese, demonstrate (ул. Волхонка, д. 12) ЗАЛ 30 INTERPRETING THE CLASSICAL HERITAGE IN THEORY concepts of the new museum, where modern French art various strategies of work with contemporary mate- 26 FEBRUARY, MONDAY AND PRACTICE OF ART OF THE SECOND HALF OF THE was once again the central point of discussion (Museum rial. Evaluation of the pros and cons of international HALL 30, THE MAIN BUILDING OF THE PUSHKIN 20th — BEGINNING OF THE 21st CENTURY of Artistic Culture, Museums of the New Western Art, experience is one of the pressing problems in creating STATE MUSEUM (12, VOLKHONKA STREET) The talk will address the complex and tense context Pavel Muratov’s project of reorganization of the Muse- the concept of the 21st century museum. of understanding the problem of “the classical vs. the um of Fine Arts). 10:00–12:30 contemporary” in the second half of the 20th century: 14:00–16:30 СЕССИЯ «ВИППЕРОВСКИЕ ЧТЕНИЯ. ПРОБЛЕМАТИКА» changes in the institutional status of the art process, Александра Данилова (Россия) СЕССИЯ «КОНСТРУКТЫ ИСТОРИИ ИСКУССТВА Модератор: Ирина Баканова (Россия) hegemony of new technologies and media, emergence of СОВРЕМЕННОЕ ИСКУССТВО И ПРОБЛЕМА МУЗЕЙНОЙ И СОВРЕМЕННЫЙ ХУДОЖЕСТВЕННЫЙ ПРОЦЕСС» SESSION: VIPPER CONFERENCE. PERSPECTIVES the new art practices, and subsequent radical transfor- РЕПРЕЗЕНТАЦИИ. ОСОБЕННОСТИ ВЫСТАВОЧНОЙ Модератор: Илья Доронченков (Россия) Moderator: Irina Bakanova (Russia) mation of genre structure in the art. It will touch upon СТРАТЕГИИ SESSION: CONSTRUCTS IN ART HISTORY AND CON- the discussion in the field of art theory on the “end of Вторгаясь на территорию современного искусства, клас- TEMPORARY ART PROCESS Питер Осборн (Великобритания) art” and its escalation starting from the 1980s (A. Danto, сический музей неизбежно сталкивается с проблемой Moderator: Ilia Doronchenkov (Russia) ОСОВРЕМЕНИВАЯ КЛАССИКУ / КЛАССИЦИЗИРУЯ СОВРЕ- H. Belting, and others), and reconsideration of catego- репрезентации и поиска адекватных приемов экспониро- МЕННОСТЬ ries of the masterpiece, classics, tradition in theory and вания актуального искусства. Появление современного Наталья Сиповская (Россия) В докладе будут рассмотрены отношения между времен- artistic practice of the last decades of the 20th century, материала становится поводом для тотального пересмотра СПОР ДРЕВНИХ И НОВЫХ. РОССИЙСКИЙ ИЗВОД ными и периодическими категориями классического, as well as the new understanding of the norm, shaping выставочных стратегий и методов экспонирования. Доми- В 1694 году, 30 августа, во Французской академии состоя- модернизма и современного искусства. Отталкиваясь of alternative range of art phenomena endowed with нировавшая еще 30–40 лет назад концепция классического лось публичное примирение вождей враждующих партий от знаменитого размышления Эрнста Гомбриха на тему the status of the classical. Different forms of dialogue музея как рассказа об истории шедевров кажется безна- приверженцев классической традиции и новых воззрений. «стилистические категории истории искусства» из эссе with art of the past, its classical examples, their creative дежно устаревшей, и постепенно начинает подменяться Вряд ли участники этой полемики, вошедшей в исто- 1963 года «Норма и форма», будут подняты вопросы: potential, functions and goals, borders of their semantic принципом «документальности» (термин Н. Буррио) или рию как «Спор древних и новых», предполагали тогда, «В чем заключается истинный отличительный признак and formal possibilities will be analyzed. идеологией аутентичности момента. В то же время появ- что возделали поле для трехвековых горячих дискуссий, современности?» и «Какую он играет роль?» ление современного искусства в «классическом антураже» впервые в европейской истории создавая прецедент Peter Osborne (UK) Илья Доронченков (Россия) позволяет зрителю «сменить оптику» — прочувствовать осознанного разрыва с традицией и противопоставления CONTEMPORIZING THE CLASSICAL / CLASSICIZING НОВАЯ ФРАНЦУЗСКАЯ ЖИВОПИСЬ, СОВРЕМЕННОЕ РУС- и оценить изменения, произошедшие в самой системе ви- ей современности. Любопытно, как точно этот «древний» THE CONTEMPORARY СКОЕ ИСКУССТВО И ПРОБЛЕМА МУЗЕЯ. 1900–1910-е ГОДЫ дения. Пройдя через увлечение сравнениями в 1990- е годы, теперь для нас спор отметил реперные точки и векторы This talk will reflect on the relations between the tem- Одна из центральных коллизий искусства начала отдав должное «внедрениям- интервенциям», современные дальнейших дискуссий: «искусство и власть», «искусство poral and periodizing categories of the classical, the XX века — интеграция новой живописи в классический музеи все больше отдают предпочтение внесистемному и технический прогресс», национальная проблематика, modern and the contemporary, and their rearticula- музей и, таким образом, — в художественную традицию. и внеисторическому «карамболяжному» (Ж.Ю. Мартен) свобода творчества и индивидуальность. Однако право на tion in the project of Pushkin Museum XXI. Setting out В дебатах русских модернистов и авангардистов на эту взгляду, предполагающему максимальный простор ассо- последнее (в оппозиции к совершенству мастерства и по- from Ernst Gombrich’s famous account of ‘the stylistic тему ключевым был вопрос о том, какое место в новом циаций, сравнений, интерпретаций. В то же время различ- литической ангажированности) в том споре было аргу- categories of art history’ in his 1963 essay “Norm and музее должна занять современная французская живопись. ные музеи, такие как Лувр, Версаль, Прадо, вилла Боргезе, ментом «древних». Но еще более любопытно проследить, Form”, it will ask, “Wherein lies the true difference of Накануне революции 1917 года критики круга журна- демонстрируют разнообразные стратегии работы с совре- как те же аргументы интерпретировались в последующих the contemporary?”, and “What work is it doing here?” ла «Аполлон» сформировали специфический дискурс, менным материалом. Оценка «плюсов и минусов» интерна- спорах новых «новых» с новыми «древними» в других на- который, благодаря апелляции к «музейным» категориям, ционального опыта — одна из насущных проблем создания циональных контекстах. В российском изводе, например, Красимира Лукичева (Россия) сделал живопись импрессионизма и постимпрессионизма концепции музея XXI века. в этом споре, разгоревшемся на рубеже XVIII–XIX веков, ИНТЕРПРЕТАЦИЯ КЛАССИЧЕСКОГО НАСЛЕДИЯ В ТЕОРИИ приемлемой для образованной аудитории. Проблема была Alexandra Danilova (Russia) «новые», ратовавшие за утверждение национальной лите- И ПРАКТИКЕ ИСКУССТВА ВТОРОЙ ПОЛОВИНЫ XX – поставлена заново после Октября, когда в 1918–1920 го- THE CONTEMPORARY ART AND MUSEUM REPRESENTA- ратуры, попирали «лживый век», вновь «взобравшись на НАЧАЛА XXI ВЕКОВ дах московским музейным сообществом был предложен TION. ASPECTS OF THE EXHIBITING STRATEGIES плечи» античной пасторали. В докладе будет рассмотрен сложный и напряженный ряд альтернативных концепций нового музея, в котором Entering the territory of contemporary art, the clas- Natalya Sipovskaya (Russia) контекст осмысления проблемы «классика — современ- современная французская живопись снова оказалась sical museum inevitably encounters the problem of QUARREL OF THE ANCIENTS AND THE MODERNS. ность» во второй половине прошлого столетия: изме- центральным объектом дискуссий (Музей художествен- representation and search for adequate methods of RUSSIAN VERSION нения в институциональном статусе художественного ной культуры, Музеи нового западного искусства, проект exhibiting contemporary art. Contemporary material August 30, 1694 the French Academy held a public rec- процесса, возникновение гегемонии новых техник и тех- реорганизации Музея изящных искусств Павла Муратова). becomes the reason for a total reconsideration of exhi- onciliation of the leaders of the warring parties of the нологий, новых художественных практик; радикальное Ilia Doronchenkov (Russia) bition strategies and methods. The concept of a classic adherents of the classical tradition and the new views. перерождение в связи с этим видовой и жанровой струк- NEW FRENCH PAINTING, CONTEMPORARY RUSSIAN museum as a narrative of the history of masterpieces It is unlikely that the participants of this debate, which туры искусства этого периода. Будет рассматриваться ART AND THE PROBLEMATICS OF THE MUSEUM. that was predominant 30–40 years ago, today seems was later called The quarrel of the
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