Contemporary artistic trends 3222-30NA3K-NW
The subject of the classes will be the most important trends in Ukrainian art from the 1980s and 1990s to the present day. The most important achievements of Ukrainian art will be discussed in detail, as well as the difficulties it has struggled with over the decades.
Thematic blocks:
The turn of the 1980s and 1990s - art at the time of transformation
- political context - the collapse of the USSR, independent Ukraine, the period of systemic transformation
- "artistic melting pot" - the influx of new artistic tendencies, the development of mass culture
- a new organization of artistic life: the first contemporary art centers in Ukraine, an art curator,
- main artistic trends, trends and directions (non-figurative painting, social photography, media art, performance,
-artistic groups (short description, the most important centers)
"Crazy 90's" in Ukrainian art
- Shock and provocation: manifesting freedom, settling accounts with the heritage of totalitarianism, searching for a new definition of identity.
- Activities of the most important artistic groups of the 90s
a) "Żywopysnyj zapowydnyk" and a return to the tradition of the Avant-garde
b) the harsh reality of Kharkiv social photography
c) games with history and provocations of "Fond Mazocha"
Postmodernism and trans-avant-garde in Ukrainian art
- postmodernism in Ukrainian. The specificity of Ukrainian postmodernism in literature and art
- major art centers,
- the tradition of Odessa postmodernism
- trans-avant-garde in Kiev painting
- the work of Arsen Sawadov
- "pop painting" by Vasily Cagolov
The body as a political and social metaphor in Ukrainian contemporary art
Carnality in art. Review of selected works and artistic projects in terms of using the body as a metaphor:
a) Arsen Sawadov's photographic series
b) Boris Mykhailov's photographic series
c) selected paces of Serhiy Bratkov
d) body images in the works of Mykyta Kadan and Oleksandr Wołodarski
Art and revolution: artists against the Orange Revolution, artists against the Maidan and the war in the East of Ukraine
-art "in action" - art as an immediate reaction to events - REP group and the Orange Revolution
- artists in Maidan
- the use of national symbols in selected artistic forms
- "street art", mural, poster, graffiti
Student workload:
30 hours in the classroom - 1 ECTS
30 h preparation of the project and its presentation - 1 ECTS
20 hours of preparation for classes (reading and homework) and 10 hours of preparation for passing - 1 ECTS
Type of course
Mode
Prerequisites (description)
Course coordinators
Learning outcomes
K1_W08 student knows and understands the history and cultural context of Ukraine
K1_U11 the student is able to independently plan and implement his own learning throughout life
K1_U12 the student is able to plan and organize work individually and in a team
K1_K01 the student is ready to critically assess their knowledge and received content
Assessment criteria
The condition for passing the subject and admitting to the final test is:
systematic preparation for classes of the assigned material (checked during 2 mid-semester control tests) - continuous assessment, shaping 50%
conducting and a written presentation of an individual research project 50%
The subject ends with a written exam according to the following criteria presented in the form of percentage thresholds
60% - 68% - 3 (satisfactory)
69% - 77% - 3+ (satisfactory plus)
78% - 86% - 4 (good)
87% - 93% - 4+ (good plus)
94% - 97% - 5 (very good)
98% -100% - 5! (very good grade with an exclamation mark)
Assessment criteria:
- achievement of the assumed learning outcomes covering all the essential ones
aspects - 5.0 (very good)
- achievement of the assumed learning outcomes covering all the essential ones
aspects with a small number of errors or inaccuracies - 4.5 (good plus)
- achievement of the assumed learning outcomes, omitting some (less
important) aspects - 4.0 (good)
- achievement of the assumed learning outcomes, omitting some of the essential ones
aspects and with significant inaccuracies - 3.5 (satisfactory plus)
- achievement of the assumed learning outcomes disregarding important aspects
or with serious inaccuracies - 3.0 (satisfactory plus)
- failure to achieve the assumed learning outcomes - 2.0 (unsatisfactory
The student has the right to 3 unexcused absences, each subsequent one requires a justification.
Classes during which the student was absent may be included in the lecturer's duty hours.
Exceeding excused and unjustified absences for 50% of classes may be the basis for failing the course.
Bibliography
Kluszczyński Ryszard, Awangarda. Rozważania teoretyczne, Łódź 1997.
Komar Żanna, Bohdanowa Julia, Secesja we Lwowie, Kraków 2014.
Książek Andrzej, Sztuka przeciw sztuce. Z teorii awangardy XX wieku, Warszawa 2000.
Leinwand Aleksandra, Sztuka w służbie utopii. O funkcjach politycznych i propagandowych sztuk plastycznych w Rosji Radziecikej lat 1917-1922, Warszawa 1998.
Szkołut Tadeusz Awangarda, neoawangarda, postawangarda, Lublin 1999.
Басанець Теняна, Лімінальні зони в образотворенні Одеси, [в:] Мистецька мапа України. Одеса, Київ 2009, с. 16-21.
Український модернізм 1910-1930, ред. Олександр Климчук, Київ, 2006,
Вишеславський Гліб, Нонконформізм: Андеґраунд та "неофіційне мистецтво" [в:] „Художня культура. Актуальні проблеми” 2006/3, Київ, c. 171-198.
Котова Oльга, Мистецький нонконформізм Одеси 1960-1980 [в:] „Сучасне мистецтво”, 2013/9, Київ, с. 55-60.
Павельчук Іванна, Витоки абстрактної творчості Карла Звіринського, в: „Сучасне мистецтво”, 2009/3, Київ, с. 366-370.
Петрова Ольга, Третє око. Мистецькі студії, Київ 2015.
Сидоренко Віктор, Візуальне мистецтво від авангардних зрушень до новітніх спрямувань: Розвиток візуального мистецтва України ХХ—ХХІ століт, Київ 2008.
Скляренко Галина, Нова хвиля і українське мистецтво кінця ХХ століття, [в:] „Сучасне мистецтво. Науковий збірник”, 6/2009, c. 188-196.
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: