Матриця творчої свободи
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Date
2018
Authors
Петрова, Ольга
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Abstract
Статтю присвячено процесу переходу мистецтва від соцреалістичної нормативності до творчої незалежності (1980-ті роки). Художні процеси осмислено як "геологічний зсув", злам стереотипів. Життя кількох поколінь художників за принципом "подвійного стандарту" породжувало в їхній
творчості неоднозначні метафори, закодовані образи, часто гірку іронічну клоунаду. Показано діалектику драматичної моделі художнього мислення в аурі Чорнобильської катастрофи. 1987 рік був
особливим і неординарним завдяки інтенсивному пробудженню громадської та творчої активності.
Позначено перші конкретні події нонконформізму, який вийшов з підпілля. Унаочнено досвід формування незалежних художніх угруповань 1980-х років. Друга половина 1980-х років була часом компромісу, на який влада йшла, щоб не втратити ролі керманича. Підупала КПРС з тезою про "соціалізм з людським обличчям" та ВЛКСМ виявляли небачену до того лояльність до молоді. Балансуючи
над історичною прірвою, влада робила відчайдушні кроки, аби стримати лідерство. Задокументовано смерть методу соцреалізму.
The article is devoted to the process of moving art from socialist realism to creative independence (in 1980s). Artistic processes are conceived as a “geological shift”, a scum of existing stereotypes. The article shows the dialectic of a dramatic model of artistic thinking in the aura of Chornobyl catastrophe. The first concrete events of nonconformism, which came out of the underground, have been emphasized. The author reveals the experience of the formation of independent artistic groups of the 1980s as well as documents the death of the socialist realism method. Andriivskyi Uzviz street, which had become an ordered, commercialized street, in 1982 – early 1990s was the true “laboratory” of artistic innovations and spontaneous initiatives. All those who created the new Andriivskyi Uzviz, actively dreamed and made everyday efforts to shape the image of Kyiv of the European type. Finally, at the beginning of 1988, progressive art critics of Moscow organized the All-Union Theoretical Conference on the subject “Soviet Fine Arts and Art Studies in the Context of Restructuring”. The initiator of the event was the “Section of Art History of Moscow”, which at that time was headed by Herman Nedoshivin, but his real motor was Alexander Morozov. The second half of the 1980s was a time of compromise, which the government had to tolerate in order not to lose the role of the helmsman. USSR Communist Party’s thesis of “socialism with a human face” along with “Komsomol” showed unprecedented loyalty to the youth. V. Khamatov’s activity is an example. Balancing over the historical abyss, the authorities made desperate steps to hold back the leadership. Censorship was weakened in the press.
The article is devoted to the process of moving art from socialist realism to creative independence (in 1980s). Artistic processes are conceived as a “geological shift”, a scum of existing stereotypes. The article shows the dialectic of a dramatic model of artistic thinking in the aura of Chornobyl catastrophe. The first concrete events of nonconformism, which came out of the underground, have been emphasized. The author reveals the experience of the formation of independent artistic groups of the 1980s as well as documents the death of the socialist realism method. Andriivskyi Uzviz street, which had become an ordered, commercialized street, in 1982 – early 1990s was the true “laboratory” of artistic innovations and spontaneous initiatives. All those who created the new Andriivskyi Uzviz, actively dreamed and made everyday efforts to shape the image of Kyiv of the European type. Finally, at the beginning of 1988, progressive art critics of Moscow organized the All-Union Theoretical Conference on the subject “Soviet Fine Arts and Art Studies in the Context of Restructuring”. The initiator of the event was the “Section of Art History of Moscow”, which at that time was headed by Herman Nedoshivin, but his real motor was Alexander Morozov. The second half of the 1980s was a time of compromise, which the government had to tolerate in order not to lose the role of the helmsman. USSR Communist Party’s thesis of “socialism with a human face” along with “Komsomol” showed unprecedented loyalty to the youth. V. Khamatov’s activity is an example. Balancing over the historical abyss, the authorities made desperate steps to hold back the leadership. Censorship was weakened in the press.
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Keywords
московська прогресивна критика, виставка без журі, Чорнобильська катастрофа, нова хвиля, 1987 рік, стаття, Moscow progressive criticism, an exhibition without a jury, Chornobyl disaster, New Wave, 1987, Soviart
Citation
Петрова О. М. Матриця творчої свободи / Петрова О. М. // Магістеріум. Культурологія. - 2018. - Вип. 71. - С. 71-77.