title: Curatorial Strategies in Saint-Petersburg Contemporary Art. Some Examples
metadata.name: dc.contributor.author
metadata.value: Ershov, Gleb Yu.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2020-09-22T15:46:20Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2020-09-22T15:46:20Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2020-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Ershov, Gleb. “Curatorial Strategies in Saint-Petersburg Contemporary Art. Some Examples”. Vestnik of Saint Petersburg University. Arts 10, no. 3 (2020): 419–434.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2020.303
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/19545
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Contemporary art within the last thirty years has developed new types and forms of representation. This process was strongly supported by the emergence of the institution of independent
  curatorship. The phenomenon of an independent curator of the actual art scene has been determined by certain circumstances. The first is, if not paradoxical, a poorly structured market
  for contemporary art. This makes it possible for curatorial initiatives to have greater maneuverability. Secondly, the flexibility of the cultural field in St. Petersburg, without a hierarchical
  framework, has allowed artists to vary the ‘palette’ depending on the concept of a project. And
  finally, the social status of the curator, not as a person of a certain profession, but as a kind of activity corresponding to the role of a free agent, or according to Harald Zeeman, “Gastarbeiter of
  spirit”. Apart from the galleries with definite commercial goals, there are many public spaces for
  the realization of curators’ projects. Moreover, there still exists a living tradition of consolidated
  artistic groups, totally prepared for representation of their activities. Aesthetic preferences, types
  of creativity, and forms of artistic activity are embodied in the choice of certain curatorial strategies. The artists themselves can work as curators, thus combining several functions. Recently,
  a new generation of curators has appeared in St. Petersburg who actively promote local art on
  the international scene. Having emerged in the 1990s, the institution of curatorship has not yet
  become a subject of comprehensive scientific research. Meanwhile, the very existence of art itself
  to a great extent depends on its representation shaped by curators’ artistic will.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 10; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: curatorial strategies
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: independent curator
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Saint-Petersburg contemporary art
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: neo-academism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: representation forms
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Curatorial Strategies in Saint-Petersburg Contemporary Art. Some Examples
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 419-434.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/19545/1/419-434.pdf
resources.format: Adobe PDF
resources.size: 654,66 kB