October 31, 2014 (Friday)
4.1. Session IX “Harmony of the Classics under the Arches of Old Rus’”
10:00–15:00, St. Petersburg State University, The Twelve Colleges Building, Petrovskii Hall (St. Petersburg, Universitetskaya emb., 7–9)
Working languages: Russian, English
Time limit for papers — 15 minutes
Chairpersons: Valentin A. Bulkin, Evgenii V. Khodakovsky
4.1.1. Denis D. Yolshin (State Hermitage Museum, Russia) Meander in the Brick Decoration of Old-Russian Churches in Premongolian Time
4.1.2. Daria A. Skobtsova (Interregional Agency for Scientific Restoration of Works of Art, Russia) Premongolian Monumental Painting of Smolensk
4.1.3. Aleksandra V. Trushnikova (St. Petersburg State University, Russia) Architectural Typology of the Old-Russian Single-aisled Domed Churches in Premongolian Period
4.1.4. Anna A. Slapinia (Russian State University for the Humanities, Russia) Secular Themes in the Decoration of Novgorodian Archaeological Objects, Mid 11th – Beginning of the 14th Centuries: Iconographic Typology and Analogues
4.1.5. Aleksei M. Salimov (Branch of State Academy of Slavic Culture in City of Tver, Research restoration Centre “Tver’proektrestavratsiia”, Russia) The Archangel Mikhael Cathedral of Late 14th Century in Staritsa and Medieval Architecture of the North-Eastern Rus’
4.1.6. Petr G. Ershov (Russian Institute of Art History, Russia) On Studying the History of Renaissance Influences on Russian Architecture of the First Third of the 16th Century
4.1.7. Nina V. Kvlividze (Russian State University for the Humanities, Russia) Cycle of Miniatures of “Alexandria” as a Part of the Illustrated Chronicle of the Tsar Ivan the Terrible
12:00–12:30 Break
4.1.8. Elena A. Popova (Research Library of the Russian Academy of Arts, Russia) Frescoes of Ancient Pskov of the Last Quarter of the 14th – the Beginning of the 15th Centuries
4.1.9. Mikhail Milchik (Research Institute “Spetsproektrestavratsiia”, Cultural Heritage Board of the Government of St. Petersburg, Russia) What Was the Origin of the Recensions in the Old-Russian Iconography of the Solovetsky Monastery?
4.1.10. Vsevolod M. Rozhniatovskii (Institute of Television, Business and Design, Russia) Light Effects in the Decoration Program of Resurrection Cathedral (17th с.) in Tutaev near Jaroslavl
4.1.11. Tat’iana E. Samoilova (Moscow Kremlin Museums, Russia) Patronal Icon of Ioann V Alexeyevich. On the Formation of a New Iconographic Recension
4.1.12. Mikhail V. Stepanov (Research Institute “Spetsproektrestavratsiia”, Russia) Reconstruction of the Working Methods Employed in Building of the Church-Belfry of St. John Climacus in the Moscow Kremlin and the Ascension Church in Kolomenskoye Village
4.1.13. Rimma A. Fedotova (St. Petersburg State University of Technology and Design, Russia) The Concept of Liturgical Space and Its Connection with the Art Theory
4.1.14. Aleksei E. Filippov (Kuban State University, Russia) About Anatomical Veracity in the “Crucifixion” Subject in Russian Iconography of the 15th – Early 16th Centuries
4.1.15. Dar’ia V. Naidenova (St. Petersburg State University, Russia) The Image of St. Christopher and the Iconographic Features of the Side Altar Doors in the Late Medieval Period
4.2. Panel Discussion
“Fine Arts and Architecture within and outside the Heritage of Classical Antiquity”
“Modern Art in the Old Museum”
10:00–13:00, The State Hermitage Museum, Council Hall (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Time limit for papers — 15 minutes
Working languages: Russian, English
Chairperson: Anna A. Trofimova
4.2.1. Thomas Howe (Southwestern University, Texas, USA; Restoring Ancient Stabiae Foundation, Vesuvian Institute, Italy); Paolo Gardelli (Restoring Ancient Stabiae Foundation, Vesuvian Institute, Italy) Creating a New Image of Antiquity in the 21st Century: Restoring the Villas of Ancient Stabiae
4.2.2. Martin Dorka Moreno (Albert Ludwig University of Freiburg, Germany) Faces of Soft Power. Alexander the Great and Modern Political Discourse: the Case of Macedonia
4.2.3. Dmitrii E. Lavrov (St. Petersburg State University, Russia) Antique Influence in Palekh Lacquered Miniatures
4.2.4. Mikhail A. Busev (Research Institute of Theory and History of Art of the Russian Academy of Arts, Russia) Classical Motifs and Images in the Work of the Parisian Neoavant-Gardists: César, Arman
4.2.5. Armen Iu. Kazarian (Research Institute of Theory and History of Architecture and Town Planning of Russian Academy of Architecture and Construction Sciences; State Institute for Art Studies, Russia) The Ratio of the Classical Heritage as a Criterion for Assessing the Professionalism of the Medieval Architecture. Presentation of Europa Nostra Award - 2014 for the contribution to the preservation of the European cultural heritage given for the research “Church Architecture of the 7th Century in Transcaucasian Countries”, Category of entry: EU 2)
4.2.6. Anatolii V. Rykov (St. Petersburg State University, Russia) “Time Machines, Desiring Machines”. Theories of Regeneration in Сontemporary Art and Politics
4.2.7. Mikhail V. Ovchinnikov (Fabergé Museum, Russia) Heroic Myth in Contemporary Russian Art. The Exhibition of Boris Orlov in the Ancient Halls of the Museum of Art History in Vienna
4.2.8. Kirill A. Svetliakov (State Tretyakov Gallery, Russia) Freedom in Search of the Lost Harmony: Contemporary Art and Antiquity – Culture of a Fragment or Image System?
4.2.9. Discussion of the papers
13:00–14:00 Lunch
4.3. Discussion of the conceptual expositional projects: Louise Bourgeois, Giovanni Battista Piranesi and Art-objects within the programme of Manifesta-2014
14:00–15:00, State Hermitage Museum, Hall of Hercules (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Moderators: Dmitrii Iu. Ozerkov, Kirill A. Svetliakov
4.4. Panel discussion (by invitation)
15:00–18:30, State Hermitage Museum, Library of Antiquity Department (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)
Working languages: Russian, English
Chairperson: Anna A. Trofimova
4.4.1. Anna A. Trofimova (Head of Antiquity Department of the State Hermitage Museum, Russia) “Face to Face”: What Does the “Antiquity” Mean for a Man of the 21st Century?
Theses and topics for discussion:
What does the Antiquity mean for us and our contemporaries? A civilization gone, a magnificent ruin, a golden period of childhood for the humankind – the great past, that is lost irrecoverably and became unapproachable. But what is the vital force of antiquity and why does one experience this epoch as his or her present, not the past? Concepts, myths, canons, institutions, which became flesh and blood of the European civilization and inseparable from the contemporary consciousness, might be an obvious answer, but not the exhaustive one. Every historical epoch creates its own image of antiquity, unique and changeable. This image embodies dreams and reality of its contemporaries. Artists, politicians, historians, statesmen and mass-media representatives in the 20th century, as well as in the 21st century find an opportunity for relevant self-expression while following a lifestyle of the classical antiquity. In the space of a modern museum a whole world is created around a single antique piece. Illumination, location of objects and their interrelations with architecture work for the main goal of an exposition – to achieve the participation effect for a beholder, not to plunge him or her into the past. What does the antiquity mean for you nowadays? This question we present for participants of the conference, which are representatives of various disciplines, schools, scientific and artistic institutes.
4.4.2. Kirill A. Svetliakov (Head of Latest Trends Department, State Tretyakov Gallery, Russia) Freedom in Search of the Lost Harmony: Contemporary Art and Antiquity – Culture of a Fragment or Image System?
Theses and topics for discussion:
It is a secret for no one, that contemporary art established itself through opposing to the antique tradition. Aesthetics of a fragment succeeded the wholeness of a classic ideal, and the latter became one of the main attributes of “contemporaneity”. Nevertheless, many forget that the so called “classic ideal” was constructed from fragments, and the first outstanding examples of such constructs appeared in the Renaissance. Art of the 20th century searched for new resources and limited its use of the classical heritage. Though many of the models and modes of thinking, and of reflection also, which are considered as “contemporary”, originate in the aesthetics of the antique fragments. “Injuries” and “losses” of the contemporary art, in fact, differ little from the “ruins” and “found objects” of antiquity. The panel discussion will unite the scholars, studying antiquity and contemporary art, in order to investigate the concept of a fragment in historical sciences and latest practices.
4.4.3. Anatolii V. Rykov (St. Petersburg State University, Institute for History, Russia) Antiquity as Invention and Appropriation: Struggle for the Cultural Heritage in the Political and Artistic History of the 20th – 21st Centuries. Concepts of Mythologization, “Nationalization”, “Privatization” and Restitution
Topics for discussion:
Concepts of “nationalization” of antiquity within the framework of state policies and various forms of its cultural legitimation, “privatization” of antiquity by “personal mythologies” of artists, questions of museum valuables are offered for discussion
4.5. Thematic excursions in the halls of the State Hermitage Museum
14:00–18:30, State Hermitage Museum
4.5.1. 15:00–17:30 Antiquity Department exposition, meeting of participants near the Hermitage Council Hall
4.5.2. 15:00–17:30 Gold Rooms. World of Hellenes and Barbarians, meeting of participants near the Hermitage Council Hall
4.5.3. 15:00–17:30 General tour. Antiquity in the West-European Art, meeting of participants near the Hermitage Council Hall
4.6. Closing remarks
18:00–18:30, State Hermitage Museum, The Hermitage Council Hall (St. Petersburg, Dvortsovaya emb., 34, The Hermitage staff entrance)