https://txim.history.knu.ua/issue/feed TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY 2023-02-05T00:00:00+02:00 Dr. Gennadii Kazakevych kazakevych@knu.ua Open Journal Systems <p><strong>Text and Image: Essential Problems in Art History</strong> is an international peer-reviewed biannual electronic journal established by the <strong>Taras Shevchenko National University of Kyiv</strong> (Ukraine). The journal has been launched in 2016 with <strong>the aim</strong> of contributing to the development of scientific communication between researchers who study fine art in historical and cultural contexts.</p> <p>The Editorial board encourages submissions of previously unpublished original scholarly articles on topics of significance to those concerned with the problem of historical narrative and visual imagery correlation, in various cultures, from ancient to recent history. We also invite to submit brief contributions, including book and exhibition reviews, interviews and short surveys.</p> <p>The journal is indexed in <a href="https://doaj.org/toc/2519-4801?source=%7B%22query%22%3A%7B%22bool%22%3A%7B%22must%22%3A%5B%7B%22terms%22%3A%7B%22index.issn.exact%22%3A%5B%222519-4801%22%5D%7D%7D%5D%7D%7D%2C%22size%22%3A100%2C%22sort%22%3A%5B%7B%22created_date%22%3A%7B%22order%22%3A%22desc%22%7D%7D%5D%2C%22_source%22%3A%7B%7D%2C%22track_total_hits%22%3Atrue%7D">DOAJ</a> and <a href="https://journals.indexcopernicus.com/search/details?id=46816">Index Copernicus</a> <strong>ICV: 100.00 (2021)</strong><strong> </strong></p> <p><strong>eISSN: 2519-4801</strong></p> https://txim.history.knu.ua/article/view/192 Decolonize Knowledge and See the Postsocialist "Other" 2022-11-03T02:26:45+02:00 Oleksandra Kotliar alexandra.kotliar@knu.ua <p><em><span style="font-weight: 400;">The essay considers approaches to understanding the current situation of the former socialist countries, proposed by the decolonial researcher Madina Tlostanova in her 2017 work «Postcolonialism and Postsocialism in Fiction and Art». The eight chapters of Tlostanova's book analyze specific temporal and spatial relationships that define both the postsocialist cultural and political context. Tlostanova notes the impossibility of applying the terminology that has been integrated into Western scientific discourse since the Cold War to the postsocialist space. Such an approach automatically places the postsocialist countries in the post-bipolar hierarchy of the world built by the West. The article's author compared the basis of Tlostanova's research with the approaches of other colonialism and imperialism researchers, such as John McKenzie, Touraj Atabaki, Saurabh Dube, and Ramon Grosfoguel. In my opinion, they can expand the theoretical model formulated by Tlostanava. Tlostanova criticizes postcolonial optics as a paradigm leaving the countries of the former «Socialist Camp» behind a new, but already epistemological «Iron Curtain» and continuing to reproduce colonial narratives. In the book, Tlostanova considers postsocialism as a special state, marked by the intersection of multiple post-dependencies — Russian, post-soviet, post-dictatorship, as well as global coloniality. A symptom of global coloniality is, in particular, the phenomenon of self-colonization. This phenomenon manifests itself in self-exoticization through the transformation of folk culture into a commodity, unhealthy nostalgia for the past, historical memory distortion, and instrumentalization of images of the past. Tlostanova explains this recursiveness of the postsocialist space through the concept of tempo-localities, which are most clearly traced in art. Thus, decolonial artistic practices in a post-dependent society forms a sensual basis for art and knowledge decolonization in general.</span></em></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/220 Horizontal art history: problems and prospects of Piotr Piotrovsky’s concept 2022-11-18T15:48:33+02:00 Nataliia Biriuk nataliiabiriuk1998@gmail.com <p><span style="font-weight: 400;">In the article, the author examines the approach to writing art history - horizontal history, proposed and practiced by Piotr Piotrovsky since 1998. Horizontal art history is another paradigm for writing the art history of Central and Eastern Europe, according to which the art of this region is not analyzed in a center-periphery hierarchy/vertical. The methods applied by Western theory to the study of the art of this region must also be reexamined. Piotrovsky criticizes the inclusion of the art history of Central and Eastern Europe in the universal (in fact Western) canon. The 2022 book Horizontal «Horizontal art History and Beyond: Revisiting peripheral critical practices» consists of four chapters that address the practice of horizontality (democracy, localization), challenges and internal contradictions of the concept, and alternatives to horizontal history. The author of the review does not focus on the description of the chapters of the book, but analyzes the horizontal history according to the topics raised by the authors of the collection in various essays, without taking the place of the essay in the structure of the book as the main criterion. Borrowing some positions from postcolonial theory, horizontal history approaches the decolonial turn, because according to it, a different paradigm for the production of knowledge about the art of Central-Eastern Europe should be developed. Nationalism and national history are considered as the main obstacles to horizontality. The author grouped the alternatives of horizontal history (material analysis as a method of horizontal art history, laterality and a digital approach to art history) and the possibilities of using horizontal history in other disciplines proposed by the researchers of the book. The application of the horizontal art history approach has the potential to liberate the history of Ukrainian art from the dominance of the center (the West, Russia) and develop a different paradigm for writing the art history of Eastern Europe.</span></p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/228 On Eastern European performance art and why it did not make it into art history (so far) 2022-11-22T04:13:23+02:00 Eugenia Sydorenko eugeniasido@gmail.com <p><em><span style="font-weight: 400;">Зазвичай, читаючи книжку з історії мистецтва, що мала би географічно охоплювати весь світ, ми стикаємося із серйозною повторюваною проблемою: з якоїсь причини ‘світ’ представлений тільки Західною Європою та Північною Америкою. Звичайно, мистецтво Азії чи Африки може періодично з’являтися на сторінках, проте його завжди вважають за ‘інше’ й оцінюють його історичну, естетичну чи яку би то не було цінність, спираючись лиш або на Західні стандарти, або ж на вплив, що мав витвір мистецтва, коли його презентували західній публіці. Тим часом Східна Європа здебільшого повністю ігнорується. Для західних дослідників цей регіон занадто європейський, аби бути ‘Іншим’, але недостатньо європейський, аби бути включеним до канону. </span></em></p> <p><em><span style="font-weight: 400;">У цій статті я знайомлю читача з книжкою професорки Північно-Західного університету Емі Бризґель “Мистецтво перформансу в Східній Європі з 1960 року ”, написаною із усвідомленням вищеописаної проблеми, де авторка намагається дослідити перформанс у регіоні із незалежної від Заходу, але не ізольованої від нього перспективи, імовірно виступаючи першопроходицею в даному прагненні. Окрім того я аналізую деякі, імовірно, найважливіші із висновків Бризґель стосовно розвитку та форм перформансу у Східній Європі, а також методологію авторки та деякі думки про природу мистецтва перформансу. </span></em></p> <p><em><span style="font-weight: 400;">Дана праця, проте, не спромоглася уникнути нерівноцінного ставлення до країн, які вона географічно охоплює. Безумовно, Бризґель надзвичайно цікавить динамічність югослвського перформансу, що частково стала результатом інституалізації частково – відносно послабленого авторитарного режиму у 1970-х роках на батьківщині Марини Абрамович. Але український перформанс і культура загалом вкриті пеленою невизначеності в даній книжці. Саме тому я намагаюся зрозуміти причини цього нерівноправ’я реперезентації, а також віддати належне українському перформанс-арту, дослідивши те, від чого книжка Емі Бризґель тільки виграла би – контекст країни, де зустрічаються Схід і Захід. </span></em></p> <p> </p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/369 Eastern for Westerners 2022-12-15T22:54:53+02:00 Tetiana Osadchuk supersonicwalrus5@gmail.com <p><em>Periodization of art as a subject of research is a challenge for writing a monograph on the region of Central and Eastern Europe. Due to the dense layering of different cultural contexts and the presence of experience that Western Europe did not have (for example, the existence of the Soviet regime), it does not allow applying the optics of traditional art history to the Eastern European region. The authors of the collective monograph Periodization in the Art Historiographies of Central and Eastern Europe joined in solving this problem, where researchers from the Czech Republic, Romania, Poland and other countries of the region analyze periodization in the art historiography of specific countries, which sheds light on the "non-linear" art history, which combines three main discourses – imperial, academic and nationalist. The authors focus their attention on such problems as the Byzantine heritage, which in the historiography of the 19th century was supposed to replace the Italian Renaissance for a number of Eastern European countries, the interaction of large Western European narratives with local Eastern European ones, a change in the view of periodization under the influence of national movements, etc. Although the articles are devoted to different problems and topics, they are united by the application of postcolonial theory to the periodization and recognition of the Central/Eastern European region as a "near Other" in relation to the Western European one.</em></p> <p><em>In this article, I compare the ideas highlighted in the monograph with other concepts exploring Eastern Europe from a postcolonial perspective. In the end, I come to the conclusion that all of them, taking into account the book under review, are aimed at revealing questions that interest Western researchers, namely, what is the region of Central and Eastern Europe: a colonizer, a colony, or combines both of these features. At the same time, basing on Piotrowski’s concept of "horizontal history", I argue that for the Eastern European audience, what is relevant is not the deconstruction of narratives within the boundaries of modern Central and Eastern European states, but on the contrary, tracing the intersection of different cultural contexts of neighboring countries outside the borders of national narratives, since Eastern European countries know more about the art of the West than about each other’s art.</em></p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/469 Not by Mitchell alone: on visual history in the research of German scholars 2023-01-27T00:41:56+02:00 Iryna Adamska iryna.adamska@gmail.com <p><em>In this article, the author analyzes an anthology of texts from German historiography on visual history, collected by Polish researcher Magdalena Saryusz-Wolska. Since this area is only developing in Ukraine, there are still few theoretical works. Moreover, researchers of visual studies focus mainly on the works of representatives of the Anglo-Saxon school. Therefore, it is important for Ukrainian historiography to get acquainted with the work of the German school of visual history.</em></p> <p><em>The volume includes ten texts, mostly theoretical, and an introductory article written by the book's editor. All materials are divided into five sections. The works of German researchers provide information about the origins of visual history and its formation as an academic field, with considerable attention paid to the development of methodology. Some empirical studies are also presented, often having an interdisciplinary character. An important component of the volume is the overview made by M. Saryusz-Wolska. The researcher not only analyzed the works presented in the book, but also outlined the broader context of their appearance in Germany.</em></p> <p><em>The publication is important for historical discipline, as it includes key theoretical works of the German school of visual history and their detailed analysis.</em></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/471 “I’ve never seen such strength in people”: An Interview with Photographer Jérôme Sessini 2023-01-30T15:31:20+02:00 Valeriia Shulha valeria_shulga@knu.ua <p><em>Jérôme Sessini</em><em> is a French photographer, and member of Magnum Photos, in his works covers some of the most significant historical events of the last 30 years. The interview was recorded in January 2023 by Valeriia Shulha, a student of the Art History Department of the Taras Shevchenko National University of Kyiv.</em></p> <p><em>In the first part of the interview, </em><em>Jérôme</em><em> talks about the beginning of his career as an amateur photographer and American documentary photographers as his big inspiration. He started photography at the age of 23 and now he’s a leading photojournalist, having joined Magnum in 2012 and becoming a full member in 2016. </em><em>Jérôme</em><em>'s lens covers political upheaval, social uprisings, and human struggle. He’d started working as a photojournalist in 1998 when he covered the conflict in Kosovo on behalf of the Gamma photo agency. Since then, he has been immersed in some of the most important events of recent years, including the war in Iraq (from 2003 to 2008), Aristide’s fall in Haiti (2004), the conquest of Mogadishu by the Islamic militias, and the war in Lebanon (2006). His works have one common feature - avoiding dry documentation, they’re picturing stories of ordinary people, to show the world’s social tragedies on a micro-scale.</em></p> <p><em>In the second part of interview the photographer explains why Ukraine is the most important project for him and shares his experience of documenting the events of modern Ukrainian history. In 2014, Sessini began covering events in Ukraine since the Revolution of Dignity. After the Maidan’s events, the photographer traveled throughout Ukraine for several years and gathered in his book "Inner Disorder" all the stories of Ukrainian’s lives ruined by the war. The photo book was published in 2021. </em><em>Jérôme</em><em>'s work Final Fight for Maidan won the World Press Photo Awards in 2015. Sessini shares the story behind the creation of this image. A few days after the beginning of the Russian full-scale invasion of Ukraine in 2022, Sessini arrived in Ukraine, working on a series of photos for magazines such as "The New Yorker". </em><em>Jérôme</em> <em>Sessini explains that the main aim for him is to create a coherent narrative in his works. The photographer always has been trying to communicate with the people he photographs. According to </em><em>Jérôme</em><em>, the only way to convey something to his audience is to feel and experience what you’re photographing.</em></p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/188 Some speculations concerning Gombrich’s reflections, Or History of Art as a poor relative of the Science of Art 2022-10-26T21:23:51+03:00 Andrii Puchkov dr.a.puchkov@ukr.net <p><em><span style="font-weight: 400;">Our essay was inspired by the lecture by the German art historian Ernst Gombrich (1909–2001) «Reflections on teaching art history in art schools paper given, 4th January, 1966». If no one denies the necessity of giving such a course to artists – the provocative question of how modern art history coincides with modern art science (allgemeine Kunstwissenschaft) or with art theory – makes one wonder not only what kind of specialty students acquire, specializing in history of art, but also over the relationship between different disciplines «within» the science of art. Drawing on a number of specific examples, the article attempts to show the difference between the material an art historian and an art researcher work with. It suggests that the history of art is related to the science of art in the same way as paint is related to colour or as the voice is related to singing, or the past is related to the present. It is shown that an attempt by an art historian to turn this history into modernity harms both the history of art and the modern science of art, which is looking for new motives, methods and techniques and the new style of writing. If when the European science of art just began to take its shape as «the theory and history of art», it was the history of art that was the core around which theoretical generalizations arose like iconography or iconology, now the history of art remains the necessary basis for the professional training of an art researcher – a person who is able to independently consider works of art not in the history of art, but in the history of culture, more precisely, in the very whirlpool of culture, which will become history only tomorrow. The science of art becomes an important element of the general science of culture, where history of art occupies its proper place – knowledge about how humanity produces a valuable, expressive surface of being. However, different means serve different goals. I consider an art researcher a person who resorts to theorizing and increment of artistic meanings, or an art historian, and then resorts to the reproduction of knowledge, and not its increment.</span></em></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/189 On Connoisseurship, Art History, Infrastructure Conditionality 2022-10-31T13:04:38+02:00 Taras Berezyuk tarasberezyukknu@ukr.net <p><em><span style="font-weight: 400;">The text attempts to define the concept of connoisseurship («mysteztvoznavstvo») as both identified with and opposed to art history. Both categories are interdependent: a connoisseur produces knowledge, and an art historian reproduces and tests it. Here we focus on connoisseurship and art history as educational strategies that secure the reproduction of specialists in the respective fields. If art history is a part of humanities with its clearly defined methodology and theory, then connoisseurship is a practical branch of knowledge essential to basic education. If the first aims to teach future scholars, the second is aimed at future managers of creative industries: cultural makers, museum workers, curators, etc. Obviously, the use of any educational concepts in local educational institutions is an acquired form of permissions and restrictions, which are censored by systemic self-reproduction, i.e., demonstrates infrastructural conditionality — a set of socio-psychological, political, and economic factors which bring the ideal type into reality. In other words, there is a grounded gap in the integrity of the educational program and its quality in a specific area. Internal institutional life is a kind of gestalt consisting of interests, agreements, competencies, productivity, methodological tradition, and adoption. That is, under certain external factors, the teaching method or subject changes to a balanced form of mutual existence and serves as a tool for self-preservation. At the same time, it activates a problem of the professional distinction between the planes of art history and connoisseurship. The joint opposition claims regression and stagnation in one case and revival and status subordination in the other. The difficulties of overcoming both are demonstrated through particular examples. Ideally art history is the field of production of texts that refer to socio-psychological, aesthetic, artistic, political, and economic contexts. This approach was partially emulated by connoisseurship and shaped its thesaurus.</span></em></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/468 Why we should teach the History of Ukrainian art to students of Art Schools 2023-01-26T21:57:41+02:00 Marta Kravchenko kravchenkomarta@gmail.com <p><em><span style="font-weight: 400;">This essay is a response to the «Reflections on the teaching of the arts in art schools. A lecture delivered on January 4, 1966» by E.H. Gombrich. It reviews his own methods of teaching art history, as well as encouraging the student to learn. I have been teaching the history of Ukrainian art at the Lviv Academy of Arts for more than 10 years, primarily for art critics (“mysteztvoznavtzi”). This year I taught it to students from creative industries (artists) for the first time and it made me rethink the way I have been doing it and adjust it. In order to motivate artists to study art history, I believe it should be taught as a process happened in very particular historical circumstances. The influence of East and West should be also taken into account as Ukrainian art did not develop in a vacuum. </span></em></p> <p><em><span style="font-weight: 400;">Ukrainian art has always been at the crossroads between East and West. Despite common misconceptions, it has not been just in the margins of Western European tradition. We still have artworks and monuments analysed through the lens of this hierarchy though. When teaching the history of Ukrainian art, I aimed at changing the way students perceive it, comparing it with Eastern and Western traditions, and analysing its strong and weak points without any reservations. And of course, I recreated the historical background behind the artworks as it is crucial to me. The context is a kind of wire that brings all artistic phenomena together. For example, when lecturing about the art of the Kyivan Rus, I tried to avoid clichés and present pre-Christian and Christian art as equally important traditions that shaped medieval Rusian art. Or, when exploring Renaissance in Ukraine, I examine how Ukrainian, Italian, Polish and German traditions were interwoven at courts, universities, cities and so forth. Another important point in teaching and researching the history of Ukrainian art is presenting it without excessive rhetoric and Soviet clichés. </span></em></p> <p><br style="font-weight: 400;" /><br style="font-weight: 400;" /><br /></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/473 Gombrich, Ukraine and another Science of Art 2023-01-28T22:50:57+02:00 Stefaniia Demchuck stephanierom07@gmail.com <p><em>The essay discusses the state and the prospects of Ukrainian art history and its relationship with the so-called ‘Art studies’. It offers insights into the origins of the notion of art studies imposed by the Soviet authorities to replace the ‘bourgeois’ theory and history of art which flourished at the beginning of the 20<sup>th</sup> century in Ukrainian universities. The introduction of art studies meant the growth of the rift between Soviet scholarship and the rest of the world. This first shift was followed by acts aimed at provincializing Ukrainian scholars through censorship and limited access to publications and fellowships.</em></p> <p><em>The long-awaited independence of Ukraine has changed much neither in approaches to teaching the history of art at art schools and academies nor in the methodology of scholars. The science of art in Ukraine remains to a large extent outdated, rooted in connoisseurship and formal analysis and sometimes even confused with art criticism. Ernst Gombrich’s lecture of 1966 pointed to the importance of tackling political, social and economic circumstances that impacted artistic development while teaching art history. His conclusions despite seeming obvious are still to be taken into account in Ukrainian realities as the attitude towards history in art academies remains rather superficial and condescending as to a ‘science of facts’, which completely ignores the last decades of methodological pursuits of historians and art historians.</em></p> <p><em>Going back to the notion of theory and history of art as a discipline that should be taught and researched as well as tackling linguistic obstacles and re-inventing methodology might help to overcome the divide between Ukrainian scholarship and their foreign peers and make research conducted in Ukraine and/or by Ukrainian art historians visible to the European and global art community. It, too, will mean the beginning of another science of art in Ukraine.</em></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/466 E. H. Gombrich, "Reflections on teaching art history in art schools paper given, 4th January, 1966" 2023-01-22T22:33:03+02:00 <p><em><span style="font-weight: 400;">The text is an authorized translation of Ernst Gombrich’s lecture first published in the Journal of Art Historiography (2022). The lecture explores the ways the history of art is and should be taught at art academies. It, too, reveals the prejudices towards history as a discipline and the shortcomings of traditional ways of teaching it. At the end, Gombrich summarises his own views on the subject and suggests possible options for teaching art history.</span></em></p> <p><br style="font-weight: 400;" /><br style="font-weight: 400;" /><br /></p> <p> </p> <p><br style="font-weight: 400;" /><br style="font-weight: 400;" /></p> 2023-02-05T00:00:00+02:00 Copyright (c) 2023 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/289 Unhappy Emotions in the Miniatures and the Text of the Radzyvill Chronicle 2022-12-13T13:25:06+02:00 Liudmyla Petrushko liudmyla1991@ukr.net <p><em><span style="font-weight: 400;">The article examines the miniatures of the Radzyvill Chronicle. It attempts to discriminate between real and fictional emotions of a person from the Middle Ages and focuses on the expressions of sorrow and crying. In historical studies of emotions, images are crucial. They record both real manifestations of emotions and ideas about their importance, expediency, essence. The article relies upon iconographic method, as well as upon semiotics, historical-comparative and content analysis. We assume that sad emotions have more expressiveness in the visual manifestations. Reading facial expressions in miniatures or painting can be challenging. Thus, we rely on interpreting a hand near the cheek or the hem of a garment pressed to the face or sleeves that are down as a universally recognized gesture of sadness. </span></em></p> <p><em><span style="font-weight: 400;">This paper offers a first insight into the miniatures of the Radzivil Chronicle, which depict sadness and crying. It examines emotions through narrative and visual strategies of the Chronicle and reveals how it fits within the tradition of showing tears and sadness in medieval society. After studying the Chronicle, we can conclude that it did not deal with emotions extensively. Only 25 of the 613 miniatures of the Königsberg list (which is 4% of all images) convey unhappy emotions. The miniatures from the Radzyvill chronicle confirm the three main states where sadness and weeping corresponded with the decorum of medieval Rus: the death of loved ones, common misfortunes or public troubles like captivity and separation-farewell. Therefore, the emotions depicted in the Chronicle were historically conditioned. Sadness was conveyed in illuminations that dealt with the departure from this world and burials of princes and clerics, the military conflicts, which affected people’s lives. Sometimes the emotions were not mentioned in the accompanying text, but only conveyed through the visual means, which reveals medieval behavioral models and ideas about crying as a natural emotional reaction to the death and burial of the loved ones and to the misfortunes associated with captivity. The absence of illustrations of sadness and tears in the Pechersk cycle of miniatures is generally consistent with the tradition of illustrating texts where attention was paid to actions and not to emotions. This fact, too, may indicate the understanding of tears of repentance and prayer as an internal state that is not conveyed through external means.</span></em></p> <p> </p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/article/view/179 Kyivan Industry and Trade in the second half of the 19th century through the lens of the Exhibition “Shevchenko in the language of city”: Texts and Images 2022-09-22T01:12:45+03:00 Oleh Mahdych o.mahdych89@gmail.com <p><em><span style="font-weight: 400;">The author explores how the development of industry and trade in Kyiv in the second half of the 19th century was visualised in the exhibition “Shevchenko in the language of the city” that took place at Taras Shevchenko National Museum from November 4 of 2020 through March 31 of 2021. Scholars addressed urban development in Ukraine on a number of occasions, especially in the Soviet times. Contemporary historians also tackled the issues related to the industry and trade of Ukrainian cities. However, there is still room for improvement as new challenges arise. Classic narrative strategies are not enough in the museum environment. Researchers and curators have to work together in order to develop a visual strategy for curatorial projects based on published and unpublished data and images. “Shevchenko in the language of the city” is a curatorial project aimed at visualising socio-economic life in Kyiv in the times of the great Ukrainian poet. Curators focused on sugar, brick, ceramic and textile industries as key to the Kyivan economy of the second half of the 19th century. They sought to demonstrate the spectrum of the Kyivan economy to museum visitors through a range of visual sources. The author analyses how maps, installations, and infographics were used for this purpose. He looks in particular at the map of sugar factories and infographics that visualise industrial development in Kyiv from 1848 through 1908. The author also examines the use of digital tools for recreating the economic space of Kyiv and its impact on everyday life.</span></em></p> <p><br style="font-weight: 400;" /><br style="font-weight: 400;" /><br /></p> <p><br style="font-weight: 400;" /><br style="font-weight: 400;" /></p> 2023-02-05T00:00:00+02:00 Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY