The article is devoted to one of the early attempts to conceptualize fashion made in the field of psychoanalysis, which was presented in the book of the American psychoanalyst Edmund Bergler “Fashion and the Unconscious” (1953). Attained high professional prestige in the mid-twentieth century, Bergler subsequently has become one of the marginalized figures in the history of the psychoanalytic movement, and his research on fashion has undergone several criticisms. The article deals with introducing Bergler’s work into the up-to-date scientific discourse via the contextual reading, which suggests establishing connections between the ideas running through his book and the psychoanalytic theories contemporary to him. The article also aims, having estimated psychoanalysis as a methodological tool for Fashion Studies, to introduce Bergler's investigation into the interdisciplinary dialogue between Fashion Theory and psychoanalysis.

The existence of numerous interpretations of the term “narrative”, including in the context of exhibition activities, restricts the possibilities of understanding and comparing narrative aspects of various visual art exhibitions. One possible approach to the analysis of exhibition narratives is the use of narratological tools, originally developed for the study of literary works. The article examines a visual art exhibition as a conventional narrative text, forms an idea of narratological categories adapted to the exhibition context (such as minimal history, events and characters), and, taking into account the specifics of the form-content integrity of the exhibition, offers a general definition of the exhibition narrative. In conclusion, the narrative aspects of real exhibitions of classical and contemporary art are analyzed based on the algorithm obtained. Expanding the possibilities for analyzing exhibition narratives beyond narratological approaches will be an area for further research.

This article explores the works of four Palestinian artists who incorporate Christian symbols, such as images of saints and religious symbols, into their artwork to critique the patriarchal system of their society. Their use of “quoting” imagery from the lexicon of Christian iconography is a postmodern tactic also seen in feminist art in the West. This approach offers a fresh perspective on how symbols traditionally viewed from a male standpoint can be reinterpreted in a new light. The four female artists analyzed in this study present various forms of critique through their art, utilizing Christian imagery to convey the female perspective, personal narratives, challenges related to sexuality, and themes of female empowerment.

For the first time in disciplinary cinema studies, the issues of professional cinematographic education are raised in direct connection with the issues of the real and potential quality of cinema knowledge itself. As a result of the implemented construction, three fundamentally different types of institutions related to professional film education are derived. Taking into account the variable basis of the educational process, which may be currently absent, but hypothetically possible, disciplinary cinema knowledge or existing diverse conceptual concepts, six principal constant variants of a hypothetically possible deployment of professional film education are fixed. The results obtained have both theoretical and practical significance for film researchers and film educators.

In the present research, based on archival and memoir sources, the story of creation and launch on the screen of the full-length feature stereo movie “Colorful pebbles” (1960), the directional film debut of Sergey Mikaelyan, is studied. Reference to the movie, the literary and director’s script and other sources makes it possible to trace the stages of work on the picture – from the appearance of the idea to issuing the screening certificate. Research on existing materials helps to get closer to understanding some peculiarities of cinema production during the “thaw” period. Thus, referral to the transcripts of meetings to discuss the future movie allows to reveal the engagement strategies of studio’s Arts Council with its author when creating the “controversial” artwork, thereby defining the boundaries of author-developed and censorial parts in working on the movie.

In the article, the researcher analyzed the works of Leningrad porcelain artist Nina Slavina of the late 1950s – 1960s. This period was so important in her artistic biography. In her works, she developed aesthetic principles and themes relevant to the “modern style” in the decorative arts. Nina Slavina turned to abstract and ornamental compositions, as well as landscapes, still lifes, and flower paintings. The heritage of Russian folk art was especially significant for the young artist. She successfully used both overglaze and polychrome underglaze decoration and printing technic as well. During this period, Nina Slavina also began to work as a shape designer. She created vase and service set forms endowed with classical clarity and, at the same time, spirituality, and harmony. The principles of shape design and porcelain decorating mastered during this period would remain relevant for the further evolution of the author. Nina Slavina presented her works at many exhibitions and received favorable reviews in the press.

The interactive paper, or pop-up, book engages the reader in physical interaction, allowing them to construct their reading experience. Over the past thirty years, it has gained popularity not only among children, their parents, and teachers, but also among museum curators and collectors. This reflects a broader trend of returning to tangible, physical experiences both in everyday life and in art. In the contemporary intermedial environment, artists turn to mass-produced interactive books in search of new formats for engaging with a wide audience. However, art theory does not consider this form within the framework of book art or in the study of participatory art – art that actively involves audience. This article aims to incorporate the paper interactive book into the field of research on interaction practices in contemporary art. This highlights the possibilities for dialogue between the artist, curator, and viewer/reader that the interactive paper book offers today.

The article is devoted to the study of the relations between “subjective” and “objective” sound in a motion picture as an important condition for revealing the artistic image of the character and the development of the dramaturgy of the picture. The term “point of audition” is updated in the context of the concepts of “subjective camera” and “point of view” of the camera. Using the example of a sound-visual analysis of the film “The Sound of Metal” (directed by D. Marder, 2019), it is shown that the “subjective camera” in a modern motion picture assumes not only a “point of vision”, but also a “point of hearing” of the character. The sound solution in the film “The Sound of Metal” has a meaning-forming meaning and plays a decisive role in its impact on the emotional perception of the audience. In many ways, this is the result of the joint work of the director and the sound designer in the process of developing the technological and artistic-aesthetic concept of the film.

The article analyzes the main architectural features of traditional mosques and the specific features of modern mosques in different countries. The absence of strict canons defined by religious texts allows architects to freely interpret the plasticity and image of the building. New social challenges, the possibilities of modern structures and technologies inspired architects to abandon the historical and neoclassical models that dominated the national religious architecture. Architects rethink not only the form of the mosque, but also its functions, planning solutions, decor and ornaments. Trends of globalization of mosque architecture have been identified. The objects built in the 21st century are characterized by visual and social openness, they serve as a public center, for which the adjacent space is also used. The plasticity of the building resembles sculpture; the composition has vertical development; facades and plans are dynamic and asymmetrical. Ornaments and fonts on the facade and in the interior become the main means indicating the building's belonging to Islamic culture.

This paper addresses the issue of accidental stains on textiles as opposed to intentional printing and dyeing practices. The subject of study is individual and collaborative craft design strategies which are centred around the stain and its treatment. The nature and types of stains as well as varied opinions and interpretations that reflect social constructions, norms, and values around it are observed. The creative potential of the stain for textile artists and designers who experiment with print and dye, delving into the possibilities of stain and questioning the borderlines between those are analysed. Those are compared to various amateur approaches that people employ to treat the stain, illustrated with the results of a series of workshops on mending stained kitchen textiles, led by MendIt Research Laboratory. The study reveals that despite stains being traditionally viewed as unwanted accidents, they possess the potential and provocation to inspire novel approaches in textile design, acting as a unique foundation for design decisions and fostering innovation within the field.

The paper, written within the framework of the scientific project “Corpus Inscriptionum Rossicarum”, specifies the dating of a commemorative plaque found in 2004 on the territory of the Bogoroditse-Rozhdestvensky Solotchinsky Monastery (Ryazan region). The inscription on the white stone plaque tells about the beginning of the construction of the Pokrovskaya church in the monastery in 1543 and the discovery during the works of the remains of Ivan Smiroslavich Solokhmir, son-in-law of the Grand Duke of Ryazan Ol'g Ivanovich and ancestor of several service families of Ryazan uyezd – Verderevsky, Apraksiny, Krukovy, Rataevy, Khanykovy and others. According to the inscription, the remains of “Schorosmir” (as he is named in the inscription) were reburied “at the request of relatives”, but there are chronological inaccuracies in the text. For this reason, O. I. Khoruzhenko, who investigated this epigraphic monument, came to the conclusion that the monument is a genealogical forgery of the late 17th century. According to the researcher, it was created by Ivan Verderevsky, who wanted to confirm the authenticity of the acts from the family archive, submitted in 1686 to the Chamber of genealogical affairs. The high degree of preservation of the oldest part of the archive of Salakhmir's descendants, copies of which were submitted to the House of Genealogical Affairs, does not give grounds to consider this epigraphic monument a genealogical forgery of the late 17th century. The “Schorosmir's” plate refers to a type of commemorative inscriptions. Judging by the distortion of the name of the ancestor of the Verderevsky, Apraksiny, Khonykovy, etc., the inscription was made by a person not familiar with their genealogy – probably belonging to the brethren of the monastery. The one under study was created long after the discovery of the remains.

This article is devoted to the comprehensive study of the tiled stove that belongs to the last third of the 18th century from the collection of the State Historical Museum. In 1978 the stove was moved from merchant Shevlyagin’s house in Kolomna to Moscow, and after the restoration work, it participates in a major exhibition project of SHM devoted to Russian tiled art. The stove from merchant Shevlyagin’s house in Kolomna is a well-known monument. However, its detailed research has never been done. The article gives a detailed description of the stove for the first time, as well as provides analogues and makes stylistic analysis of the décor. There has been done graphical reconstruction of the non-ceremonial part of the stove set previously unknown to researchers and never exhibited before. Study of the stove shape and painting showed that this monument is distinguished by high quality of execution. Combined with a rare for tiled art the pictorial composition «Triumph of Venus» indicate a special order and a desire to imitate palace interiors. The article raises the question of the place of manufacture of the stove.

The development of methodological recommendations for the storage and restoration of banners required the study of archival materials and records of museums and restoration centers. Among the discovered documents, a protocol on the restoration of the banner of the 3rd Poltava Cossack Regiment was found. Currently, the banner is on display in the Museum of 1812. Unfortunately, its placement in the exhibition hall allows one to see only the front side of the cloth, which depicts Tsar Constantine. A photograph of the beginning of the XX century, posted on the website of the catalog of the State Museum Fund of the Russian Federation, gives an idea of the reverse side of the cloth, in the center of which is the inscription "ЗА ВѢРУ ЦАРЯ И ОТЕЧЕСТВА". A rare banner icon and an inscription on the back of cloth, different from the inscription on the home guard banners of the XIX – early XX century "ЗА ВѢРУ, ЦАРЯ И ОТЕЧЕСТВО" attracted attention. The study of published and archival documents made it possible to clarify the dating of the banner, to establish the composition of the regiment, the names of its commanders, the operations in which the regiment participated in 1812–1814, and to track the process of including the banner in the museum collection.

The appeal to centuries-old national traditions became a general trend in Russia at the end of the XIX century. Studies and albums of ouvrages dedicated to ancient monuments of Russian art were published. Old Russian motifs were vividly reflected in the works of M. A. Vrubel of the second half of the 1890s. Stylized keel-shaped kokoshniks, tiled friezes and stylizations on the theme of ornaments made of cut metal of the XVII century appear in them. The apogee of these searches were the ceramic suites "Sadko" and "Snow Maiden", the fireplace "Meeting of Volga Svyatoslavovich and Mikula Selyaninovich" and decorative vases created in the Abramtsevo pottery workshop in 1898–1899. Vrubel's ceramic works of the second half of the 1890s are the result of a detailed study of the best examples of ancient Russian art and architecture and their Byzantine prototypes. They also embodied fantastic images of Russian epic and folklore. Synthesized in the artist's soul, refracted through his individual "prism", Byzantine and ancient Russian motifs acquired a deep symbolic meaning and gave his works a characteristic national note.

The work is devoted to the study of the text of the Inventory of the Kunstkamera of 1764 as an important source on the history of collecting and gathering in the first half of the 18th century. The analysis of the text shows that the Kunstkamera, being a typical collection of rarities for its time, at the same time met the personal tastes and ambitions of the Sheremetevs, who collected here family heirlooms and precious rarities associated with the personality of Field Marshal Boris Petrovich Sheremetev and other representatives of the count's family. No less important was the ethnographic collection, mainly of Chinese art. The factual material contained in the Inventory allows us to imagine the scale of Sheremetev's collecting and identify individual items preserved in the State Museum-Reserve «Ostankino and Kuskovo», trace the history of their existence and clarify the attribution.

One of the most interesting representatives of the serf intelligentsia of the 19th century was Nikolai Ivanovich Podklyuchnikov, a serf of Count Sheremetev, who gained his freedom and established himself as an artist, restorer and collector. The article deals with documents from the collection of the Ostankino Estate Museum, which make it possible to assess N. I. Podklyuchnikov's contribution to the creation of scientific restoration of icons and paintings, the foundations of which, its main approaches, were laid by him in the middle of the 19th century. The method of layer-by-layer clearing of the monument in combination with preliminary samples to determine the preservation of the oldest colour layer is one of the main requirements of modern scientific restoration and is still used today. Special attention was paid by N. I. Podklyuchnikov to the ‘Passport of Restoration’, the scientific description of the object and its depiction at each stage of restoration. The article also offers to get acquainted with previously unpublished documents, including an unknown watercolour by N.I. Podklyuchnikov, preserved in the museum's archive.

In the 1920-1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920-1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.

Today, the conversation about the impact of technology on humans is a common place. In humanitarian theory, there is a growing number of approaches that develop new ways to describe a person in a technologized culture. Special attention is paid to it by posthumanism, based on the experience of critical analysis of culture, it offers a description of alternative, posthuman subjectivity. Where is also a reflection on changing human relations with the environment in visual art. Although mass screen culture has transformed and moved away from big screens to gadgets for private viewing, it has not lost its ability to respond sensitively to cultural trends and offers examples of images of posthuman subjectivity. The theory of posthumanism turns out to be a relevant tool for analyzing posthuman images in modern science fiction films. The article will examine representations of posthuman subjectivity in the genre of modern fiction on the example of the TV series “Love. Death. Robots.” The focus of the analysis will be on the images of the main characters and the peculiarities of plot development in relation to traditional cultural constructs.

The article is devoted to the review of methodological tools used by Russian specialists in videoart studies. The paper identifies key problems of conducting cognitive activity regarding videoart within conceptual and subject-conceptual discourses, as well as classifies various approaches used by Russian art historians in the study of video artworks. The results obtained allow us to record the current amplitude of variability of researchers’ reflection in relation to video art within Russian art history. The conclusions reached can be used to simplify the entry of novice scholars who are focused on videoart into the existing research tradition, but at the same time, to further problematize it and search for more optimal cognitive strategies for understanding this specific form of screen art.

The article analyzes the reflection of Italy's collective past expressed in folk festivals, in particular, a detailed description of the il Palio holiday in the city of Siena in the Tuscany region is presented. This event annually gathers many tourists from all over the world on the main square of one of the most ancient cities of Italy, and this is due to the presence of a sacred component in the structure of the holiday, as well as thanks to those methods that organically developed at the most important historical moment in the development of a rich and politically successful region. The semantic concepts of the Palio holiday are considered through the prism of research by scientists of the sociological field E. Durkheim, M. Halbwaks, P. Nora, who consistently develop the ideas of the genius of a place, a social fact, an intangible value involving the whole society. The relevance of the work is explained by the continuing interest in festive culture, which is a factor in the reconstruction of the past and its actualization in the present. The allocation of different types of memory makes it possible to expand the sphere of influence of cultural phenomena on public life.

The kinetic sculpture “Light Prop for an Electric Stage” was conceived by László Moholy-Nagy in 1922. It was completed in the workshops of the theater department of A.E.G. (Allgemeine Elektrizitäts-Geselschaft) in Berlin by the engineer Otto Ball according to the blueprint, accomplished by Stefan Sebök with László Moholy-Nagy in the Walter Gropius Office. This period is marked by the experimental search for the fundamentally new form of cinematographic expression, incipient at a junction of light and movement, which in its turn formed a reproducible light play in space. The new concept of cinematographic form required neither film nor traditional projection equipment. The reproducibility of the cinematographic image was achieved via the use of motorized kinetic construction, which could direct light, passing through refracting and diffusing materials, and create a complex play of moving lights and shadows in its surroundings. This paper traces the Moholy-Nagy’s journey from the conception of the sculpture to its implementation.

The image of the Red Horseman on a winged horse, which appeared in propaganda art in the first post-revolutionary years has absorbed deep cultural connotations: destruction of the old world, creation of the new, fight against evil and righteous judgment. The most striking examples of this image include: the propaganda plate of Alisa Golenkina “Red Genius” (State Porcelain Factory), the lithograph poster by Vladimir Fidman “The Second Anniversary of the Red Army” (Political Administration Department of the RMSR) and the poster by an unknown artist “Literacy is the way to communism” (Gosizdat), executed in 1920. These images reveal thematic, figurative and compositional similarities. The article describes the possible origins of these images and explores the semantics of propaganda visual communication. Furthermore, it examines the influence of iconographic images on the artistic practices of the post-revolutionary years. It is concluded that the artists of propaganda art turned to the iconography of the ancient sacred image of the Archangel Michael and created new heroes of the revolutionary era on its basis.