The independence of the countries that have succeeded the Soviet Union in 1990s has created basic conditions for the institutionalization of the civil society in these states. Ukraine has joined these newly independent states with little reliance on the institutions of the civil society. The developments within the Ukrainian art reflect the implications that the failure of the civil society institutionalization has for this particular domain of Ukrainian society. Ukrainian contemporary art that is presented at the major international art museums and art festivals of the contemporary art is a post-Soviet phenomenon that occupies the junction between Ukrainian art, international institutions and civil society. As a field of artistic activity Ukrainian contemporary art strives to differentiate itself from Ukrainian art that originated in the environment largely formed in the pre-independence, Soviet period. The struggles for authority within the field of Ukrainian contemporary art have involved Ukrainian institutions that are outside of it. Both institutional and personal agency within the field of Ukrainian contemporary art is affected by the lack of institutionalized civil society in Ukraine. In the theoretical terms of Pierre Bourdieu it is the case of the lack of autonomy that the field of Ukrainian contemporary art has. The sought-for autonomy would allow the field of Ukrainian contemporary art to exercise control over the resources of artistic authority. How this finds its articulation in the personal narratives of the major Ukrainian contemporary art figures and in the conflicts that happen in the field of Ukrainian contemporary art is the topic of this research. The methodology of multi-sited anthropology adopted in this research makes it possible to trace the contours of the authority relationships among contemporary artists, art institutions and curators at the time of inquiry. The research draws on twenty in-depth interviews arranged in 2001 with the leading figures of the Ukrainian contemporary art, with the prominent art curators that cooperate with the Ukrainian contemporary artists, and with the representatives of the major contemporary art galleries and foundations of Ukraine.
Table of Contents
Abstract
Introduction
Theoretical Background
Ukrainian Contemporary Art
Struggles for Professional Authority
Role of Social Capital
Art Establishment vs. Contemporary Art
Claims for Professional Identity
International Recognition Contingencies
Conclusions
Bibliography
Research Objectives and Themes
This thesis examines the role of contemporary art within the post-Soviet transition of Ukraine, specifically analyzing how the lack of institutionalized civil society affects the autonomy and professional authority of the contemporary art field. The research investigates how artists and curators navigate structural constraints, political influences, and the necessity of social capital to establish their identity and gain international recognition.
- The intersection of civil society, state institutions, and contemporary art in post-Soviet Ukraine.
- The utilization of cultural and social capital by artists and curators to secure resources and professional legitimacy.
- The impact of international funding and organizations on local art production and institutional development.
- Authority struggles between competing artistic groups and their reliance on political connections.
Excerpt from the Book
Struggles for Professional Authority
Lack of institutionalization of civil society in Ukraine led to disengagement of Ukrainian contemporary art from Ukrainian public sphere in contrast to contemporary art of other Eastern European countries (Doroshenko 2001). The contemporary art produced by Eastern European artists has been socially engaged through its involvement with public sphere in the framework of the civil society institutions (Minichbauer and Mitterdorfer 2000; Stadler 1998: 35-40) that guarded these national fields of contemporary art from interference by state. In contrast, Ukrainian artists have avoided participation in the Ukrainian public sphere by means of their works (Solovyov 2003b). Moreover, Ukrainian contemporary art field is connected to the fields of political and economic power through the services that some of the Ukrainian contemporary artists provide as creative managers for commercial advertisement projects (Ostrovska 2002: 46) and public relations campaigns for Ukrainian political parties and presidential candidates. Therefore, major artistic statement that Ukrainian contemporary artists come up with in art exhibitions in Ukraine is aesthetic:
“In Ukraine the contemporary art has universal parameters. The contemporary art works that Ukrainian artists produce can originate from any such place as Sweden, Poland, or, possibly, Denmark. As for Ukrainian painting and art, I would like to say, though with certain reservations, that it has wholesale Western orientations. […] it is a universal painting and plastic art that can be associated with any region or place” (Interview Transcript: Tape Recording File 2-477-997-04 Side A).
Summary of Chapters
Abstract: Provides an overview of how the failure of civil society institutionalization in Ukraine impacts the autonomy of the contemporary art field and the authority relationships among artists and curators.
Introduction: Outlines the historical context of contemporary art in post-Soviet Ukraine and introduces the central research questions regarding artistic agency and public sphere mediation.
Theoretical Background: Discusses the concept of civil society and the sociological tools of Pierre Bourdieu, specifically 'field' and 'capital', as frameworks for analyzing social transformation.
Ukrainian Contemporary Art: Details the differentiation of the Ukrainian art field from the Soviet tradition and the emergence of contemporary practices under globalizing influences.
Struggles for Professional Authority: Analyzes the disengagement of Ukrainian art from the public sphere and the conflicts over curatorial control regarding international exhibitions like the 2001 Venice Biennial.
Role of Social Capital: Examines how agents in the contemporary art field leverage political and economic connections to secure dominant positions due to the lack of autonomous cultural institutions.
Art Establishment vs. Contemporary Art: Explores the ambivalent position of contemporary art within the broader field of power and its subordination to political and state structures.
Claims for Professional Identity: Discusses the criteria for professional recognition and the reliance of artists on informal networks for support and legitimacy.
International Recognition Contingencies: Investigates the challenges Ukrainian artists face in gaining recognition within the international contemporary art market and the limitations of emigrant trajectories.
Conclusions: Summarizes how the lack of civil society institutionalization hampers the autonomy of the contemporary art field and necessitates a reliance on social rather than cultural capital.
Bibliography: Lists the academic sources, reports, and interviews referenced throughout the research.
Keywords
Ukrainian contemporary art, civil society, social capital, cultural capital, artistic authority, post-Soviet transition, public sphere, curatorial practices, Venice Biennial, Pierre Bourdieu, art institutions, artistic identity, institutionalization, professional agency, cultural policy
Frequently Asked Questions
What is the core focus of this research?
The research explores the impact of the lack of an institutionalized civil society in Ukraine on the development, autonomy, and professional authority of the contemporary art field.
What are the primary themes discussed in this work?
Key themes include the struggle for artistic authority, the role of social and cultural capital, the relationship between art and state power, and the challenges of gaining international recognition.
What is the primary research question?
The study asks how the lack of institutionalized civil society in Ukraine affects the agency of contemporary artists and curators in establishing an autonomous field of artistic activity.
What scientific methods were applied in this study?
The research utilizes a multi-sited anthropological methodology, drawing on twenty in-depth interviews conducted in 2001 with leading artists, curators, and representatives of art galleries and foundations in Ukraine.
What does the main body of the work address?
It addresses the institutional constraints on the art field, the role of political connections in artistic success, the competition between artistic foundations, and the disengagement of contemporary art from the public sphere.
Which keywords best characterize this publication?
Keywords include Ukrainian contemporary art, civil society, social capital, artistic authority, and post-Soviet transition.
How does the author define the "loss of autonomy" in the Ukrainian art field?
It is defined by the inability of the field to regulate itself independently of political and economic interests, necessitating the use of external social capital for resource mobilization.
Why was the 2001 Venice Biennial a significant case study for this work?
It serves as a primary example of how the lack of institutionalized, transparent processes led to intense, conflict-ridden struggles between competing curators and political interests over official representation.
How does the lack of a national art market affect Ukrainian artists?
It creates dependency on international foundations and curators, and forces artists to often seek employment outside the art field, undermining their professional identity and career stability.
- Quote paper
- Dr Pablo Markin (Author), 2003, Ukrainian Contemporary Art - Civil Society, International Organizations and Public Sphere, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/121173
