Содержание
Introduction 3
1 Basic History of AESF 5
2 Critics of AESF 8
2.1 K. Klaasmeyer’s Approach 8
2.2 F. Cuevas and P. Javier’s Approach 10
2.3 Other Approaches and Data 13
Conclusion 17
Bibliography 19
Appendix I 20
Appendix II 21
Appendix III 22
Выдержка из текста
AESF is considered to be one of the most successful and outstanding Russian art-groups; being formed in 1987 and then renamed in 1995, it works in such directions as installation, photography, video, sculpture and others. Internationally spread fame of it is so impressive that this Russian group is viewed as one of the best example of contemporary art and a row of critics appreciate it as well as lots of them criticize the art-group for its prominent features. However, whether AESF gets appreciations or not, it stays one of the most significant art projects of those started in the eightieth of the previous century and still “live and prosper”.
What started as association of three Russian artists living and working in Moscow has now exhibitions all over the world, including principal museums in Stockholm, Lausanne, Krakow, Munich and Paris. Their works in all possible types of techniques are represented in Berlin, Turin, Sydney, Vienna and Salzburg as well as other places. Therefore, timeliness of the research is due to the increasing interest of world art community to AESF in frame of contemporary art and ability to combine various spheres of art activity.
The goal of the term paper is to analyze AESF’s role and position in temporary art by studying diverse sources created by authors and critics in the given branch of art. To attain the target, the following objectives are set:
1) to look into AESF’s history and formation;
3) to analyze existing critics concerning AESF.
So, according to the target and the objectives, the object of the term paper is contemporary art, whereas the subject is understood as AESF in the critics’ frame.
For our theoretical basic we use critical articles and reviews created by K. Klaasmeyer (Danse Macabre: AESF), L. Coirier (Aeroplastics Stages The Trilogy Plus by AESF), P. Clark (Interview AESF), F. Cuevas, P. Javier (AESF: Seduction and Amorality), G. Ridsdale and L. Slade (AESF: THE REVOLUTION STARTS NOW!), C. A. Xuan Mai Ardia (A New Silk Road: Russian Art Collective AESF’s on “Allegoria Sacra” in Asia).
The term paper consists of introduction, two chapters, conclusion and bibliography.
Список использованной литературы
1 Clark, P. (2014) Interview AES+F. Schön.
2 Coirier, L. (2015) Aeroplastics Stages The Trilogy Plus by AES+F. TLmag.
3 Cuevas, F. Javier P. (2009) AES+F: Seduction and Amorality. ARTPULSE.
4 Jameson, F. (1998) Transformations of the Image in Postmodernity. The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. London and New York: Verso Books.
5 Kuspit, D. (1993) The Cult of the Avant-Garde Artist. New York: Cambridge University Press.
6 Panera, F. J. (2005) Barrocos y Neobarrocos el infierno de lo bello. Salamanca: Fundación Salamanca Ciudad de Cultura. – P. 28.
7 A conversation with Aes+F (2013). Ocula.
8 C. A. Xuan Mai Ardia (2013) A New Silk Road: Russian Art Collective AES+F’s on “Allegoria Sacra” in Asia. Art Radar.
9 Klaasmeyer, K. (2008) Danse Macabre: AES+F. Houston Press.