"Giants against Gods": (Regarding the Plastic Nature of Sculpture and Theater by the Example of the Exhibition and Installation of the Pergamon Altar in the Pushkin State Museum of Fine Arts)

By Portnova, T. | European Research Studies, October 2015 | Go to article overview

"Giants against Gods": (Regarding the Plastic Nature of Sculpture and Theater by the Example of the Exhibition and Installation of the Pergamon Altar in the Pushkin State Museum of Fine Arts)


Portnova, T., European Research Studies


Introduction

Relevance of the paper is caused by a number of factors, which are of specific interest to the science of art history. First of all, the exhibition topic wasn't exposed to scientific analysis except for individual reviews and feedbacks. Secondly, reflections on the topic enable us to demonstrate the use of classic images of the Hellenistic epoch in shaping the art language of the contemporary art, its new trends and forms. Thirdly, conclusion and compilation obtained in the course of reviewing the object--an installation with the use of well-known artifact of monumental plastic arts, outline theoretical approaches to formulation of such terms as "sample", "borrowing", "imitation" that occurred in the ancient art, but at this point with respect to modern exposition in the form of a luminous board imitating mythological theme of Pergamon frieze battles. Theoretical and methodological background of the paper involves historic and artistic, stylistic, and comparative analyses that make it's possible to understand the ancient monument characters and gods sculptures images' impact on its interpretation realized by the modern artist Alexander A.

Ancient archeology and modern reconstruction

"Giants against Gods"--it appears the name of the exhibition that took place at the Pushkin State Museum of Fine Arts encapsulates both entirely specific and vast creative program for people of art at the same time. The project representing recreation (reconstruction) of the famous masterpiece of the Hellenistic era the sculpture frieze of the Pergamon Altar demonstrated it in an uncommon new visual format supposing the connection between ancient history and modernity. It should be noted that such conceptual subject exhibitions and installations have been met in museum practice in the West long ago. Moreover, audience sometimes visits the Pergamon museum at the Museum Island in Berlin (the place of this major artifact's storage) like a theater. It stands to recall the experience of Italian artists and designers, who constructed the huge panorama of Pergamon around the antique artifact that visually demonstrates the image of the ancient city. All of them are controversial and require certain skills and knowledge as well as caution in the work with art works' originals in new interpretation. Particularly, when no specialists artists and fine art experts turn to such plans. Can we consider the work of the artist photographer and Moscow Theater of Mime and Gesture actor currently living in Germany--Aleksander Andrey, who boldly took on restitution of lost fragments of the ancient casts, successful? The updated image appeared life-sized in the form of a luminous board. Is the major scientific goal in this difficult laborious process of the archeologie original recovery achieved or the author pursued another aim? Aleksander A. realized he is on the way to a new level associated with creative risk. Nevertheless, antique art and mythology experts helped the author from the perspective of fine art science, he cannot claim complete accuracy. According to the traditional point of view there is nothing common between science and art, they are phenomena of different order and belong to discontiguous, non-intersecting spaces, but particularly the moments when we have to reconsider basic concepts are of most importance in the development of experimental science. Therefore the original the author addresses in the search of new means is anything but indifferent for the substance of the case, and the question for what reason it was done is not less, but probably more important. The issue is not straight borrowing, but creative processing, rethinking, appearance of new forms, means, ideas based on antiquity revival. It is time that creates a distance not only between the Pergamon frieze created by Aleksander A. and the audience but between the plot made several ages ago and our today's ideas of how this plot may be evolved. …

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