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アイテム
亀裂を見つめて : ウクライナ美術史再考
https://doi.org/10.18999/juncture.17.62
https://doi.org/10.18999/juncture.17.6208feb781-c678-49d7-981b-6492aedea72c
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
juncture_17_62.pdf (1.8 MB)
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| アイテムタイプ | itemtype_ver1(1) | |||||||||
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| 公開日 | 2026-03-27 | |||||||||
| タイトル | ||||||||||
| タイトル | 亀裂を見つめて : ウクライナ美術史再考 | |||||||||
| 言語 | ja | |||||||||
| その他のタイトル | ||||||||||
| その他のタイトル | Looking into the Gaps: Reconsidering Ukrainian Art History | |||||||||
| 言語 | en | |||||||||
| 著者 |
鴻野, わか菜
× 鴻野, わか菜
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| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | ウクライナ | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 現代美術 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 戦争 | |||||||||
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| 主題Scheme | Other | |||||||||
| 主題 | 歴史 | |||||||||
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| 主題Scheme | Other | |||||||||
| 主題 | 美術史 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Ukraine | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | contemporary art | |||||||||
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| 主題Scheme | Other | |||||||||
| 主題 | war | |||||||||
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| 主題Scheme | Other | |||||||||
| 主題 | history | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | art history | |||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Nikita Kadan is not only active as an artist representing Ukrainian contemporary art but also as a curator. Two themes seem to underpin his recent curatorial work. One is a strong conviction that art must continue even during war. The other is the re-examination and fluidity of history and art history. Through curating group exhibitions of Ukrainian artists, he is creating a new, loose continuity within Ukrainian art history, while also being conscious that its framework is not absolute but fluid. When considering Kadan’s curatorial concerns, the statement for his ongoing exhibition series “Looking into the Gaps Ⅲ” provides a crucial clue. It recalls the history of Ukraine’s art world, where artists were suppressed by regime changes, the past was rewritten by new ideologies, and artists were forced to adapt to censorship and control, pointing out the arbitrariness of traditional art history. Underlying this exhibition is Kadan’s longstanding concern with the creation of history and art history. It attempts to gaze upon the differences--the cracks--existing between each artist, without creating an absolute discourse that unifies these differences, and to express the continuity of Ukrainian art history anew in a form untouched by ideology. | |||||||||
| 言語 | en | |||||||||
| 出版者 | ||||||||||
| 出版者 | 名古屋大学大学院人文学研究科附属超域文化社会センター | |||||||||
| 言語 | ja | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプresource | http://purl.org/coar/resource_type/c_6501 | |||||||||
| タイプ | departmental bulletin paper | |||||||||
| 出版タイプ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.18999/juncture.17.62 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 収録物識別子 | ||||||||||
| 収録物識別子タイプ | PISSN | |||||||||
| 収録物識別子 | 1884-4766 | |||||||||
| 収録物識別子 | ||||||||||
| 収録物識別子タイプ | EISSN | |||||||||
| 収録物識別子 | 2435-7332 | |||||||||
| 書誌情報 |
ja : JunCture : 超域的日本文化研究 巻 17, p. 62-71, 発行日 2026-03-24 |
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