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Street Art as a New Phenomenon of Art – a Means of Gentrification of the Urban Environment

100%
Dyomin M., Ivashko O.
Art Inquiry. Recherches sur les arts
|
2019
|
vol. XXI
129-148
PL
W artykule są rozpatrywane kwestie pochodzenia street-artu, jego transformacji ze zjawiska spontanicznie pojawiającego się w przestrzeni miejskiej na zjawisko, które zyskało uznanie wśród szerokiej publiczności i fachowców oraz przyciągnęło uwagę zawodowych artystów. Street-art stopniowo przekształcił się w specyficzną odmianę współczesnej sztuki. Można w nim zauważyć różne nurty, mające międzynarodowy bądź regionalny charakter (graffiti, muralizm). Rozpo¬wszechnieniu street-artu jako zjawiska sztuki sprzyjała dostępność technologii informacyjnych oraz aktywność producentów farb w sprayu. W trakcie rozwoju street-artu, dzięki udziałowi zawodowych malarzy, ukształtowały się artystyczne chwyty związane z różnymi kierunkami sztuki. Rozszerzenie sfery stosowania street-artu staje się zauważalnym składnikiem produkcji artystycznej i wymaga współczesnych struktur organizacyjnych i związków, takich jak ośrodki i klastery. Będzie to sprzyjało skuteczności działań i popularyzacji street-artu jako środku wycho¬wania estetycznego. Zachodzi też krystalizacja twórczych procesów i ich przemiana na kierunki i style street-artu.
EN
The article deals with the genesis of street art, its transformation from a spontaneous phenomenon of the urban environment, to a phenomenon that has been recognized by the people and professionals and attracted the attention of expert artists. Successively, street art has transformed and is transforming into a specific type of contemporary art, in which various movements of international or regional character (graffiti, muralism) can be determined. The spread of street art as a phenomenon of art was promoted by the availability of information technologies and the activity of manufacturers of aerosol paints. In the process of development of street art, thanks to the participation of professional artists, the art techniques have emerged, which have an interconnection with the classical styles of art. Expanding the scope of applica¬tion of street art products becomes a significant component of the sphere of spiritual production and requires modern organizational structures and associations, such as art centres and art clusters. It will contribute to the effectiveness of their activities, the popularization of street art as a means of art education of the population, the synthesis of experience. Crystallization of creative processes and thanks to the globalization, their transformation into the directions and styles of street art occur.
2

SPECIFICITIES OF THE PRESENTATION OF OPEN-AIR MUSEUMS IN SELECTED COUNTRIES OF CENTRAL AND EASTERN EUROPE

81%
Tišliar P., Jagošová L., Kuśnierz-Krupa D., Ivashko O.
Muzeológia a kultúrne dedičstvo
|
2025
|
vol. 13
|
issue 1
47 – 66
EN
The article analyses the idea of open-air museums in selected countries of Central and Eastern Europe while aiming to identify and name the varied focus and specificities of their presentations. These institutions typically combine two concepts: the monument concept, which relates to the protection and presentation of architecture, and the museological concept, which includes the “revival” of these sites through presentation and educational means. A living museum, living history, presenting everyday life, crafts, handcrafts, agricultural work, but also revived technological and military objects, have an inestimable place in the system of modern museum culture.
3

ORIGINAL RESEARCH PROCEDURE AS AN IMPORTANT STAGE OF HERITAGE SITE INVESTIGATION: THE CASE OF THE MANOR AND GARDEN COMPLEX IN WROCANKA

81%
Kuśnierz-Krupa D., Hryniewicz M., Bednarz L., Ivashko O.
Muzeológia a kultúrne dedičstvo
|
2024
|
vol. 12
|
issue 4
109 – 132
EN
This paper presents an original research procedure developed for a project that focuses on the restoration of the Gołaszewski Manor and Garden Complex in Wrocanka. The introductory section outlines the objectives, scope and methods of the tests and sub-procedures that make up the procedure in question, and then presents the results of the investigation, broken down into individual stages. The conclusion emphasises the role of the investigation in the properly conducted process of restoring the historic complex, which is subject to statutory conservation as a result of being listed in the register of monuments.
4

PROBLEMS OF PRESERVATION, PROTECTION AND RESTORATION OF CULTURAL HERITAGE OBJECTS AND MUSEUM COLLECTIONS IN THE CONDITIONS OF WAR

61%
Pawłowska A., Pabich M., Ivashko O., Dmytrenko A., Kozłowski T., Bigaj P.
Muzeológia a kultúrne dedičstvo
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2023
|
vol. 11
|
issue 2
17-40
EN
The article is devoted to the problem of the preservation and restoration of objects of cultural heritage – monuments and museum collections – in the conditions of war. The article’s analysis is supplemented by a brief overview of how mankind has approached the protection of its material cultural heritage in historical times. According to data verified by UNESCO, as of November 21, 2022, 218 sites have been damaged in Ukraine since the start of the war on February 24, including 95 religious sites, 17 museums, 78 buildings of historical and/or artistic significance, 18 monuments and 10 libraries. The experience of the ongoing Russian–Ukrainian war has once again proven the insecurity of cultural heritage sites and museums in the face of conflict. The authors analysed the Ukrainian experience of protecting monuments, the effectiveness of these efforts, and various ways of preserving the cultural heritage of peoples during wars. The discussion closes with conclusions on possible remedies for the destruction of material cultural objects in Ukraine.
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