\u0423\u0414\u041a 7.049.1<\/p>\n\n\n\n
ASPECTS OF THE NORTH IMAGE IN CONTEMPORARY ART ON THE MATERIAL OF PAINTING AND MODERN ART PRACTICES<\/strong><\/p>\n\n\n\n Tatyana A. Dmitrieva<\/strong>1<\/sup><\/strong>, Anna V. Kozak<\/strong>2<\/strong><\/sup><\/strong><\/strong><\/strong><\/p>\n\n\n\n Siberian Federal University, Krasnoyarsk, Russia<\/p>\n\n\n\n 1<\/sup> orcid.org\/0000-0002-4776-1750<\/a>, tatyana.dmitrieva.00@list.ru<\/a><\/p>\n\n\n\n 2<\/sup> orcid.org\/0000-0002-2728-6729<\/a>, annakozak@bk.ru<\/a><\/p>\n\n\n\n Abstract. <\/strong>In the given article the authors consider specifics of portraying aspects of the North in contemporary art – painting and modern art practices. The theoretical part of the work is an attempt to generalize the existing approaches to the image of the North.<\/p>\n\n\n\n The applied part of the article is dedicated to the analysis of paintings and contemporary art practices through philosophical and art analysis. The work of the artist Anna Osipova, who uses material derived from numerous creative expeditions in her works, is considered as representative of the painting works. Among contemporary art practices, audiovisual installations and performances by the TUNDRA team are highlighted. It was found that, despite globalization, contemporary artists show interest in the subject of the North, using different approaches and methods for depicting it. The article highlights several aspects of the visual interpretation of the North: natural landscapes, the life of indigenous peoples, climatic conditions, natural phenomena, myths, flora and fauna. In all aspects of the image of the North, both addressing the traditions of indigenous peoples and representing the North as a space for testing strength of spirit are relevant. Interaction with this world is capable of transforming a person if he is ready to leave the limited world of material well-being into the undeveloped vast space of the North.<\/p>\n\n\n\n Keywords:<\/strong> The image of the north, north in the fine arts, north in modern painting, north in modern art practices<\/p>\n\n\n\n For citation: <\/strong> \u0414\u043c\u0438\u0442\u0440\u0438\u0435\u0432\u0430, \u0422. \u0410. \u0410\u0441\u043f\u0435\u043a\u0442\u044b \u0438\u0437\u043e\u0431\u0440\u0430\u0436\u0435\u043d\u0438\u044f \u0421\u0435\u0432\u0435\u0440\u0430 \u0432 \u0430\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u043c \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0435 \u043d\u0430 \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u0435 \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u0438 \u0438 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u044b\u0445 \u0430\u0440\u0442-\u043f\u0440\u0430\u043a\u0442\u0438\u043a \/ \u0422. \u0410. \u0414\u043c\u0438\u0442\u0440\u0438\u0435\u0432\u0430, \u0410. \u0412. \u041a\u043e\u0437\u0430\u043a \/\/ \u0421\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u0430\u044f \u0430\u043d\u0442\u0440\u043e\u043f\u043e\u043b\u043e\u0433\u0438\u044f \u0421\u0438\u0431\u0438\u0440\u0438. \u2013 2020. \u2013 \u0422. 1, \u2116 2. \u2013 \u0421. 13-23. \u2013 DOI 10.31804\/2687-0606-2020-1-2-13-23. \u2013 EDN OFOLTB.<\/p>\n\n\n\t\t