The Crisis of European Values
Curators: Andriy Bondarenko (Ukraine), Agata Will (Poland)
Do the declared values coincide with the real European values? The borders of Europe and European Union are different, but despite the discomfort, this issue has to be discussed. How do actually cultural mediums cooperate with each other,when their circulation is limited by bureaucracy, visa regime and by income certificates? Is the program of Eastern Partnership effective if it unifies such dissimilar countries into one category? What trials of local identities were caused by the integration; are they effective?
Fear in Culture/Culture of Fear
Curator: Zoryana Rybchynska (Ukraine)
Fear is based primarily on biological nature, because as an inherent instinct it belongs both to animals and humans. But people have managed to civilise and subordinate it to the actual values and standards. Inscribed in the system of culture, it has its own history, which is represented by the ‘illustrated catalogue’ of phobias, horrors, anxieties, worries and manias, both imaginary and real, which humanity has been facing in all times. But in the 21st century fear is no longer just a reaction to danger; it’s a forceful metaphor to interpret contemporary life. It vivifies and creates artistic imagination; it affects our everyday life; in the skilled hands of the media it manipulates public opinion, and it determines our desires and needs. So, what does the culture of fear warn against, and what does it inspire to? What is in common with fear and hope? How can be implemented the experience of cultural resistance against the regimes, which are built on fear? What is the degree of censorship and self-censorship caused by the ‘ fear policy’, and how does it influence cultural life? What are the fears of a contemporary humanities scholar, and how can be changed our professional and self-awareness due to the verbalisation / discussion of personal phobias?
Art as a Provoker of Changes
Curator Krystyna Beregovska (Ukraine)
Contemporary art, that has passed through modern and postmodern ideas of the last century, no longer adheres to the conception of purely aesthetic impressions. One of its main objectives is its involvement into socio-political problems, playing a role of independent external critic or a particularly sensitive litmus paper. In addition, art has always been a kind of a playground, where social and political constraints are removed (to some extent), and there is a real possibility of modeling, searching for new forms and approaches. How effective and impactive can be these features of contemporary art today? And if there’s no request for such experiments and insights – what can society forfeit?
Cultural Policy and Cultural Economics
Curators: Olesya Ostrovska-Lyuta (Ukraine), Ilya Kenigstein (Ukraine)
No one of the spheres of cultural activity can exist independently of other spheres of society life. In particular, there are always some internal supports, restrictions or external impacts. Any state inevitably considers culture as a subordinate territory, trying to influence it by means of cultural policy. Similarly, (and considering own profit)
economic factors operate in the field of culture. Those external impacts are deeply rooted in culture. So, they are perceived as pure cultural components. They become inner game-players.
Culture and Its Means of Communication
Curator: Hrytsko Semenchuk (Ukraine)
The Information Age has brought into culture new forms, challenges and inquiries. First of all, is culture a means of impact on collective consciousness? The problem of culture promotion, and how can it be solved? Is it possible in Ukraine, where the main cultural product in mass media has nothing to do with intellectual product? How does culture affect the information consciousness of contemporary mass media? How should be our cultural potential implemented to create contemporary mass media agenda? Culture & mass media, how to balance their relations? And which should be the responsibility of culture representatives in that process?