Размер шрифта: Фон:

УДК 7.036 + 008
ББК 85 + 71.04
DOI: 10.30628/1994-9529-2019-15.3-127-144

ALEXANDRA L. YURGENEVA
State Institute for Art Studies,
Moscow, Russia
ORCID: 0000-0002-0465-4728
e-mail: lvovushka@yandex.ru

 

A PAINTING AS A UNIVERSAL MULTIMEDIA LAYER

Abstract. The development of digital technologies has generated a completely new perception of surfaces, each of which is seen as a potential screen.
A screen indeed, because any image stored on electronic media (in phone memory, computer or camera memory card) can be broadcast on it. Highresolution digitization of images has enabled not only global distribution of artistic information, but also immersion of masterpiece paintings in everyday living space. Works by famous artists are actively involved in shaping the private space. They become an emphasis that characterizes a person, informs others of their tastes and interests. They function in a virtual environment in exactly the same way: on personal webpages and within the content published by the user, they exist side by side with photographs from everyday life, shaping a portrait of one’s personality. In fact, the image of a person on social media consists, to a large extent, of visual copies. The new practice of representing famous artists’ works in the form of immersive exhibitions also indicates a change in the attitude to the concept of copies in modern culture. Turned into a digital copy, an artistic painting changes its ontological characteristics and becomes available for a variety of transformations. It becomes possible to replicate, fragment and animate it infinitely. In the pre-digital era, such manipulations were only possible with text. Moreover, authors of multimedia expositions present the use of such techniques as a necessary measure designed to facilitate the process of static images perception by contemporary visitors. Prerequisites and echoes of these processes can be found in self-representation of social media users and 3D video mapping technology. Video mapping involves using the surface of buildings (often historically significant ones) to project images that can interpret their place in the global and domestic culture. At the same time, visual effects, if necessary, create the illusion of destroying objects or changing their appearance completely. This technology is a direct indication of instability of any surface in the digital era. The combination of these phenomena makes it possible to consider the emergence of the idea of an art work as a multimedia layer devoid of links to a single surface and available for various modifications.

Keywords: immersive exhibitions, digitization of images, mapping, selfrepresentation, photography, copy, surface, multimedia technologies