КНИГА ХУДОЖНИКА В ПЕРСОНАЛЬНИХ ПРОЕКТАХ УКРАЇНСЬКИХ ХУДОЖНИКІВ НА ПОЧАТКУ ХХІ СТОЛІТТЯ

The article describes the experience of the Artist’s book usage as main media mean in the personal projects of Ukrainian artist in 2007–2017.The artistic opportunities, the place of such projects in the modern art life as well as of the introduction of them on the regularly basis in the practice of the art institutions of Ukraine are considered. The connection between conceptions and expositional decisions of the expositions, as wellas between the role of the Artist’s book and their possibilities to be interpreted are highlighted. The tasks took by the authors and curators of the exhibitions of the Artist’s books for actualization of this kind of art in Ukraine are also analyzed.To the contrary to the group exhibitions of book of artist in Ukraine where in the most cases the main task of organizers and curators is to acquaint a spectator with the phenomenon, its variety in interpretation of the book, her form, contents, materials that apply authors, personal exhibitions wherean Artist’s book is a main conceptual thread distinguished by the slenderness of ideological and formal embodiment of project.The personal projects of such Ukrainian artists as Pavlo Makov, Gamlet Zinkivskyi, Oleh Gryshenko are considered in details and a comparative description of exhibition and ideological facilities of expressiveness is given, the sources and influences of has been analysed on work of artist, their technical equipments in performance of the own Artist’s books and their presentation in the expositional space of the other personal projects combining with Artist’s books, sometimes by unforeseeable medias: video, installations, sculptural objects, Ukrainian naive painting and others like that.Consequently, we may say that such perception of the reality through transferring abstract notions to an object given the similarity of its qualities is programmed in the human conscience. So the development of such a peculiar area of focus in art as an artist’s book in the meaning of thecombination of the notion book and the object- an sign-based means of communication, and partly the refusal from the form of a classic book and its transformation into an exhibition object as a carrier of not simply information represented in consecutive order but a complete conception, originates fromthe natural ethnically motivated thinking of an artist.Object writing differs from an artist’s book by the fact that a primitive man, having no established communication cypher, found new forms, while a modern artist, instead, rejects the established communication means and creates a unique content codification for every project. An artist’s book as an exhibition art object also includes such a function of object writing as the absence of a language barrier. A painter engages, so to say, in a direct communication with a viewer. Because this way a painter conveys a general meaning, an idea, rather than an audio-phonetic message of an ordinary book. Such a way of communication of information is quite natural (even more so than an alphabet) for human perception as it stems from observation and comparison of qualities of different objects and logical considerations. While an audio-letter text is acquired and understood byus artificially as part of an education process.The characteristic feature of an artist’s book is, of course, the concept which links it closely with the modern art. An image in an artist’s book is often more distinct and its incarnation is practically not limited by the material and technical and language resources.This research makes it possible to continue studying an artist’s book in Ukraine based on the understanding of its place in the book culture and the world experience. It may be used to prepare lectures and elaborate the methodology of teaching students a special course Artist’s Book at art institutes and universities of Ukraine.
У статті досліджено досвід використання книги художника як базового медіа вперсональних проектах українських художників у ХХІ ст. Розглянуто художні можливості та місце таких проектів у сучасному мистецькому житті. Проаналізовано їх впровадження як послідовну та регулярну практику в культурних інституціях України. Висвітлено зв’язок між концепціями та експозиційним вирішенням виставок. Охарактеризовано завдання, якіставлять автори і куратори виставок книги художника для актуалізації даного виду мистецтва в Україні.