Развитие игровой скульптуры: на примерах работ Эгона Мёллер-Нильсена, Руслана Сергеева, Тома Оттернесса

Abstract

В статье на конкретных примерах игровой скульптуры Э. Мёллер-Нильсена, Р. Сергеева и Т. Оттернесса исследовано развитие игровой функции скульптуры в контексте становления эстетики постмодернизма. Рассмотрены особенности и знаковые характеристики пластической формы скульптуры. Охарактеризованы эстетические и функциональные изменения в морфологии жанра игровой скульптуры в исторической динамике формирования общества потребления. Определена взаимосвязь между эволюцией скульптурных материалов и воплощением скульптурной композиции.

У статті на конкретних прикладах ігрової скульптури Е. Мьоллер-Нільсена, Р. Сєргєєва і Т. Оттернесса досліджено розвиток ігрової функції скульптури в контексті становлення естетики постмодернізму. Розглянуто особливості й знакові характеристики пластичної форми скульптури. Охарактеризовано естетичні та функціональні зміни у морфології жанру ігрової скульптури в історичній динаміці формування суспільства споживання. Визначено взаємозв’язок між скульптурними матеріалами та втіленням скульптурної композиції.

In recent years there has been an increased interest in clarifying the relationship between the evolution of forms, stylistic, communicative features and artistic expression of art and the formation of social trends of popular culture. Playground sculpture is one of the phenomena of artistic practice, which ushered in an era of post-modernism and the commercialization of art. The results of the research support the idea that playground sculpture appeared in the middle of the twentieth century in the form of artistic and decorative sculpture with a new developing sports-play function. It allows children to use the interior of the sculpture as a sports equipment. The first sample of this sculpture belonged to the authorship of the architect and sculptor Egon Möller-Nielsen from Sweden. In the interval between 1949 and 1951 Egon Möller-Nielsen has created three different versions of the playground sculptures, whose appearance marked the birth of the genre of playground sculpture. Sculpture “Tuffsen” was put up in 1949. It was intuitively appealing to child psychology. Considered an art form and function play sculpture merge in this work together. This allows the child to use a variety of sculptural elements in many different ways. The sculpture was cast in artificial stone from a mixture of cement and marble chips. All form elements are rounded and polished. The emergence of the playground sculpture is undoubtedly associated with the availability of concrete, which has the necessary reserve strength and aesthetics to satisfy the artistic image. The idea of playground sculpture by E. Möller-Nielsen was instantly picked up by the tens and hundreds of artists all over the world. Entertainment and the play was the dominant aesthetics of parks and public spaces. Playground sculpture created by Ruslan Sergeev is made in the typical style of the author Biotech. Playground sculpture “Grasshopper” is different in that functionally separate playing modules are made of different materials and introduced into the body sculpture. To create a sculpture of steel structures used, ferrobeton concrete and plastic, the surface is decorated with brightly colored ceramics and plate glass. Decorative redundancy gives the sculpture carnival and festive and pompous attractive. It causes the viewer bright positive emotions, which are so lacking in life. Playground sculpture R. Sergeev is a prime example of postmodern kitsch practice pretentiousness and expansion of the postmodern aesthetic values. Playground sculpture Tom Otterness is made in the style of pop art in bronze. The image of the puppet characters playground sculpture T. Otterness is deliberately simplified and generalized. It reflects the forms that resonate with the traditional folk and modern fairy tale characters. Playground sculpture T. Otterness installed on the territory of the Hamad International Airport in Doha (Qatar). It is equipped with steep chutes, ladders, lifts and ramps. Bronze is an extremely expensive material. The choice of this material is the true manifestation of kitsch, aimed at identifying the social status of the consumer-customer, which is owned by the world’s richest country. Playground sculpture as a work of art on display in the form of explicit element expensive entertainment industry. Creating playground sculpture, endowing its play functionality, when the viewer is allowed to penetrate into the interior of the sculpture on the move to invent an open play scenario, use design features shape as a shell game, was a response to the change of paradigm of understanding the function of art, and his works. From a historical point of view, the appearance of the playground sculptures related to the change in the art world, which took place after the World War II, its appearance can be put on a par with the first experiments in the democratization of the arts (pop art, neo-Dada, Pop). Playground sculptures allows viewers to abandon level detached contemplative perception of works of art and go to the level of perception plays a child who could be entertained and have fun in the space of the sculpture, which was a positive response to the absence of the internal sense of the existence of art. The present results are significant in study of the playground sculpture. The sculpture by E. Möller-Nielsen sounded positive idea of modeling the behavior of the game, a symbiosis of static plastic mold sculpture and play dynamics children movement. The sculptural compositions R. Sergeev and T. Otterness to the forefront forms of pluralism and originality, which are the basis of aesthetic paradigms of postmodernism and create an extended range of positive experiences and emotions to spectacle society and consumption.