Аннотации:
У статті проаналізовано вплив державної і приватної моделей українського симпозіумного руху на концептуальну складову, стилістику та експозиційну стратегію парків ландшафтної скульптури. Подано висновки щодо їхніх спільних рис, відмінностей та перспектив.
The precedent of the Kaniv AllUkraine Symposium “Shevchenkivsky Park” in 2007 laid the foundation for the formation of a new model of the state symposium of national importance. This in conjunction with the
municipal symposia subsequently stimulated the introduction of a private model. The objectives of the research, was through an artstudy and comparative analysis; taking a representative sample of sculptural ensembles of state and private symposia to determine their specificity, common features and perspectives. As a result of the study, it is acknowledged that neither state nor private symposium models are benchmarked, since they can`t avoid of unsuccessful works of art in terms of their technical performance; or from the point of view of conformity of their concept; nor can they prevent from making mistakes during installation of a sculptural ensemble. Similarly the state format has the potential for development, under the condition of proper financing
and balanced cultural policy of the state and local authorities. The general discrepancies between state and private symposia consists of concepts and exposition principles of symposium sculpture parks. Additionally in case of private sculptural symposia, private or public space is exempted from the integral information mission and gives a chance to use this place for rest and contemplation. This explains the greater percentage of abstract sculptural works in the Kaniv symposia. State symposia raise questions of the ethno
national and cultural identity of Ukrainians, dealing with certain "memory places", therefore, they are called to create interpretive works of art; that mentally and spiritually integrate the recipient into the history of a particular environment. So, in both models; the clear formulation of the communicative task and the definition of the exhibition strategy of various spaces are implied. This is illustrated by the nearby Kaniv parks of symposium sculptures — “Knya
zhaya Hora” and “Shevchenkivsky Park”.
