Reviewing Sharmanka Kinetic Theatre: An Innovative Curatorial Approach Combining Visual and Audio Elements

University of Aberdeen, Aberdeen, Scotland, United Kingdom

^* Corresponding author: y.zhang10.22@abdn.ac.uk

Abstract

This article offers a retrospective on the operational model and aesthetic dimensions of steampunk sculptures at the Sharmanka Kinetic Theatre, located in Glasgow. The theatre employs an amalgamation of exhibitions and performances, meticulously choreographed by artist Eduard Bersudsky and his team, who coordinate each mechanical sculpture’s movements. Accompanied by ambient sounds and national music, as well as the dynamic interconnected performances of the sculptures themselves, the audience would be immersed in an artistic appreciation experience, allowing for deeper engagement with the relatively obscure art form of steampunk. This approach, addressing the issue of audiences perhaps being unable to fully appreciate art due to limited viewing time, transcends the traditional exhibition’s lack of a clear timeline or sequence. Furthermore, the article revisits how Eduard Bersudsky incorporates Russian cultural elements, history, and technology into his steampunk mechanical sculptures, which reflect the artist’s contemplation on war and authority, as well as his exploration of the relationship between technology and humanity.