| Popis: |
The purpose of the article is to offer consideration of the visual and mental nature of the projects of contemporary as a kind of form of visual zaum. Research methodology: the mechanism for undertaking the research lies in the logical and conceptual disclosure of the conditions for the existence of visual forms of contemporary as creative methods of the artist's realisation of common sense through “beyonsense”. The study is based on the deductive and inductive methods and is focused on revealing contradictions and demonstrating an interdisciplinary comparative approach to identify the nature of the phenomenon under study. The scientific novelty lies in the fact that for the first time in the humanities, the consideration of the visual and mental nature of the projects of contemporary is carried out from the point of view of their reification in the form of visual zaum. Conclusions. Based on the results of interdisciplinary research from the field of the history of belles-lettres, it has been shown that the tasks of the artist and the viewer, the artist and the art critic are opposite, each has its own solution methods, which according to the mode of use cannot coincide within the limits of common sense and logic. The situation is particularly acute when it comes to the works of non-traditional art of the last two decades. The article demonstrates that the phenomenon of contemporary was established in art “after” postmodern, “following” it, that is, after the approval of precise methods in art studies. Referring to contemporary projects as phenomena of linguistic visual zaum makes it possible to “read” the project (work) more or less adequate to what the artist intended to say. The usual art studies methods of interpreting the visual references of the artist in relation to the projects of contemporary should be left in the past, and we are witnessing the search for new ones - with the monitoring of contemporary art phenomena. |
