ANTI-TOTALITARIAN TRENDS OF CONTEMPORARY UKRAINIAN ART

Abstract

The aim of the article is to the research interaction of various methodological approaches and theoretical foundations on which the construction of visual works is based, highlighting current aspects of today. Recent artistic practices need to rethink their theoretical basis, based on the analysis of the previous historical period, which was largely a brake on art development. The threat of dogmatic thinking is due to incomplete reflection and, as a result, the inconspicuous influence of erroneous principles, in particular, some guidelines of Soviet and pro-russian ideology, in works of art. Some works of those artists who have a clear civic and political position, which does not contradict the basic aesthetic principles and even increases their artistic value, are considered. Thus, in today’s art discourse, moral and ethical principles prevail over aesthetic ones, although there is a connection between them. Considering the relativity of the mechanism of visual image formation, proved by neuroart theorists (R. Arnheim and other), a further step in this direction is proposed, namely the transition from the level of neuroaesthetics to neuroethics, if this term is widespread among scientists. At least such an explanation justifies the actualization of socio-political ethics in contemporary art, which displaces the hedonistic-aesthetic approach. Emphasis is placed on the need to expand the analytical apparatus of modern art discourse using concepts from the field of related scientific fields, such as the theory of relativity.