SCULPTURE IN THE SOCIOCULTURAL SPACE AS A HAPTIC OBJECT OF PUBLIC ART

Abstract

The article examines the dichotomy of public art – plop art, manifested in the traditional garden and park landscape of the city as a contemporary sculpture, the formal structure of which is presented not by an abstract design episteme, but by the concept of «doubled presence» of haptics. The purpose of the article is to criticize the sculptural representation of the haptic episteme in the sociocultural public space as a phenomenon of cultural populism and deskilling. In the Ukrainian realities of martial law, when the processes of self-identification of nations intensified, scientists, critics and artists are trying to find updated paradigms and art epistemes adequate to modern challenges, in particular for the full reconstruction of Ukraine, whose victory in the Russian-Ukrainian war does not cause any doubts. Therefore, in the conditions of the essential transformation of the «spatial memory network», artistic and culture-creating epistemes already need to be revised in order to overcome the destruction of the entropic vectors of postculture development. Conclusions. Critical positions condemning cultural populism, which adheres to benchmarking strategies, are being expressed more and more boldly in the world scientific discourse. The art-episteme dichotomy testifies to the rethinking of the narrative of contemporary art, to the efforts of passionate artists and scientists to free themselves from the repressive pressure of the aesthetics of globalism, which today strengthens the negative influence of the market ideology of biocapitalism on the collective consciousness of nations, leading to the dominance of the philosophy of things, the reification of creative expression, and finally to professional deskilling. Therefore, the main duty of modern theories and practices is the rejection of spiritual materialism/nihilism, and vice versa – actualization according to the prognostic project of retrocausality of traditional ideals of transcendental aesthetics, which awakens in contemporaries an aisthesis «minimal soul» sensitive to subtle manifestations of the spirit.