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УДК 008 + 7.036
ББК 71.05 + 85
DOI: 10.30628/1994-9529-2020-16.1-11-29

GITR Film & Television School,
Moscow, Russia
ORCID: 0000-0002-8554-8053
e-mail: olessia_75@mail.ru


Abstract. Neo-mythologism as a specific feature of the 20th century culture has a nature of paradox, destructiveness and irrationalism. The destruction of the meta-discourse (mythological and socio-ideological universalism) in the era of modernistic revolution caused radical change in the relationship between the artist and the work of art. Conception turned into the basis for the development of elite neo-mythology in avant-garde art, as an individual method of creativity. Later, however, this tendency led to the fact that the task of the contemporary artist began sliding from art to product, from poesis to praxis, demonstrating the discontinuity of poetic activity. The erosion of the border between art and everyday life, elite work and kitsch enabled the emergence of conceptual neo-mythology. Consumerism and capitalism treats any work of art as a product, thus the postmodern neo-mythology acquired commercial features. Yet conceptualism as a postmodern neo-myth was preserved only in the context of a certain “dispositive” of art criticism which became an “accomplice in art” (as B. Groys put it). One of the illustrative demonstrations of the “death” of conceptual neo-mythologism of the passing postmodern era has been the famous Sotheby’s auction, where Banksy’s work was cut by a shredder incorporated in the frame by the artist himself. Over the past decade discussions have been revolving about a term that could adequately indicate the current stage in the development of culture and visual arts. Along with many definitions and theories presented, the Metamodernist Manifesto has gained its fame, opposing the former good old postmodern conceptualism to a new “romantic conceptualism”. The author of the article analyzes the projects shown at the Venice Biennale 2019: holographic animated objects and immersive installations turned out to be the most attractive. Modern art experiments obviously demonstrate a desire to create irrational experience, direct sensory impressions and emotional states, etc., and conceptualism as an intellectual strategy becomes a secondary concern. However, the author relates these trends not with the “metamodern state of romanticism” but rather with more significant factors that determine the development of culture at the present stage. New conceptualism is manifested more vividly in such an actively developing trend as science art reflecting the ideas of the speculative realism philosophy devoid of any signs of mythology.
Keywords: neo-mythologism, contemporary art, conceptualism, metamodernism, science art, speculative realism