Postmodernism in art. School encyclopedia What is postmodernism

Some researchers associate the emergence of literary postmodernism with the publication of J. Joyce's Finnegans Wake (1939). The characteristic features of postmodernism are manifested in the works of D. Barthelm ("Come back, Dr. Caligari", "City life"), R. Federman ("At your discretion"), W. Eco ("The Name of the Rose", "Foucault's Pendulum"), M Pavich ("Khazar Dictionary"). The phenomena of Russian postmodernism include, for example, the works of A. Zholkovsky, The Endless Dead End by D. Galkovsky, The Ideal Book by Max Fry.

Postmodernism has had a great influence on the art of cinema. The mass audience is familiar with postmodern cinematography, in particular from the works of American film directors V. Allen (“Love and Death”, “Deciphering Harry”), K. Tarantino (“Pulp Fiction”, “From Dusk Till Dawn”). The films of the late J. L. Godard ("Passion", "History of Cinema") are an example of "intellectual" postmodernism.

In the visual and theatrical arts, the influence of postmodernism is expressed in the elimination of the distance between the actors (a work of art) and the viewer, in the maximum involvement of the viewer in the concept of the work, in blurring the line between reality and fiction. Various actions ("action") flourish in postmodern art: performance, happening, etc.

The spirit of postmodernism continues to penetrate into all spheres of human culture and life. The utopian aspirations of the former avant-garde were replaced by a more self-critical attitude of art towards itself, a war against tradition - coexistence with it, a fundamental stylistic pluralism. Postmodernism, rejecting the rationalism of the "international style", turned to visual quotations from the history of art, to the unique features of the surrounding landscape, combining all this with the latest achievements in building technology.

"INTERNATIONAL STYLE" in architecture ser. 20th century, a trend ascending to strict rationalism L. Mies van der Rohe. Geometric structures made of metal, glass and concrete of the "international style" are distinguished by elegance, high technical perfection, however, especially when mass copying its samples, they ignored the originality of local landscapes and historical buildings (for example, faceless parallelepipeds of Hilton hotels, identical in anywhere in the world). Criticism of the international style was the most important stimulus for the formation of architectural postmodernism.

The visual art of postmodernism (of which pop art became an early frontier) proclaimed the slogan of “open art”, which freely interacts with all old and new styles. In this situation, the former confrontation between tradition and the avant-garde lost its meaning.

Separate forerunners of postmodernism arose more than once among the former avant-garde (for example, in Dadaism), but the first landmark stylistic frontier was postmodernism in architecture (which opposed various ironic dialogues with tradition to pure functionalism), as well as pop art.

FUNCTIONALISM, a direction in architecture of the 20th century, requiring strict compliance of buildings and structures with the production and household processes (functions) that take place in them. Functionalism arose in Germany (the Bauhaus school) and the Netherlands (J. J. P. Oud); in many respects, the search for constructivism in the USSR is similar. Using the achievements of building technology, functionalism gave reasonable methods and norms for planning residential complexes (standard sections and quarters, "linear" building of quarters with the ends of buildings facing the street).

POP ART (English pop art, short for popular art - public art), a modernist art movement that arose in the 2nd half. 1950s in the US and UK. Rejecting the usual methods of painting and sculpture, pop art cultivates an allegedly random, often paradoxical combination of finished everyday objects, mechanical copies (photography, model, reproduction), excerpts from mass printed publications (advertising, industrial graphics, comics, etc.).

Here, and also, somewhat later, in video art and photorealism, all remnants of the former aesthetic taboos were removed, all distinctions between “high” and “low”, habitually beautiful and habitually ugly.

VIDEOART (English video art), a direction in the art of the last third of the 20th century, using the possibilities of video technology. Unlike television itself, which is intended for broadcast to a mass audience, video art uses television receivers, video cameras and monitors in unique happenings, and also produces experimental films in the spirit of conceptual art, which are shown in special exhibition spaces. With the help of modern electronics, he shows, as it were, a "brain in action", a clear path from an artistic idea to its implementation. The main founder of the direction is considered to be an American of Korean origin Nam Yun Paik.

HYPERREALISM (photorealism), a trend in the visual arts of the last third of the 20th century, combining the ultimate naturalness of images with the effects of their dramatic alienation. Painting and graphics here are often likened to photographs (hence its second name), sculpture is naturalistic toned casts from living figures. Many masters of hyperrealism (for example, painters C. Close and R. Estes, sculptors J. de Andrea, D. Hanson in the USA) are close to pop art with its parodies of a photographic document and commercial advertising; others directly continue the line of magical realism, preserving the more traditional structures of the easel composition.

The old means of expression (that is, the traditional types of painting, graphics, sculpture, etc.) entered into an unprecedented close relationship with the new technical means of creativity (in addition to photography and cinema, video recording, electronic sound, light and color technology), manifesting itself primarily in pop art and kinetism. This electronic-aesthetic synthesis has reached a particular complexity in the "virtual images" of the latest generation of computer devices.

The art of happening has renewed the relationship of the visual arts with the theater.

HAPPENING (eng. happening, from happen - to happen, occur), a direction in postmodernism that has moved from the creation of aesthetic objects to works-processes, that is, to "artistic events" carried out either by the artist himself or by assistants and spectators acting on his plan this is also the name of this work-event or “action” (eng. action). Deliberately mysterious, "abstruse", sometimes scandalous actions of artists and poets of Futurism, Dadaism, the OBERIU group, which often accompanied their public performances, were its foreshadowings.

Happenings, closely related in spirit to the theater of the absurd, can be a kind of micro-performances with plot elements and complex props, or more abstract rhythmic, dynamic or stable compositions. They invariably accentuate the free "space of the game", which the spectator-accomplice must feel. They have gained particular popularity since the emergence of pop art and conceptual art, often including elements of video art, feminism, adjoining various socio-political and environmental movements as visual propaganda. Happening is closely related to body art and performance, which are often identified with it.

Finally, conceptual art, as the most important stage of postmodernity along with pop art, represented by the creativity of “pure” ideas, opened up new possibilities for a dialogue between visual and verbal forms of artistic culture.

CONCEPTUAL ART, conceptualism, a kind of postmodernism that developed by the end of the 1960s. and set as its goal the transition from material works to the creation of more or less free from the material embodiment of artistic ideas (or so-called concepts). Creativity is conceived here as similar in spirit to happenings and performances, but, in contrast to them, the process of involving the viewer into the game of such concepts, fixed in a stable exposition. The latter can be represented by fragments of textual and visual information, in the form of graphs, diagrams, numbers, formulas, and other visual-logical structures, or (in more individualized versions of conceptual art) in the form of inscriptions and diagrams that declaratively tell about the artist's intentions.

Researchers note the duality of postmodern art: the loss of the heritage of European artistic traditions and excessive dependence on the culture of cinema, fashion and commercial graphics, and, on the other hand, postmodern art provokes sharp questions, demanding no less sharp answers and touching on the most pressing moral problems, which completely coincides with the original mission of art as such (Taylor, 2004).

Postmodern art has abandoned attempts to create a universal canon with a strict hierarchy of aesthetic values ​​and norms. The only indisputable value is the unlimited freedom of expression of the artist, based on the principle of "everything is allowed." All other aesthetic values ​​are relative and conditional, not necessary to create a work of art, which makes possible the potential universality of postmodern art, its ability to include the entire palette of life phenomena, but also often leads to nihilism, self-will and absurdity, adjusting the criteria of art to the creative imagination of the artist blurring the boundaries between art and other areas of life.

Baudrillard sees the existence of contemporary art within the framework of the opposition of the mind and the elements of the unconscious, order and chaos. He argues that the mind has finally lost control of the irrational forces that have come to dominate modern culture and society (Baudrillard, 1990). According to Baudrillard, modern computer technologies have transformed art from a sphere of symbols and images that have an inseparable connection with true reality into an independent sphere, virtual reality, alienated from true reality, but no less spectacular in the eyes of consumers than true reality and built on endless self-copying.

At present, it is already possible to speak of postmodernism as an established style of art with its own typological features.

The use of ready-made forms is a fundamental feature of such art. The origin of these ready-made forms is not of fundamental importance: from utilitarian household items thrown into the trash or bought in a store, to masterpieces of world art (it doesn’t matter whether it is Paleolithic or late avant-garde). The situation of artistic borrowing up to the simulation of borrowing, remake, reinterpretation, patchwork and replication, addition of classical works from oneself, added in the late 80s-90s to these characteristic features of the "new sentimentality" - this is the content of the art of the postmodern era.

Postmodernism refers to the finished, the past, which has already taken place in order to make up for the lack of its own content. Postmodern demonstrates its extreme traditionalism and opposes itself to the non-traditional art of the avant-garde. “The artist of our day is not a producer, but an appropriator (appropriator) ... since the time of Duchamp, we know that the modern artist does not produce, but selects, combines, transfers and places in a new place ... Cultural innovation is carried out today as an adaptation of cultural tradition to new life circumstances, new presentation and distribution technologies, or new perception stereotypes” (B. Groys).

The postmodern era refutes the postulates that until recently seemed unshakable that "... tradition has exhausted itself and that art should look for another form" (Ortega y Gasset) - a demonstration in the current art of the eclecticism of any form of tradition, orthodoxy and avant-garde. “Citation, simulation, re-appropriation - all these are not just the terms of modern art, but its essence” - (J. Baudrillard).

Baudrillard's concept is based on the assertion of the irreversible depravity of all Western culture (Baudrillard, 1990). Baudrillard puts forward an apocalyptic view of modern art, according to which, having become a derivative of modern technology, it has irretrievably lost touch with reality, has become a structure independent of reality, has ceased to be authentic, copying its own works and creating copies of copies, simulacra of simulacra, as copies without originals , becoming a perverted form of genuine art.

The death of contemporary art for Baudrillard does not occur as the end of art in general, but as the death of the creative essence of art, its inability to create something new and original, while art as an endless self-repetition of forms continues to exist (Baudrillard, 1990).

The argument for the apocalyptic point of view of Baudrillard is the statement about the irreversibility of technological progress, which has penetrated into all spheres of public life and got out of control and freed the elements of the unconscious and irrational in man.

In the postmodern, the borrowed material is slightly modified, and more often it is extracted from the natural environment or context, and placed in a new or unusual area. This is its deep marginality. Any everyday or artistic form, first of all, is “... for him only a source of building material” (V. Brainin-Passek).

Spectacular works by Mersad Berber with inclusions of copied fragments of Renaissance and Baroque paintings, electronic music, which is a continuous stream of ready-made musical fragments connected by “DJ summaries”, compositions by Louise Bourgeois from chairs and door panels, Lenin and Mickey Mouse in a work of Sots Art - all these are typical manifestations of the everyday reality of postmodern art.

The paradoxical mixture of styles, trends and traditions in postmodern art allows researchers to see in it not “evidence of the agony of art, but a creative ground for the formation of new cultural phenomena vital for the development of art and culture” (Morawski, 1989: 161).

Postmodernism, in general, does not recognize pathos, it ironizes the surrounding world or itself, thereby saving itself from vulgarity and justifying its original secondary nature.

Irony is another typological sign of postmodern culture. The avant-garde attitude towards novelty is opposed by the desire to include in contemporary art the entire world artistic experience in the way of ironic quotation. The ability to freely manipulate any ready-made forms, as well as the artistic styles of the past in an ironic manner, appeal to timeless plots and eternal themes, which until recently was unthinkable in avant-garde art, allows us to focus on their anomalous state in the modern world. The similarity of postmodernism is noted not only with mass culture and kitsch. Much more justified is the repetition of the experiment of socialist realism, noticeable in postmodernism, which proved the fruitfulness of using, synthesising the experience of the best world artistic tradition.

Thus, postmodernity inherits from socialist realism synthesis or syncretism as a typological feature. Moreover, if in the socialist realist synthesis of various styles their identity, purity of features, separateness is preserved, then in postmodernism one can see an alloy, a literal fusion of various features, techniques, features of various styles, representing a new author's form. This is very characteristic of postmodernism: its novelty is a fusion of the old, the former, already used, used in a new marginal context. Any postmodern practice (cinema, literature, architecture or other forms of art) is characterized by historical allusions.

The game is a fundamental feature of postmodernism as its response to any hierarchical and total structures in society, language and culture. Whether it is Wittgenstein's "language games" (Wittgenstein, 1922) or the game of the author with the reader, when the author appears in his own work as, for example, the hero of Borges' novel, "Borges and I" or the author in the novel "Breakfast for Champions" by K. Vonnegut . The game assumes a multivariance of events, excluding determinism and totality, or, more precisely, including them as one of the options, as participants in the game, where the outcome of the game is not predetermined. An example of a postmodern game is the works of W. Eco or D. Fowles.

An integral element of the postmodern game is its dialogism and carnivalism, when the world is presented not as the self-development of the Absolute Spirit, a single principle as in Hegel's concept, but as a polyphony of "voices", a dialogue of "original principles" that are fundamentally irreducible to each other, but complement each other and revealing themselves through the other, not as a unity and struggle of opposites, but as a symphony of "voices", impossible without each other. Without excluding anything, postmodern philosophy and art include the Hegelian model as one of the voices, equal among equals. Levinas' concept of dialogue (Levinas, 1987), Y. Kristeva's theory of polylogue (Kristeva, 1977), analysis of carnival culture, criticism of monologue structures, and M. Bakhtin's concept of dialogue deployment (Bakhtin, 1976) can serve as an example of a postmodern vision of the world.

Criticism of postmodernism is total in nature (despite the fact that postmodernism denies any totality) and belongs to both supporters of modern art and its enemies. The death of postmodernism has already been announced (such shocking statements after R. Barthes, who proclaimed the “death of the author”, are gradually becoming a common cliché), postmodernism has received the characteristics of second-hand culture.

It is generally accepted that there is nothing new in postmodernity (Groys), it is a culture without its own content (Krivtsun) and therefore using all sorts of previous developments as a building material (Brainin-Passek), which means that it is synthetic and most of all similar in structure to socialist realism ( Epstein) and, therefore, deeply traditional, proceeding from the position that “art is always the same, only certain methods and means of expression change” (Turchin). Contemporary art has lost touch with reality, has lost its representative function and has ceased to reflect the reality around us in the slightest degree (Martindale, 1990). Having lost touch with reality, contemporary art is doomed to endless self-repetition and eclecticism (Adorno, 1999).

Because of this, some researchers argue about the "death of art", the "end of art" as a holistic phenomenon with a common structure, history and laws (Danto, 1997). The separation of contemporary art from reality, classical aesthetic values, closing it within itself, erasing its boundaries - leads to the end of art as an independent sphere of life (Kuspit, 2004). Some researchers see a way out of the semantic impasse in the works of the “new old masters”, who combine artistic tradition in their work with innovative methods for realizing an artistic concept (Kuspit, 2004).

Accepting largely justified criticism of such a cultural phenomenon as postmodernism, it is worth noting its encouraging qualities. Postmodernism rehabilitates the previous artistic tradition, and at the same time realism, academism, classics, actively denied throughout the twentieth century, serves as a universal experimental creative platform, opening up the possibility of creating new, often paradoxical styles and trends, makes possible an original rethinking of classical aesthetic values ​​and formation of a new artistic paradigm in art.

Postmodernism proves its vitality by helping to reunite a culture's past with its present. Rejecting the chauvinism and nihilism of the avant-garde, the variety of forms used by postmodernism confirms its readiness for communication, dialogue, to reach consensus with any culture, and denies any totality in art, which should undoubtedly improve the psychological and creative climate in society and will contribute to the development of adequate era forms of art, thanks to which "...distant constellations of future cultures will also become visible" (F. Nietzsche).

Postmodernism quickly replaced the latest modernism, and is the antithesis of this rather unusual period that is fading into the past in all areas of creativity. Forms of creativity have received a playful or even sarcastic form, while leveling the difference between the mass consumer and the elite of society. It differs significantly from modernism in that it has classical and traditional motifs and notes, and there is also a revision of traditional views.

Philosophy of postmodernism

At the heart of the direction is not so much "new motives" as pronounced doubts about the correctness of outdated traditions in art. Against the background of the impossibility of objectivity of knowledge, as well as the absence of various criteria for reliability, a clearly expressed doubt is established regarding positive truths, attitudes or beliefs.

The philosophical motives of postmodernism are aimed at rapprochement not with scientific fields of activity, but with art. Postmodernists try to express the relativity of all values ​​that exist in life and the illusory nature of the perceived world. In addition, emphasis is placed on the unlimited possibilities of scientific research.

It should be noted that if modernism positions itself as the complete opposite of traditional art, then postmodernism already combines both traditional and the latest trends and motives. At the same time, the direction still implies a complete rejection of rationalism and universalism.

Postmodernism is often characterized by openness and fragmentation of semantic structures and forms, as well as playful, chaotic motifs. In fact, this is a non-classical interpretation of traditional plots and motifs with the use of anti-systematic and adogmatic elements and plot line constructions.

(Cube houses, postmodernism in architecture)

The labyrinth and rhizome can be cited as symbols of the era, which, by the way, express the position of philosophers and thinkers of postmodernism. The mixing of creativity and art with scientific trends and motives is relevant, and the desire of the authors for the originality of their work has led to a revision of the classical positions on creation and the process of destruction, as well as the concepts of order and chaos.

Postmodernism in painting

In painting, this direction appeared a little later than in the field of architecture. However, it developed quite rapidly, and already in the 80s of the twentieth century, several large-scale exhibitions of works by various artists in this genre took place at once. The authors often used application methods to construct artifacts in art, and everything was exposed to the image, from the people themselves and nature, to the Universe and the space theme of the paintings.

Distinctive features of this style:

• the presence of a finished form in the composition, which sharply distinguishes postmodernism from modernism;
• borrowing classical images and traditions, but giving them new interpretations;
• a combination of forms, a rather pronounced ironic note in the paintings;
• the complete absence of any strict rules and freedom of expression.

It is the freedom of expression that becomes an excellent basis for finding fresh creative ideas and original thoughts. In painting, the current does not have any very characteristic features in the technique of painting, but at the same time it is the largest and most popular in the world of artists today.

Postmodernism in theatrical art

Theatrical performances in the style of postmodernism appeared in the second half of the twentieth century, and they used the same philosophical motifs that are characteristic of the painting or literature of this direction. The direction combines several elements at once:

• deconstruction of images;
• irony, expression of sarcasm;
• classical quotation;
• demonstration of the death of the author.

This style is characterized by a rather strong retreat from publicity into the category of elitism. Such a theater is transferred to small, often improvised, venues, and performances often take the form of an installation. At the same time, the active development of technology has also left its mark on the development of theatrical art, and this leads to the appearance of appropriate props and images.

Postmodernism in painting is a modern trend in fine arts that appeared in the 20th century and is quite popular in Europe and America.

Postmodernism

The very name of this style is translated as “after modernity”. But postmodernism cannot be perceived so unambiguously. This is not only a direction in art - it is an expression of the human worldview, a state of mind. Postmodernism is a way to express yourself. The main features of this style are the opposition to realism, the denial of norms, the use of ready-made forms, and irony.

Postmodernism arose as a way to resist modernity. This style flourished in the second half of the 20th century. The term "postmodernism" was first used in 1917 in an article that criticized Nietzsche's theory of the superman.

The concepts of postmodernism are as follows:

• This is the result of politics and neo-conservative ideology, which are characterized by eclecticism, fetishism.
• Umberto Eco (who will be discussed below) defined this genre as a mechanism that serves to change one era in culture to another.
• Postmodernism is a way of rethinking the past, because it cannot be destroyed.
• This is a unique period, which is based on a special understanding of the world.
• H. Leten and S. Suleiman believed that postmodernism cannot be considered an integral artistic phenomenon.
• This is an era whose main feature was the belief that the mind is omnipotent.

Postmodernism in art

For the first time, this style manifested itself in two types of art - postmodernism in painting and in literature. The first notes of this direction appeared in the novel by Hermann Gasse "Steppenwolf". This book is a desktop book for representatives of the hippie subculture. In literature, representatives of the “postmodernism” trend are such writers as: Umberto Eco, Tatiana Tolstaya, Jorge Borges, Victor Pelevin. One of the most famous novels in this style is The Name of the Rose. The author of this book is Umberto Eco. In the art of cinema, the very first film created in the postmodern style was the film Freaks. - horrors. The brightest representative of postmodernism in cinema is Quentin Tarantino.

This style makes no attempt to create any universal canons. The only value here is the freedom of the creator and the absence of restrictions for self-expression. The main principle of postmodernism is "everything is allowed".

art

Postmodernism in painting of the 20th century proclaimed its main idea - there is no particular difference between a copy and an original. Postmodern artists successfully demonstrated this idea in their paintings - creating them, then rethinking, transforming what had already been created earlier.

Postmodernism in painting arose on the basis of modernism, which once rejected the classics, everything academic, but in the end it itself moved into the category of classical art. Painting has reached a new level. As a result, there was a return to the period that preceded modernism.

Russia

Postmodernism in Russian painting flourished in the 1990s. The brightest in this direction of fine arts were artists from the creative group "Own":

• A. Menus.
• Hyper Pupper.
• M. Tkachev.
• Max Maksyutin.
• A. Podobed.
• P. Veshchev.
• S. Nosova.
• D. Dudnik.
• M. Kotlin.

The creative group "SVOI" is a single organism, assembled from diverse artists.

Russian postmodernism in painting is fully consistent with the basic principle of this trend.

Artists who worked in this genre

The most famous representatives of postmodernism in painting:

• Joseph Beuys.
• Ubaldo Bartolini.
• V. Komar.
• Francesco Clemente.
• A. Melamid.
• Nicholas de Maria.
• M. Merz.
• Sandro Chia.
• Omar Galliani.
• Carlo Maria Mariani.
• Luigi Ontani.
• Past Paladino.

Joseph Beuys

This German artist was born in 1921. Joseph Beuys is a prominent representative of the "postmodernism" trend in painting. Paintings and art objects of this artist strive to exhibit in all museums of contemporary art. Josef's talent for drawing manifested itself in childhood. From an early age he was engaged in painting and music. Repeatedly visited the studio of the artist Achilles Murtgat. While still a schoolboy, J. Beuys read a large number of books on biology, art, medicine and zoology. Since 1939, the future artist combined his studies at school with work in the circus, where he looked after animals. In 1941, after leaving school, he volunteered for the Luftwaffe. He first served as a radio operator, then became a rear gunner on a bomber. During the war, Josef painted a lot and began to think seriously about a career as an artist. In 1947, J. Beuys entered the Academy of Arts, where he later taught and received the title of professor. In 1974, he opened the Free University, where everyone could enter to study without age restrictions and without entrance exams. His paintings consisted of drawings in watercolor and lead point depicting various animals, resembling rock paintings. He was also a sculptor and worked in the style of expressionism, sculpting tombstones to order. Joseph Beuys died in 1986 in Düsseldorf.

Francesco Clemente

Another world-famous representative of the "postmodernism" style in painting is the Italian artist Francesco Clemente. He was born in Naples in 1952. The first exhibition of his work was held in Rome, in 1971, when he was 19 years old. The artist traveled a lot, visited Afghanistan, India. His wife was a theater actress. Francesco Clemente adored India and visited there very often. He fell in love with the culture of this country so much that he even collaborated with Indian miniaturists and paper craftsmen - he painted gouache miniatures on handmade paper. Fame brought to the artist paintings, which depicted erotic images of often mutilated parts of the human body, many of his creations were made by him in very rich colors. In the early 80s of the twentieth century, he painted a series. In the 90s of the twentieth century, he began to work in a new technique for himself - a wax fresco. The works of F. Clemente took part in a large number of exhibitions in different countries. His most convincing works are those in which he conveys his own mood, his mental anguish, fantasies and hobbies. One of his last exhibitions took place in 2011. Francesco Clemente still lives and works in New York, but often visits India.

Sandro Chia

Another one that represents postmodernism in painting. A photo of one of the works of Sandro Chia is shown in this article.

He is not only an artist, he is also a graphic artist and sculptor. Fame came to him in the 80s of the twentieth century. Sandro Chia was born in Italy in 1946. Educated in his native city, Florence. After studying, he traveled a lot, looking for an ideal place of residence for himself, as a result of his search in 1970 he began to live in Rome, and in 1980 he moved to New York. Now S. Kia lives either in Miami or in Rome. The artist's works began to be exhibited both in Italy and in other countries - in the 70s. Sandro Chia has his own artistic language, which is filled with irony. In his works, bright saturated colors. Many of his paintings depict male figures of a heroic appearance. In 2005, the President of Italy awarded Sandro Chia for his contribution to the development of culture and art. A huge number of paintings by the artist are in museums in Germany, Japan, Switzerland, Israel, Italy and other countries.

Mimmo Paladino

Italian postmodern artist. Born in the southern part of the country. Graduated from the College of Arts. In the revival of fine arts in the 70s, he played one of the leading roles. He mainly worked in the technique of tempera fresco. In 1980, in Venice, his works were presented for the first time at an exhibition, among the paintings of other postmodern artists. Among them were such names as Sandro Chia, Nicola de Maria, Francesco Clemente and others. A year later, the Basel Art Museum organized a personal exhibition of paintings by Mimmo Paladino. Then there were several more personalities in others. In addition to painting, the artist was a sculptor.

He sculpted his first works in 1980. His sculptures gained popularity almost immediately. They were exhibited in London and Paris in the most prestigious halls. In the 1990s, Mimmo created his cycle of 20 white sculptures made in mixed media. The artist received the title of honorary member of the Royal Academy of Art in London. Also, M. Paladino is the author of scenery for theater performances in Rome and Argentina. Painting in the life of Mimmo played a leading role.

The history of the emergence of Postmodernism in art:

Postmodernism was the result of the negation of negation. At one time, modernism rejected classical, academic art and turned to new art forms. However, after many years, he himself became a classic, which led to the rejection of the traditions of modernism and the emergence of a new stage of artistic development in the form of postmodernism, which proclaimed a return to pre-modernist forms and styles at a new level.

Postmodernism (French postmodernisme - after modernism) is a term denoting structurally similar phenomena in world social life and culture of the second half of the 20th century: it is used to characterize a complex of styles in art.

Postmodern- the state of modern culture, which includes the pre-post-non-classical philosophical paradigm, pre-post-modern art, as well as the mass culture of this era.

At the beginning of the twentieth century, the classical type of thinking of the modern era changes to non-classical, and at the end of the century - to post-non-classical. To fix the mental specifics of the new era, which was radically different from the previous one, a new term is required. The current state of science, culture and society as a whole in the 70s of the last century was characterized by J.-F. Lyotard as "the state of postmodernity". The emergence of postmodernism took place in the 60s and 70s. XX century, it is connected and logically follows from the processes of the modern era as a reaction to the crisis of its ideas, as well as to the so-called death of superfoundations: God (Nietzsche), author (Bart), man (humanity).

Features of Postmodernism in art:

Formed in the era of the predominance of information and communication technologies, theoretical knowledge, wide choice for each individual, postmodernism bears the stamp of pluralism and tolerance, which in the artistic manifestation resulted in eclecticism. Its characteristic feature was the unification within the framework of one work of styles of figurative motifs and techniques borrowed from the arsenal of different eras, regions and subcultures. Artists use the allegorical language of the classics, baroque, symbols of ancient cultures and primitive civilizations, creating on this basis their own mythology, correlated with the personal memories of the author. The works of postmodernists represent a playing space to which there is a free movement of meanings - their imposition, flow, associative connection. But having included in their orbit the experience of world artistic culture, the postmodernists did this by way of a joke, grotesque, parody, widely using the techniques of artistic quotation, collage, and repetition.

Following the path of free borrowing from already existing and existing art systems, postmodernism, as it were, equalizes them in rights, significance and relevance, creating a single world cultural space that covers the entire history of the spiritual development of mankind.

Masters of Postmodernism:

Sandro Chia, Francesco Clemente, Mimo Paladino, Carlo Maria Mariani, Ubaldo Bartolini, Luigi Ontani, Omar Galliani, Nicola de Maria and others.

Examples of paintings and sculptures in the style of Postmodernism: