The toposes of vision and narratives in the artworks of contemporary Russian artists P. Arseniev, M. Bezideiny, S. Motolyants, V. Chtak

Le résumé fourni par la source

The article deals with verbal-visual representations in the actual practices of Russian artists at the beginning of the 21st century – Pavel Arseniev, Mitya Bezideiny, Semyon Motolyants, Valery Chtak. The author focuses on the favorite motifs of contemporary artists which integrate verbal and visual elements in art. Inspired by images of urban environment and the sphere of everyday life, the followers of conceptualists actively use iso-verbal techniques. The transemiotic zone of the intersection of two languages – verbal and visual – allows the creation of two-level constructions in which verbal and visual languages merge, forming a synthetic text of culture. To understand the specificity of verbal (implicit and explicit) component in contemporary art, as well as the principles of its existence, the author conducts research, revealing the relationship between the creative practice of Russian contemporary art in 2010–2021 and the rhetoric of the era and the different spheres of spiritual culture. The article analyzes the reasons of unexpected appearance of artistic images, motifs, and ideas in verbal and visual representations of contemporary Russian artists, the aspects of intercultural and interdisciplinary interaction between artworks – classical in contemporary, contemporary in classical. Using semiotics, poststructuralism, morphology, iconographic, and historical-comparative approaches the author considers the topos of the city (synthesis of the real and ideal), attributes of scholarship and knowledge (dialogues beyond time), technical utensils and everyday objects in the context of everyday culture and comes to the conclusion that the specificity of verbal-visual representation in contemporary Russian art is determined by the macrocontext of culture, not only domestic but also European as a whole. A study of visual rhetoric in the current practices of Russian artists, 2010–2021, might be an important step in the history of art in the general situation of lack of theoretical understanding of Russian art. The present study reveals new points of view in the analysis of verbal and visual representations of contemporary Russian artists, as well as actual cultural policy, which may serve as a basis for further theoretical developments in this area. The positions, conclusions, and materials of the article can be used for contemporary interpretation of Russian art, in the development of lecture and training programs, and in the creation of exhibition projects.

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