The work resulted in theoretical developments for the study of the spatial aspects of the latest practices in live arts, as well as the identification of social and cultural contexts that are key to the history of art in situ in Russia. The negative aesthetics of theatrical events mastering non-theatrical spaces: streets, foyers, roofs, squares, natural landscapes open up the possibility of analyzing the theatrical process and its auto-reflective function. Theatrical and performative events turn out to be closely integrated into such social processes as cultural democratization (inclusion of more and more new groups in the processes of cultural interactions), commemoration (the creation of new rituals and narratives for memory and preservation of cultural heritage), as well as in the processes of creating and drawing attention to the public spaces of a modern city. We believe that a necessary step for the development of the theory of contemporary art is the inclusion of a cross-disciplinary understanding of the object of study, in which live performing arts, installation arts, visual arts, video and audio experiments in exhibition projects would be considered together and thus the ideas and concepts of post-structuralist cultural criticism could be applicable to the contemporary art process. 

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Published on 05/01/23
Submitted on 28/12/22

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