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By ΠΡΠΎΠΉΡ ΠΠΎΡΠΈΡ
ΠΠΎΡΠΈΡ ΠΡΠΎΠΉΡ, 2025
Π ΡΠ²ΠΎΠ΅ΠΉ ΡΠ°Π±ΠΎΡΠ΅ Β«Π Π½ΠΎΠ²ΠΎΠΌΒ» ΠΈΡΠΊΡΡΡΡΠ²ΠΎΠ²Π΅Π΄ ΠΈ ΡΠΈΠ»ΠΎΡΠΎΡ ΠΠΎΡΠΈΡ ΠΡΠΎΠΉΡ ΠΈΡΡΠ»Π΅Π΄ΡΠ΅Ρ, ΠΊΠ°ΠΊ ΡΠΎΠ·Π΄Π°Π²Π°ΡΡ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π°, ΠΎΠ±Π»Π°Π΄Π°ΡΡΠΈΠ΅ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠΉ ΡΠ΅Π½Π½ΠΎΡΡΡΡ Π² ΡΠΏΠΎΡ Ρ ΠΏΠΎΡΡΠΌΠΎΠ΄Π΅ΡΠ½Π°. ΠΠ²ΡΠΎΡ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅Ρ Β«ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ ΡΠΊΠΎΠ½ΠΎΠΌΠΈΠΊΡΒ» Π½Π° ΠΏΡΠΈΠΌΠ΅ΡΠ΅ ΡΠ΅Π΄ΠΈ-ΠΌΠ΅ΠΉΠ΄Π° ΠΡΡΠ°Π½Π°, ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Ρ ΠΎΠ±ΠΌΠ΅Π½ ΠΌΠ΅ΠΆΠ΄Ρ Π°ΡΡ ΠΈΠ²ΠΎΠΌ ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ ΡΠ΅Π½Π½ΠΎΡΡΠ΅ΠΉ ΠΈ Π²Π½Π΅ΡΠ½ΠΈΠΌ ΠΏΡΠΎΡΡΡΠ°Π½ΡΡΠ²ΠΎΠΌ. ΠΡΠΎΠΉΡ ΡΡΠ²Π΅ΡΠΆΠ΄Π°Π΅Ρ, ΡΡΠΎ ΠΈΠ½Π½ΠΎΠ²Π°ΡΠΈΡ ΡΠ²Π»ΡΠ΅ΡΡΡ Π°ΠΊΡΠΎΠΌ Π½Π΅Π³Π°ΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΡΡΠ°Π΄ΠΈΡΠΈΠΈ, ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Ρ ΠΎΠ±ΡΠ΄Π΅Π½Π½ΠΎΠ΅ Π² ΠΊΡΠ»ΡΡΡΡΠ½ΡΠΉ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡ ΠΈ ΠΈΠ·ΠΌΠ΅Π½ΡΡ ΡΠΎΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ ΡΡΠ°ΡΠΎΠ³ΠΎ ΠΈ Π½ΠΎΠ²ΠΎΠ³ΠΎ.
Boris Groys, 2025
In his seminal work "On the New," art historian and philosopher Boris Groys delves into the creation of culturally valuable art in the postmodern era. Using Duchamp's readymade as a case study, Groys examines the "cultural economy," exploring the exchange between the archive of cultural values and the profane space outside it. He posits that innovation is an act of negative adherence to tradition, which shifts the ordinary from everyday life into a cultural context, thereby altering the dynamic between the old and the new.