Myth as narrative form in contemporary Russian art

神话作为当代艺术的一种概念形式，将以俄罗斯艺术为例进行考察。在不同的地方和不同的条件下，艺术家们创造自己的神话的动机将被展示出来。除了个人的性格，社会政治和技术媒体条件也被认为是创造神话的先决条件。最后但并非最不重要的一点是，在信息和通信技术方面，出现的现象将现实和虚构融为一体。平行和虚幻的世界或假新闻是边界消失的一些表现。边界的跨越和消解以类似的方式反映了我们可以支配的艺术家自己的作品的神话。这里的目的是考察这些神话在多大程度上可以被解读为对新现象的反应--按照施密特对数字萨姆达特的说法--以及它们在多大程度上处于一种可以追溯到苏联时代不墨守成规的艺术的传统中，这种现象可以被描述为对现实或逃避现实的逃避，甚至是对19世纪末和20世纪头几十年先锋派乌托邦的逃避。随之而来的问题是神话在当代背景下的特殊性，因为将书面和手势语言与图片形式相结合的中介引用目前正变得明显。中间不同的表现形式的联系导致了特定的物体，这些物体可以扩展成耗费空间的装置。与中间跨越边界相对应的是艺术家在他们构思的宇宙中扮演的令人眼花缭乱的角色。收藏家、档案保管员或考古学家的作品只是不足以勾勒出艺术的自我定位。同样引人注目的是，与艺术家自己作品中固有的神话联系在一起的物质性。对神话作为当代艺术叙事的意义的另一个方面将是材料的语言和材料中固有的象征主义在艺术家自己的神话构成中的作用。调查的对象是1)作为俄罗斯当代艺术创作叙事的神话和神话特征的新版本，2)它的概念和材料的转变，从而支持神话叙事的材料特殊性，3)19世纪末和20世纪末的写作和艺术形式中当代概念的先决条件和参照点，以及4)俄罗斯和国际艺术创作中神话化的相似和不同，由此引出艺术中神话形成的解释模式。

Myth as a conceptual form of contemporary art will be examined using Russian art as an example. The motives that motivate artists to create their own myths in different places and under different conditions will be shown. Beyond individual disposition, socio-political as well as technological-media conditions are to be assumed as prerequisites for the creation of myths. Last but not least, in connection with information and communication technologies, phenomena occur which inseparably merge reality and fiction. Parallel and illusory worlds or fake news are some manifestations of border dissolution. The crossing and dissolution of borders reflect in a similar way the myths of the artist's own work that are at our disposal. The aim here is to examine to what extent the myths can be read as a reaction to the new phenomena - in accordance with what Schmidt said for the digital samizdat - and to what extent they are located in a tradition that can be traced back to the non-conformist art of the Soviet era via a phenomenon that can be described as a flight from reality or escapism, or even beyond that to the utopias of the avant-garde of the late 19th and the first decades of the 20th century.The question that follows concerns the specificity of the myth in a contemporary context, since intermediality references that combine written and sign language with pictorial forms are currently becoming conspicuous. The linking of medially differentiated forms of expression leads to specific objects that can expand into space-consuming installations. Corresponding with the medial crossing of boundaries is the dazzling role that artists play within the cosmos they conceive. That of the collector, the archivist or the archaeologist only insufficiently outlines the artistic self-location. No less striking is the materiality linked to the myths inherent in the artist's own work. Another aspect of the investigation into the significance of myth as a narrative of contemporary art will be the role of the language of the material and the symbolism inherent in the material in the constitution of the artist's own myths.The objects of investigation are 1) the new edition of the myth and myth-characterizing qualities as a narrative of contemporary art creation in the Russian context, 2) its conceptual and material transformation, thus a material specificity supporting the mythical narrative, 3) the prerequisites and points of reference of contemporary concepts in forms of writing and art of the late 19th and 20th centuries, and 4) similarities and differences of mythization in Russian and international art creation, from which explanatory modes of myth formation in art are derived.