Identification politics of metamodern art

The article discusses the art of metamodernism in relation to the practice of recognizing (identifying) an artistic expression, its reception, and also regarding the establishment of the status of a work of art. These identification strategies are shown based on the aesthetic attitudes of metamodernism, as well as in the context of its artistic practice. The characteristic of the basic theoretical attitudes of metamodernism is described, specific met-amodernist "sensitivity" is described, the artist's identification strategies regarding the positioning of his statement with respect to other contemporary forms of artistic creativity are consistently disclosed, the spectator tactics and the main receptive attitudes embodied in metamodernist visual material are described. These attitudes are associated with the dominant forms of sensuality in metamodernism. The structure of the metamodernist work, its organization and the receptive techniques contained therein are separately described. The aim of the article is to define the basic identification settings of metamodernism in relation to both the aesthetic statement and the parameters of the artistic material and receptive responses to it. To achieve this goal, the article reviews the general theoretical and aesthetic attitudes of meta-modernism, among which particular emphasis is placed on the concept of oscillation introduced by the first metamodernists who proposed the term and its primary description, Timotheus Vermeulen and Robin van den Akker in the text "Notes on metamodernism". Further analysis concerns the identification of the artist. Reveals the main provisions of the "The Metamodernist Manifesto" by Luke Turner. The parameters of the neoromantic turn in metamodern-ism, based on the creation and deconstruction of myths, performativity, affectivity, illusory, sentimental, interest in the unusual and strange, the combination of childish simplicity and detachment are considered. The consideration of the discovery of the implicit parameters of the work of art, aimed at forming a metamodernist identification of the viewer, is the next step of the article. Among them, the concepts of pastish, "poor image", dematerialization, atmosphere, immersion, nostalgia are subjected to analysis. The conclusions of the article concern the derivation of the basic attitudes of aesthetic and artistic practices of metamodernism, among which the most important role is played by the perception parameters that determine the emotional map of the receptive attitudes of the viewer. Postulate that the most important in this respect are the concepts of atmosphere, dematerialization and immersion.

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