“The ‘Post-Savadists’ make art a purely cultural phenomenon, not a spiritual (metacultural) one. Their creativity cancels the ascetically solemn monotony of the art of the leader-predecessors, breaking down into a series of personal versions by which these artists prove their right to an individual fate. O. Holosiy can afford to demonstrate a painterly temperament by using the dark system of image-symbols appearing on his canvases; V. Trubina, not feeling like a criminal before Savadov’s ‘sacred doctrine,’ creates painterly embroidery-pseudo-icons. A. Hnylytsky can calmly remain in a typically postmodern crisis state, making the crisis itself an individual role. The crisis-ness can remain only a necessary component of his painting, whereas the crisis of Savadov or Senchenko would be, for them, even if temporary, a collapse. These ‘new tender ones’ (expression by A. Roitburd) did what the first two Ukrainian postmodernists could not do despite all their desire: they formed the body of new art, connected it with the soil of culture, and developed postmodernism ‘horizontally.’
Comment type: Published comment
Author: Volodymyr Levashov
Sources: Levashov V. Another Face: Ukrainian Phenomenon (View from Moscow) / Volodymyr Levashov // Decorative Art of the USSR. — 1989. — No. 12. — P. 29.
