UKRAINIAN AVANT-GARDE IN THE ARTS-SCIENTIFIC DISCOURSE

The subject of the research is the comprehension of the heritage of Ukrainian avant-garde art in the modern scientific space. The purpose of this paper is to publish the results of scientific studies of the problem of Ukrainian origins in the European avant-garde movement of the first third of the twentieth century. The toolkit for studying the artistic processes of the Ukrainian avant-garde is based on a set of axiological (value), ontological (existential), hermeneutic, historical-chronological, comparative, formal-stylistic, art history methods. The scientific results obtained thanks to the chosen methodology correlate with the significant achievements of the national school of art history. The term «Ukrainian avant-garde» is of the Western European origin; it appeared in the late twentieth century. In the academic discourse, Ukrainian art critics began to study the problem of ethnicity of the avant-garde in Ukraine during the period of gaining of the state independence. It is stated that the state building and development of the artistic culture are interrelated processes, which led to the revival of the scientific and creative interest in the avant-garde. The philosophic and aesthetic foundations of the Ukrainian avant-garde, its artistic and stylistic features, the problem of conventional and authorial, biographies of artists, their creative heritage and theoretical search for something new in art are studied. Results of work. For some time, de-nationalism was an attractive side for the Bolshevik power and contributed to the use of the potential of the avant-garde as a tool in the political indoctrination of the Soviet society. However, the avant-garde is Ukrainian by its origin, territorial belonging and affiliation of artists and their search for something new in the eidetics of folk expression. Avant-garde achievements are used in new areas of artwork, especially in abstract painting. Under the influence of socio-political processes of Ukrainian statehood, exclusively territorial feature of the avant-garde was transformed into the national cultural heritage, as a part of Ukrainian art. Conclusions. The understanding of the Ukrainian avant-garde in the fine arts is currently taking place through the prism of the development of pan-European avant-garde trends and directions of the first third of the twentieth century. The legacy of prominent artists, whose work centuries ago was considered «left» or «formalist» is now gaining new cultural meanings. The Ukrainian avant-garde emerged from obscurity and organically entered the national artistic space.