Postmodernism in the art of Lviv in the late 1980s and early 1990s in the Ukrainian scientific discourse

The key aspects of the works of domestic scientists are analyzed in the context of the historical development of fine arts and the artistic environment of Lviv in general, during the collapse of the totalitarian regime and in the first years of Ukraine's independence. Based on the method of systematization and synthesis of information, it was possible to outline the theoretical basis of the study of Lviv postmodernism of the late 1980s and early 1990s. Separate scientific sources are highlighted, which partially demonstrate the influence of postmodernism on the art of Lviv, and it is noted that the situation, characteristic of the whole of Ukraine, has acquired a vivid expression in Lviv: artists began to organize exhibitions more often, which no longer required the approval of the artists' union. The authors rejected Soviet templates and sought to expand the creative range of forms and methods. A protest against the old practice of "faceless creativity" began. The corresponding period in Lviv can be characterized as the heyday of postmodernism, which interacted with world trends and evolved into new forms. Art critics such as H. Vysheslavskyi, O. Holubets, A. Lozhkina, V. Sydorenko, H. Sklyarenko, B. Shumylovych and R. Yatsiv made a significant contribution to the illumination of this period. The source base is also demonstrated: catalogs, albums and other publications from exhibition projects. It was found that a significant part of mentions in newspapers, press releases, manifestos and photographs from exhibitions are in private collections. The purpose of the article is to find out the state of coverage in the Ukrainian scientific discourse of the influence of postmodern trends on the visual arts of Lviv in the late 1980s and early 1990s. Attention is focused on the unsystematic and selective review of postmodern art of this period in the works of researchers in general, and the lack of scientific publications devoted directly to the analysis of Lviv fine art of the late 1980s — early 1990s within the framework of art historical analysis, as a result of which this problem remains unsolved.