Contemporary Ukrainian visual art in the categories of the theoretical aesthetics (phenomenological aspect)

The principal characteristics of the development of the contemporary Ukrainian art are surveyed through the prism of the category apparatus of the theoretical aesthetics as a philosophical science. The principles and laws of the creative activity are investigated as an aesthetical experience in the individual and collective embodiment. For the first time the study of the interaction between the subject and the object of art activity is undertaken with the help of the phenomenology of aesthetics and its main method and principle hermeneutic approach. The phenomenology of the interpreting and uncovering of the deep senses of the ontological foundations of the visual art is applied for the interpretation and determining key points of objectivizing hidden substantial characteristics of art objects and mechanisms of its entrance into the reality. The principal algorithms of understanding and philosophical presentation of art texts of the contemporary Ukrainian visual art are enlightened. The ways of the mirroring in the art images and symbols of the individual and social consciousness, self-identification are regarded. The creative self-consciousness is described as a subject and object of the creative activity. The transformations of the social and individual consciousness are explained on the examples of the creative results of activity by famous representatives of the Ukrainian contemporary art. The possibilities of the conceptual painting to eliminate alienation and contradiction between the aesthetic ideal and being, thus their dynamic interaction is shown. The essential core of the conceptual visual symbols is unveiled in explicating the prior to reflexing experience in the art works. The special attention is paid to the application of the paradigms, laws, categories, regularities and notions of the phenomenology of aesthetics and a scientific strategy in the field of the contemporary visual art of Ukraine. The perspectives of the hermeneutic approach in the further study of the dynamics of the aesthetic activity are identified.