The Art Experiment in Aesthetic Discourse

Olesia Beniuk


The purpose of the article. This work researches the role of the concept of the experiment into Aesthetic and Artistic discourse, establishing an artistic experiment as an Aesthetic notion, the delineation of transformations in the interpretation of an artistic investigation,  related to the changes in the image creating system, defining the different types of artistic experiment and their main attributes. Methodology. The methodology of the research is to apply methods of generalization, systematization and comparison to enable confirmation of the test as an Aesthetic concept capable of designating applicable phenomena as artistic experimentation, reveal and identify the features of various types of artistic experiment that appeared in the Aesthetic and Artistic areas since the end of the 19th century up to now. The scientific novelty of the research is to expand the aesthetics categorical apparatus, to invoke concepts which are necessary for modern Aesthetic and Art. To distinguish eхexperimentation in various visual systems, I suggest using such concepts as "scientifically imbued artistic experiment," "modernist artistic experiment," "postmodern artistic experiment." The theoretical interpretation of various types of an artistic experiment is compared with experimental ideas implemented in works of art. This approach allows us to represent common beliefs, values , and interpretations in the spheres of Philosophy, Aesthetics, and Art of a given epoch. Conclusions. Understanding the formation and development of an artistic experiment, it's functioning within the various visual systems, allows us to distinguish the main types of artistic experimentation and to identify the features of the scientifically imbued artistic experiment, modernist and postmodern experiment. Its realization in the creative sphere and the theoretical interpretation of the artistic research in the works of leading contemporary thinkers is a sufficient reason for introducing the concept of the artistic investigation into the modern Aesthetic and Artistic discourse.


experimental art; artistic experiment; scientifically imbued artistic experiment; modernist artistic experiment; postmod-ern artistic experiment.


Адорно Т. Теорія естетики: Пер.з нім. К.: Основи, 2002. 518 с.

Беньямін В. Мистецький твір у добу його технічної відтворюваності. Вибране. Пер. з нім. Ю.Рибачук, Н.Лозинська. Львів: Літопис, 2002. С. 53-97.

Золя Э. Экспериментальный роман. Собрание сочинений в двадцяти шести томах: Пер. с франц. М. “Худож. лит.”, 1966. Т. 24. С. 239-280.

Кебуладзе В. Пам’ять і забуття.. Чарунки долі: ессеї. Львів: ВСЛ, 2016. с. 33-41.

Малевич К. От кубизма к супрематизму. Новый живописный реалізм. Собрание сочинений в пяти то-мах. М.: Гилея, 1995. Т.1. С. 26-34.

Eco, U. On Beauty (Alastair McEwen Trans). London: Seeker & Warburg, 2004. 438 p. URL:

Gombrich E.H. The Story of Art. – New York: Phaidon Publishers Inc. The Oxford University Press New York, 1951. 472p.URL:

Adorno, T. (2002). Aesthetics Theory. (P.Taraschuk Trans). Kyiv: Osnovy [in Ukrainian].

Benjamin, W. (2002). The Work of Art in the Age of Mechanical Reproduction. Selected. (J.Rybachuk, N.Lozynska Trans). Lviv: Litopys [in Ukrainian].

Zolia E. (1966) Experimental Roman. Works in Twenty Six Volumes. Moskow: Hudozhestvennaya Literatura. vol. 24. pp. 239-280 [in Russian].

Kebuladze V. (2016). Memory and Oblivion. Cells of the Fate: Essay. Lviv: VSL [in Ukrainian].

Malevych K. (1995). From Kubism to Suprematism. New Artistic Realism. Works in Five Volumes. Moskow: Gileia. vol. 1. pp. 26-34 [in Russian].

Eco, U. (2004). On Beauty. (Alastair McEwen Trans). London: Seeker & Warburg [in English]. Retrieved from

Gombrich E.H. (1951). The Story of Art. New York: Phaidon Publishers Inc. The Oxford University Press New York [in English]. Retrieved from