Half a century later after “Future Shock” by Alvin Toffler outstanding sales manages discovered that we turned out in turbulent flow of V.U.C.A., volatility, uncertainty, complexity and ambiguity.
Easy to see that the times of turbulence are periodic phases in the state of human culture.
And they occur as a result of the culture activity itself. So the eidos of certainty and perfection in the Renaissance are replaced by turbulent eddies of Baroque.
But if earlier turbulence in the culture has been defined as crises or transitions with their spatial-temporal boundaries, now the state of turbulence claims to be the boundlessness. Ancient curse “May you live in era of change” is losing its meaning because contemporary culture does not assume any eras of stability. Output from turbulent area is considered as a catastrophe that ends human existence as a whole.
Unity and opposition to the private and the general come into the most danger zone of risk. Radical means of design modeling are urgently needed in a permanent change accelerates exponentially. One of such means has been art. A daily challenge of the art at all times has been work with universal relationship including dynamic one. Value of this function in turbulent zone seeks to infinity.
We once again call to look into the essence of social problems through the specific and universal art optics.
We exist at the turn where isolation of audience of contemporary art (which is a generation of post industrial society) becomes unbearable.
Odessa Biennale once again confronts the artists the global problem. That, according to many authoritative experts, is one of the signs of provincialism or marginality. However, in the era of fundamental crises, and even more so – a crisis of fundamentality – true outline of the future often encountered in the margins of canonic texts, at the boundaries which are melting in the fire of innovations.