Feelings such as moral disgust, protest and antipathy are increasingly understood as the most important aspects of cognitive processes in moral psychology and reveal the complex structure of human nature and culture. Transgressive fiction, cinema or visual arts which are characterized by a graphic representation of violence and different traumatic experiences, are a strong ethical stimulus. In this article, transgressive art is viewed through the prism of its multimodality. The article examines both the positive and negative roles of transgressive art in the constitution and the confirmation of the boundaries and limits of social acceptability. By acknowledging the risks of aestheticization of violence that can expand the ethical boundaries of a person as a witness, this study also elicits that transgressive art offers a safe environment for exploring taboos without consequences for the audience. Although transgressive art depicts various violations of moral norms, it does not deny the boundaries of what is permitted, but only confirms them. Keywords: transgressive art, multimodality, transgression, moral norms, public morality, ethical boundaries, screen violence

Гомес Каролина-Джоанна Соотношение этического и эстетического в художественной культуре: версии нового морализма, автономизма и когнитивизма в современной англо-американской философии искусства Цель исследованиявыявить феномены нового морализма и когнитивизма в современной англо-американской философии искусства. В статье проводится критический обзор работ, посвященных изучению взаимодействия этических и эстетических аспектов произведений искусства, рассматриваются концепции, в центре которых поставлены вопросы о допустимости моральных оценок искусства, а также о том, могут ли моральные оценки относиться к эстетическим качествам произведений искусства. Научная новизна заключается в выявлении проблемного поля искусства и структурировании его диспозицией этических и эстетических ценностей. В результате доказано, что в современной художественно-культурной ситуации этические и эстетические моменты предстают не как разные и самостоятельные ценности, а как позиции, находящиеся во взаимном притяжении и отталкивании.

The article examines a new type of conflict in the form of public protests against contemporary art that appeared at the end of the 20th — beginning of the 21st century. Typical signs of contemporary conflicts are highlighted: the discourse of the offense is central, the protests are usually organized and collective, accusations are brought against art institutions, and collec-tive affective reactions and symbolic violence often become forms of conflict interaction. In the article, protests against contemporary art are examined through the prism of the analysis of the public as an actor in the conflict, transformations of the public sphere and relations in it as an autonomous field of art (the “art world”) and the fields of influence of other social forces. Relations between the art world and the public go beyond the framework of the educational paradigm, which was dominated by asymmetry and passive influence of consumers on the dynamics of the artistic field. The activization of a part of the public, for which the consumption of contemporary art is not a cultural norm, indicates that the origins of the conflict cannot be explained by the rules of artistic communication that has developed in modern society. Contemporary art spaces are turning into noticeable and important places for the manifestation of social tension and political struggle. Art in the public sphere is becoming the space of vulnerability (J. Butler). It is substantiated that one of the factors in the activation of public conflicts was a change in the structure of the side of the conflict which we call the “public” as opposed to the “audience of art”. In the framework of the concept of the public sphere as an agonistic space (Ch. Mouffe), the need for a review of the value orientations of art institutions and strategies for their interaction with the public is constituted.

The challenges of contemporary art include its perception by the public and society in general. Modern art has long utilized provocative and deliberately disruptive acts and statements as one of the tools that allow it to produce public reaction. However, today such actions and statements increasingly face explosive responses from offended audiences, especially amongst the more conservative parts of society. Often such reactions do not limit themselves to the expression of public indignation but proceed to courts and demands to officially sanction offensive art. This article contributes to the polemic around offensive art by identifying problems in contemporary practice of art evaluation in Russia and its limitation, and suggesting ethico-cultural evaluation as a comprehensive approach to analyse the art event or work as insulting or morally dangerous. The identification of problems is based on analysis of existing experts’ statements on the artworks denounced as offensive. The theoretical framework of the research is provided by regulatory legal acts, critical research on vilification laws and the theory of humanitarian evaluation. Keywords: ethico-cultural evaluation, hate speech, religious feelings, Russia, Article 282, Article 148, religious offense, offensive art

The article discusses the phenomenon of politically motivated public outrage around art in Russia. The history of protests against art in Russia is relatively short but intense. Since 90’s there occurred a number of attacks on art, the majority of which were protests against art that in some way expressed criticism of current state policy or Russian Orthodox Church. It may seem that in Russia the moral majority decides the fate of controversial artistic events, but as this article argues, that conflicts around art are frequently used by religious fundamentalists and nationalist right-wing groups to pursue their own political agendas and gain popularity in the media. Keywords: hate spin, contemporary art, public censorship, offense, Russia, religious fundamentalism, SERB, vandalism