Aspects of the development of actionism in Russia

The article examines the features of the development of actionism in Russia through the prism of cultural continuity and mutual influence of avant-garde foreign practices of the 20th century. The article defines approaches to understanding the body in a philosophical context – from Husserl’s phenomenology to the concept of Merleau-Ponty, Podoroga. The approaches to conceptualism of art critic Aude de Kerros are taken into account, which played an important role in building a global context of interaction between culture and art, taking into account the fundamental significance of Soviet art of the 1920s, which allows us to analyze the cultural mechanisms and forms of interaction between the body and artistic practices in a historical perspective. The relationship between the performative practices of the early avant-garde, theatrical experiments of the 1920s and contemporary actionist strategies is determined, as well as the specifics of the interaction of Russian actionism with global artistic processes. Particular attention is paid to the late Soviet underground and the post-Soviet period, when actionism entered the public space, adapting various methodologies to the local context. The role of actionism as a means of artistic expression in the transformation of social and cultural landscapes is taken into account. The development of Russian actionism is considered as a complex process, including the continuity of artistic practices, the borrowing and subsequent adaptation of Western methodologies, as well as the development of unique forms of artistic action, which testifies to its significance in contemporary culture.