Outsider art institutionalization at the present time

This article investigates the development of the Outsider Art discourse, which is analyzed through the perspective of the Institutional Theory ofArt and the B. Groys’Post-structuralist Theory of culture. In the late 1970s - 1990s, the process of conceptual formation Outsider Art discourse was developed through active exhibition practice, powerfully established in the United States. Moreover the followed active process was the Outsider Art museification, were founded the new specialized museums of Outsider and Visionary Art, as well as associations of outsider art. The Outsider Art has become an honorable part of the “Archives of Culture”, entering the funds of the world's largest Museums of Modern and Classical art. This suggests that the Other - in this context, the Outsider Art - has value: it is preserved and explored. Thanks to museum exhibitions, the last decade has become a time of conquering the place of Outsider Art in the “Archives of Culture”, which influenced on the new role of Outsider Art in the Art market and the emergence of specialized exhibitions and art fairs. The transition from the modernist Discourse of Authenticity to the Discourse of the Otherness of the postmodern era leads to the fact that the phenomena of Outsider Art turn out on the forward frontier of contemporary art and become the basis of the main world events in the realm of contemporary art. Appellation to the idea of the Other becomes the main engine of art at the present stage.