Symbolic capital of the avant-garde in the unofficial art discourse of the 1960-1980s

The article considers the work of independent artists of the 1960s and 1980s, rethinking the heritage of the avant-garde. In the unofficial art discourse, the ideas of the beginning of the XX century represent symbolic capital, significant for artists in the formation of new techniques. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Unofficial art unites representatives of different disciplines, were separated from public activities due to long censorship. The creative and conceptual searches of the artists expressed a disconnect between personal, emotional and inner world of artistic thinking in the late 1950s, tired of operating a single system. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Moscow nonconformists developed a conceptual direction, representatives of the Leningrad underground experimented with methods of metaphysical painting and abstract art, ideas of decorative symbolism were preserved in the works of Saratov nonconformists. Interacting with the avant-garde, nonconformists form a unity of figurative and abstract painting, a distinctive feature of unofficial art.