ГЕНДЕРНІ ОСОБЛИВОСТІ ХУДОЖНІХ ПРАКТИК УКРАЇНИ І СХОДУ В СУЧАСНОМУ КОНТЕКСТІ
GENDER FEATURES OF ART PRACTICE OF UKRAINE AND THE EAST IN MODERN CONTEXT

Summary/Abstract: The purpose of this study is to elucidate the contextual narrative of artistic expression of gender in the artistic practices of the East and Ukraine. The research methodology combines the analytical method of reviewing secondary sources. Moreover, the research is carried out in accordance with interdisciplinary knowledge principles, taking into account the intersection of gender psychology, art history, and cultural studies in addressing the specified issue. The methodological approach facilitated the synthesis and modelling of a shared artistic perspective on gender issues, unveiled within the trend of glocalisation for creative resistance in both Ukrainian and Eastern traditions. The scientific novelty of the study lies in its comparative approach, transcending monolithic and indigenous studies of artistic practice. The juxtaposition of Ukrainian and Eastern practices forms the basis for a synthetic description of gender as an artistic category within a cross-cultural context. In conclusion, significant contrasts in the aesthetics and techniques of the Ukrainian and broader Eastern artistic spaces are shaped by the tradition of forming a socio-cultural paradigm. Concurrently, these ethnic communities utilise common and similar approaches in contemporary artistic exploration of gender identity, memory, and critique. Despite significant divergence in creative methodologies, artists from both regions leverage traditional artistic elements and digital technologies to craft hybrid forms and narratives of masculinity and femininity that challenge societal norms and contribute to artistic resistance. It is noteworthy that gender appears within the cultures of the East (specifically within the Ukrainian context) as a variant of dialogue regarding the colonial narrative. The similarity in opposition to patriarchal and socialist ideologies indicates a broader ethical vector within the aesthetic system. The presented results contribute to the re-evaluation of global artistic narratives. The ongoing assimilation of artistic ideas in the context of globalisation dynamics is transforming contemporary art practices, promoting the development of glocalisation as a form of resistance, not only within the confines of artistic work, but also in its projections onto socio-psychological reality. The article emphasises emergence, revealed in the close interplay of numerous factors shaping the artistic practice of individual communities in the global world.

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