Hirst “The Worst”: Paradoxical aspects of the cult of beauty

Abstract

In connection with the recent exhibition of Damien Hirst in Venice, the general tendencies of turning to traditional forms of art in the most recent artistic culture are analyzed. In this context, Hirst’s later work is understood as an attempt to bring contemporary art to the conservative, museum perception of artistic value. The activity of Hirst as a cultural phenomenon is analyzed, offering comparative characteristics of his creative work. Along with fragments of critical articles from the international press, quotes of some leading Russian art critics are cited which confirm the significance of this artist even for a context with which he is not directly connected. Hirst’s exhibition in Venice is therefore perceived as a landmark event reflecting the inner aspiration of contemporary art and its public towards a traditional view of the art object. For all its apparent paradox and shock value, Hirst’s work interacts with the reaction of the “Cult of Beauty”, a trend increasingly asserting itself in contemporary culture.