The search for the ‘new’is a definite symptom of art. Significant artistic trends included in textbooks and encyclopedias were often fueled by the ‘non-professional’, ‘peripheral’ discoveries of artists, and then appropriated, leaving no names or traces. Art still does not stop searching for a convincing form of expression. This process especially intensifies during periods of noticeable changes when means of expression are experiencing a crisis.
Can one talk about a certain process of decentralisation in the artistic field? How can we deal with the gap in the cultural representation of the conditional centreand periphery, and ultimately with division and hierarchy? Is there a historically and culturally sensitive way of dealing with the experiments of non-professional artists?
Finally, why are the animated filmsby the self-taught artist Anatolii Surma noticeable against the background of many other experiments, both amateur and professional? Why did the visual style of cartoons become the basis of this year’s festival identity?