THE IMAGE OF THE HARLEQUIN, CARNIVALESQUE, AND PLAY AS A MEANS OF OVERCOMING ALIENATION IN THE URBAN CONTEXT OF CONTEMPORARY ART

Abstract

The article explores the multifaceted transformation of the figure of the harlequin, the mask, and the phenomenon of the carnival within the context of contemporary urban culture and visual arts. It examines the evolution of this classical figure, tracing its path from commedia dell’arte to a metaphor for the liminal identity of the migrant artist in the global city. The research analyzes the fundamental shift in the understanding of the phenomenon of play elements, as defined by Johan Huizinga, where voluntary, free action is replaced by a compulsive survival mechanism dictated by the economic and social roles of Guy Debord’s “Society of the Spectacle”. The research addresses the problem of existential alienation and the necessity of selfconstruction of identity within the fragmented urban space, with a particular emphasis on the experience of New York City. The paper traces the diverse manifestations of the mask as both a defensive shell and a critical instrument in the work of artists across different eras and movements. The use of this imagery is investigated through psychological, political, and sociocultural lenses, using the artistic practices of Pablo Picasso, Juan Pérez Agirregoikoa, Louise Nevelson, Gordon Matta-Clark, and Jeff Koons as case studies. The artistic practice of Ukrainian artist Myroslav Duzinkevich is chosen as the central material for analysis, where the harlequin becomes the personification of the Ukrainian experience of adaptation and selfaffirmation in a transcultural environment. The author compares the poetics of internal drama in M. Duzinkevich’s work with the ironic critique of the market through J. Koons’ simulacra, as well as the strategy of transforming urban fragments into a form of selfidentification in L. Nevelson and G. Matta-Clark. The study substantiates how the use of the mask allows artists to address the most pressing social, national, and career issues without sacrificing their authenticity. The article employs the following methods: iconological – to determine the profound meaning of the harlequin’s image across different artistic contexts; conceptual – for the analysis and application of theoretical frameworks; structural-anthropological – for studying the state of liminality of the migrant artist and societal anti-structure; comparative – for the analysis of artists’ creative strategies. The scientific novelty lies in defining the harlequin as a universal figure of contemporary urban identity, functioning as an existential strategy within the megalopolis. Furthermore, the role of the mask as a tool for overcoming alienation through selfconstruction and the creation of a personal urban myth is analyzed. The article introduces the practice of the Ukrainian artist Myroslav Duzinkevich into academic discourse within the context of global trends in the comprehension of liminality in contemporary New York art. The harlequin, the mask, and the carnival, as instruments of play, prove to be an effective means of expressing individuality, social protest, and ideological exposure in contemporary visual art. These creative approaches expand the possibilities for comprehending identity and adaptation, confirming that the game in the big city is a vital strategy for preserving inner value in the face of the Society of the Spectacle.