FEATURES OF THE ARTISTIC LANGUAGE OF PHOTOGRAPHY IN THE CONTEXT OF INTERSPECIFIC TRANSFORMATIONS: PHOTO-READY-MADE AND PHOTOCOLLAGE (ON THE EXAMPLE OF FOREIGN PROJECTS OF THE VENICE BIENNALE 2010-2020)

The article is devoted to the problem of the artistic language of photography, which is actively transforming in the direction of new types and genres of art. The authors examine the projects of the Venice Biennale 2010s - 2020s by I. Makhami, L. Kita, E. Kotatkova, A. Crosby, V. Mutu, M. Zukerman-Hartung, J. Stezakera, T. Michie that use photography as the main component of artistic expression in works and projects. The article uses the example of the analysis of specific projects and individual works of art to show the unique property of photography to represent one's own species identity, in which the peculiarities of the artistic language play a key role. There is practically no kind, type or form of art that has the ability to "undo" the characteristic visuality of a photograph. According to the authors, this is the key to a wide representation of photographic means of expression in various practices and forms of modern art, and in a broader sense, modern culture. The article shows that collage, ready-made, installation, street art and other types of art representation have their own methods of addressing the viewer and rely on the appropriate mediation technique. However, none of them is able to visually "destroy" the photograph, which remains in a characteristic type of representation even within the external artistic shell (for example, a photo collage or a photograph in an installation). Such a feature is determined by the authors as a key characteristic of the artistic imagery of photography, which, in turn, determines the nature of the artistic language. Studies of the ready-made as an artistic technique combined with photographic practices allow us to see the extraordinary flexibility of photography as a universally manipulative mode of representation. Instead, as the analysis of the Venice Biennale projects shows, photocollage practices return photography to its natural state of manipulation of reality, where the photo has an almost monopoly on representation. The authors emphasize that the artistic arena of the Venice Biennale demonstrates extremely important problems of the phenomenology of photography. The subjectivity of the watershed between the nature of the photo to act on its own behalf and at the same time on behalf of the representative has an almost limitless manipulative potential that gives photography new opportunities to conquer narrative spaces. At the end of the 20th - the beginning of the 21st century, photography is already integrated into all major social phenomena, which will certainly require further interpretation and generalization.