Dynamic equilibrium as a methodological tool: from Mondrian's neoplasticism to critical abstraction of the 21st century

The article explores the methodological potential of the key concept of neoplasticism – "dynamic equilibrium" – for analyzing the visual and social structures of contemporary art. The object of the study is the principle of dynamic equilibrium itself in its historical transformation from classical modernism to the 21st century. The subject encompasses specific artistic practices from the second half of the 20th century to the early 21st century that demonstrate the evolution and semantic rebirth of this principle. The aim of the research is to show that the concept of dynamic equilibrium, extending beyond Piet Mondrian's creative project, retains its analytical value as a tool for decoding complex phenomena in contemporary art. Special attention is paid to the comparative analysis of the works of key artists – Piet Mondrian, Sean Scully, Peter Halley, and Sarah Morris – to demonstrate three stages of transformation of the concept: from metaphysical harmony through materialization and existential tension to semantic inversion and critique of systems of social control and alienation. The methodology of the research is based on a comprehensive approach that integrates three complementary analytical levels: formal-stylistic analysis, principles of gestalt psychology, and methods of socio-cultural interpretation. The main method is the comparative analysis of specific works by abstract artists, which allows tracking the dialectical transformation of the investigated concept – from classical modernism to postmodern conceptual practices. The primary conclusions of the work confirm that dynamic equilibrium has evolved from a utopian model of universal harmony to a tool for socially critical analysis. The concept has proven its analytical value for decoding complex visual systems in contemporary art, reflecting the ideological conflicts of the era. It has been established that its transformation from a metaphysical principle to a materialized form (Scully), and then to a semantically inverted code of power and alienation (Halley, Morris), accurately captures the shift in cultural paradigms – from modernist faith in order to postmodern critique of spectacle and simulation. The scientific novelty lies in considering the concept as a living methodological construct. For the first time, a comparative analysis has been conducted based on it, revealing the dialectical continuity and semantic transformation from the avant-garde to the present. The theoretical contribution of the study consists of expanding the methodological apparatus of art studies by operationalizing dynamic equilibrium as an interdisciplinary analytical tool.

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