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The performative turn, which manifested itself in the 1960-70s, followed the linguistic turn, exposing a tendency towards putting language in action. The article outlines the implications of the performative approach in the field of artistic discourse and, more precisely, the discourse of verbal art and discusses Moscow conceptualism as a poetic manifestation of performativity. In the Soviet Union and countries of the Eastern bloc, conceptualism manifested itself in the deideologization of the official language of power. Ordinary utterances invaded the poetic texts and canvases, opposing the official discourse of Soviet authorities. The study of verbal artworks by I. Kabakov, L. Rubinstein, D. A. Prigov and A. Monastyrsky elucidates the dialectics of performativity and (non-) creativity in the case of verbal utterances used in poetic discourse.

The Performative Turn in Philosophy and Verbal Art: Moscow Conceptualism’s Linguistic (Non-?)Creativity