What is next on Contemporary Art?

In order to comprehend the aftermath of contemporary art, it is first necessary to understand the acceleration between modern art and contemporary art. According to this acceleration, only inferences can be made about the future of contemporary art. When we examine the decades of modern art, we can see that Impressionism in the 1880s, Expressionism in the 1890s, Dadaism and Bauhaus in the 1910s, Constructivism and Surrealism in the 1920s, Abstractionism and Social Realism in the 1930s, Neo-Dadaism and Situationism in the 1940s. . We can think that the differentiation of the position of art before and after the war, the change in technology and creative possibilities in parallel with this, is inevitable in the modern art period. In contemporary art, which we can consider as 1950 and later, expressionism in the 1950s, computer art and new reality in the 1960s, installation art and video art in the 1970s, electronic art and graffiti in the 1980s, digital, software, information and internet in the 1990s. In the 2000s, concepts such as VJ art, video game art, virtual art, and street art came to the fore. Movements in this period benefited from technological and possibilities rather than intellectual movements. Even going a little further, it can be said: technology has given opportunities to art. Art has also "made up" an intellectual infrastructure for these possibilities. Likewise, concepts such as art, artist, and the intellectual infrastructure of art have become hollow, trust in the intellectual community such as opinion leaders and wise people as one of the benefits of the Postmodernism period has been destroyed and replaced by the individual's own wisdom. So much so that the "street art" we see in the 2000s period titles is like the documented version of this situation. "Art is no longer controllable". When we take a few steps back in order to reveal the momentum more clearly, it can be seen that the notion of art is emptied, developments in the field of technology also mobilize art in parallel, and the view that society is for the individual, not the individual is for the society. In fact, artistic experiences have started to be structured to activate the individual, not the mass. After these mentions, we can realize that the following will come to the fore in the next period: art will go to the feet of the experienced, not the art that experiences. The artist will be drawn between art and the experimenter; will be in the position of creator of experiential art. In fact, the concepts of art, artist and experiencer will intertwine, all of them will emerge in a single individual. The people we call today's artists will be in the position of producers of tomorrow's art product. He will be remembered as a producer. In this way, art criticism will be worthless. This is not a separate bracket for art, with the post truth period, criticism will not have any significance. The lie will be combined with the truth. However, the result is clear that the products will be more pleasing. Because the most important criteria will be user satisfaction, art will be free from coercion. It will not impose and question anything. It will rather adapt. One of the worst aspects of this era will be income validity. The changes observed in 10 years in the previous periods will begin to be observed within a few months. This will condemn the development of art uncontrolled continuously. A steady motion will be observed. Ultimately, there will be two back and forth steps that we can encounter in every period. It is clear that we will have the opportunity to study even for a period under the name of neo-contemporary art