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Artistic practices of postmodern art do not only express the principles of the conceptions of the world of modern culture but on the whole they prepare the anthropological "project" of a cosmopolit. But the danger of leveling and even ruining the system of the Ukrainian world outlook traditions exists in the framework of this project. In this article the author investigates the peculiarities of Yu. Andrukhovych' creative work in the context of the Ukrainian postmodern art. Thanks to the ironic form and extreme spontaneity in the choice of dedication and epigraph, postulates the model in which the contextual neo-mythological features are traced and the features reveal the essential peculiarities of the anthropological project of a "post-totalitarian" person. The author's tragic world-outlook and apocalyptical mood are hidden behind the humor and eclectic glare. It doesn't look like "banquet during the plague", but like the comprehension of the problem of one's existence under the totally new historic-cultural conditions. The neo-mythological axis is grounded on the Christian-mythological model-antithesis. The neo-mythological peculiarities analyzed by the author interact with each other in the dialectical unity and make the organic entirety of the artistic work, they are actual for a contemporary person finding himself under the conditions of a transitional period when culture is looking for stable landmarks in its development. It is proved that the neomyth by Yu. Andrukhovych was being built on the synthesis of Christianity and folk culture, ascertaining the European character of the Ukrainian culture and surge for its legitimacy, uniting together the Dianetical and Apologian features. It gave the author the chance to model the modern culture in the coordinates "Bu - bo - bu" (Burlesque - Booth - Buffoonery) and build the anthropological project in the direction of a Cosmopolitan pole.