This year marks 96 years since the “0.10” exhibition, where the world saw the infamous “Black Square.” Moreover, it has been 99 years since “Victory over the Sun,” where the “Black Square” only modestly appeared (Act 1, Scene 5). The beginning of a great modernist fairy tale. A tale of two modes: conventionally speaking, the negative mode (the mode of rejecting the old, bourgeois, academic, and accepted. A complete throw-off “from the steamer of modernity”) and the constructive mode (creating new art, language, morality, and generally, a new world). Everything then breathed in the interval between these poles, with a premonition of the collapse of old “normative acts” (“Poetry is a worn-out girl. And beauty is blasphemous filth.” (Burliuk)), and the construction of a new order of meanings (“The word must enter consciousness tightly, like a greased boot. Dyr-Bul-Shyl” (Kruchyonykh)).
Although, gentlemen Malevich, Kruchyonykh, and other Burliuks, only intuitively followed the collective unconscious’s desire for a fairy tale, bringing this “spirit of the time” to the level of mad consciousness, where “nav” becomes “yav,” moreover without any “pravi.” That spirit was too dense. The expectation of the arrival of the Fairy Tale of the New World, liberation (of the proletariat, thought, artist, woman, etc.) from the shackles of everyday life, with a leap into the fairy-tale world of the New (art, social order, etc.).
Yes… There was a Spirit… There was a Spirit there.
And there was a time… And there was Khlebnikov. And Ulyanov, and Dzhugashvili, and Hitler.
“…And there were many and many: and there were ravens with the voice: ‘death!’ and wings of nights, and the truth-flowering fern, and the time-melting hut, and the face of an old woman in the bun of eternity, and an evil dog on the chain of days, with the tongue of thought, and the path along which days run and on which the traces of day, evening, and morning are imprinted… and there stood a fence of temporary boards, and a sorrow-branching suffering above the water, and there was a lake where instead of a stone there was time, and instead of reeds rustled the temporaries (Khlebnikov).”
The revolution of the fairy tale, the fairy tale of the revolution… The naivety of hopes is replaced by the cruelty of their realization…
The fairy tale is revolutionary. The fairy tale dances with blue Shiva in the subconscious, on the edge of eroticism and morality, combining the joy of permissiveness and the intoxication of instructiveness. The fairy tale is a place where the opposition of “low” and “high,” “great” and “small” is removed. In the fairy tale, the smallest and lowest can become great and high and, what is characteristic, vice versa. I dare to state that the FAIRY TALE is the main driving stimulus of all human culture. “Basic Instinct.” Food, reproduction, fear, and… And the FAIRY TALE. The fairy tale triumphs, piercing malignant existence with a red thread, a scarlet banner, with the razor of dreams, the Occam’s Ecumene, where the visible world is invisible behind the dream. The dream is closer, the FAIRY TALE is more tangible than the hateful world of predisposition.
How can one not recall the fairy singing of the communists here: “We were born to make the fairy tale come true” in the freshly built Thrice-Ninth Kingdom of the Thrice-Ten Republics?!
Moreover, the main plot of the main fairy tale – “Liberté, Égalité, Fraternité,” in its real embodiment, transforms into a new fairy tale of the inevitable advent of universal, total, godless justice. And communism, as an unfinished fairy tale, continues to corrode the bloated, postmodern body. “Change! We demand change!”
Our hearts demand the immediate realization of the “better share,” the instant fulfillment of the collective unconscious, about which there is nothing to say, since it is the realm of the FAIRY TALE, where the subject, roughly speaking, lies on the stove, the stove itself moves, buckets walk by themselves, gusli play themselves.
The sin of pride, with a grumble about one’s fate — is the essence of the FAIRY TALE. It is the place of the unfulfilled but probable. The place where a person incarnates the world in the Central Place – the Place of Embodied Hope, like a terrestrial compass, which, as in a fairy tale, turns into Ariadne’s thread. Into the astrolabe of orientation in the otherworldly existence (to which, to be honest, all Orient adepts orient themselves), the Place of Power, which those who seek will not find, Lukomorye, the learned cat, and with them Uncle Chernomor.
We are all in search of a fairy tale, in search of a better existence, in search of a place where Eros and Thanatos, embracing, shed sentimental tears, where Trotsky and Hitler prepare a better fate for us, where Lenin is so young, where Beuys controls the “Junkers,” where Gauguin has not yet caught the “siphon,” where Christ still drinks wine, where Malevich writes denunciations against Chagall, where “reason gave steel hands-wings, and instead of a heart — a fiery motor.”, where Anna Andreevna Gorenko was born in Odessa and died there, having known Gumilev only by his poems, where Freud admired the shape of his own cigar, where Duchamp, stopping the stream, saw a urinal, where Alyonushka saw Ivanushka, where Yulia kissed Vitya, where Hitler entered the Vienna Academy of Arts, where Viktor Fyodorovich fights Katigoroshok, where Rasputin fraternizes with Purishkevich, where Pelevin drinks and waits for news, where Taras Hryhorovych died a state councilor, where the consumption of salo is forbidden under penalty of death, where it is good where we are not (already? yet?), where Lenin was not born, where Crowley is livelier than all, where Ukraine is in Canada, where Yesenin is black, where Vysotsky is a member of the Politburo, where Stalin has lumbago, where Bandera is friends with Pasternak
In general, where, according to the apt remark of the neo-Marxist storyteller F. Jameson, transitional periods are characterized by a single fairy-tale theme, “a collective struggle whose goal is to tear the kingdom of Freedom from the shackles of the kingdom of Necessity.”Comment type: Published comment
Author: Oleg Petrenko
Bibliography:
Petrenko – Perets O. S. Fairy Tale. Victory over reality / Oleg Petrenko – Perets // Website of the Museum of Contemporary Art of Odessa. [Electronic resource]. – Access mode: http://www.msio.com.ua/ru/component/content/article/34-afisha/408-tale-victory-over-into-reality
