Parshchikov

Saturday is the ninth day from the death of Alexei Parshchikov, but it is difficult to write today. This is not about personal, just in twenty-five years everything is already somehow so together that you can’t find a point from which you explain what exactly he did. It would be necessary to push away from something.

Here, from what Kisina wrote. She has correctly : “He announced the world, as a comprehensive biological machine, let into modernity into it, allowed new technologies, allowed us to conjure everything with everything - mechanics and chemistry, school cabinet and vulgar mass of finance. The metaphor equalizes sensuality and meaning formation, manure and gasoline, leads them to a single stream and applies seemingly at the first time not by purpose, so that it is not according to the next - to the next one. Fighting with the functionality of it is allowed to be a bulky, thick and visual with the vision that lets the eye into the substance, and at the same time, the eye to observe himself and to realize himself. endless. "

What should be added? Kisina indicates the result, it is logical to say about how it was produced. First, about what is not as important as it is believed. This applies to the South Russian texture, Donetsk temperament, Ukrainian baroque, metamet and metarea. All this was present, but - as a set of close textures, why not work with them. But such positions are burned out by an almost ethnographic frame, presenting in the amount of the slurry. Both Baroque and Chernozem with all Poltava hares were, but Parshchikov in the late 80s had a clear idea of ​​how adequate art was arranged. I, say, every visit was looking at him, then the fresh collection “ Flash Art. Two Decades of History - XXI Years ”, until I caught the same in the Bukinistic Spiridonovka. And there the topic does not come down to the above entities. Of course, after Moscow - both in Cologne and to Cologne - he had a lot of this art around him.

Metaphors did not play the role of jewelry, were not only a consequence of an aggravated reaction, they worked on the representation of objects that are required by the text. Here, again, something new, they are running around him. Not comparison and likening, but a work of an element that has just absent. They are what they do if they get confused: they replace this absence into the essence of a intelligible form. The other side was an increase in the absence of the author himself - at that point, more precisely - the point that gives rise to all these matters.

Yes, a car from Kisina. Where is it from? To compose such a machine, the author must somehow correctly put himself and meet certain requirements. The question is that the author himself is, in what anatomy of his feelings he acts and, in general, exists. He has such a description a long time ago, This is " power ". The poem is long for quoting in the column, only the moment of exit from the sensation:

"You recognized this power: a sharp click followed, -

This is complete disconnection and silence,

You were immediately scattered and re -assembled in a bundle,

And - once again a click! - And it was returned to you

A couple of old boots and a thousand holes in the air

decreasing and sliding down the wall,

The windmill and the entrance to the corridor,

The darkness was blocked deeper, like falling cypress. "

Continuing his training manual even more pragmatically, we get a line from an almost absent substance (in which, with all its emptiness, the feeling of “you” still exists and, in general, this strength and equal) to landing, in the literal sense to the embodiment of the substance. The scheme makes it possible to move, move along the entire line from its full absence to anything material. And back. Each time, experiencing the obvious pleasure from the next performance of this kunshtuk.

Of course, living and experiencing everything that occurs and happens during this movement. That there is a completely only approach to artistic practices of the late 20 - The beginning of the 21st century. Of course, Parshchikov never has direct statements. "I" or "we", which often begins the text, is the designation of the point that is included in the adventure; Points whose anatomy is gradually being built in the course of the letter. It will become such that everything written can happen. By the end of the poem, this point will become its author.

It is clear that the absolute level of writing is required here. Of course, he was, otherwise nothing would have happened. Without artistry, without the ability to rock the air, nothing would have happened either. All this lives on a flair of absence and ability to make all these goosebumps to the reader, otherwise there will be no adventure.

Next. With a long stay in the next such space, a problem arises. Poetry is difficult there, non -verbal moves are required here, exit to the tongue in general. Proza can somehow still arrange, go out. He, Parshchikova, with the words: "He is bewildered, as possible from the fact that there is no more unknown. Be careful, as if everything was flooded with a photo emulsion." Because in prose, for example, even trash textures can be joined, the ratios will already work, but in poetry how? There you need to be clear, which means complete inclusion in the tongue: to make it any upgrade , you can even break it, but you can take it into a state of packaging film. What will you stay with?

In the fall of 2007, Parshchikova was interested in the figure of the communicator, some intermediate element, which somehow (in one way or another) produces the input to the experience: intermediary in the text itself. Intentional production of difficulties in reading is possible. The problem was supposed to somehow be resolved. But there are no completed achievements, they are not assumed, nothing is given on a turnkey. There, life, consisting in the shifts of new anatomy each time.

In a word, he prettyly expanded the possibilities of perception, and not so much even copyright. Together, such parts of a person came together that did not assume not that joint activity, but also knowledge about each other. And this is a gap, a passage to an expanded and supplemented idea of ​​your own device. Moreover, not so that the good news is revealed in the format "Guys, but there is such a thing in the world!" The transition is scheduled, life in the new territory is presented and it is good.

The presentation of the space, the method, results, the buzz of art and this whole life is already in the " chosen ". A great book that can be perceived even as a collection of access codes. And the machine, which Kisina, works, of course.