Paradise. Center

Kansk is some kind of curse. If I knew that it would end so, I would be late for the flight, stuck in the toilet on a transplant five years ago, when I went there for the first time. But he was not late and not stuck. Now doomed until the end of days: 1) go to Kansk; 2) Talk about him.

Once doomed - I tell for the hundredth time. Fourteen years ago, two beards, Pavel Labazov and Andrei Silvestrov, decided to joke and hold a festival of video art and all kinds of moving pictures in the city called Kansk. To get the Kansky Festival (Haha). About the first one, the festival is now telling legends, the level of credibility of which is already approaching the myth of the founding of Kyiv. About the gopniks who came with the stakes to knead the vagaries. About the fact that these gopniks almost sent their video works next year. About the Abakan beer, which pours the river; About the unprecedented rapprochement of video artists. Over the fourteen years, Kansk turned from a village in Siberia (a population of 96 thousand people) to paradise where birds do not stop, neither day, nor at night, nor in winter, nor in summer jasmine does not bloom.

If you approach myth with proper skepticism, you need to squeeze the main thing from it. The main thing-a careless joke of bearded men turned the Siberian district center into a city-object city. The relevant that they got with them did not lay a beautiful handful in the historical center of the village, but entered into a chemical reaction with the eternal-light-Soviet. This reaction is the meaning of the festival.

In the dusty city house of culture, where in the sections they teach to weave from the bast and sing folk songs (eternal), artists show their wild short -time artists: German dreadlocks, Moscow Simmy, and even one balgarin. On the Avenue of the 40th anniversary of October (eternal) are: a bell tower, composed of logs (die, Jeff Kuns), and the alley of palm trees.

In the canteen, the aunts demonstrate training - they answer questions to the questions of English -speaking participants: Chiken, Chiken, what? Chicken, I say.

The local population is not behind - a tightly dedic citizen in a hat is a secular conversation with German filmmakers: “Cho, guys, where are you from? For a long time to us? Yes, it’s good for us, in winter, only ... (end, finish, very bad. - Ed. ) ” Those smile, shake - “chyus” - and remove.

- Where? - nods the Data in the hat.
- From Spain! - With knowledge, they respond to the distribution.

With his own eyes I saw the Belarusian punks in ecstasy with a local folklore team in the same recreation center. I missed, as luck would have it, the collaboration of Psoy Korolenko with the Cossacks and the Secret group Chiefs - with a symphonic orchestra. These examples are the most characteristic and obvious. That is how this Kansk chemical reaction works: the opposite is connected, it turns out something new and strange. Surrealism is what is there? An umbrella and a typewriter on the operating table? The combination gives rise to meaning - again everything rests in the principle of cinema.

In the fourteenth year of the festival, noticeable changes showed in its device. The fears of the organizers are obvious - exactly those that appear in everyone who reads the news; Here last year the same bell tower was burned (already restored). The main fear - what if the "eternal" and the roster will devour the relevant?

So this year, instead of one video festival, three large forums were arranged. Architectural, literary and cinematic. The architectural festival is needed as a means of designing and life support of the object of the object. Literary - for dialogue between two elements, local and imported. About the design, everything is already clear - the “Island of genuine happiness” was discovered on the Kan River, the name speaks for itself. As for the dialogue-the delegates were chosen the most successful: Andrei Rodionov (who else will understand about each of the writers and speakers now in Russian), Vsevolod Emelin (at least read to the balalaika). Plus, the reading of the plays in the theater - Medium, Yuri Klavdieva, was also correctly picked up there.

In general, the wrestling space has expanded. And due to more noise in Kansk, they were able to afford a much more radical selection in the main - a short meter competition. While with the terrain they communicated with the help of islands, bells and brutal verses, in the hall they took up the search for a new, experimental language to complicate this communication.

The Swiss Ukrainian Lesya Cordonets issued a kinetic tavern “Balager. Correction of reality ”: a combination of documentary shots of bus travel along post -Soviet Ukraine and drawn inserts, on which the same objects familiar from childhood (“ Lviv ”, stop, panel house) look like works of the art of the future. German Natalie Plaskura crosses the animation and licked, dead, static digital picture in the sketch “Invasion” and “Fainting”.

Trailer for the film "Balager. Correction of reality "(director Lesya Cordonets)

The domestic part of the contest did not lag: “Once in the USSR”, Mikhail Zheleznikov, a mounting horror, is blind from black and white Japanese horror and “errors of engineer Kochin” with Love Orlova. The radicalist Mikhail Maksimov issued a half-shredded-Poluigrovoy ODU to Russian cosmism-Tarkovsky, Mamleev, Platonov and Maslaev broadcasts about resurrection from the dead and the buildup of earthly gravity.

A kind of manifesto of the current competition is Denis Kolirova’s “own”, a twenty -minute visual psychodel, an elegant exercise on the topic of visual rhymes and associations. The anthem is installed as an art for making the most static substance - at least a mountain, even a stone, even a school photo.

Even the classic “Greenland” of the Israeli Orhen Gertner - a linear story about fathers and children - turns out to be a pure Jewish Zaydl; The post -house, in which the family members play themselves and reveal to not at all a kosher revelation. “What about the Unulin” by Filipino Francisco Manata - another linear game thing - also bites: her heroines fifteen minutes diligently learn a slaughter vaginal trick of Thai clubs.

The retrospects also made it tougher-the competition was accompanied by a block of films of the Berlin Arsenal and the program “Werewolf in the Laughter Room”, collected by the film criticist by Olaf Meller (it is time to remember that the film festival has never been here before, only video-).

But from the dialogue with the city, it did not work out to isolate: the Laboratory of Sinefilov turned out to be open day. Only one film from an out -of -competition block of the full meter answered the dreams of anachorets. “The case for the novice executioner” of one of the leaders of the Czech “New Wave” Pavel Yurachek. This is such a black and white exercise, formally on the topic of swift, but comparison with Kafka suggests itself: the character falls into the fantastic world, where everyone believes in the existence of a heavenly sovereign, and he know himself whims the wine and misses in his inaccessible dead deaths. The picture has long been raised to the shield as the classic of the avant-garde, the radical of the statements, the Black and white Bible of the Sinefil.

The answer to this aesthetic statement turned out to be asymmetric. They became a film that was made by Sylvesters and Labazes a fantastic way - the “owners” of Sergei Dyatlov. If the author himself had not stood on stage, no one would believe that the director’s documentary horror was not the director, but the ordinary hunter who took the camera into the forest, took off about an hour and a half. Dyatlov leaves behind both Boyle with his “127 hours”, and all the tricks of the creators of the horror stations “ VHS ” with their passion for Skype and all sorts of alternative carriers. A simple ruff of Muzhik walks through the woods for an hour and a half, collects branches, retells in his own words of some school Prishvin, and the viewer manages to get gray with horror during this time. This is where the real Mamleev and the ominous dead are in the camera of a hunting mobile phone, in the words and sayings familiar from infancy, in thorough reasoning about sables and bears. The new visuality here is the Arsenal and never dreamed of.

The avant -garde in such a situation can only retire - if after the “owners” there were no “elixir” Daniil Zinchenko, the experiments would have remained lying in the knockout after meeting with Siberian Cinema, believe. The debut full meter of the Moscow video artist has become the point of contact of the eternal and relevant, and in every sense. In his partisanfilm, Zinchenko pushes his foreheads all possible images of the Russian area: officers in a creaky form, professors, mother-mother, fierce “white collar”. Comparisons with the “mythogenic love of castes” are obvious, only there is a pure monologue again (that’s why it is a book), but here and now sergeants, academicians and homeland-mother over the Volga sound completely different. The postmodern irony flies, the images become relevant. What was the pages of the long -read naive books, resurrects (hello to the philosopher Fedorov) and gains flesh.

Trailer of the film "Elixir" (director Daniil Zinchenko)

The “elixir” and especially the “owners” clearly formulated the result of the current Kansk: that which seems terrible and stranger can easily become his own, dear, understandable. You just have to talk to him. The division into mellers and, for example, Lepsov is illusory and stupid. All from one boiler, everyone gets along on one screen and in one hall. The hunter is an excellent interlocutor of the video artist. The guy in sportsmen holds a bottle of “Abakansky” in his hands not to break her on the head of the Sinefil's head with glasses, but to let him swallow. It is worth starting a dialogue, how someone else's and terrible will become its own, understandable. And you do not need to look for a special language for communication - here in Kansk, everyone is ready to understand everyone.

In the foyer of the DC Aunts from the weaving circle sell products of their work. Lubyan Putin including. One in a jacket, the other in a bracket and a carduster with a flower. When you stretch this ar-breet, the aunts are babbling: “Yes, this is Vladimir Vladimirovich, we (NRZB) support ...” But they immediately begin to demonstrate how cleverly the toy president bend his hands and hands, how to plant him in the lotus pose. Finally, having fanned off, Putin is put in an embrace with nesting dolls and dolls, and then they generally offer to buy “like a toy for the kids”.

This is the power of Kansk as a carefully created and created art object. Maybe it sounds somehow too much in Gorbachevsky, but the dialogue cannot be stopped. Where he is (there is here). If you look at the Siberian city from a taxi, you see signs of rage and a coming disaster. It is worth talking, give him a word - it turns out that everything is in order, there is no mention of any aggression. What it seemed to it is one postmodern irony on the march (it was not for nothing that the actual art was planted for so many years here). You just need to stop talking, do not stop the dialogue.

In the end, the art object (especially the city object Kansk) is that, which, without changing, is strongly dependent on the context. Everyone in it sees what he heard on the news, read on Facebook, saw on the screen. Someone is a sweet provincial nap and fatty pies with Abakan. Someone is Mamleev City. Someone is a taiga locarno, in which every gopar is a synofil. The object does not change from this, remains itself. He is here (on Earth), in the end, much longer than Novorossiya, fears, “quilted jackets” and other convulsive creatures of the current moment.