Without the name

Ilya Khrzhanovsky , whose premiere took place at the beginning of the year in Paris, will go down in history for almost the most discussed domestic cultural phenomenon of the late 2010s. Today we publish the text of the editor of the magazine “ The Art of Cinema ” Zara Abdullaeva, who, to a certain extent, summarizing the discussions around the project of Ilya Khrzhanovsky, blazing the last months in the media and social networks. The expanded and supplemented version of this material will be published in the nearest issue of “Cinema Arts” (3/4), which will be released in April and will be devoted to the study of the Dau phenomenon.

If Dau is an artistic unprecedented, then for some reason it did not cause even short-term confusion. In such a situation, you need to be silent or find a way of speaking. Take it. Do not shoot in words. Delay the understanding. Otherwise, the “DAU” will remain an artistic event, and not an event-explosion that cancel the previous representations of obscenity, transgression, personality, reliability, anthropological practice.

The history of Dau re -claims (and does not produce) our experience of perception. We operate with familiar models and technology of perception, and Dau insists on the “principle of uncertainty”. Gap.

This experience cannot be legitimized by the famous call of the 60s-“Instead of hermeneutics, we need an erotic art”, so seemingly involved in the world “Dau”.

The immunity of this project, stylized and grotesque, with the care and freedom of recreated by the artist Denis Shibanov, involves the “collapse of understanding” ( H.-t. Leman ).

It is amazing that Dau has nothing to do with the Council - and that is why it is not an archaic art. It is amazing that the artificial, sealed environment and the atmosphere of the look -out light, in which scientists, housekeepers, gesniki, barrators, janitors, artists, and so on, provided spontaneous (very verified installation) and spontaneous, however, the superior Matter “DAU”. Control over the different micromyers is the method of this fragile, self -flammable macro -building.

Any poetics should proceed from the genre - “the genre clarifies reality; Reality clarifies the genre ”( P.N. Medvedev ). So, for example, the final prayer in the toilet of the janitor of Valera, who seducing the janitor Sasha, could have encouraged the text about “Holy Valera” (by analogy with the book of Sartre “Holy Wife”). However, the prayer in which the Communist Party, the USSR, the Lord and the sins of the stepson of our time are inclined, being “more grandiose of the Holy Scriptures”, experimenting with the genre as a type of social behavior of man.

The open structure of the films “DAU” is thematically completed (“Degeneration-1”, “Degeneration-2”). But the defeat of the institute is followed by “regeneration”-the psychedelic trip of the heroes who are now and forever in parallel and intersecting universes, which are not amenable to the conditionally-composition final. Yes, the end of the utopia is obvious. But the compositional draft is not to be calm.

The usual extensions, where there are grounds to enter the “DAU”, are approximate and accurate only partly. Immersion, procedurality, and so on are sticking together in this case with literal advertising. She flaunted on the facade of the Châtelet Theater by a running line, signaling the bloody words “revolution”, “body”, “totalitarianism”. That is, I called in CONTE MPORARY ART Balagan (or festival), which the authors of the "DAU" bypassed. Suddenly.

Longing, spilled in films, no matter how many plots they are full, exceeds their sociologism, extreme, brawl and Khovanshchina.

The combination of artistic and living spaces, their penetration and mutual rejection represent a riddle. This is not a work within the framework of post -Doc , that is, not a rethinking of documentary material. This is not the replica of Ilya Khrzhanovsky in a belated response to the famous series of photographs “History of the disease” by Boris Mikhailov, who shot unpresentable, invulnerable Kharkov homeless people in steam and ulcers. This is different: exposing artistic potentials and visualities in each person (retaining in the project) regardless of his social status. A completely avant -garde idea to consider an artist in any person - regardless of whether he is a physicist, a lyricist, an erotomaniac or impotent.

The attractions that accompanied the screening of the films are so optional that they can not be executed. The surplus value of Soviet Disneyland prepared for foreigners is minimal and does not make a product of cultural consumption of the Dau film. These films are alien to the cultivated impact, but there is also no talk of counter -culture either. The experiment constantly develops itself and turns back another understanding of a person.

Scientific, mental, artistic experiments, experiments on animals, people and cripples make up the distinguished fragments of this cosmos. This civilization. This golden cage and communal apartment. Each film is self -sufficient, finished and - incomplete. You seem to think how it is done. But this is an illusion. It contains Enigma "Dau".

“Dau” testified (experimentally, and not theoretically) the end of total postmodernism.

It is no accident that the movement of plans is suddenly interrupted by darning. Czera, pause, lacunae. A funnel drawing into the womb of the otherworldly, real and magical world. Refined and shameless. Criminal and playful. Prone to visual metaphors (episode "Park of Culture" or the excessiveness of constructivist decor) and - naturalistic. Nonlinear and continuous.

The interspersed of modern vocabulary, a combination of authentic clothing, linen, hairstyles and theater costume (designer coat of Anatoly Vasiliev ) cancel the conventions of stylization and hesitate the rules of the game in this movie world.

For the perception of Dau, a special sensitivity is required. It is she who assumes a new imaginary experience, without canceling either pulling pain or the possibility of reflection. As pornographic episodes, here they demonstrate not only injuries and impulses of erotomaniacs, but the death with which the umbrella synonymized by sex.

DAU fundamentally breaks with postmodern projects about Soviet civilization. But Khrzhanovsky allows himself injections in such fragments of memory, when, for example, Dau (no longer theodore Krentzis, but a real patient old man after a car accident) looks like a person involved in social art. Or when Vladimir Dubosarsky, flirting with Soviet painting in post-Soviet times, appears as a Soviet artist of the 30s.

But the main thing is not this. After the plots, heroes, their phobias, stress, love, strings theory or multiplicity of the worlds are described, it remains to fix the outskirts. Plastic, (not) random view of the camera there and on what sometimes hurts the first plan. Aggressive or quiet. Gap.

Again: longing, flooding the air, the underbuilding of the institute, the buffet in the basement, through the window of which the earth is visible (the “near the earth” was called the cycle of Boris Mikhailov, Kharkov, who was here in the own role of the photographer), saturate the intergene genre of this movie. The genre that forms and marks the territory between the life project and the filming process.

"Dau" is not a reality or a show. "Dau" - transparency. Mirrors mirror the private world as communal. And the windows of the windows, which are trampled here before stupid, destroy the boundaries of visible and secret. Good and evil. Cinema and Theater (rising on the curtain window - the theater curtain - and the director of the institute in uniform sees on the far way, on another stage, trying on the costumes of his doomed wards).

The image of an invisible man who does not see himself is a meta location in Dau drama.

The films are inhabited by the living, in the flesh, the archetypes of Soviet people, albeit living in another era, but connected in a mystery to their personal, and not collective subconscious. This is news. Gap.

It is important that Dau runs all kinds of identifications, like Maupassant from the Eiffel Tower, which pressed him with his vulgarity. You are faced with a matter that does not involve either empathy or disgust. Such swings of perceptions are eliminated here as a class.

The singularity of the project is not related to science of physics, but to the metaphysics of human radiation, extermination, attraction in the Dau model society. Such a singularity breaks with the measures of modern art scenes and does not reproduce its discursive and visual practices on its own material.

This young cinema has not yet been concerned either with aesthetics, nor large style, nor transistoric allusions.

The art of the twentieth century did not imply. In the films "Dau", brutal and captivating, such a chance is warm.

"Dau" appeals to recognition without a solution.

“Dau” testified (experimentally, and not theoretically) the end of total postmodernism.

Dau is a movie after art.

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