Translated material
The march of idols
Returning Dzerzhinsky to Lubyanka is to tell the world and the city that the 1991 revolution was in vain, that the Cheka-NKVD-KGB is always returning
Dzerzhinsky or Nevsky? The thirteenth century or the twentieth? Prince or revolutionary? Holy or tuberculosis? Overcoat or Lati? Star or Cross? Tatars or terror? The list of questions resembling a children's game can be multiplied indefinitely. The common thing in them is that they are meaningless.
"Anything follows from the lies." This was said by a contemporary of Alexander Nevsky, monk John DunS Scott. And from meaningless questions, meaningless answers follow. This is all you need to know about the question that the Moscow City Hall as Muscovites.
Why is the choice reduced to two names, to two characters rich in people and the events of Russian history? Does it all consist exclusively of princes and people's commissars? Is there no doctors, scientists, writers, philosophers, dissidents and just people who honestly lived in times that have fallen out? Why are we deprived of the opportunity to name these names, offer them for choice? Because they know that in this case the case will get out of control.
How and by whom is voting on an “active citizen” control? What active citizens, what public organizations, what IT experts? It is not controlled by anyone, and therefore we get the result at the output that cannot be believed.
This is not a sincere attempt to find out the opinion of people, but another trick, wiring and simulation.
The Novgorod and Kiev Prince Alexander Nevsky never lived in Moscow and has nothing to do with the old area where they want to establish his figure. It is in no way connected with Maroseyk and cover, it is alien to ancient alleys with cozy names that escaping from Pokrovka down to Kitay-Gorod. His huge figure (and they do not put others, in the amount of the figure, seeing evidence of greatness) will hang over all this low, cozy Moscow district and will be a monument to not glorious Russian history, but Saltykov-Shchedrinsky tyranny, always insisting in his own way. He will be alien to everyone here - including gesnikov, who will be in bewilderment in his back. Alexander Nevsky was not connected in any way with the old Lubyanka, where the cabmen played their horses from the fountain, nor with a new symbol of terror. Why would he stand here?
The monument should naturally grow out of the city and its history, and not be forcibly introduced into the living environment by a dead idol. To do this, you need to feel the city as life, the city as an integral living space. But those who stick heavy, black idols on the streets and Square of Moscow do not feel the city, they are not connected with him love and life, they did not proceed his lanes, and they look from the windows of their rapidly rushing German limousines; The city is not a soul for them, requiring tenderness, but a place with which you can do anything.
You can leave everything as it is. And nothing terrible will happen.
You can return to the center of the fountain area, which was there for more than 100 years: the fountain does not insult anyone, does not hint at anything and only decorates. This fountain with the figures of boys, symbolizing the Volga, the Dnieper, Don and the Neva, was created by the Russian Italian Ivan Petrovich Vitali; For six years he spent sculptures and an architect on figures, a bowl and all his elegant, slender creation. But those who proposed a meaningless question with pre -prepared answers - a step to the right of them, a step to the left of them is considered a shoot - they do not want a memory of old Moscow, nor respect for the spirit of a place, nor calm, nor peace.
To return Dzerzhinsky to Lubyanka is to tell the world and the city that the 1991 revolution was in vain, that they would not allow us to be any freedom and normal life that the Cheka-NKVD-KGB is always returning, and all the rest of the illusions. The return of Dzerzhinsky means the reverse transformation of the peaceful Moscow Lubyanka as a sign and symbol of the secret police, the torture police, killing the police, poisoning police.
This is a sign of stopping Russian history, its violent return to the point from which she tried to escape 30 years ago.
No, dear, you won’t run away anywhere, you will still sit in the stuffy cells of our fake ships, you will patiently demolish our lies and humbly look at our iron Felix, who had a good rest in the gardens of other overthrown monuments. And now he is returning.
The city, in which they are placed with an inconsistent with nothing, cyclopic, as if falling from the delusional sleep of Peter, offering a ship's mast over the land city, then Kalashnikov with an automaton aimed at peaceful houses, is thus subjected to violence and desecration. The city is subjected to the invasion of huge idols that come to it and become in the squares, so that the humble passerby lowers its head and think about its own smallness before a huge and terrible force.
In 1991, Iron Felix, dismantling, hung a crane on the arrow. Now there is a proposal to return the figure of Dzerzhinsky to the square with the tap hanging on the arrow. This is a good sentence, it clearly shows a crime and punishment, a bloody past and retribution, inevitably coming in the future. Why not put up this proposal on an “active citizen”? Maybe if we were discussing such things, eccentrics would not have appeared in Moscow who, 200 meters from Lubyanka, want to make a restaurant with music and dancing in a shot basement.
There is another sketch - Dzerzhinsky returns in his overcoat, but instead of the pedestal, a pile of skulls is under it from the picture of Vereshchagin “Apotheosis of the War”. The mournful ascetic, standing among the skulls of the people killed by him, is all in the middle of Moscow, which is noisy with its living streets, drinking coffee from cardboard cups in its cafes running to work and meeting the streets with ancient names. This would be the return of the memory of the country that fell into unconsciousness - a reminder of what cannot be forgotten.