Vasily Slonov "Heavenly Jerusalem"

Vasily Slonov. Good Luck. 2018. Object, wood, metal. 139 x 19 x 4 cm
Vasily Slonov. Installation with nine axes. 2018. Object, wood, metal. 50 x 90 cm
Vasily Slonov. Russain Space. 2018. Object, wood, metal. 71 x 60 x 6 cm
Vasily Slonov. Astrologer 2018 Installation, wooden splinters 223 x 250 x 5 cm
11 September, 2018 to 20 October, 2018

Russian pathos: axe blade runners.

The best way to hide something is to leave it right on the surface. Hence, the furthest thing for our understanding can be the thing which used to be the closest, invisible can be what we see («nothing what is within the sight of a human tells us that it seen specifically with an eye», Ludwig Wittgenstein) incomprehensible can be what we understand.

As everyone knows, Immanuel Kant was amazed by two things: a starry sky above our heads and a moral law within people. Two centuries before his death the starry night had become closer and more familiar to people - can we say the say about the «law»? Kant himself referred to this law as to inner supernatural sense. Inner but supernatural. Supernatural but inner. We comprehend this world by means of this sense, but it is difficult to understand what this sense is and where it is from?

There is nothing else what sounds even more mysterious than - «act in conscience». This means: to act without any reasoning. There is always a reason to hit, to steal, to lie, ask people who sins professionally - they will have hundreds of reasons. And they will be right in what they name as their reasons. But.. when there is a reason to steal, in addition, with impunity, and this person does not steal.. The question is WHY, for fuck sake? Why people tell the truth to their own detriment. The genius of the language is leading us when all the possible explanations have finished. And leads us to the formula «act in conscience.» But how? «Conscience, just like freedom, is the reason for itself, the conscience does not have outer reasons» (Merab Mamardashvili). He also added: freedom and conscience are the conditional for each other. The first one makes sense: not a free person cannot be ashamed, just like slaves, animals, furniture (a kind will is only possible when there is freedom). But what about the opposite? It seems to be that it’s the same: when something is not framed by the conscience, one of the first actions of a free object will be rejection of the freedom - in a hysterical break down reaching to a murder or a suicide («every murder is an ontological attempt to commit a suicide, mind, murdering this very mind, murders its own possibilities within the mind»).

A Russian fate is very complicate one, taken from the net consisting of the moral coordinates. Plunging into the anxiety around your own imperfections can be more acute, than in other corners of our planet. It is much worse with the extraction of the experience. We are eluding. We are - the nation of delirious animals, which woke up but have not reached our own peace and will of the soul.

It can be said that the trajectory of the Russian life is a curve, each point of which is operated by a new function. Today it can be «living for the Motherland», tomorrow - «working and earning», the day after tomorrow - «I’ll kill everyone and stay on my own», in a year - «God rest the departed soul of your servant», and in another year - hell knows what. Russian pathos is an extraordinary skill which can elevate any kind of shit to the harmony and, vice versa - transform any harmony into shit, it literary depends on the mood. It could exist as omnipresent dissonance, however we live in our own Lukomorie: a nation, which was the first one to send a human into the universe, and at the same time the one, which did not leave the outside wooden toilet cabins, did not notice here any controversies.

Russian life is fantastic plot wise, we are dealing with «the people who know how to wait but from whom anything can be expected» (Friedrich Nietzsche). Thriller turns into a fairy tale, a fairy tale - into an anecdote, an anecdote into - a cry, and a cry in its turn - into a celebratory hymn. A curve function, a fantastic plot. But to be fair, it will not necessarily be with a happy end.

However, according to the founders of the Hellenistic genre, a happy end is not compulsory in order to achieve catharsis.