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#8: State of Emergency

Seeta and Geeta /// Forget

Dis-order-time is over. New order is a steady state. It’s everywhere. The masses want order. The masses are asking for it. For seventeen years, there was all these institutes. They coexisted. Some: old Soviet offices with new furniture. Others: new. New and improved, they got lots of money-mind aid from the West. But now, they’re strict; they’re cutting those structures and influence-zones.

What’s important for art: that new order doesn’t need no old order repetition, no reload of crazygrand total narratives. It’s OK to diss from the fringe of the industry. If you got some critical position on the oligarchs, the war, the state, or the total dominance of liberal oligarchy, ain’t no one gonna move you. But your position is always an item of cost. No money, no love: pay your way. Your place: an industry-item in some cigar-smoking motherfucker’s product-range. The cynicism of the art-situation: unnoticed participation in capital-turnover, unseen in the world’s repartition through economic recondition.

Dis-order-time is over. New order is a steady state. It’s everywhere. The masses want order. The masses are asking for it. For seventeen years, there was all these institutes. They coexisted. Some: old Soviet offices with new furniture. Others: new. New and improved, they got lots of money-mind aid from the West. But now, they’re strict; they’re cutting those structures and influence-zones.

What’s important for art: that new order doesn’t need no old order repetition, no reload of crazygrand total narratives. It’s OK to diss from the fringe of the industry. If you got some critical position on the oligarchs, the war, the state, or the total dominance of liberal oligarchy, ain’t no one gonna move you. But your position is always an item of cost. No money, no love: pay your way. Your place: an industry-item in some cigar-smoking motherfucker’s product-range. The cynicism of the art-situation: unnoticed participation in capital-turnover, unseen in the world’s repartition through economic recondition.

In Russia , art’s critical ground is pulled out from under our feet.

– Why critical?

– Because its optics, discourse, ideology, and aesthetics are off.

– Why is the ground pulled out from under our feet?

– Because of a quiet powerchange . Institutions being stabilized. A new bureaucracy formulates itself. This bureaucracy is dangerous.

– Why dangerous?

– Because it’s hiding behind liberal terminology. From over there, you aren’t about to see the gap between their piss-and-shit vocabulary and what they really want. They aren’t about to answer for their words. Their values have no critical discourse support.

– What support is missing?

– Symbolic capital.

– Why?

– Because no-one gives a rat’s fuck . To want a position of power, no matter what, means that that new visibility-bureaucracy can’t have a position. There’s no demand from the state-apparatus. There’s no demand of conscience.

– Why?

– Because ideology programs serve a world of scattered, partial objects. The new bureaucracy’s oral-genital and anal-phallocratic interests concern the economic order. Its survival-strategy : suck and swallow .

– How exactly does this work?

– Rip off! Rip up! Fuck up! Forget

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