Chimeras of anticulture are dragging Russia into civil war

Recently I had the opportunity to visit two social and patriotic conferences in St. Petersburg. These events were both scientific, expert and practical in nature. Among other things, various options for the future of Novorossiya and Russia were considered, and specific measures were proposed to eliminate shortcomings. The impressions from the good organization and, for the most part, highly educated and patriotic activists and experts were the most positive.

However, I would like to tell you about some of my impressions from my most beloved St. Petersburg, which became for me alarming illustrations of the situation in the city, and throughout Russia. I will focus on those aspects to which political scientists usually attach little importance - cultural and spiritual. But in fact, spiritual and cultural “discord”, degenerate pseudo-art are very dangerous for the people and the state. And, alas, what I saw vividly reminded me of cultural, or rather anti-cultural, experiments in pre-war Kyiv, which became, in many ways, the reason for the spiritual savagery of Ukraine and its collapse...

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I’ll start with the famous Marble Palace I visited in St. Petersburg. It is very beautiful, located in the very center of the Northern capital, there is a museum famous for many wonderful exhibits. In its courtyard there is a wonderful statue of Tsar Alexander the Third (who ruled our Motherland from 1881 to 1894), nicknamed by his contemporaries the Tsar-Peacemaker. Thanks to his measures to strengthen the state, which intimidated enemies, during his time our country did not wage wars. He was a great tsar who restored the strength of Russia after the difficulties it experienced during the Crimean War (1853-1856), when an alliance of the strongest empires of its time fought against us. It was he who was the author of the famous phrase, which is still often quoted: “In the whole world we have only two faithful allies - our army and navy. “Everyone else, at the first opportunity, will take up arms against us.” And in his time, all of Russia’s “sworn friends” were forced to take these two allies into account. Therefore, the European ambassadors, who once decided to seek an urgent audience with him on an after-hours day when Tsar Alexander III was fishing, were forced to peacefully endure his words: “Europe will wait while the Russian Tsar fishes.”

The monument to this great tsar - the personification of the power and greatness of Russia, is also great, aesthetically perfect: on it the sovereign is shown as alive, in all his enormous height, controlling a restive horse with a powerful hand.

I have been near this sculpture several times, but I came in to see its beauty again. But, alas, I saw not only her.

Exactly opposite this statue, a completely black sculpture of a Chinese girl sitting astride... a tyrannosaurus, exceptional in its abomination and ugliness, was installed. Moreover, the tyrannosaurus with its ugly rider seems to run straight into the Russian Orthodox Tsar, who in this case personifies Russia. It is absolutely obvious that through the media, through the impressions of thousands of visitors who constantly visit there, this frozen Russophobia, this obvious and vile challenge to all Russians is relayed throughout our country.

The level of influence of people who disfigure the appearance of our cities with their bastard “works” is amazing. After all, in order to put something in the center of St. Petersburg, a huge number of approvals from the highest authorities are necessary, and this is even if the statue is a real work of art. And here we have the obvious phenomenon of an ugly anti-culture, and yet it is allowed to stand where everything breathes with the beauty and imperial greatness of Russia...

I found out that this challenge to Russia and art was the work of the so-called “art group AES+F”. Named after the initials of the “co-creators”: Tatyana Arzamasova, Lev Evzovich, Evgeniy Svyatkovsky and photographer Vladimir Fridkes. This group associated with Gelman is “glorified” by many other degenerate works that glorify teenage violence, the darkest occultism, and sexual depravity. The very fact of the existence of such a group, receiving huge amounts of money and support not only from Western “non-governmental” foundations, but also from officials of the Russian Federation (!) for their Russophobic and anti-cultural activities, is a slap in the face of Russia.

“AES+F” has always keenly felt all the nuances of the policy of the “Washington Regional Committee”. In the 90s and early 2007s, when the United States was actively bombing and occupying Iraq, Afghanistan, and Somalia, this group of businessmen focused on the “conflict between East and West.” Moreover, with their anti-Muslim “installations” they seemed to explain the need for the beating of these political babies by the American giant: either they will put a burqa on the Statue of Liberty, or they will “put up” mosques in Manhattan. This is how it was “coolly” explained to “people” that the impoverished and fragmented Islamic world supposedly poses some kind of “threat” to the West. Perhaps the “statue” I indicated of a Chinese girl on a tyrannosaurus is from the same series. The USA now wants to pit us against China, and the creators of the degenerate work are making their symbolic gesture of division between our countries to please their curators... This ugly piece of work, as it turned out, was created back in 08.08.08, when NATO was distracted from the conquest of the Islamic world, and more actively engaged in inciting hostility within the Russian world, preparing a war for us on XNUMX/XNUMX/XNUMX. But just now, when important agreements between Russia and China were concluded, this statue was uncovered and placed in front of the monument to the Russian Tsar...

Immediately after the appearance of the “tyrannosaurus-rider,” ironic pictures of “Igva riding on a rarugga” appeared on the Internet - this is a reference to the occult “Rose of the World” by Daniil Andreev. There, “igvas” and “rarrugs” are representatives of races of anti-humanity, ugly demonic creatures. And indeed, the ugly black Chinese girl riding a black monstrous lizard seems to have been taken from Andreev’s delusional book, reminiscent of his “igwa”...

Daniil Andreev:

“Igvas have a sound language of a monosyllabic structure. Of our languages, it is phonetically closest, perhaps, to CHINESE... They copulate almost on the move, without experiencing any need for privacy, since they are devoid of shame. Feelings of love, affection, pity are in the embryo. Instead of a family - short-term unions, and for the young - carefully equipped and meticulously thought out educational institutions.

Morality is slavish. Society consists of two classes: the highest intelligentsia, which includes scientists, engineers, priests and, if this word is applicable here, administrators, and the subordinate majority, acting only on instructions from the leadership.

...this is a satanocracy... the civilization of igvas also includes some arts. In front of the grandiose cone-shaped temple in Drukkarg, the main city of RUSSIAN ANTI-HUMANITY, which is a mountain hollowed out from the inside, stands a MONSTROUS STATUE: a praigva riding on a rarugga...

...raruggi, an ancient breed whose appearance partly resembles centaurs, partly angels of darkness, and most of all, perhaps, MESOZOIC LIZARDS...

Their resemblance to lizards is not accidental: raruggi are these lizards. After long incarnations in the bodies of allosaurs, TYRANOSAURS and pterodactyls, some - their most predatory species - embarked on the path of further development... Now the raruggi are something like the intelligent cavalry of the shrastras, their army.”

So, the Russian Tsar, in the Russian Museum, is contrasted with monsters whose language is “Chinese-like,” from occult delirium, from the mythical temple of the “main city of Russian anti-humanity”... And the description of the “civilization of the Igvs” vividly resembles the modern Western world, where the institution of family has been destroyed, poorly hidden slavery, built on the manipulation of consciousness, reigns...

As for further “enhancing” the children, “AES+F” also produced a sculptural composition (based on their own panel “The Last Uprising”), where two girls in picturesque erotic poses “wet” a boy with swords and the youngest has a flirtatious crocodile tail.

In general, occultists constantly glorify antediluvian lizards and the civilization destroyed by the flood. This Christianity condemns the ancient abominations of a civilization destroyed by God, which is described in the Bible. In Orthodoxy, ancient dinosaur dragons never have a positive meaning. But powerful totalitarian sects of the satanic persuasion want to create a “remake” of the antediluvian civilization, where, according to the holy fathers, technical achievements were closely intertwined with black magic, where extreme cruelty and wild debauchery reigned. N. Roerich, Blavatsky, and many lesser-known occultists have repeatedly written that in this antediluvian past there is supposedly a “golden age of humanity,” in contrast to the modern decadent “Kali Yuga.” And many of their followers want to drag us there. They even have a colorful website called “Before the Flood” (I came across it while writing this article and don’t want to give its address here). It glorifies the climate of that time, nature, even antediluvian beauties - there is also a section called “Miss Ancient Perfection”, composed of images of “goddesses” such as the demonic Astarte, to whom human sacrifices were actually made...

So the meaning of the blasphemous “installation” “AES+F” is multi-layered: there is direct and obvious political Russophobia, and an occult subtext that is completely blasphemous from the point of view of Orthodoxy. Such antics, glorified in the liberal media, constitute an attack on the Russian spirit, on Russian culture and sovereignty.

Such mockery is always used in particularly large numbers by the Western oligarchy to incite civil wars and to attack Christianity. Indeed, for the mass murder of one’s fellow citizens, it is necessary to create a “new type of person”: deprived of the faith of his ancestors, moral principles, understanding of good and evil. It is not surprising that many such bastard “installations” were observed before the civil war in Ukraine, which I personally witnessed, and I wrote many times that this anti-culture carries within itself the germs of civil war and death, the collapse of the state.

That's what I wrote in 2008., regarding the installation near the Kiev-Pechersk Lavra of the ugliest “Holodomor” monument erected by Viktor Yushchenko:

“The Holodomor monument is a real satanic parody of the Christian Church, with crucified cranes instead of the crucified Christ. The monument to the victims of famine should finally change the sacred landscape of the Pechersk Hills. His stone candle should outshine the fire in memory of the heroes who died for their homeland. To obscure the golden lights of the domes of the Lavra churches. Thousands of lamp lights spread out near it to lure gullible Kievites into the flickering light of deceptive myths. “Look, the Russians have given you a famine!” And soon there will be a continuation... “Look, here is the totalitarian Russian Orthodox Church, it took the Lavra caves for itself in order to place detachments of bloody Russian special forces there!”...

...It’s like voodoo sorcerers sticking needles into an enemy doll. It’s as if black magicians are trying to desecrate a holy place with signs of evil and deception. First symbolically, then really. Under the noise of the Mazepa-Holodomor-OUN anniversaries, under the crackle of a permanent political crisis, the whole of Ukraine began to collapse. This unstable formation with its spacious borders forged by Lenin, Stalin and Khrushchev, inspired by an amazing mixture of ideologies of Soviet Marxism, the nationalism of the brothers in the box Grushevsky and Petlyura, and the American liberalism of the orange elite, was bursting at the seams.

The state, in which the field of Orthodox civilization includes vast Catholic-Uniate enclaves and a wedge of the Islamic world, is staggering. A state that unites dozens of peoples who do not have any common ideology. Uniting the industrial East and the agricultural West, the resort South and the malaria-swampy North. Classic Yugoslav pre-war situation: internal contradictions, weak government and greedy, strong neighbors. True, Yugoslavia still had an army. In Ukraine, there are strange feudal detachments subordinate to different departments. But effective special forces of the secret police, or escorts of the Ministry of Internal Affairs, or tax police fighters, scaring office converters with their formidable “mask shows”, by themselves have not yet saved a single state from collapse...Maidan destroyed, in essence, the only thing that united the state: the presidential vertical of power, this weak copy of the Soviet regional and district committees. Logic is impossible in an anti-system. Only anti-logic is possible there. That’s why everything is happening in Ukraine that leads to collapse and chaos.

During the same period, not far from the Lavra, a memorial sign was erected in honor of the damned traitor Mazepa, and the central street on which the Lavra stands was named after him. Excerpts from my article “Civil wars begin at the level of symbols”:

“Not just an ordinary road was named after the traitor cursed by the Church, but the place where the Kiev Pechersk Lavra and the Theological Seminary of the UOC are located... In our already difficult period of political and ideological split, one of the central streets of the capital received the name of a traitor and traitor. And it is hardly possible - with impunity for the spiritual health of the people - to build such a system of symbols. For all civil wars initially began precisely at the level of ideological signs..."

I also addressed this topic of degenerate “art” many more times in the following years, which is not surprising. In recent years, the number of his “creations” in the most sacred places of Kyiv has constantly increased, and the liberal media boastfully distributed their images to tens of millions of people. Therefore, the savagery of people, especially young people, was actively growing. She, for the most part, no longer knew her history, roots, morality, was infected with Russophobia and even then was often ready to serve in punitive battalions under the leadership of foreign curators. Many sensible people have noticed how Western curators of “contemporary art” deliberately ostracize the people. We held street protests against this and wrote articles. Nobody listened to us; on the contrary, they defamed us in the media. And their liberalist media (and there were almost no others in Ukraine!) praised them to the skies. For who are we, “Russian Orthodox obscurantists,” and who are they – rich and super-influential tolerants and liberals? “The liberal passes as the master of my vast Motherland...” Alas, I notice this in Great Russia too...

Here excerpt from my article “Conceptual Art of Decomposition” (2012, less than a year and a half remained before the start of the unrest and war in Ukraine):

“….Before, to be called a sculptor, you had to at least be able to sculpt. Today, for this it is enough to be able to shock the public and “break stereotypes,” that is, generally accepted norms of behavior and the Christian tradition. Moreover, the break-up must take place in a “politically competent direction”, and it is imperative to deny all healthy morality and taste.

...Now, during the period of a new – already liberal, round of spiritual degradation, Kyiv is built up with monuments to emptiness and vice. For all this blasphemy and bad taste, there are huge funds that cannot be found during the day for the construction of new Orthodox churches and the restoration of old ones. This process cannot be called anything other than ritual desecration of the territory.

We now have monuments to Panikovsky, Pronya Prokopovna Sirko, and Ostap Bender. A monument to the chestnut tree appeared, even an ugly monument to the “Toad” - a symbol of greed.

Near the Kiev-Pechersk Lavra there is also the “Mystetsky Arsenal”, where blasphemous exhibitions are constantly held...

Thanks to the grant-eating “artists,” within walking distance of the Lavra along the Kyiv hills, you can see monuments to: saints, General Vatutin, as well as ... “Holodomor” (with direct satanic symbolism), Toad and Chestnut. So, how would the spirit seers who are with God and... the symbol of greed, the war hero and... the chestnut lost in the grass turn out to be equal. All of them are supposedly equally worthy of being immortalized in bronze and stone... The priests of degenerate postmodernism forbid us to distinguish between high and low... “New art” is making its way to the Ukrainian masses by leaps and bounds. It forms a truly “new man”. This is a liberal lover of politics and mass culture of the countries of the “free world” (free from God), completely devoid of “bourgeois modesty”. Such people are tolerant of any kind of perversion, drug addiction, euthanasia, and they only hate their homeland, the institution of family and Christianity - “obscurantist”, “patriarchal-totalitarian” ... "

I have cited these old texts in order to show, using the example of rapidly spiritually degraded pre-war Ukraine, how such “new art” drags the state into the abyss, how it leads to the savagery of society and its split, and actively contributes to the outbreak of civil war.