Apples from Mars
The leader of the Italian futurists Filippo Tommaso Marinetti, having visited Russia in 1914, was unhappy with his Russian colleagues. He wanted to sing the speed, the technology, the future at least. The Budetlyane (that is the way that russian futurists named themselves) on the other hand, despite actively using the same thematic canon, could easily come back to the roots, look at prehistoric myths or elements of wackying and romanticizing the criminal aspect.
Such too obvious digging in archaic memories which analogs can be found and in Europe, nevertheless first of all irritated „the Russian Europeans”, is more right than internal „European” in ourselves.
And when in perestroika and in the 1990th loud and noticeable part of the intellectuals praised rationality, freedom and independence, Popper and Weber, artists who at that moment were modern, with great pleasure were inspired by opposite values.
Sergey Shutov in this sense essentially doesn't try to explain his position, doesn't hurry to reduce public concern. The artist creates the version of the Russian reality in which there is a place to both icons, and psychodelic experiences, and a scientific and technological revolution, and hopes of educated citizens for changes, and their crash. The world around becomes for him a piece of some pliable material from which he layer by layer cuts off bright images, and then imposes them at each other even more densely, squeezes, stamps and mixes.
The artist looks at an icon and sees violation of physical laws and habitual attitude in it. The artist doesn't feel either fear, or a cult, or a canon, nor especially the ultimate truth here. Shutov, as the Soviet teenager, plunges into the futuristic world of the Tekhnika-molodezhi or Nauka i zhizn magazines.