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Ivana Komova's interview with Ilia Averbukh for leotolstoyismyhomeboy.gov:
IK: It has been exactly one year since I launched my stellar career with our first interview. What have been your highlights of the last twelve months?
IA: Highlight is for weak, unartistic choreographer like Jeffery Buttock who create program of Adam Rippon in which skater expresses attempt to reenact incident in which intoxicated homosexual leave disco club in West Hollywood and drive into bronze cosmetic shop. This attempt to excavate revisionist band of boy NSYNC style in today’s geopolitical miasma is less welcome by public sphere than Wagner bring back Mulan program for seventh year. Instead, I create artistic moment of ecstatic collective pleasure via Medvedeva, who embody ideology of winningness to greatest extent in history at least since heyday of chocolate U.S.A. basketball Sphere Trots from Bad Part of Manhattan.
IK: Our last interview focused on the importance of depicting political tragedy in skating. A week later, Donald Trump was elected president by American voters. Is this a coincidence?
IA: Of course. The constitutive contradiction shaping the meta-reality that defines the context of our lived experience is exact thisly: ubiquity of quotidian everythingness is political and wildly non-political at same time. Bakhtin’s work on the social must be updated by great thinker of 2017 such as the Iraq or author of vampire at verge of night book series, very popular in Russia as well as U.S.A.
IK: Did this affect the way you conceptualized Medvedeva’s programs?
IA: Of course not. But perhaps. This is result of erosion of tenability of distinction between authenticity and ersatz. For years, Russia great university ask students to study evil decadent artworks of Jeff Koons to understand wicked lifestyles of capitalism Russia must resist. Now censure and censor make popular acceptance of redaction as default political attitude and metaphor for change of Medvedeva to Anna Karenina program. The train of superstructure has flown off cliff of isolation and only athletically superior teens can pull conductor chain. We consider using soundtrack to Zelda game Spirit Tracks but reject, as concept risk becoming too reminiscent of technically bankrupt program use by Canadian Tilda Swinton with too much hair products.
IK: You aren’t credited with choreographing Medvedeva’s long program, but did you help create the concept?
IA: Creation is no longer tenable as objective subject of ideation. Creation—in U.S.A. this is word to describe theory of science favor by President and many science teacher in states in deep south. But I ask you, what is deep? What is depth? What is south? I have cousin in U.S.A. who says “go down south” as euphemism for oral-genital practices. Depth also evoke sexuality and hegemonic construction of biological and insertive preferences. All is arbitrary. If Slutskaya return to commentate at Skate America, do she purchase curly fries at House of Arby restaurant to enjoy with cheeseburger? Metamodernity precludes all rational considerations. I know you will laugh uproariously when I ask to you, do you think I am pulling your chain?
IK: Chains often symbolize bondage, as Olga Markova proved in her memorable exhibition program. Is there a theme of freedom from oppression in Medvedeva’s work?
IA: Always. Also, never. When you say chains, there is connotation of jewels. When you say bondage, there is connotation of how many ever shade of gray necessary to provide inappropriate program to teenage girl in U.S.A. with ponytail and music of most important American male singer on 1980s, Andy Lennox. Pulling chain of bondage has so many layers of meaning; it is like huge onion of basilica and each layer bring tears but also savory essence. And sweet. The skin of the onion is term used in famous dirty joke of Russia refer to my religious background and rites of early youth.
IK: You recently got a Twitter account through which you post lines from Jewel’s poetry book, A Night Without Armor, along with many emoticons and hashtags.
IA: Accreditation of work has no more connection to verifiability. When you say it is my Twitter, I say that is what my tit at home say when ask for more cracker. And cracker is horrible insult to white minority, current be oppressed in many urban areas of U.S.A. Who actually write the tweet? Who actually choreography the Karenina? Who click “like” to signify something we cannot fathom through murky undercurrent of contemporary discursive utterance scene? We explore this in future programs of Tutberidze skaters.
IK: Interesting you say that, because I was just looking at the tweets you “liked” and there were some surprises.
IA: It is extremely political. It is even more extremely performative. Gestures, postures, personas—you have, of course, seen most important film of all time about wild lesbian crime thing starring Denise from Drop Dead Beautiful. But we cannot have click “like” for films. Their existential stance is no longer comparable to our words here. These will exist in alternate digital hyperreality perhaps forever. Once Pasha Grishuk upload photos of landing strip to usenet, children may still see today. Even if trucker hat from website no longer sold. Really, it is metaphor for entirety of commodification of reality. Again, you see in future Tutberidze skater program.
IK: What are your thoughts about the mediocre ladies skating last weekend in Regina?
IA: You say this word: Regina. The morphology, the semiotics, the structural negotiating of sign and signified—all is problematic. This morning, as I do first thing every morning, I go direct to Twitter account of not very good U.S.A. skater lady @chicks and see post that read “It's remarkably windy in Regina right now and I am SO here for it!!” I will no longer support her now that she have audacious nerve to say such political nightmare disaster comment post.
IK: Did you “like” the post?
IA: Will you “like” this interview? Or should I say like with no grammatical marks of the quotation surrounding it? What pressures surround Anna Karenina make her pull chain? We are moving toward an end, but that is also new beginning. As Nina Mozer has said, civilization of West has reached the homosexual stretch. But eschaton is no longer viable from theoretical or pragmatic standpoint. As we end here, it is equally valid to say we have only just reached a start.
NOTE FROM IVANA: Thank you to all reader and fans for support wonder year of my interview!!! This one prove to be so brilliant that I decide to retire to spend time and millions of rubles on Chanel'n'spa style of the life!!! Goodbye and thank you to all who are not godless!!!
IK: It has been exactly one year since I launched my stellar career with our first interview. What have been your highlights of the last twelve months?
IA: Highlight is for weak, unartistic choreographer like Jeffery Buttock who create program of Adam Rippon in which skater expresses attempt to reenact incident in which intoxicated homosexual leave disco club in West Hollywood and drive into bronze cosmetic shop. This attempt to excavate revisionist band of boy NSYNC style in today’s geopolitical miasma is less welcome by public sphere than Wagner bring back Mulan program for seventh year. Instead, I create artistic moment of ecstatic collective pleasure via Medvedeva, who embody ideology of winningness to greatest extent in history at least since heyday of chocolate U.S.A. basketball Sphere Trots from Bad Part of Manhattan.
IK: Our last interview focused on the importance of depicting political tragedy in skating. A week later, Donald Trump was elected president by American voters. Is this a coincidence?
IA: Of course. The constitutive contradiction shaping the meta-reality that defines the context of our lived experience is exact thisly: ubiquity of quotidian everythingness is political and wildly non-political at same time. Bakhtin’s work on the social must be updated by great thinker of 2017 such as the Iraq or author of vampire at verge of night book series, very popular in Russia as well as U.S.A.
IK: Did this affect the way you conceptualized Medvedeva’s programs?
IA: Of course not. But perhaps. This is result of erosion of tenability of distinction between authenticity and ersatz. For years, Russia great university ask students to study evil decadent artworks of Jeff Koons to understand wicked lifestyles of capitalism Russia must resist. Now censure and censor make popular acceptance of redaction as default political attitude and metaphor for change of Medvedeva to Anna Karenina program. The train of superstructure has flown off cliff of isolation and only athletically superior teens can pull conductor chain. We consider using soundtrack to Zelda game Spirit Tracks but reject, as concept risk becoming too reminiscent of technically bankrupt program use by Canadian Tilda Swinton with too much hair products.
IK: You aren’t credited with choreographing Medvedeva’s long program, but did you help create the concept?
IA: Creation is no longer tenable as objective subject of ideation. Creation—in U.S.A. this is word to describe theory of science favor by President and many science teacher in states in deep south. But I ask you, what is deep? What is depth? What is south? I have cousin in U.S.A. who says “go down south” as euphemism for oral-genital practices. Depth also evoke sexuality and hegemonic construction of biological and insertive preferences. All is arbitrary. If Slutskaya return to commentate at Skate America, do she purchase curly fries at House of Arby restaurant to enjoy with cheeseburger? Metamodernity precludes all rational considerations. I know you will laugh uproariously when I ask to you, do you think I am pulling your chain?
IK: Chains often symbolize bondage, as Olga Markova proved in her memorable exhibition program. Is there a theme of freedom from oppression in Medvedeva’s work?
IA: Always. Also, never. When you say chains, there is connotation of jewels. When you say bondage, there is connotation of how many ever shade of gray necessary to provide inappropriate program to teenage girl in U.S.A. with ponytail and music of most important American male singer on 1980s, Andy Lennox. Pulling chain of bondage has so many layers of meaning; it is like huge onion of basilica and each layer bring tears but also savory essence. And sweet. The skin of the onion is term used in famous dirty joke of Russia refer to my religious background and rites of early youth.
IK: You recently got a Twitter account through which you post lines from Jewel’s poetry book, A Night Without Armor, along with many emoticons and hashtags.
IA: Accreditation of work has no more connection to verifiability. When you say it is my Twitter, I say that is what my tit at home say when ask for more cracker. And cracker is horrible insult to white minority, current be oppressed in many urban areas of U.S.A. Who actually write the tweet? Who actually choreography the Karenina? Who click “like” to signify something we cannot fathom through murky undercurrent of contemporary discursive utterance scene? We explore this in future programs of Tutberidze skaters.
IK: Interesting you say that, because I was just looking at the tweets you “liked” and there were some surprises.
IA: It is extremely political. It is even more extremely performative. Gestures, postures, personas—you have, of course, seen most important film of all time about wild lesbian crime thing starring Denise from Drop Dead Beautiful. But we cannot have click “like” for films. Their existential stance is no longer comparable to our words here. These will exist in alternate digital hyperreality perhaps forever. Once Pasha Grishuk upload photos of landing strip to usenet, children may still see today. Even if trucker hat from website no longer sold. Really, it is metaphor for entirety of commodification of reality. Again, you see in future Tutberidze skater program.
IK: What are your thoughts about the mediocre ladies skating last weekend in Regina?
IA: You say this word: Regina. The morphology, the semiotics, the structural negotiating of sign and signified—all is problematic. This morning, as I do first thing every morning, I go direct to Twitter account of not very good U.S.A. skater lady @chicks and see post that read “It's remarkably windy in Regina right now and I am SO here for it!!” I will no longer support her now that she have audacious nerve to say such political nightmare disaster comment post.
IK: Did you “like” the post?
IA: Will you “like” this interview? Or should I say like with no grammatical marks of the quotation surrounding it? What pressures surround Anna Karenina make her pull chain? We are moving toward an end, but that is also new beginning. As Nina Mozer has said, civilization of West has reached the homosexual stretch. But eschaton is no longer viable from theoretical or pragmatic standpoint. As we end here, it is equally valid to say we have only just reached a start.
NOTE FROM IVANA: Thank you to all reader and fans for support wonder year of my interview!!! This one prove to be so brilliant that I decide to retire to spend time and millions of rubles on Chanel'n'spa style of the life!!! Goodbye and thank you to all who are not godless!!!
