Peter Pomerantsev · Putin's Rasputin · LRB 20 October 2011 - 0 views
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Putin’s chief ideologue and grey cardinal, Vladislav Surkov, the ‘Kremlin demiurge’. Known also as the ‘puppetmaster who privatised the Russian political system’, Surkov is the real genius of the Putin era. Understand him and you understand not only contemporary Russia but a new type of power politics, a breed of authoritarianism far subtler than the 20th-century strains.
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He trained as a theatre director then became a PR man; now his official role is ‘vice-head of the presidential administration’, but his influence over Russian politics is unsurpassed. He is the man behind the concept of ‘sovereign democracy’, in which democratic institutions are maintained without any democratic freedoms, the man who has turned television into a kitsch Putin-worshipping propaganda machine and launched pro-Kremlin youth groups happy to compare themselves to the Hitler Youth, to beat up foreigners and opposition journalists, and burn ‘unpatriotic’ books on Red Square. But this is only half the story.
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At one point he began to fear that success would be his undoing: there was speculation that he had presidential ambitions, a dangerous rumour, especially in political circles, and he immediately leaked the fact of his Chechen father, which he had previously kept secret, in order to rule himself out of higher office, or so it’s said. It was his way of saying ‘I know my place.’ One of his former bosses described him as ‘a closed person, with many demons. He is never on the level with people. He needs to be either above or, if need be, below: either the boss or the slave.’
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. In contemporary Russia, unlike the old USSR or present-day North Korea, the stage is constantly changing: the country is a dictatorship in the morning, a democracy at lunch, an oligarchy by suppertime, while, backstage, oil companies are expropriated, journalists killed, billions siphoned away. Surkov is at the centre of the show, sponsoring nationalist skinheads one moment, backing human rights groups the next. It’s a strategy of power based on keeping any opposition there may be constantly confused, a ceaseless shape-shifting that is unstoppable because it’s indefinable.
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Newly translated postmodernist texts give philosophical weight to the Surkovian power model. François Lyotard, the French theoretician of postmodernism, began to be translated in Russia only towards the end of the 1990s, at exactly the time Surkov joined the government. The author of Almost Zero loves to invoke such Lyotardian concepts as the breakdown of grand cultural narratives and the fragmentation of truth: ideas that still sound quite fresh in Russia. One blogger has noted that ‘the number of references to Derrida in political discourse is growing beyond all reasonable bounds. At a recent conference the Duma deputy Ivanov quoted Derrida three times and Lacan twice.’ In an echo of socialism’s fate in the early 20th century, Russia has adopted a fashionable, supposedly liberational Western intellectual movement and transformed it into an instrument of oppression.
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In Soviet times a functionary would at least nominally pretend to believe in Communism; now the head of one of Russia’s main TV channels, Vladimir Kulistikov, who used to be employed by Radio Free Europe, proudly announces that he ‘can work with any power I’m told to work with’. As long as you have shown loyalty when it counts, you are free to do anything you like after hours. Thus Moscow’s top gallery-owner advises the Kremlin on propaganda at the same time as exhibiting anti-Kremlin work in his gallery; the most fashionable film director makes a blockbuster satirising the Putin regime while joining Putin’s party; Surkov writes a novel about the corruption of the system and rock lyrics denouncing Putin’s regime – lyrics that would have had him arrested in previous times.
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In Soviet Russia you would have been forced to give up any notion of artistic freedom if you wanted a slice of the pie. In today’s Russia, if you’re talented and clever, you can have both. This makes for a unique fusion of primitive feudal poses and arch, postmodern irony
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This is the world Surkov has created, a world of masks and poses, colourful but empty, with little at its core but power for power’s sake and the accumulation of vast wealth.