{"id":63,"date":"2022-10-17T09:00:00","date_gmt":"2022-10-17T07:00:00","guid":{"rendered":"https:\/\/soniakh.com\/?p=63"},"modified":"2023-04-03T13:01:58","modified_gmt":"2023-04-03T11:01:58","slug":"culture-tree-culture-z","status":"publish","type":"post","link":"https:\/\/soniakh.com\/index.php\/2022\/10\/17\/culture-tree-culture-z\/","title":{"rendered":"From Culture Tree to Culture Z: War, Empire and Putin-Era Urbanism"},"content":{"rendered":"\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>The Political Geometry of Russia\u2019s Re-Colonial War<\/strong><\/h2>\n\n\n\n<p>The coloniality of Russia\u2019s war on Ukraine manifests itself on a diversity of scales and in a variety of contexts. The war is colonial on the <em>centrifugal<\/em> level of a vast post-imperial petro-state attempting to assert its ownership over a neighboring country one-thirtieth of its size.&nbsp;But it is also colonial on the <em>centripetal<\/em> level, of the Russian state reaching its tentacles into its inner and outer peripheries, plucking out poor young men of color from predominantly (but not exclusively) Muslim indigenous groups and national minorities\u2014the post-imperial petro-states\u2019s colonial proletarian subalterns\u2014and sending them to kill and to be killed in Ukraine.[1]<\/p>\n\n\n\n<p>Russia\u2019s floundering war is the par excellence manifestation of Putin\u2019s half-baked, pathological project to recreate post-Soviet Russia as a modernized imperial state: a self-avowedly reactionary neo-fascist <em>recolonial<\/em> entity, coalescing under the banner of the swastika-like Latin letter \u201cZ\u201d, colonizing its interior as well as its exterior; eclectically fracking its own and its neighbors\u2019 pasts\u2014medieval, imperial and Soviet\u2014for distorted narratives of glory and prowess; trolling and attempting to undermine others\u2019 (whether Ukraine\u2019s or the so-called \u201ccollective West\u2019s\u201d) claims to historical or ideological legitimacy.&nbsp;<\/p>\n\n\n\n<p>One of the most bizarre among Putin\u2019s increasingly unhinged war speeches came on 3 March 2022. Awarding a posthumous Hero of Russia award to a soldier from Dagestan who died in Ukraine, Putin put himself forward as a sovereign personification of the centripetal imperial diversity of Russia; and as a personalized microcosm of Russia\u2019s colonial war: <em>\u201cI am an <\/em>[<em>ethnically<\/em>]<em> Russian <\/em>[russkii]<em> person\u2014my family history goes full circle from Ivan to Maria. But when I see examples of such heroism as the accomplishments of the young Nurmagomed Gadzhimagomedov, a Dagestan-born ethnic Lak, I want to say: <a href=\"https:\/\/www.youtube.com\/watch?v=pH1f36bIB04\" target=\"_blank\" rel=\"noreferrer noopener\">I am a Lak<\/a>, I am a Dagestani, I am Chechen, I am an Ingush, Russian, Tatar, Jew, Mordvin, Ossetian.&#8221;<\/em> [2]<\/p>\n\n\n<div class=\"gallery__wrapper\">\n  <splide-slider class=\"gallery splide\" role=\"group\" aria-label=\"Gallery\">\n          <div class=\"splide__track\">\n        <ul class=\"splide__list gallery__list\">\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1437\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1-300x168.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1-1024x575.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1-768x431.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1-1536x862.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1-2048x1150.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_1_zaryadye_site_1-1-500x281.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, \u201cnorthern landscapes\u201d (tundra) zone, September 2017. Photograph by Micha\u0142 Murawski.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1440\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2-300x169.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2-1024x576.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2-768x432.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2-1536x864.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2-2048x1152.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_0_meme2-500x281.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>The performative act of the \u201cgifting\u201d of Zaryadye to the people of Moscow took place in January 2012, when then-Prime Minister of Russia Vladimir Putin \u201cspontaneously\u201d came up with the idea of the park in conversation with Moscow Mayor Sergei Sobyanin. The Prime Minister\u2019s eureka moment occurred during an \u201cunplanned\u201d walk (to which a large number of journalists had been invited in advance) around the Kremlin-adjacent wasteland left behind following the demolition of the Hotel Rossiya. Image created by Micha\u0142 Murawski.<\/p>\n            <\/li>\n                <\/ul>\n      <\/div>\n      <div class=\"splide__arrows\">\n        <button class=\"splide__arrow splide__arrow--prev\">\n          <svg height=\"30\" width=\"30\" id=\"Layer_1\" data-name=\"Layer 1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 98 129\"><path d=\"M1.57.17,96.62,63.61a3.09,3.09,0,0,1-.05,5.18l-95,60.05A1,1,0,0,1,0,128v-9.17a2,2,0,0,1,.94-1.7L82.36,66.24.9,12.84A2,2,0,0,1,0,11.16V1A1,1,0,0,1,1.57.17Z\"\/><\/svg>\n        <\/button>\n        <button class=\"splide__arrow splide__arrow--next\">\n          <svg height=\"30\" width=\"30\" id=\"Layer_1\" data-name=\"Layer 1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 98 129\"><path d=\"M1.57.17,96.62,63.61a3.09,3.09,0,0,1-.05,5.18l-95,60.05A1,1,0,0,1,0,128v-9.17a2,2,0,0,1,.94-1.7L82.36,66.24.9,12.84A2,2,0,0,1,0,11.16V1A1,1,0,0,1,1.57.17Z\"\/><\/svg>\n        <\/button>\n      <\/div>\n      <\/splide-slider>\n<\/div>\n\n\n<p>Russian public culture, public space and architecture revels in these kinds of centripetal condensations of imperial diversity\u2014they crop up endlessly in my research on architecture and politics in post-Soviet Russia. In Moscow\u2019s Zaryadye Park\u2014an American-designed, Kremlin-abutting landscape park-cum-multimedia attraction, opened in 2017 by Vladimir Putin on the site of the demolished 1960s Hotel Rossiya\u2014Russia\u2019s multifarious vegetal and geological diversity is showcased in four discrete sub-sections, each one representing (or, rather, caricaturing) one of the country\u2019s so-called \u201clandscape zones\u201d (tundra, taiga, steppe and forest lowlands). Each landscape zone is populated by a constantly rotating selection of plant species, comprising \u201cover 180 botanical species selected by the park\u2019s experts\u201d, which \u201creflect the country\u2019s natural wealth\u2014from stony tundra landscapes to the aromatic wild grasses of the southern Russian steppe.&#8221;[3]<\/p>\n\n\n\n<p>In the park\u2019s Tatlin Tower-esque Florarium, a spiral staircase is bedecked with stainless steel planters from which sprout vegetal and floral metonyms for each one of the country\u2019s 82 administrative divisions. The apex of the spiral, and the vertical culmination of the Florarium\u2019s eco-imperial narrative, are the planters containing booty flora: silk trees, prunes, rosemary, grapes and lavender, hailing from the two administrative territories of Ukraine temporarily occupied in 2014 by Russia\u2019s armed forces: the Autonomous Republic of Crimea and the city of Sevastopol.<\/p>\n\n\n<div class=\"gallery__wrapper\">\n  <splide-slider class=\"gallery splide\" role=\"group\" aria-label=\"Gallery\">\n          <div class=\"splide__track\">\n        <ul class=\"splide__list gallery__list\">\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1785\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1-300x209.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1-1024x714.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1-768x536.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1-1536x1071.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1-2048x1428.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_2_plan_1-500x349.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, planting plan<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1785\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3-300x209.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3-1024x714.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3-768x536.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3-1536x1071.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3-2048x1428.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_3_florarium_3-500x349.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, Florarium, December 2020. Photograph by Micha\u0142 Murawski.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1785\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1-300x209.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1-1024x714.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1-768x536.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1-1536x1071.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1-2048x1428.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_4_florarium_1-500x349.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, Florarium, December 2020. Photograph by Micha\u0142 Murawski.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1785\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1-300x209.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1-1024x714.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1-768x536.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1-1536x1071.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1-2048x1428.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_5_restaurant_1-500x349.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, Voskhod Restaurant, May 2018. Photograph by Micha\u0142 Murawski.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1785\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2-300x209.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2-1024x714.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2-768x536.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2-1536x1071.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2-2048x1428.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_6_restaurant_2-500x349.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Still from a propaganda video for Voskhod Restaurant, formerly available on https:\/\/voshodrest.ru<\/p>\n            <\/li>\n                <\/ul>\n      <\/div>\n      <div class=\"splide__arrows\">\n        <button class=\"splide__arrow splide__arrow--prev\">\n          <svg height=\"30\" width=\"30\" id=\"Layer_1\" data-name=\"Layer 1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 98 129\"><path d=\"M1.57.17,96.62,63.61a3.09,3.09,0,0,1-.05,5.18l-95,60.05A1,1,0,0,1,0,128v-9.17a2,2,0,0,1,.94-1.7L82.36,66.24.9,12.84A2,2,0,0,1,0,11.16V1A1,1,0,0,1,1.57.17Z\"\/><\/svg>\n        <\/button>\n        <button class=\"splide__arrow splide__arrow--next\">\n          <svg height=\"30\" width=\"30\" id=\"Layer_1\" data-name=\"Layer 1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 98 129\"><path d=\"M1.57.17,96.62,63.61a3.09,3.09,0,0,1-.05,5.18l-95,60.05A1,1,0,0,1,0,128v-9.17a2,2,0,0,1,.94-1.7L82.36,66.24.9,12.84A2,2,0,0,1,0,11.16V1A1,1,0,0,1,1.57.17Z\"\/><\/svg>\n        <\/button>\n      <\/div>\n      <\/splide-slider>\n<\/div>\n\n\n<p>Another act of gathering accentuated in Zaryadye is a culinary one. The cuisines of all Russia and of the entire post-Soviet space are collected in the lavishly-designed (and indulgently-priced) food court, the Zaryadye Gastronomic Centre.&nbsp; A still-more-expansive range of even more expensive post-Soviet cuisines (and extra-terrestrial aesthetics) is served in the monumental, cosmically-themed, neo-futurist <em>Voskhod<\/em> [<em>Dawn<\/em>] restaurant (named after a famous Soviet era space rocket program)\u2014whose design is (unintentionally) suggestive of two leading tendencies in Russian contemporary art, the \u201cleftist\u201d Eurasianist \u201cneo-Cosmic\u201d artworks of Arseniy Zhilaev, but also the openly fascist creations of Alexey Belaev-Gintovt. There are levitating plant pots, cosmonaut flower vases sprouting red carnations, bas-reliefs of demiurgic workers and collective farm workers (Vera Mukhina meets Michelangelo) and solar system chandeliers.<\/p>\n\n\n\n<p>The menu is inspired by the idea that \u201c<em>regardless<\/em> of geopolitical realities the space of the former republics of the USSR is forever associated in our consciousness with united culinary traditions\u201d. Soviet nostalgia morphs seamlessly into imperial longing: \u201cIn the <em>Voskhod <\/em>restaurant, the cuisines of the nations of the former USSR unite into a single universal Russian cuisine.\u201d Somewhat distressingly, for this author, the menu also features <em>\u0431\u0438\u0433\u0443\u0441<\/em> (<em>bigos<\/em>), openly described as \u201cPolish hunter\u2019s stew\u201d in the English version of the menu, though not in the Russian one. Working on the restaurant (which was initially to be called <em>Soyuz<\/em>, before this name was boycotted by the municipality for being <em>too <\/em>Soviet) its designers\u2014the Sundukov sisters\u2014told me, they developed two core design ideas in consultation with the restaurant proprietor, celebrity chef Alexander Rapport: \u201cnostalgia for an unrealized future\u201d; and \u201cthe Soviet Union without shortages\u201d [<em>\u0441\u043e\u0432\u0435\u0442\u0441\u043a\u0438\u0439 \u0441\u043e\u044e\u0437 \u0431\u0435\u0437 \u0434\u0435\u0444\u0438\u0446\u0438\u0442\u043e\u0432<\/em>]<em>.<\/em> In other words, on a gastronomic level at least, Zaryadye Park projects itself at once a privately-financed simulation of socialist plenty; and a nostalgic fantasy of a re-colonial Russia.&nbsp;<\/p>\n\n\n\n<p>Perhaps the most significant process of gathering enacted and embodied by Zaryadye highlights intersecting processes of migration and racialized labour exploitation deeply entrenched within Russia\u2019s body politic and political economy. In the workers\u2019 <em>gorodok<\/em>\u2014a slum-like encampment concealed from street-level view by a fence hung with luscious renderings of the completed park\u2014the builders of Zaryadye, the greater part of the migrants from the Central Asian republics, the Caucasus and the Russian provinces, eat, rest, sleep and gather.[4] These laborers\u2014working on precarious contracts, for low pay and in treacherous conditions\u2014are the underclass building the capital of Culture Z.<\/p>\n\n\n<div class=\"gallery__wrapper\">\n  <splide-slider class=\"gallery splide\" role=\"group\" aria-label=\"Gallery\">\n          <div class=\"splide__track\">\n        <ul class=\"splide__list gallery__list\">\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1828\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a-300x214.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a-1024x731.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a-768x548.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a-1536x1097.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a-2048x1462.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_7_gorodok_1a-500x357.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, workers gorodok. Photographs by Micha\u0142 Murawski, November 2017 and April 2018.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1828\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a-300x214.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a-1024x731.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a-768x548.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a-1536x1097.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a-2048x1462.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_8_gorodok_2a-500x357.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, workers gorodok. Photographs by Micha\u0142 Murawski, November 2017 and April 2018.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1829\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3-300x214.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3-1024x732.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3-768x549.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3-1536x1097.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3-2048x1463.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_9_gorodok_3-500x357.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, workers gorodok. Photographs by Micha\u0142 Murawski, November 2017 and April 2018.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1828\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4-300x214.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4-1024x731.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4-768x548.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4-1536x1097.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4-2048x1462.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_10_gorodok_4-500x357.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, workers gorodok. Photographs by Micha\u0142 Murawski, November 2017 and April 2018.<\/p>\n            <\/li>\n                    <li class=\"splide__slide gallery__item\">\n                <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1828\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a-300x214.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a-1024x731.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a-768x548.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a-1536x1097.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a-2048x1462.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_11_gorodok_5a-500x357.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>                <p>Park Zaryadye, workers gorodok. Photographs by Micha\u0142 Murawski, November 2017 and April 2018.<\/p>\n            <\/li>\n                <\/ul>\n      <\/div>\n      <div class=\"splide__arrows\">\n        <button class=\"splide__arrow splide__arrow--prev\">\n          <svg height=\"30\" width=\"30\" id=\"Layer_1\" data-name=\"Layer 1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 98 129\"><path d=\"M1.57.17,96.62,63.61a3.09,3.09,0,0,1-.05,5.18l-95,60.05A1,1,0,0,1,0,128v-9.17a2,2,0,0,1,.94-1.7L82.36,66.24.9,12.84A2,2,0,0,1,0,11.16V1A1,1,0,0,1,1.57.17Z\"\/><\/svg>\n        <\/button>\n        <button class=\"splide__arrow splide__arrow--next\">\n          <svg height=\"30\" width=\"30\" id=\"Layer_1\" data-name=\"Layer 1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 98 129\"><path d=\"M1.57.17,96.62,63.61a3.09,3.09,0,0,1-.05,5.18l-95,60.05A1,1,0,0,1,0,128v-9.17a2,2,0,0,1,.94-1.7L82.36,66.24.9,12.84A2,2,0,0,1,0,11.16V1A1,1,0,0,1,1.57.17Z\"\/><\/svg>\n        <\/button>\n      <\/div>\n      <\/splide-slider>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\"><strong>Centrifugal Blagoustroistvo<\/strong><\/h2>\n\n\n\n<p>This transformational project of the wholesale renewal of Russia\u2019s public spaces, referred to in Russian by the untranslatable word <em>blagoustroistvo <\/em>(literally &#8220;<em>the arrangement of blessings<\/em>&#8220;)\u2014of which Zaryadye is the flagship project\u2014is now being exported with greater zeal than ever beyond Moscow, to the whole of Russia, and to the post-Soviet space beyond. The consulting bureau Strelka KB, which today employs over 300 people, is applying the Moscow makeover model in 400 municipalities from Grozny to Svobodny; while mutations and clones (or \u201ccolonies\u201d) of Gorky Park and Zaryadye Park are springing up in towns and cities from Krasnodar to Baku.<\/p>\n\n\n\n<p>The question of Zaryadye\u2019s\u2014and <em>blagoustroistvo<\/em>\u2019s\u2014colonial nature featured prominently, also, in public discussions, which I organized in the course of my Moscow research (we called these discussions \u201cZaraydyological\u201d roundtables). During the fifth roundtable, held in a Moscow gallery in December 2017, political theorist and journalist Sergey Medvedev characterized Zaryadye as representing \u201call the diversity of a type of Russian internal colonization\u201d. Here, he added, \u201cinternal colonisation takes the form of an act of violence committed against nature\u201d. Zaryadye, Medvedev wrote in a Facebook post, which summarized and extended the arguments he made during the discussion,&nbsp;\u201cis a space of imperial nostalgia \u2026 which arises from this landscape-culinary stuffing, from this hybrid <em>kulebyak<\/em>, this colonial Disneyland, this monument to fakery of the post-truth era.\u201d<\/p>\n\n\n\n<p>The most vivid, and aggressive, reaction to the invocation of colonialism was delivered by critic and businessman Grigory Revzin, who has for at least two decades been Russia\u2019s leading and most outspoken architecture critic. Today, Revzin is a founding partner and chief ideologist of the consultancy firm KB Strelka, which is now part-owned\u2014since its acquisition by Vneshekonombank, Russia\u2019s development bank\u2014by the state. KB Strelka\u2019s meteoric rise is integrally tied to that of Zaryadye\u2014back in 2013, when it still operated as a tiny, embryonic unit within the education-oriented Strelka Institute, the future bureau\u2019s breakthrough consultancy commission was the coordination of the international architectural competition for Zaryadye on behalf of the Moscow municipality. Responding to one discussion participant\u2019s question about the colonial-or-not nature of Strelka\u2019s diffusion of the Zaryadye model of urban transformation throughout Russia, said Revzin:<\/p>\n\n\n\n<p>\u201cSince you mention KB Strelka \u2026 yes, of course, we are terrible, a veritable General Staff of the colonial armies \u2026 which are at this moment conquering Russia, it is us, we are crushing all the cities, exploiting them towards <em>blagoustroistvo<\/em> (\u2026) And, in effect, there are 1,112 cities in Russia now and we are doing half of them (\u2026) I work here like <em>Goebbels<\/em>, like the ideologist of this colonial process \u2026 and, of course, I am terribly worried by this prospect of [impending] colonialism, but I would like to continue moving in this direction\u201d.&nbsp;<\/p>\n\n\n\n<p>I will leave these unsettling words\u2014spoken in a register both ironic and sincere at the same time\u2014without comment.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Portents of Fascism: War as Structure-in-Dominance<\/strong><\/h2>\n\n\n\n<p>It is disturbing\u2014but in retrospect not even remotely surprising\u2014to see the same kind of centre-condensing logic, which is materialized in architectural, ecological, culinary and human form in Zaryadye and other kindred projects, mirrored in the imperial rhetoric of Russia\u2019s war. The physical violence of Russia\u2019s war directly replicates the symbolic and structural violence written into the Russian everyday. The landscape and program of Zaryadye Park (and kindred projects) is heaving with more-or-less latent portents, symptoms and processes of fascism, war and militarized imperial yearning. These portents are drenched with incompatible, contradictory symbolism and ideological messaging: Soviet and Tsarist, luddite and futurist, bellicose and bucolic.&nbsp;<\/p>\n\n\n\n<p>One of the main questions I try to shed light on in my work on Moscow is the question of the purported \u201cfakeness\u201d of Zaryadye (and other kindred architectural projects).[5] If, as my fieldwork interlocutors very often claimed, these projects are indeed <em>fake<\/em>, then what kind of <em>reality <\/em>are they trying to conceal? What, furthermore, do these \u201cfalsity claims\u201d say about vernacular and ethnographic understandings of &#8220;reality&#8221; operating in post-Soviet public culture. In my analysis, I identify labour as the critical infrastructure disavowed by contemporary Moscow&#8217;s escapist leisurescapes. The numerous centrifugal and centripetal processes enacted by Zaryadye all rest on a foundational, but disavowed, act of gathering: that of the coming-together of the labor force of all Russia (and the vast post-Soviet space beyond) on one site in the heart of the re-colonizing metropole.&nbsp;<\/p>\n\n\n\n<div class=\"image\">\n  <div class=\"image__inner image__inner--col\">\n    <img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1438\" src=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1.png 2560w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1-300x169.png 300w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1-1024x575.png 1024w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1-768x431.png 768w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1-1536x863.png 1536w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1-2048x1150.png 2048w, https:\/\/soniakh.com\/wp-content\/uploads\/2022\/10\/murawski_12_message_of_the_day_1-500x281.png 500w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/>    <figcaption> \u201cMessage of the Day\u201d by Tatyana Baskovskaya and Hans Gnida, 2018.<\/figcaption>\n  <\/div>\n<\/div>\n\n\n<p>In the wake of ongoing war, however, it has become clear that the last instance \u201creality\u201d of Russia&#8217;s \u201cwild capitalist\u201d 21st century\u2014a reality at once thinly-obfuscated and deafeningly amplified by Zaryadye&#8217;s eco-imperialist shrubbery\u2014is the inevitability of war. This inevitability is captured with unsettling, prophetic clarity in one of the artworks commissioned for the Institute of Zaryadyology&#8217;s 2018 exhibition at the Moscow Museum of Architecture, \u201cMessage of the Day\u201d by Tatyana Baskovskaya and Hans Gnida (both names are pseudonyms).[6] This work\u2014a digitally-reprinted watercolor painting\u2014mocks the computer renderings of Zaryadye produced by its American architects and the publicity photographs of grinfully frolicking heteronormative white families circulated by the Moscow Mayoralty\u2019s PR team.&nbsp;<\/p>\n\n\n\n<p>In Baskovskaya and Gnida\u2019s vision, the skylights of the Zaryadye \u201cMedia Centre\u201d pavilion, whose undulating roof co-constitutes the park&#8217;s surface, morph into missile silos. The phallic rockets which protrude from them are marked with familiar propaganda slogans: &#8220;<em>Za Mir<\/em>&#8221; [For Peace] and &#8220;<em>Za Druzhbu<\/em>&#8221; [For Friendship]. These slogans, redolent not only of the name of &#8220;<em>Za-Ryadye<\/em> Park&#8221;, but also of official Soviet-era militarized pacifism and Russo-centric internationalism, have also been repeatedly invoked by Russian\u2019s propaganda war machine since the invasion. In spoken as well as written form, their resonance is disturbingly amplified by their foregrounding of the letter &#8220;Z&#8221;.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Conclusion: Culture Z<\/strong><\/h2>\n\n\n\n<p>In his seminal structuralist analysis of Soviet architectural history, culturologist Vladimir Paperny distinguishes between \u201cCulture One\u201d\u2014horizontal, dynamic, open, future-oriented, epitomized by the avant-garde of the 1920s; and \u201cCulture Two\u201d\u2014vertical, static, closed, fixated on the past, embodied in the Stalin-era Socialist Realism of the 1930s-1950s.[7] Paperny\u2019s analysis suggests that <strong>Culture One<\/strong> and <strong>Culture Two<\/strong> exist in a constant dialectical struggle with one another\u2014although the opposition between them in not absolute, a discernible variant of one of two poles of the binary tends to end up ascendant during discrete historical periods.&nbsp;<\/p>\n\n\n\n<p>Paperny is skeptical about whether a <strong>Culture <em>Three<\/em><\/strong> has or will ever crystallize\u2014in more recent work, he has speculated that it may coalesce in the form of an \u201cecological avant-gardism&#8221;[8] whose\u2014more or less disingenuous, greenwashed and gentrifying\u2014instances are proliferating all over the world today, often in endlessly self-replicating forms: such as the emergent trend for land value-accelerating hyperinflationary urban parks sprouting atop disused (real or simulated) infrastructural facilities, set off by Paris\u2019 Promenade Plantee and New York\u2019s High Line (the latter of these designed by the same architects as Zaryadye, the famed Manhattan-based Diller Scofidio+Renfro); or the globally-proliferating \u201cvertical forest\u201d condominia franchised by Milanese architect-developer Stefano Boeri.&nbsp;<\/p>\n\n\n\n<p>Both Zaryadye and the High Line rest on intriguing ideologies and aesthetics of wildness and rurality. For the High Line, DS+R developed the guiding principle of \u201cagri-tecture\u201d. In Moscow, the ideology of \u201cagri-tecture\u201d morphs into the idea of \u201cwild urbanism\u201d, defined in terms of a posthuman, \u201cscriptless\u201d and \u201cpathless\u201d symbiosis between nature and the city. Zaryadye\u2019s rhetorics of wildness, freedom, pathlessness and spontaneity are, of course spurious obfuscations. Zaryadye\u2014like the High Line\u2014is hyper-sanitized, hyper-surveilled, hyper-controlled and policed space, both on the level of coercive, external control; and on the level of internal (and digital) discipline.&nbsp;<\/p>\n\n\n\n<p>I would like to suggest, taking my cue from Paperny, that there are several emergent strands of political aesthetic false consciousness dominant in today\u2019s accelerating wild capitalist moment. One might be called <strong>Culture Tree<\/strong>. This is the paradisiacal culture of normalized architectural greenwashing: monstrous resource depletion masquerading as sustainability and \u201cecological avant-gardism\u201d. Another other is called <strong>Culture Free<\/strong>. This is the culture of hyper-centralization and the power vertical cosplaying as an attitude of de-centering and horizontality. <strong>Culture Free<\/strong>, in other words, is the culture of the fake horizontal. This is the Culture of the Pyramid scheme; of BitCoin and NFTs. <strong>Culture Tree<\/strong> and <strong>Culture Free<\/strong>, are intimately related and intersected, and Zaryadye\u2014a top-down <em>grand projet<\/em> of sovereign magnanimity masquerading as site for free and spontaneous communion with nature\u2014fuses elements of both of the above.&nbsp; In Zaryadye, the synthesis, which eluded Paperny has finally been reached. The pendulum has stopped at the culture of the new half-swastika embraced by the Russian state: <strong>Culture Z<\/strong>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Epilogue<\/strong><\/h2>\n\n\n\n<p>On 31 May 2022, Park Zaryadye\u2019s official Telegram channel made an announcement about a new addition to the Florarium: \u201c<em>Za prem\u2019eru<\/em> [to the premiere]! The Zaryadye Florarium now contains an experimental breeding box devoted to the Donbas! It contains the steppe flora of the Donetsk and Luhansk oblasts\u2014feathergrass, leatherflower, sage. You can find a rose there too\u2014one of the symbols of Donetsk, \u2018city of a million roses\u2019.\u201d<br><br>State war propaganda agency TASS cited Zaryadye chief gardener Evgeny Sapunov: \u201cI hope that Zaryadye will soon contain plants not only from all the botanical gardens of Russia, but also from Russia\u2019s near abroad\u201d. On 8 June 2022, a delegation from the Donetsk People\u2019s Republic visited Park Zaryadye and its Florarium. \u201cDonbas is getting closer,\u201d Zaryadye\u2019s director Ivan Demidov posted on Telegram.&nbsp;<\/p>\n\n\n\n<p>This text was featured in the exhibition <strong><em><a href=\"https:\/\/labirynt.com\/2022\/09\/09\/out-loud\/?lang=en\" target=\"_blank\" rel=\"noreferrer noopener\">Out Loud \/ \u0412\u0433\u043e\u043b\u043e\u0441 \/ Na g\u0142os<\/a><\/em><\/strong> at <a href=\"https:\/\/labirynt.com\/?lang=en\" target=\"_blank\" rel=\"noreferrer noopener\">Galeria Labirynt<\/a> in Lublin, PL.<\/p>\n\n\n\n<pre class=\"wp-block-preformatted\"><strong>Micha\u0142 Murawski<\/strong> is an anthropologist of architecture and cities. He is Associate Professor of Critical Area Studies at the School of Slavonic and East European Studies, University College London. His first book, <em>The Palace Complex: A Stalinist Skyscraper, Capitalist Warsaw and a City Transfixed<\/em> was published by Indiana University Press in 2019; and he is currently working on completing his second book, a critical study of politics and architecture in post-Soviet Russia. He is Director of the UCL SSEES FRINGE Centre for the Study of Social and Cultural Complexity; and convenor of PPV (Perverting the Power Vertical: Politics and Aesthetics in the Global East), a seminar and events platform based at UCL. For more information about publications, research and teaching, please visit <a href=\"http:\/\/www.michalmurawski.net\" target=\"_blank\" rel=\"noreferrer noopener\">www.michalmurawski.net<\/a>.\n<\/pre>\n\n\n\n<pre id=\"block-dffe1c7f-5a53-4958-a6b3-f0e496181114\" class=\"wp-block-preformatted\">Published 17 October 2022<\/pre>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Russia&#8217;s ethnic minorities are drafted into the war in huge numbers through recruitment drives targeted at minority areas suffering from high unemployment and low incomes. Many soldiers from these regions have joined the army and have willingly participated in atrocities. Conversely, the war has sparked a revival in autonomist and separatist initiatives in Russia&#8217;s minority regions; and several associations representing indigenous groups and minorities have condemned the war. See, for example, &#8220;How the war in Ukraine catalyzed a re-awakening of national identity among Russia&#8217;s indigenous peoples&#8221;, <em>4FreeRussia.org<\/em>, 20 May 2022. <a href=\"https:\/\/www.4freerussia.org\/how-the-war-in-ukraine-provoked-a-re-awakening-of-national-identity-among-russias-indigenous-peoples\/\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/www.4freerussia.org\/how-the-war-in-ukraine-provoked-a-re-awakening-of-national-identity-among-russias-indigenous-peoples\/<\/a> [accessed 28 June]; and Adam Lenton, 26 (April 2022) &#8220;Who is dying for the &#8216;Russian world'&#8221;, <em>Riddle<\/em>. <a href=\"https:\/\/ridl.io\/who-is-dying-for-the-russian-world\/\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/ridl.io\/who-is-dying-for-the-russian-world\/<\/a> [accessed 28 June].<\/li>\n\n\n\n<li>My thanks to Timur Liptonski for drawing my attention to this quote.<\/li>\n\n\n\n<li>Petr Kudryavtsev (ed.). (2017) <em>Zaryadye<\/em>, booklet, Moscow: Citymakers.<\/li>\n\n\n\n<li>Some of our trips to the workers\u2019 <em>gorodok<\/em>\u2014including the ones referred to here\u2014are partly documented in a film by Egor Isaev, included in the Portal Zaryadye exhibition and available at <a href=\"https:\/\/vimeo.com\/325180633\">https:\/\/vimeo.com\/325180633<\/a> (accessed 28 June 2022). See also Egor Isaev, \u201cOn the Other Side of the Fence\u201d in Daria Kravchuk and Micha\u0142 Murawski (eds.). (2018) Portal Zaryadye (exhibition catalogue). Moscow: The State Shchusev Museum of Architecture \/ The Institute of Zaryadyology. pp. 22-23.<\/li>\n\n\n\n<li>I expand on the concealment of Zaryadye\u2019s labour force behind the <em>falshfasady <\/em>of Zaryadye in Micha\u0142 Murawski. (August 2022) \u201cFalshfasad: Infrastructure, Materialism and realism in Wild Capitalist Moscow.\u201d <em>American Ethnologist<\/em>, forthcoming.<\/li>\n\n\n\n<li>The Institute was an unofficial entity established by the author and collaborators during their field research in Moscow.<\/li>\n\n\n\n<li>Vladimir Paperny. (2011) <em>Culture Two: Architecture in the Age of Stalin<\/em>, Cambridge: Cambridge University Press [1985]<\/li>\n\n\n\n<li>Vladimir Paperny. (2012) <em>Kul\u2019tura Tri, ili kak ostanovit\u2019 mayatnik?<\/em>, Moscow: Strelka Press. pp. 8-11.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>The Political Geometry of Russia\u2019s Re-Colonial War The coloniality of Russia\u2019s war on Ukraine manifests itself on a diversity of scales and in a variety of contexts. The war is colonial on the centrifugal level of a vast post-imperial petro-state attempting to assert its ownership over a neighboring country one-thirtieth of its size.&nbsp;But it is [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":708,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"class_list":["post-63","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-text"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.6.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>From Culture Tree to Culture Z: War, Empire and Putin-Era Urbanism - soniakh<\/title>\n<meta name=\"description\" content=\"How is the physical violence of Russia\u2019s war replicated (or presaged) in the physical fabric of Russian everyday life? This article looks for portents of fascism in the parks and public spaces of 21st century Moscow, with a particular focus on the city\u2019s American-designed Zaryadye Park, opened in 2017 in the shadow of the Kremlin.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soniakh.com\/index.php\/2022\/10\/17\/culture-tree-culture-z\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MICHA\u0141 MURAWSKI: From Culture Tree to Culture Z\" \/>\n<meta property=\"og:description\" content=\"How is the physical violence of Russia\u2019s war replicated (or presaged) in the physical fabric of Russian everyday life? 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