The article Why Am I Not a Modernist? was commissioned from Mikhail Lifshitz in 1963 by the Prague-based Estetika magazine. In 1966, it was republished in the East German art newspaper Forum and in Literaturnaya Gazeta in the Soviet Union, where it provoked an indignant response from readers, which was also published. Later the article became part of the anthology The Crisis of Ugliness (1968).


Having written this heading in the style of Bertrand Russell, my answer should be a formula just as concise. It won’t hurt to be sharp to the point of paradox. You have to obey the laws of the genre.

So, why am I not a modernist? Why does the slightest hint of such ideas in art and philosophy provoke my innermost protest?

Because in my eyes modernism is linked to the darkest psychological facts of our time. Among them are a cult of power, a joy at destruction, a love for brutality, a thirst for a thoughtless life and blind obedience.

Maybe I’ve forgotten something substantial in this list of the twentieth century’s mortal sins. Already my answer is longer than the question. To me, modernism is the greatest possible treachery of those who serve the department of spiritual affairs – la traison des clercs, as the famous expression of one French writer has it. The conventional collaborationism of academics and writers with the reactionary policies of imperialist states is nothing compared to the gospel of new barbarity implicit to even the most heartfelt and innocent modernist pursuits. The former is like an official church, based on the observance of traditional rites. The latter is a social movement of voluntary obscurantism and modern mysticism. There can be no two opinions as to which of the two poses a greater public danger.

If an author dares write on this subject so directly, he must ready himself for harshest of rejoinders. 

– How could it be? You’ve painted a portrait of a German storm trooper or an Italian blackshirt, and now you want to convince us of his immediate kinship to the sultry Matisse, the gentle Modigliani or the sullen Picasso? 

Of course not. I wasn’t planning any attack on the moral reputation of these individuals. But still, let’s not deprive ourselves of the capacity for judging historical phenomena independently of how we judge this or that individual protagonist. Bakunin was a man famous for his revolutionary largesse of heart, but anarchism is the bourgeois character turned inside out, as Lenin put it.

Still, wasn’t it Hitler who persecuted the so-called modern artists, declaring them to be degenerates and pests? Didn’t you know that the bearers of the Western avant-garde’s refined aesthetic culture had to flee from the Nazis?

Of course, I know. But let me to soothe your disquiet with a little story taken from life. In 1932, the National Socialist government of the state of Anhalt closed the Bauhaus in Dessau, a famous hotbed of the ‘new spirit’ in art, presenting quite a vivid symptom of the Third Reich’s future cultural policy. The Parisian journal Cahiers d’art, published by Christian Zervos, an influential supporter of Cubism and later tendencies, answered this sad news from Germany with the following note (Nos. 6–7): ‘For reasons we cannot comprehend, the National Socialist party displays a decisive hostility to genuine modern art. This position seems all the more paradoxical since this party foremost wants to attract the youth. Is it acceptable to absorb all these youthful elements, so full of enthusiasm, vital force, and creative potential, only to once again return them to the lap of outmoded tradition?’

Ah, you still don’t get it, scumbag? Heinz, Fritz, come on, explain it to him!

And explain they did.