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Sucky Good, Fucky Good

Andrei Molodkin

Trash Resources


Our Heritage by Andrey Molodkin


Sucky Good, Fucky Good

Technology SG/FG

Oil is a liquid that usually assumes the form of a tank car or a pipe. Our Heritage is the process of oil monuments casting. The memory of Earth fills up the form of cultural memory. Oil displaces classical sculpture. Oil takes the place of Our Heritage. This process of seizure and reproduction of images by means of the flexible living substance is called Sucky Good, Fucky Good.

How does this happen? Traditional technology implies bronze, glass or rubber casting. For this purpose, one takes cast of a model. The cast is used to create the negative of a sculpture, a moulage. In case of liquid monuments one uses the SG/FG technology. First, one takes out the form from the transparent mass of acrylic. This may be a form of Venus, Apollo or Nike. After that, oil fills up the entrails of this transparent parallelepiped. Oil assumes the shape of a recognizable sculpture, a monument from Unconscious Heritage. Why unconscious? Classical images have been so limitlessly copied that they have already disappeared from view. They reside beyond memory understood as the system of the recognition of images.

Transparent moulage retains the image leaving the oil with no chances for fetching away from the rigid consumerist casket in order to naturalize culture. The cold whiteness of marble is replaced with the black instantly inflammable liquid. The solid is replaced with the flexible. The inorganic is replaced with the organic. The safe and secure is replaced with the fire-hazardous. The names of ancient gods are replaced with oil indexes. Our heritage is measured in barrels. Its index is Sucky Good, Fucky Good!

The Law of Black Redistribution

Taken out from the Earth entrails, oil is pumped over into closed reservoirs. Such is the prehistory of the liquid monuments. Their history is the history of giving oil the form by labeling it with an index and faint recollections of its being taken out from the entrails of, as the saying goes, a conflict zone. The form of the liquid monument is consecrated to the history of Western civilization.

Index indicates the substance that serves as energy for people. For people who had never seen the source of this energy. Liquid monuments show oil. They reveal the object of economic parasitizing, usually veiled from the eyes of the world, in easily recognizable images. Displaced image of oil returns in the form of our heritage. Such is the law of Black Redistribution.

Crusade for the burning memory of oil is an unalienable part of the history of Western civilization. Cold hygieneism and transparent showcaseness of the liquid monuments is a new packaging for the tamed energy of the End of Crusade. Frozen images of our heritage are filled up with oil. The energy source is instated in its aesthetic rights. In the rights divested from Our Heritage. After having been purified through the filters of culture, oil retains a single right – the right to assume a consumerist form or to be burnt alive.

Economics of the Nike Barrel

Having assumed the form of a classical sculpture, oil does not solidify. But it does not also combust in the roaring engine of a contused jeep. It breaks loose from the rigidity of economic control. It escapes at the moment when it has no more backing space. When it appears in Nike’s beheaded body. The value of a liquid monument automatically exceeds the value of an oil barrel by ten thousands times. Culture infringes upon the economic order which is normally concealed from sight and starts sucking from the oil pipe tap. Symbolic capital of the Barrel of Nike returns a far greater interest than a barrel of Kirkook 36° API.

Universal human values expressed in the images of Apollo, Venus and Nike are cast in oil. Marble gods of European Olympus change their color from white to black. The oil of the Third World permeates the ideals of the First World. Apollo’s head is fueled with Basrah 34° API.

Culture is permeated with oil. The First World sucks off, as the saying goes, black blood from the Third World and also the former Second. Our heritage is in debt to Oil. The unpaid debt turns into a black well of melancholy. It is only with his severed head that Apollo can “voluntarily” pay the debts of Black Redistribution. Under the new order your will is a good will. It is good but it is not yours. A and B got addicted to the oil pipe. A fell, B disappeared. Who remained on the oil pipe?

Aesthetics of the Plate Verge

Liquid monuments of Our Heritage are the symbols of the total anesthetization and the capitation branding that dominate the media space. No war is waged in this space ruled by the apparatus of bureaucratic dregs. There is the aesthetic propaganda of war, weapons and methods of oil products combustion. Aesthetics of violence dissembles violence. People call this program Sucky Good, Fucky Good.

Aesthetics of oil is born in the struggle with imagined violence. Ready to assume any form, oil is the material of hacker who steals the images of Our Heritage. Liquid Monuments trigger the uncontrolled multiplication of aesthetic goods and the saturation of European cultural archive with oil. Liquid monuments belong to the negative sculpture. The oil images pictorialize Our Heritage. Oil contained in the liquid monuments belongs to culture, a marginal space on the vast areas of oil plates. Standing on the verge of a plate, one becomes able to see oil. Not only oilers whom people usually call the engineers of subterranean veins can see oil.

Thus scaring reality of the easily inflammable raw oil is rendered innocuous by means of creating a sublime consumerist condom. Enclosed in the transparent coffin of cultural consumerism, there flows the eternally alive and already always dead liquid heritage. It is preserved. Oil remains oil.

Ministry of Oil

Oil is organic matter. Oil is figurative memory that preserves the forms of past life. In these forms of preserved memory (fossils) art meets nature. Liquid monuments are all for the expensive heritage of oil memory.

Liquid monuments show, as people say, the images of Chechen, Siberian, Azerbaijani, Venezuelan, Iraqi and Iranian oil. Images that flow in the pipeline loops. Images that burn up in the fuel tanks of tanks and motorcycles. Images that always remain out of consumers’ view. Drills off the oil!

Liquid monuments remind us: the images of classical heritage are being used to cover the outrages of economy. These images are sucked out from the politics of Black Redistribution. Apollo’s head, armless Venus and beheaded Nike are the non-combinable parts of the Oil body. As the saying goes: Find the pipe! Take the pipe! Suck the pipe!

Zita and Gita



Andrei Molodkin