They were two good friends, one a descendant of an old Prussian (no mistake, not Russian, but Prussian) officer family and the other a not-so-happy combination of a daughter from an old line of Georgian shoemakers and an unknown Russian poet. Friedrich von Ranter and Zurab Banterovich Durakov loved to sit in front of a dodgy joint, sip Ethanol and mix cheap salami with dried vegetables and of course, address the current problems that torment the suffering world of modern art.
- `You said that postmodernism is long dead, it just still exists in the form of a Zombie that, mumbling and staggering, is trying to suck out the last financial juices it can get.` - Fritz began to purr.
- `You know that Duchamp's Urinal had a reason, and since it had a reason, it had a reason. But all those hundreds of later `protest` works no longer made sense. Defloration happens once. Mondrian and Picasso. Yes, ok. They did their bit, they raised a few eyebrows. But later thousands of painters followed in their footsteps.` - continued Fritz.
-` Don't be senile, my dear Friedrich, it is known that protest does not have to be only against artistic or critical convention, art has always been politically engaged...` - interrupted Zurab.
-` You are wrong Zurab, as if you are stuck in the sixties, leave those stories about art as a form of protest against wars, accidents and injustices, every painter can cover up his anti-talent with statements about the alleged symbolism of the alleged work of art that he put together in half a day`... insisted Friedrich. And he continued : Dada had a reason why, Dada had the knowledge and the how, today's `installations and events` where some moron who rides the wave raised by the `professional` art public that delegates a consensus on what art is...`
-`You're exaggerating again, my friend, it's the alcohol speaking through you` - Zurab was impudent...
And Mr. Von Ranter, ignoring the interruptions, continued:
-`I understand, they exhibit a dead chicken on a plastic chair and someone tells them that it's a work of art. Rape of perception where a competent authority tells the audience what they should see and what meaning they should find in the dead chicken, hence creating derivative value where real value does not exist. Then comes money, sometimes a lot of money...`
Zurab, obviously upset, shouted - `That's just your rigid Prussian perception that rationalizes both a needle and a locomotive, that demands logic in Picasso and Kandinsky...`
Fritz, all flushed and in a muffled voice, whispered - `Zurab Banterovich, I would... I would kill them all!`
Zurab decided to pretend he hadn't heard his friend's last remark and tried to steer the conversation towards a safer path.
-`We should also mention applied design, industrial design above all` which in the era of the Machine knew how to produce works that are fully functional and that radiate an expression of their time, their creator and beyond. Art is simply twinned with the Machine because even machines need someone to buy them...` Zurab reasoned.
- ``Maybe Beauty is in the eye of the beholder, as the English claim,'' said Fritz.
- ``I wouldn't say so, there are authorities who will say what is art and what is not,'' replied Mr. Durakov.
- ``You're wrong,'' said Fritz. ``Maybe I will seem boring to you, but outside of the consensus that the environment, or those ``authoritative'' factors of yours, have about what is art, there is no art. Now cavemen also drew, animals, hunting and fishing, some of their psychedelia and the like, besides that it is really interesting to note - after the cave paintings there are no wars and killings of people, the artistic expression that glorifies battles, conquests, kings and emperors comes later with the emergence of the state and organized religions and therefore...''
- ``That's why?'' asked Zurab.
-`Expression is the most important thing, my naive one, always and everywhere, not the art that some `authoritative` person will say whether it exists or not, but the expression of the original distillate of any content that passes through the artist's cauldron. Always was, always will be.` - Friedrich commented. And he continued - `Let me clarify, some event, some stimulus, some motive crept into the head of the unknown painter from the Stone Age and distilled through his personal perception - manifesting itself in the form of his personal expression with the painting technique that was available to him. Fast forward a few dozen of millennia and we still have the same thing, of course in a new packaging.`
`And where is the beauty in those theories of yours,` Durakov slyly recalled.
- `Beauty...it may or may not be there.` replied Von Ranter. `For example, my compatriot, Caspar David Friedrich - painted `The Shipwreck of Hope,` a painting inspired by who knows what tragic attempt to sail the Northwest Passage and the end of a British ship that, overcome by ice, went to say goodbye to Davy Jones, damned be his eyes. Is the painting beautiful? What is beautiful in a pile of ice and a sinking ship? Nothing! Or analogous to this, its contemporary `The Raft of the Medusa` by Gericault. And his paintings of lunatics who posed for him in the asylum, since he had no money to pay models. There is no beauty, but there is drama, there is a freezing of a moment that no photograph can capture, there is symbolism and there is emotion. And above all, as I said, expression. In this case, the horror of hopelessness in one of the most hopeless places in the world, despite our cooperation - and that is the Arctic. So, is that painting beautiful? Not really. I`d say it is majestic.`

- `I know, I know, you have always despised the classicists and post-modernists, you have told me about it at least nine times` - Zurab was angry.
But Fritz continued anyway - `Of course, time is also important. All those portraits of various ladies from the time of classicism that made generations of men sigh and, by God, get horny, today seem comical. Not that this takes anything away from the technical perfection in the execution of the picture itself... but some pale, amoeba-like, often fat or ugly person and still a sex symbol of the time. Beauty. At that time. Today... no one would even look at someone like that twice - if they didn't have to. Another thing I want to tell you is that our perception is also oversaturated with images. Television, the net, magazines, billboards... it aggressively and mercilessly attacks the personal perception of the individual. Imagewise, tolerance is at its highest level in history. Not a fly crawls on us. We need ever stronger stimuli. So that the shock and discomfort that someone would feel looking at Kasparov's painting in the 1820s will not cause anything today... which is kinda sad...`
- `Yes, I completely agree with the latter. But now at least there is hope, after everything that has happened in recent years...` - Zurab quietly addressed.
- `Hmmm... I would like to believe that you are right. And maybe you are right. Maybe there is hope. Maybe some of our great-grandchildren will again be delighted by some completely new form of art` - Friedrich said resignedly. `Now stop playing with that Geiger counter Zurab, the sound irritates me terribly, I know that this place is so irradiated that it must glow in a dark green at night, if a postmodernist were alive he would be very happy with such a sight, he would have made an installation of this cooperative.`
Zurab smiled at his friend's last joke. `Okay Fritz, it's time to get out of here, finish the special, I'll finish what's left of the Ethanol, my stomach digests everything, I have no problems with that, did I tell you what all the `my father didn't drink?`
In a short time, the two friends moved away from the cooperative which was left gaping empty.
(Roger Mortis, 105)