The article discusses an artistic method of the post-Soviet artist Vlad Mamyshev-Monroe (1969–2013) as the nexus of several traditions embedded in modernist legacy. His main genre is remastered (scratched) photographs depicting him impersonating various historical and fictional characters, from Marylyn Monroe (whom he considered his alter ego) to Hitler, Jesus Christ, and Putin. His art and artistically designed image creatively develop the tradition of modernist life-creation (zhiznetvorchestvo), which he enriches by camp, thus becoming a pioneer of this elusive sensibility in post-Soviet culture. Camp, in turn, facilitates Mamyshev-Monroe’s self-fashioning as the trickster whose transgressivity and ambivalence absorb his queerness and drag spectacles, and whose hyperperformativity manifests itself in his performative art. The article analyzes how Mamyshev-Monroe appropriates various cultural material in the trickster’s way by using camp for its critique and deconstruction. The case of Mamyshev-Monroe is especially important since it demonstrates the limits of the trickster’s transgression that resists its instrumentalization by the authoritarian state.

中文翻译：

---

变装的骗子：弗拉德·马米雪夫-梦露的坎普美学

这篇文章讨论了后苏联艺术家弗拉德·马米雪夫-门罗（Vlad Mamyshev-Monroe，1969-2013 年）的艺术方法，将其作为嵌入现代主义遗产的几个传统的纽带。他的主要类型是重新制作（划痕）照片，描绘他模仿各种历史和虚构人物，从玛丽莲梦露（他认为是他的另一个自我）到希特勒、耶稣基督和普京。他的艺术和艺术设计的形象创造性地发展了现代主义生活创造（zhiznetvorchestvo）的传统，并通过营地丰富了这一传统，从而成为后苏​​联文化中这种难以捉摸的情感的先驱。反过来，坎普促进了马梅雪夫-梦露作为骗子的自我塑造，他的越界性和矛盾性吸收了他的酷儿和变装眼镜，他的超表演性在他的表演艺术中表现出来。文章分析了马梅雪夫-门罗如何以骗子的方式挪用各种文化材料，以坎普作为批判和解构的手段。Mamyshev-Monroe 的案例尤其重要，因为它表明了骗子的违法行为的局限性，即抵制专制国家对其进行工具化。