Метаморфозы советского художника: А. Платонов и А. Медведкин

The article discusses the problem of the difference between auctorial intention and different kinds of contemporary and subsequent interpretations in texts which pretend to fulfil the requirements of the Soviet ideological canon but at the same time bust these limitations because of the grotesque nature of the artistʼs language. The alienating prose of Andrei Platonov and the mixture of farce and proclamation in the films of Aleksandr Medvedkin (1900–1989) provide the most striking examples of such an (unintentional) art strategy that makes possible mutually exclusive readings.