Петр Померанцев - Nothing Is True and Everything Is Possible - The Surreal Heart of the New Russia

But now it’s not just Moscow anymore where this style resonates. Over in Bernie Arnaut’s Bulgari Hotel, on the corner of Hyde Park, the most expensive hotel in London (rooms start at $1,200 a night; the penthouse is $26,000), the floors are black granite and the walls are black glass, with older men and younger women in the blackness hard, scowling, and sparkling. The lost-in-new-wealth world of Moscow rises and blends with the sudden global money from all the emerging, expanding new economies. And the Russians are the pacesetters, the trendsetters. Because they’ve been perfecting this for just a few years longer, because the learning curve was so much harder and faster when their Soviet world disappeared and they were all shot into cold space. They became post-Soviet a breath before the whole world went post-everything. Post-national and post-West and post-Bretton-Woods and post-whatever-else. The Yuri Gagarins of the culture of zero gravity.

Just south of Piccadilly, on St. James, England looks like the same old-boy country it always was: the Reform Club, Brooks, the members-only halls with their worn carpets, secret passwords, and centuries-old walls. But one simply doesn’t need “in” here anymore. A partner from Novikov’s, I’m told, is buying up a building on St. James for his own private London gentlemen’s club. It’ll be more discreet, more private, more exclusive. And Novikov itself is crowded every night, bringing in $1.3 million a week, full of Paris-raised Qataris and Monaco-registered Nigerians, American hedge fund managers and Golden Youth and Premier League Football agents, escorts from Brazil and Moldova and the Swiss “lawyers” with offices in Moscow and Hong Kong, complaining loudly over house music that their business is about to go to shit because the Swiss parliament now demands that foreigners with accounts in Swiss banks reveal their real identities.

“The point of a Swiss bank account is that it’s fucking secret!” they shout at the bar in the style of an English country house library. “I’m going to lose all my Moscow business! It’s the end of Switzerland!”

Skinners Hall, built in 1670, just off Cannon Street in the “heart of the City.” The Great Dining Room, oak paneled and hung with tapestries and coats of arms, is lit with spotlights of acid pink and dark cobalt blue, which combined make a sort of neon dusk. Tonight there’s an evening for the London Russian great and good who have sponsored the annual “Russia week”: a week of ballet galas at the Coliseum and Slavic rock concerts in Trafalgar Square that celebrate the Russian influx.

The men are in black tie and the women are dressed uneasily in gowns that feel just off the rack. A quintet plays something classical. Then comes the Babushki, a trio of old women singing village songs to Euro-beats who were the Russian entry at the Eurovision Song Contest. One of the Russian wives is putting on some sort of fashion show. There’s no catwalk for the models, and they have to move in between the tables. The dresses are velvet, swooping, Italianate aristo Grace Kelly gowns: “timeless classics.” But you can’t make out the colors because of the pink and cobalt lighting.

“Look,” whispers the fashion wife to me, “there’s T. I last saw him in Monte Carlo. That man can never go back to Russia, he’s such a crook. What is he here? A philanthropist? It’s like he’s had plastic surgery for his identity. Pulled on a new face.”

“Is that A?” asks someone else. “The one who makes out she’s an aristo? Ha. I remember her in Moscow. Fine aristo she was then. You know how she met her first husband, the billionaire? She was ‘modeling.’”

Original identities become as obscure as the true ownership of funds flowing between the former Soviet Union and the West. Especially since the President has passed a law banning state officials and the heads of state companies (and now most of the companies are state companies) from having bank accounts or stocks and bonds abroad, even when the point of rising in the system is the privilege to lift money over there and migrate it over here. And so the Kremlin both regulates the status that confirms the privilege and keeps everyone scared. And as long as everyone is scared, they’ll remain loyal. There might well be more FSB agents now in London than at any time in history, but their aim is less nuclear secrets and more the other Russians and whom you can hit up. A paranoia runs through every meeting and conversation.

“See B,” a Russian high society writer leans in and says to me, “the one there in the pearls? With all the guys around her? She appeared from nowhere and opened her own networking agency. Everyone thinks she’s FSB. Why else would she need to have everyone’s contacts? Know who is here and who is not?”

And all this makes conversation difficult outside tiny circles of loyal friends. The usual openings—“What do you do?” or “What are your politics?”—lead to dead ends. A lot of the time, the only neutral thing that people seem to be able to talk about is Art.

“I spent a lot of time in London when I was studying. I loved the museums, Tate Modern especially. And I thought it would be great to create a space like that in the Russian context,” says Dasha Zhukova, with the disarming simplicity only the really, truly rich can carry off: she’s building a new modern art museum in Moscow as we speak. She is the daughter of one Russian tycoon, the longtime girlfriend of another, Roman Abramovich. I’m interviewing her before an event at Art Basel that she is sponsoring. (I’m taking up a bit of writing to paper over the gaps in television work.) Trying to set up a meeting has been complicated. Within a few hours the location switches from London to the south of France to Moscow to New York. We end up meeting in Los Angeles, where she grew up. I fly economy for a one-hour chat.

Her father made his money trading oil. There was also some story about his selling arms from Russia to the war in Yugoslavia, and he spent some time in an Italian prison on account of this (he was eventually cleared of charges). The last time I saw Abramovich he was in an English courtroom timidly revealing the moves he had pulled to make his first money.

But all that hinterland seems to just fall away when I talk to Dasha.

She’s beautiful in an unaggressive sort of way. She nods and listens. Her accent is unplaceable, wavering among tough Muscovite and breezy Valley Girl and hints of London. She was nine when she left Moscow, living with her Russian academic mother first in Texas and then LA. Whenever I try to steer the conversation to politics, she just ignores it. We just talk art. About the cool spaces in the gaps between Donald Judd sculptures. About the honesty of 1960s modernism. About not knowing quite where to belong.

Identities are dissolved, reborn, in the clean, pure, simple lines of abstract art.

Whenever I meet a candidate for the TV show they tell me to come along to the Arts Club on Davies Street. It’s the most “international” of the private members’ places. There’s a chandelier of shiny plastic bubbles as you climb up the staircase, and when you get up to the first floor you can soon spot the clusters of Russian wives. The men are still mainly in Moscow or Tyumen pumping crude and cash. The wives are here, worried about or resigned to whomever he is sleeping with out there (the stewardesses of private planes are always suspect), while they sit in London watching over the cash flows and keeping the bolt-holes ready, lunching in little groups in La Durée at Harrods; perfectly dressed in Hermes or something equally “classy” and restrained to the point of tautness, going for private showings at Fabergé and then meetings with a dealer at the Arts Club. The wealthier wives run galleries. In the surrounding streets, north from Piccadilly, up Albermarle and along Upper Burlington the new galleries belong to the post-Soviets: the Erarta, the St. Petersburg, Most 26.