ARTIFICIAL HELLS

the social under socialism
September, near the equinox), considered by Slovak peasants as an auspicious
time for weddings. As such, the work was deeply rooted in folkloric
celebrations, while continuing the theme of ‘theatricalised life’ so important
to early Soviet spectacle (discussed in Chapter 2).
Mlynárčik embellished this ready- made event at his own expense,
transforming the wedding into a grand celebration. 48 Outside the town
hall, a helicopter dropped leaflets of congratulation over the town square,
while the newly wed couple sat in a yellow carriage accompanied by a
violinist (as in Fulla’s painting). Mlynárčik sought out amateurs in local
folklore societies who advised on ancient Slovak customs such as the
distribution of mrváne (traditional round cakes in the shape of doughnuts),
the honey ceremony, and the pánca, a huge phallus- shaped vodka
barrel; the latter was transformed into a red sculpture over two metres
high, packaged by Christo and installed on a wagon. The French critic
Pierre Restany, with whom Mlynárčik had been in close dialogue since
1966, was invited as master of ceremonies. Restany presided over the
celebratory dinner and gave a speech before distributing presents to the
couple: works of art from seventeen artist friends from eleven countries,
including César, Niki de Saint Phalle and Raymond Hains. 49 The gift
from Russian artist Lev Nusberg was a firework display, with which the
day concluded. As with Happsoc I, Mlynárčik piggybacked an event to
give it a double ontological status: both a wedding and a happening, reality
and a play, a wedding dress and theatrical costume, wedding photos
and art documentation.
Mlynárčik framed the work as ‘a celebration of life and joy, hope and
love. At the same time, it becomes a manifestation of the international
Alex Mlynárčik, Eva’s Wedding, 1972
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