To be honest, writing about FENSO is not an easy money. Childish tongue-tie binds both serious analysis and wish to play the game, as both turn into heavyweight burlesque.

At the same time FENSO attracts, intrigues and even provokes to give at least an approximate description of phenomenon, let the background be just the BAZAK project.

One may search for the group's roots in the spaces defined by Medical Hermeneutics, or find references to the new-born Ptyuch culture, or even debate about psychedelic and a "sidelong vision"...

Let's avoid banality, though.

At some point I get a persistent reminder of the Leibniz's monadology. According to philosopher, "monad, has no windows, and has no interactions with other monads and the outer world. Although it bears and keeps inside the whole outer world: reflects it with some degree of clearness and distinctiveness the very being of monad consists in reflection of the world's being, in being the reflectiveness". For me BAZAK like FENSO itself has a distinct monadological nature with the "as if" prefix.

As if they haven't read Balzac, as if they've seen and then replayed a confused episode of some legend as if the had child's eyes; which is rather uncontradictory because the sidelong knowledge exists in the monadic "windowless interior" in the form of reflection, of a dim vision with no beginning and no end and with "some degree of clearness and distinctiveness"

FENSO is interesting for XL, without ifs and buts, as long as "reflection" based on allusive sidelong intersections is being installed firmly and virtuously, which in its turn is absolutely monadic at contemporary Moscow art scene.