Narkomfin

Video: ДОМ НОВОГО БЫТА (Dom Novogo Byta)

Re:centering periphery 2 – Moscow

A film by OginoKnauss
Directed by Manuela Conti and Lorenzo Tripodi

With:

Roman Sinitcin as Michail Bulgakov´s reader
Ekaterina Milyutina,
Valentin, Nikita, Zhenia and other residents of the Narkomfin Building
Alexei Senatorov, owner and CEO at MIAN Real Estate
Elena Olshanskaya, Resident of Zhourgaz House and campaigner for the preservation of EL Lissitsky’s Printing Plant.

Script: Lorenzo Tripodi
Cinematography: Manuela Conti
New York assistant: Nicola “Teach” Guarneri
Sound design and recording: Francesca Mizzoni
Editor: Manuela Conti
Moscow executive: Anastasia Volkova
Russian Translation: Liliana Polyanska
Text revision: Paul David Blackmore, Mike James.
Narrator: Lorenzo Tripodi
Voice recording: Gino Roberti / joprec
Software programming and internet application: Sergio Segoloni / k-labo

ДОМ НОВОГО БЫТА
(Dom Novogo Byta)

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Dom Novogo Byta is a new stage into the investigation led by Ogino:knauss on how Twentieth century’s modernist principles shaped the everyday life of urban dwellers, and what is their heritage in a global urbanization perspective. Invited by the “RKM-save Urban Heritage” campaign for the preservation of constructivist architecture to produce a piece for an art exhibition, the collective landed in Moscow in 2009 to shot a video installation. This film is the diary of our journey chasing the remnants of the extraordinary utopian season of the avant-gards and confronting with the contemporary reality of post-communist Russia. It adopts as a vantage point of the shanty Narkomfin building, hardly surviving today in a central plot of land appealing for real-estate speculators. Designed in 1927 by Moisei Ginzburg this is one of the earlier projects to absorb Le Corbusierian modernist principles. It was a prototype for revolutionary communes to come, aimed at reforming the everyday life of Russian citizens together with their spatial environment, but its utopian aims were soon annihilated by the rise to power of Stalin. From the story of the Narkomfin, the film progressively divagates into the imagined landscapes promoted by propaganda, finally getting lost in the inhuman periphery of the new mass urbanization.

“Interview with Anthony Paul Smith on the slow reception of philosopher François Laruelle,” by C. Derick Varn

Originally posted on The (Dis)Loyal Opposition to Modernity.

Ross Wolfe: When I first began blogging in the summer of 2008, “speculative realism” and “object-oriented ontology” (still as yet largely undifferentiated) was on the rise.  Taylor Adkins contacted me about providing some insight into the German philosophical references used by François Laruelle in his “non-philosophy.”  I provided one brief commentary, having come out of a recent engagement with German Idealism via Dieter Henrich and Brady Bowman.  I’m still very ambivalent about Laruelle’s ideas, insofar as I pretend to understand them, though I find his critique of the common “Greco-Occidentalist” threads in the post-Hegelian “philosophies of difference” intriguing and appreciate Ray Brassier’s contributions that rely on Laruellean concepts.

[C Derick Varn: Anthony Paul Smith is a scholar and blogger for An und für sich. He came to my attention by a web seminar I “attended” on the philosophy of François Laruelle and non-philosophy which I attended.   I have since read his translations of Principles of Non-Philosophy (with  Nicola Rubczak)  and Future Christ: A Lesson in Heresy both out with Continuum. While still trying to wrap by head around the implications of Laruelle, I also wondered why Laruelle has taken so long to catch on compared to many of his contemporaries like Badiou, Derrida, and Deleuze. ]

C. Derick Varn: Why do you think Laruelle has been slow to be introduced to the Anglophone world?

Anthony Paul Smith: Regarding your first question, I taught at DePaul University as an adjunct for a year bouncing between the departments of Religious Studies, Environmental Studies, and Philosophy. During that year Alan D. Schrift came and presented a paper to the philosophy department. You may know that he’s editing a pretty comprehensive history of Continental philosophy and I jokingly asked him about why he hadn’t included Laruelle in his history. After explaining that he didn’t really know anyone who worked on him, it didn’t come to mind and whatever, he did tell me that he thought Laruelle was one of those figures who just fell through the cracks. If things had gone a little differently, he said, or someone had picked up a text to translate in the 70s or 80s, who knows if he would have been picked up. I didn’t get the impression he particularly liked Laruelle or anything, but he did bring out for me the contingency of these sorts of things. I mean, there are lots of brilliant thinkers in the world and some of them are exceedingly smart. But in the same way we pass homeless people and think that there is some perfectly good reason why that’s him and not me, I think as readers of philosophy we just assume that there is a really good reason we all keep talking about Derrida or Deleuze or Badiou or even Meillassoux now (just to stick with some sort of contemporary names). So that is clearly part of it, just an accident of history. At the same time his work and the language he uses to express it are difficult and I think this has put off a number of potential translators. I always wondered why Ray Brassier, for example, never translated one of his works, even one of the shorter ones, considering his own skills in that area. But he has tended to go with relatively more straight forward writers like Badiou and Meillassoux. But that’s the real issue — the lack of anything of his to read unless you’re willing to track down the French and work through it in a language unfamiliar to most Anglophone readers.

C.D.V.: Do you think Laruelle’s linkage to Ray Brassier’s work and also to Badiou has limited his reading in the US and Europe?

A.P.S.: As for Laruelle being linked to Brassier’s work, I don’t know if it has limited his reading. Brassier really was the first person to advocate for him in his Radical Philosophy article. At the same time, I think that Brassier’s own development (which is ongoing as far as I understand) did really color how many younger readers ended up reading him. There was a certain assumption, since many of them weren’t reading the primary sources I don’t think, that Laruelle shared Brassier’s antipathy for the human, for religion, for meaning, even for a vision of science that isn’t itself colored by a certain grimness and darkness. I think with Laruelle’s own texts starting to finally be available in English this is starting to fade away, which means many of those first-generation of readers have moved on from Laruelle finding his work concerned with issues they are not. But, I think we are seeing new readers, many coming from the arts, and I’m looking forward to conversations that do build off of Laruelle’s actual work rather than Brassier’s. I should say, I think Brassier was always quite clear that he had found something  useful in Laruelle, that he wasn’t just explicating him. And I think we see some of the harshest criticism of Laruelle, if respectful, in the chapter of Nihil Unbound where Brassier deals with him. Continue reading

Chernikhov's dark turn

Iakov Chernikhov’s sepulchral city

The dark turn in Chernikhov’s late works,
the architectural necropolis
after the onset of Stalinism

Almost gothic.

I found myself back in the sepulchral city resenting the sight of people hurrying through the streets to filch a little money from each other, to devour their infamous cookery, to gulp their unwholesome beer, to dream their insignificant and silly dreams. Their bearing, which was simply the bearing of commonplace individuals going about their business in the assurance of perfect safety, was offensive to me like the outrageous flauntings of folly in the face of a danger it is unable to comprehend.  —Conrad, The Heart of Darkness

Joseph Beuys teaching

“Beuys’ Concept of Social Sculpture and Relational Art Practices Today,” by Laurie Rojas

“Best of Chicago Art Magazine” re-post. Originally appeared in Chicago Art Criticism on 2/28/10, and then subsequently on Laurie Rojas’ excellent blog.

German artist Joseph Beuys’s work appears unfathomable: his entire oeuvre engaged drawing, sculpture, performance, pedagogy, and political activism. Art critics and art historians have admitted the difficulty of placing this enigmatic artist within the modern or postmodern lineages of significant postwar artists. In the foreword to Joseph Beuys: The Reader, Arthur Danto argues that Beuys (1921–86), like Marcel Duchamp and Andy Warhol, is one of the artists who one must turn to in order to understand contemporary art. Danto believes, however, that unlike Duchamp and Warhol, who are frequently discussed and shown, Beuys has faded from contemporary awareness. This is both true and not true.

Beuys is famously remembered for two things: the theoretical hypothesis of “social sculpture,” and the statement “everybody is an artist.” A close consideration of the relationship between these two concepts reveals Beuys’s program for art and his historically motivated vision for society. Both concepts have influenced participatory, socially engaged, and relational art today and provide a vehicle for unraveling their historical significance, even if they claim to detach themselves from Beuys’s historical moment. Perhaps of even more significance, then, is what aspects of Beuys work seem to have — somewhat suspiciously — faded.

Danto suggests that perhaps the fading interest in Beuys lies in the fact that both the subject of Beuys’s art and his own personal myth are bound up in World War II and the period of German reconstruction. It is possible that the fading of Beuys is due to the inability to digest and resolve the problems his work raised in the aftermath of World War II. Our historical moment, almost five decades later, inherits that history and those desires, even if a certain metaphysical strain of postmodernist thinkers have incessantly argued that such a moment has irretrievably passed. The analysis of the influence of Beuys on contemporary artists, specifically those engaged in relational aesthetics, in this essay is to argue and demonstrate that the moment has not passed, but changed. The difference in our historical moment is that we are less conscious of — and less interested in — the social conditions that produced and re-produces the political disillusionment and aesthetic desires and needs that emerged after WWII. Continue reading

МСВТ, о.п. Площадь Революции

Children of Iofan: Post-Soviet futuristic nostalgia

Stunning designs by architect S.V. Lipgart.

Enjoy! Continue reading

For Liberty and Union: An interview with James McPherson

Originally published in
Platypus Review 53 | February 2013

Spencer A. Leonard

Spencer A. Leonard interviewed noted Civil War historian James McPherson, author of the classic Battle Cry of Freedom (1988), to discuss the new Lincoln biopic by Steven Spielberg and the 150th anniversary of the Emancipation Proclamation. The interview was broadcast on January 29, 2013 on the radio show Radical Minds on WHPK–FM (88.5 FM) Chicago. What follows is an edited transcript of their conversation. 

Spencer Leonard: 150 years ago, on January 1, 1863, President Abraham Lincoln issued his famous Emancipation Proclamation. This constituted an important culmination in the long struggle for the abolition of slavery. What, in brief, is the background to the Proclamation in terms of the long struggle for free labor in North America stretching back to the Revolution and into colonial times? Was the destruction of slavery in America simply a matter of coming to terms with an original American sin or a lingering hypocrisy? Or had the course of history in the 19th century posed the question of chattel slavery in a way that it had not done for the generation of the American Enlightenment and Revolution?

James McPherson: Well, in the first place, slavery was not a uniquely American sin. It had existed in many societies over many centuries even prior to its first introduction into Virginia in 1619. In subsequent decades, slavery took deep root in all of the British North American colonies, as it did in the Caribbean and in South America, where in fact slavery was much more deeply entrenched than it was in most parts of North America.

But starting in the third quarter of the 18th century, a variety of forces began to call the morality and validity of slavery into question — cultural forces and intellectual forces and economic forces. The Enlightenment and, with it, the Age of Revolution — the American Revolution, the French Revolution, the Haitian Revolution, the revolutions in Latin America — these began to attack the philosophical and economic underpinnings of slavery. In the northern states of the new American nation, the Revolution led to a powerful anti-slavery movement which by about 1800 had eliminated slavery or had begun to eliminate slavery from all of the states north of the Mason-Dixon line. The Haitian Revolution beginning in the 1790s liberated that island, albeit violently.

So, there was a gathering movement against slavery in the Western world that had a significant effect in the United States, generating a strong anti-slavery movement first among the Quakers, then spreading. It extended not only to the North but to the South as well, reaching a kind of culmination in the 1830s with the beginning of the militant Abolitionist movement — William Lloyd Garrison, Frederick Douglass, and the founding of the American Anti-Slavery Society. Gradually, that impulse spread into a political movement, first with the Liberty Party in 1840 and then with the Free Soil Party in 1848 and the Republican Party in the middle 1850s. Together these developed what historian Eric Foner talked about many decades ago as a “free labour ideology.” That politics created a sense of two socioeconomic orders in the United States: One in the North based on free labour with social mobility, a dynamic entrepreneurial society; the other in the South based on slavery, which since the 1780s had become more deeply entrenched.

In the 18th century there was a widespread sense that slavery would disappear. The Founding Fathers, who formed the Constitution in 1787, assumed that slavery would soon die out. This is why they were willing to make certain compromises with the slave states to get them to join the new nation. Though the Constitution-makers assumed that slavery would probably die out soon, quite the opposite happened in the South, starting in the 1790s and early 1800s with the spread of the Cotton Kingdom, which meant that in the very decades that slavery was disappearing in the North and a strong anti-slavery movement was developing in the first half of the 19th century, the institution was becoming much more deeply entrenched in the South. That generated a whole series of cultural, social, and political justifications for the institution of slavery. By the middle of the 19th century the two sections had come to a kind of face-off with each other over the question of the expansion of slavery, which had been made an acute problem by the acquisition of a huge amount of new territory in the Mexican War. A bitter struggle ensued, starting in 1854, over the territories that had originally been acquired through the Louisiana Purchase of 1803; the whole question of whether slavery would be allowed to expand into those territories that were not yet states became acute in the 1850s. So, in a sense, the anti-slavery impulse that had deep roots going back into the latter part of the 18th century was coming into a collision course with a pro-slavery impulse that had become pretty powerful by the 1830s and 1840s in the slave states. This led to the showdown in 1860, with Lincoln’s election and the secession of the southern states. Continue reading