Month: July 2014

Jean Jaurès, one hundred years after his assassination

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Jean Jaurès

Leon Trotsky
Kievskaya Mysl
July 17, 1915

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A year has passed since the death of the greatest man of the Third Republic. Events the like of which history has not previously known have welled up almost as if to wash away Jaurès’ blood with new blood and to divert attention away from him and to swallow up even his memory. But even the very greatest events have only partially succeeded in this. In France’s political life a great void has been left behind. New leaders of the proletariat answering the revolutionary character of the new era have not yet arisen. The old leaders only make us remember the more clearly that there is now no Jaurès.

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The war has thrown on one side not only individual figures but a whole era with them: the era during which the present leading generation in all spheres of life had been educated and brought up. Today this departed era on the one hand attracts our thoughts by the obstinacy of its cultural heritage, the uninterrupted growth of its technology, science and workers’ organizations; and on the other seems petty and characterless in the conservatism of its political life and in the reformist methods of its class struggle.

After the Franco-Prussian War and the Paris Commune (1870-1871) a period of armed peace and political reaction set in. Europe, if one excluded Russia, knew neither war nor revolution. Capital developed on a mighty scale outgrowing the framework of nation-states and overflowing into the remaining countries and subjugating colonies. The working class built its trade unions and its socialist parties. However the whole of the proletarian struggle of this period was impregnated with the spirit of reformism, of adaptation to the existing order and to the nation’s industry and the nation’s state power. After the experience of the Paris Commune the European proletariat did not once pose the question of the conquest of political power in a practical, that is, a revolutionary way. This peaceful, “organic” character of the era reared a whole generation of proletarian leaders thoroughly steeped in distrust for the direct revolutionary mass struggle.

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When the war broke out and the nation-state embarked on its campaign with all its forces armed to the teeth, this generation could without difficulty place the majority of the “socialist” leaders down on their knees. The epoch of the Second International has thus ended with the violent wrecking of the official socialist parties. True they are still standing as monuments to a past age and supported both indirectly and forcibly by the governments. But the spirit of proletarian socialism has fled them and they are doomed to collapse. The working masses who have in the past accepted the ideas of socialism are only now, amid the terrible experience of the war, receiving their revolutionary baptism of fire. We are entering upon a period of unprecedented revolutionary earthquakes. New organizations will be brought to the fore by the masses and new leaders will stand at their head. Continue reading →

Annenkov’s Potraits (1922) and Lunacharskii’s Silhouettes (1923)

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Representations of the
Russian Revolution

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portrait-of-zinoviev-1926 (1) Анненков Каменев


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Revolutionary silhouettes

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The present book is made up of a series of articles written on various occasions about some of our comrades in the RCP.

I should begin with a warning that these are not biographies, not testimonials, not portraits, but merely profiles: it is their virtue and at the same time their limitation that they are entirely based on personal recollections.

In 1919 the publisher Grzhebin, whom I already knew and who had been recommended to me by Maxim Gorky, asked me to start writing my memoirs of the great revolution. I was soon able to deliver him the first — or more precisely the preliminary — volume, in which I attempted to acquaint the readers both with myself, as a point of reference in judging the rather more subjective aspects of my ‘chronicle’, and with the main dramatis personae of the revolution in so far as I knew them and in so far as a knowledge of their characters and the events of their pre-revolutionary lives seemed to me to merit further exposition.

That book, however, was overtaken by a strange fate. At a moment when circumstances precluded me from working on it and when I had become convinced that to write memoirs at a time when not a single event of the revolution had cooled down — we were still living in its very crucible — was simply impossible (Sukhanov’s multi-volume work on the revolution, among others, had already convinced me of this); at a time, as it seemed to me, when any premature description of those events without an adequate study of the documents would be too subjective and little more than essay-writing — it was then that Grzhebin, unknown to me, published the first volume of my proposed memoirs. He is apparently continuing to publish them abroad, entirely without my permission.

I think it essential to state these facts here, in order to avoid any misunderstanding about the nature of that book. Continue reading →

Something better than the nation?

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Blair Taylor
Platypus Review
July 14th, 2014
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Book Review:

Rob Ogman, Against the Nation:
Anti-National Politics in Germany.
(Porsgrunn, Norway: NCP, 2013).
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In the wake of the fall of the Wall and reunification the German left confronted a resurgent nationalism. One section of the Left’s response was an “anti-national” tendency whose answer to questions posed by historical developments challenged received political categories by rejecting not only nationalism but, ultimately, traditional left attitudes towards both the nation-state and “the people.” In Against the Nation, Rob Ogman charts the emergence of this “anti-national” tendency by examining two activist campaigns of the 1990s, “Never Again Germany” and “Something Better than the Nation,” to show how “the encounter with nationalism resulted in a fundamental reorientation of a broad set of political assumptions, and produced a deep restructuring in the content and contours of left politics and practice” (11). However, more than an interesting window into radical movements in Germany, the book’s real strength is that it uses these cases to reflect upon left discourse on nationalism and nation-states everywhere, but with particular emphasis on the post-9/11 United States.

The book’s opening chapter, “The Left and the Nation,” begins by tracing the evolution of left positions on nation-states and nationalism in the U.S. since the 1990s, examining discursive continuities and breaks between the alter-globalization movement, the anti-war and anti-imperialist movements of the Bush years, up to Occupy Wall Street in the recent past. This overview describes how a “binary worldview” in the alter-globalization movement often pitted presumably benign nation-states and cultures against the ravages of global capital, which later during the War on Terror morphed easily into a similarly uncritical understanding of “oppressed nations” dominated by imperialist states, the latter primarily represented by the United States and Israel. The result was a simplistic and flawed conceptualization of both global capitalism and state power which demonized foreign capital and imperialist states while ignoring or downplaying domestic forms of exploitation and oppression. Valorizing the people, nation, or “culture” as sources of resistance, the discourse of anti-imperialism turned a blind eye to local state and capitalist elites, as well as popular forms of domination in traditional societies. It also made for strange political bedfellows, translating into tolerance and support for reactionary movements and parties, especially Islamist ones like Hamas and Hezbollah, in some cases even defending oppressive theocratic regimes like Iran. Ogman describes how this political frame obscured a more complicated political reality shaped by the deeper structural logic of state and capitalist power relations, one that undermines simple inside/outside distinctions. It also reinforced the nation-state and “the people” as the logical alternatives and unproblematic bases of resistance to the ills of capitalism and empire. By tracing “the failure of the Left to develop an emancipatory perspective opposed to nationalism, the nation, and the nation-state” (33) within the U.S. Left, Ogman provides a political context for understanding the German case that follows.

The following chapter, “German Nationalism after Reunification,” lays out the specific historical context the anti-national left emerged from. Primarily, this meant German reunification, a process that saw an immediate spike in nationalist sentiment as postwar Germany’s discourse of postnational citizenship was eroded by a revived ethno-nationalist one, accompanied by a wave of right-wing extremism that often received tacit popular and governmental support. The Left was not immune to this nationalist turn. Even the main East German opposition group subtly shifted their previously democratic slogan, “we are the people,” into the nationalist articulation, “we are one people” (40). German identity was increasingly being defined in opposition to outsiders. At precisely the moment the German state was reconstituting itself, “foreigners” became the number one stated concern in opinion polls. As Ogman notes, “as soon as the division separating East and West Germany came down, new boundaries were drawn” (44). Reunification exposed the brutal underbelly of nation-state formation, with chilling historical continuities. It was followed by an explosive rise in violent racist attacks, culminating in what the anti-nationalists did not shrink from terming “pogroms” in Rostock and Hoyerswerda in 1991 and 1992. In what became watershed events for the anti-national left, neo-Nazis in these East German towns violently evicted local guest workers and asylum seekers, setting fire to their residence house and running them out of town. The neo-Nazis had been unhindered by police and local officials, and were cheered on by crowds of locals.

Contesting nationalism:
“Never again Deutschland!” and
“something better than the nation”

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These developments prompted the formation of an oppositional coalition called The Radical Left, which organized the “Never again Germany!” mobilization to protest reunification and draw attention to its negative effects, such as the “Aliens Act” that restricted immigration and asylum. Aware that political reunification was basically inescapable, they mounted a principled symbolic opposition that sought to problematize and disrupt tendencies toward consensus and integration through “the power of negation.” This included militant protests and interventions into both public and left debates, developing and pushing an anti-national position. After reunification, the “Never again Germany” coalition was superseded by the campaign “Something better than the nation.” This network of musicians, artists, and intellectuals organized concerts, public fora, and blockades aimed at hindering the spread of both right-wing and centrist forms of nationalism. Their major campaign was a traveling caravan through the country, especially the East where neo-Nazism had taken root most virulently. The campaign aimed at fighting extreme right and nationalist sentiment by articulating an anti-racist and anti-national alternative culture embedded in music and youth subculture.

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Ogman devotes a chapter to each of these early anti-national campaigns, drawing extensively on movement documents and media coverage to capture the aims and motivations of the mobilizations. In his narrative, their importance was less their direct impact on political events, which was marginal, but rather their articulation of a novel left approach to nationalism. Drawing on Frankfurt School critical theory, this milieu understood nationalism as structural rather than simply ideological. It was not an aberration derived from outmoded or irrational notions of communal identification, but was instead a radical expression of basic features of the dominant society: a competitive and hierarchical social order with clear winners and losers. Therefore solely attacking the extreme nationalism and explicit racism of neo-Nazis was insufficient: One had to address racism’s much deeper social roots. Indeed, the anti-national turn was in part a realization that traditional anti-fascist and anti-racist politics were too limited, and that nationalism must be fought on a broader scale. In particular, nationalism was another expression of the competitive logic of capitalism, wherein the winners and losers of class struggle within states are in turn reproduced between them in the international arena. The result of this recognition was a specifically anti-national critique that addressed an expanded range of concerns including Germany’s geopolitical normalization and return to the global stage; the complex relationship between capitalism, nationalism, and nation states; as well as racist and essentialist notions of identity and citizenship.

While also deploying more familiar concepts like “negative patriotism” that describe how “national unity” ideologically conceals underlying class cleavages and obscured the self-interest of workers, anti-national politics also understood nationalism as simultaneously an elite and a popular phenomenon. Unlike traditional left theories which primarily understand nationalism as an ideological ruse by elites to preserve their power by obscuring class interest, anti-national discourse viewed it as a populist impulse wherein the working class also appealed to “the nation” to gain material and symbolic benefits by excluding those at the bottom of national and international hierarchies. Thus nationalism was not simply a top-down project, but also an endeavor from below, part and parcel of an interlocking social totality. The result was a form of leftism deeply skeptical of its traditional target audience: “the people.”

By looking at the early historical emergence of a broad anti-national left in Germany, Against the Nation is a useful corrective to caricatures that reduce this milieu to its most visible and controversial tendency, the “anti-Germans” who only later emerge as a distinct and differentiated political tendency. Clustered around journals like Bahamas and Konkret, the anti-Germans are communists who espouse steadfast support of Israel and, in some cases, support for the U.S. invasion of Iraq. This is often the only form of anti-national critique known outside Germany, often causing bewildered leftists abroad to over-generalize and dismiss it as a case of extreme national guilt. Yet this pop-psychologization misses the concrete historical conditions that fostered the initial emergence of the anti-national left in Germany. Rather than a guilt-induced obsession with National Socialism, anti-Semitism, and Israel, Ogman shows how German anti-nationalism developed out of specific anti-racist and anti-fascist struggles against racial violence and its tacit popular support. Although later in the specifically anti-German milieu, fear of the potentially fascist nature of populism translated into distrust of social movements generally, the early anti-national movement was a strongly activist as well as theoretical endeavor addressing concrete political problems confronting the German left. As a rather small tendency, this manifested primarily in provocative texts and symbolic demonstrations. Yet rather than an abdication of politics, this intervention was, at least initially, an attempt to force a certain conversation within the Left and build an alternative political base. Continue reading →

Lenin’s tomb

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The cult of Lenin

Boris Groys
The Total Artwork
of Stalinism (1986)

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The Lenin cult was very significant both in the political legitimization of Stalin and in the evolution of socialist realism, since even before Stalin came to power Lenin had been proclaimed the model of the “new man,” “the most human of all human beings.” Maiakovskii’s slogan “Lenin is more alive than the living” adorning the streets of Soviet cities does not contradict the cult of Lenin’s mummy in the mausoleum (perhaps one of the most mysterious in the history of world religion). Although I shall not attempt an exhaustive description of the cult here, it does deserve a few words. It has undeniably exerted a hidden formative influence on all subsequent Stalinist and post-Stalinist Soviet culture, if for no other reason than the central position it occupies in the invisible Soviet sacred hierarchy. Twice a year, “the entire Soviet land” submits its “report” in parades and demonstrations that pass by the mausoleum, and the leaders who accept this report stand on the roof of the structure, symbolically basing their power on the mummy of Lenin concealed within.

The construction of the mausoleum on Red Square and the founding of the Lenin cult were vigorously opposed by traditional Marxists and the representatives of left art [LEF]. The former spoke of “Asiatic barbarism” and “savage customs unworthy of Marxists. ” LEF also reacted to the first temporary variant of the mausoleum, which was later slightly simplified, describing it as “a verbatim translation from the ancient Persian” that resembled the grave of King Cyrus near Mugraba. Such criticism today, of course, is no longer possible — not only because the mausoleum was long ago pronounced “sacred to all Soviet citizens, ” but also because everyone got used to it long ago.

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The LEF critics, who perceived in Lenin’s mausoleum only an analogy with ancient Asian tombs, were as usual blind to the originality of the new Stalinist culture taking shape before their very eyes. The mummies of the pharaohs and other ancient rulers were walled up in pyramids and concealed from mortals — opening such graves was considered sacrilege. Lenin, in contrast, is on public display as a work of art, and his mausoleum, as is evident from the long lines that have formed before it every day for decades, is without a doubt the most frequented museum in the Soviet Union. If the “militant atheists” of the time exhumed the relics of saints and exhibited them in museum-like displays as antireligious propaganda, Lenin was from the outset simultaneously buried and displayed. The Lenin mausoleum is a synthesis between a pyramid and a museum that exhibits Lenin’s body, the mortal husk he shed to become the personification of the building of socialism, “inspiring the Soviet people to heroic deeds.” Continue reading →

There is no criticism, only history

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Manfredo Tafuri
Design Book Review
No. 9: Spring 1986

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Manfredo Tafuri is a prolific author on a wide variety of subjects ranging from 16th-century Venice (L’armonia e I conflitti, coauthored with Antonio Foscari) to more alien topics such as The American City (coauthored with Giorgio Ciucci and Francesco Dal Co). Each of his works serves as a platform for questioning the methods of architectural history, which, as he so emphatically states below, is not to be distinguished from criticism. In Theories and History of Architecture, he identified a major problem of “operative criticism,” endemic to architects who write about architecture. His suggestion to counteract this tendency to impose contemporary standards on the past was to shift the discourse away from the protagonists and individual monuments and consider architecture as an institution. His most widely read book in America, Architecture and Utopia, advanced this position, proposing an ideological analysis of architecture. His disconcerting message for those who had hopes of a “progressive” architecture was that there can be no class architecture which can revolutionize society, but only a class analysis of architecture. In his most recent theoretical work, La sfera e il labirinto, he has outlined a method of history called the progetto storico. This historical project, which is deeply indebted to Michel Foucault’s “archeologies of knowledge” and Carlo Ginzburg’s “micro-histories,” seeks to study the “totality” of a work, disassembling it in terms of iconology, political economy, philosophy, science, and folklore. His goal is to penetrate the language of architecture through non-linguistic means. At the core he still finds the problem of “the historic role of ideology.” The job of the Tafurian critic-historian is to “reconstruct lucidly the course followed by intellectual labor through modern history and in so doing to recognize the contingent tasks that call for a new organization of labor.” In November, 1985, we interviewed Professor Tafuri on the subject of criticism.

— Richard Ingersoll

%22On Theory%22 conference with Manfredo Tafuri, as part of the %22Practice, Theory and Politics in Architecture%22 lecture series organized by Diana Agrest, Spring 1974. Courtesy of Princeton School of Architecture Archives Round table at ETSAB with Manfredo Tafuri, José Muntañola, Pep Bonet and Josep Quetglas, February 1983. Manfredo Tafuri lecturing at ETSAB, February 1983

There is no such thing as criticism; there is only history. What usually is passed off as criticism, the things you find in architecture magazines, is produced by architects, who frankly are bad historians. As for your concern for what should be the subject of criticism, let me propose that history is not about objects, but instead is about men, about human civilization. What should interest the historian are the cycles of architectural activity and the problem of how a work of architecture fits in its own time. To do otherwise is to impose one’s own way of seeing on architectural history.

What is essential to understanding architecture is the mentality, the mental structure of any given period. The historian’s task is to recreate the cultural context of a work. Take for example a sanctuary dedicated to the cult of the Madonna, built sometimes in the Renaissance. What amazes us is how consistently these buildings have a central plan and an octagonal shape. The form cannot be explained without a knowledge of the religious attitudes of the period and a familiarity with the inheritance from antiquity — a reproposal of the temple form devoted to female divinities. Or take the case of Pope Alexander VII, whose interest in Gothic architecture at the cathedral of Siena [mid-17th century] compared to his patronage of Bernini in Rome can only be explained through a knowledge of the Sienese environment and traditions. The historian must evaluate all the elements that surround a work, all of its margins of involvement; only then can he start to discover the margins of freedom, or creativity, that were possible for either the architect or the sponsor.

The problem is the same for comprehending current work. You ask how the historian might gain the distance from a new work to apply historical methods. Distance is fundamental to history: the historian examining current work must create artificial  distance. This cannot be done without a profound knowledge of the times — through the differences we can better understand the present. I’ll give you a simple example: you can tell me with precision the day and year of your birth, and probably the hour. A man of the 16th century would only be able to tell you that he was born about 53 years ago. There is a fundamental difference in the conception of time in our own era: we have the products of mass media that give us instantaneous access to all the information surrounding our lives. Four centuries ago it took a month to learn of the outcome of a battle. An artist in the 15th century had a completely different reference to space-time; every time he moved to a new city (which was very rarely) he would make out his will. In earlier centuries, time was not calculated but was considered to be a gift from God. Knowledge was also considered to be God-given and thus teachers in the Middle Ages could not be paid; only later was their payment justified as a compensation for time. These factors belong to the mental web of another era. The way for us to gain distance from our own times, and thus perspective, is to confront its differences from the past.

One of the greatest problems of our day is dealing with the uncontrollable acceleration of time, a process that began with 19th-century industrializations; it keeps continually disposing of things in expectation of the future, of the next thing. All avant-garde movements were in fact based on the continual destruction of preceding works in order to go on to something new. Implicit in this is the murder of the future. The program of the “modern” artist was always to anticipate the next thing. It’s just like when you see a “coming attraction” ad for a film, essentially you have already consumed the film and the event of going to see the film is predictably disappointing and makes you anxious for something new. Continue reading →

Iakov Chernikhov, Cycle of architectural landscapes and other fantasies (1930)

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Architectural fantasy stimulates the architect’s activity, it arouses creative thought not only for the artist but it also educates and arouses all those who come in contact with him; it produces new directions, new quests, and opens new horizons.

— Iakov Chernikhov, 1927

Chernikhov is a pioneer, a trail-blazer of new themes in graphic art, and also, in part, of new modes of graphic design.

— Erikh Gollerbakh, 1930

Regular readers of The Charnel-House will know that I’ve already written on the brilliant architect and designer Iakov Chernikhov (1889-1951). Or rather, I’ve posted the excellent introduction Erikh Gollerbakh wrote in 1930 introducing Chernikhov’s The Construction of Architectural and Machine Forms, as well as a broader overview of his significance and career by the more recent scholar Dmitrii Khmel’nitskii. Some of my own thoughts about his work as it can be found in a sketch I made relating it  to that of the American Hugh Ferriss, his contemporary. Moreover, Chernikhov receives a brief mention in my broader outline of Russian and Soviet architecture from 1900 to 1953.

I won’t reprise the same summary treatment here. For now, just enjoy these images from Chernikhov’s Cycle of Architectural Landscapes, as well as other assorted fantasies. Anyone who’s into these will likely also want to take a look at Theo van Doesburg’s themes for the Aubette Café in Strasbourg, Gerrit Rietveld’s Schröderhuis in Utrecht, JJP Oud’s Café de Unie in Rotterdam, and Frederick Kiesler’s “City of Space” model, Lazar Khidekel’s cosmist suprematism, Ivan Kudriashev’s dynamic abstractions, László Moholy-Nagy’s paintings and photographs, Charlotte Perriand’s purist furniture designs, and Il’ia Chashnik’s revolutionary suprematism.

Click on any of the pictures to see them in higher resolution, and check out any of the links above if you’re interested in learning more.

Cruising past: Moscow’s forgotten gay history

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Agata Pyzik
Calvert Journal
July 17, 2013
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In honor of Pride Week, which just passed here in New York, I thought I’d repost this excellent article by Agata Pyzik. Agata is a journalist who writes for the Guardian and author of the recently released Poor but Sexy: Culture Clashes between East and West, which I cannot recommend highly enough. (My review of it should be published shortly; until then, check out Sebastian Truskolaski’s piece over at Review 31, which gives a great overview of the work). Though Pyzik’s article here takes the form of a review of Yevgeniy Fiks’ photo collection Moscow, it clearly is part of a broader reflection on sexual politics and the Left.

Lately, you see, I’ve been somewhat dismayed by the number of LGBT activists online who’ve expressed admiration for communist leaders like Stalin and Mao. Meanwhile, they explicitly rejecting “revisionist” or anti-Stalinist currents such as Trotskyism, revolutionary strains of anarchism, and left communism. Despite being solidly part of the leftist tradition, perhaps even its most historically significant iteration, Stalin and Mao were both cultural conservatives who passed legislation banning abortion and criminalizing homosexual intercourse. Stalin appended the law to the 1934 Soviet Criminal Code under Article 121, which stated that

…sexual relations between men are punishable by prison terms of up to five years hard labor…

Officially, homosexuality was associated with “bourgeois decadence” and immorality, and pathologized as a mental disease harmful to social morality. How any of this squares with their LGBT activism is beyond me. The RCP-USA, I know, held a similar stance until just the last decade, when it apparently underwent an “internal cultural revolution” (whatever that means). For the most part, though, I don’t even see this issue being addressed.

By contrast, the entry on homosexuality in the Great Soviet Encyclopedia just three years earlier was extremely liberal in its tolerance given the standards of the time. While its author, M. Sereinski, did consider it an “unnatural” form of attraction, he was largely sympathetic to the plight of gay men and women who were persecuted in other countries for supposed immorality. Sereinski appealed to the authority of the prominent sexologist Magnus Hirschfeld and the father of psychoanalysis Sigmund Freud, two early advocates for decriminalization. He asserted that many of history’s greatest geniuses — he names Socrates, Michelangelo, Leonardo da Vinci — exhibited homosexual tendencies, and further lamented the fact that many attempted suicide due to the social stigma attached to it. “Soviet law does not recognize so-called crimes against morality,” he explained. “Our legislation, based on the principle of social defense, punishes only those cases in which the object of the homosexual’s sexual interest is under age.”  

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Homophobia has never been in a “better” state in Russia than it is today. The horrific murder of 23-year-old Vladislav Tornovoy in Volgograd this May — he was raped with a bottle, castrated, and stoned — shook the public. But not enough, it seems: little has been done to prevent a repeat. One of the murderers admitted the reason for the killing was the “provocative” dress of the victim and his sexual orientation, which, apparently, “hurts patriotic feelings.” The authorities did have to admit it was a hate crime and to acknowledge Russia’s homophobia problem; but this is a problem that the government themselves have exacerbated with the recent introduction of a new nationwide law “against the propaganda of homosexuality.”

Russian history does not, however, present an uninterrupted line of hellish homophobia. The Bolsheviks legalized homosexuality soon after seizing power in 1917, at the same time establishing equal rights for women. And, although homosexuality was banned in the Thirties as part of Stalinist retrenchment, the Soviet landscape did accommodate spaces of social dissent and revolution in which gay men could express their sexuality together.

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These spaces — the city’s hidden topography of gay life — have recently been brought to light in the work of New York-based Russian photographer Yevgeniy Fiks. A self-proclaimed “post-Soviet artist,” Fiks sees it as his duty to react against the collective amnesia surrounding the Cold War period; previously he commemorated the overlooked history of communism in New York. At first glance, Fiks’ plainly titled new book, Moscow, could be just an ordinary photo album of public places in the Russian capital: we see parks, squares, boulevards, riverside embankments and public toilets. We admire the splendid architecture of the capital, its greenery and its striking constructivist-classicist constructions and we are impressed by the care taken by the Soviet authorities to make even toilets look beautiful. The pictures emanate a sense of peace and silence. But the way in which we see the locations depicted in these photographs is transformed when we learn that each and every one of them was a Soviet cruising ground.

What we suddenly perceive in these pictures is the eye of the original viewer. Yes, there are a lot of public toilets, but we now see these facilities in a different way, as sites that enable spontaneous relations between adults. These prohibited actions had to take place in hiding, away from prying eyes; paradoxically, this was only possible in public. Fiks has ordered the photos chronologically according to the period in which certain haunts were popular, from the Twenties to the Eighties, which means here we’re looking at the complete history of Moscow cruising. But the timescale seems to leave one question unanswered, quite deliberately: what about the years after the transition from communism? Fiks’ photographs seem to distance the author from Soviet, and specifically, Stalinist, times, and to reclaim the public space for a different version of history (not one much promoted in official versions of the Soviet past) and to reclaim homosexuality from today’s horrifically homophobic climate.

As well as a sui generis chronicle, Moscow is also a specific “work of mourning,” in which pleshki — the Russian name for cottaging sites — become unorthodox repositories of collective memory, what Pierre Nora called “lieux de memoire.” Nora’s idea has been influential in Holocaust studies as a term to describe places of extermination and it is striking that the places photographed by Fiks feel completely empty and abandoned, reinforcing the sense of the disappearance and silencing of the victims of homophobia. And these places were dear to many: they acquired a private slang terminology in which the statues of Lenin and Marx that were present in every Russian city were affectionately referred to as “Auntie Lena” and “Director of the Pleshka,” both out of familiarity and as a way of queering them. To use Situationist terminology, gay men were carrying out a détournement of these areas and symbols of revolution — a sort of satirical, subversive reappropriation that demonstrated that there was no real conflict between communist ideology and alternative sexual orientations.

The current spread of far-right, homophobic sentiments cannot be overlooked and marked down as just another effect of the years of communism; instead it must be seen as part of the failed transition to capitalism. The persecution of people with alternative sexual identities must be a serious PR blow to Russian liberals who’d like to see Russia as a potential market, free from the “eastern barbarism” that this part of the world is still often associated with. If homosexuality had been banned in Soviet Russia, anti-communist liberals would have a perfect argument, linking homophobia and the Soviet past; but it wasn’t, or at least not initially. In the Bolsheviks’ original conception of communism, sexuality wasn’t there to be policed by the state; it was there to revolutionize the citizen, with love seen as a public good. Continue reading →