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The following scenes were painted by the Chinese artist Song Wenzhi during the 1970s. I find these much more interesting than the rather derivative Socialist Realist style that predominated from the 1950s-1970s. Superficially, at least (I’m no expert in East Asian art), these would seem to use non-realist “traditional” forms to depict quintessentially modern content. Technoindustrial alterations to the landscape are part of the landscape.
As I wrote in response to someone who felt the representation of industrial imagery “polluted” the purity of the traditional genre of Chinese landscape paining, there’s an ironic fidelity to Wenzhi’s paintings to this tradition. By this I mean that traditional Chinese landscape paintings often did include scattered human artifacts — bridges, huts, sometimes tiny people — embedded in the scenery. So it’s not as if humanity’s intervention into nature is wholly absent from such paintings. In the paintings of Wenzhi, however, the scale of these manmade structures, especially those involved in or facilitated by industrialization, is obviously much larger. On a whole different scale, one might say. Even then, these are integrated into the landscape.
Traditional Chinese landscape painting featuring small human artifacts
However, I wouldn’t say that this is simply a continuation of tradition. Wenzhi was doubtless aware that a qualitative difference had resulted from this quantitative increase. Continue reading →
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A couple updates. To start, an article by Michael Rectenwald has finally been published over at The North Star under the title “What’s wrong with identity politics (and intersectionality theory)?” It’s yet another response to Mark Fisher’s polemic, “Exiting the Vampire Castle,” but is addressed equally to his critics. My hope, probably naïve, is that Rectenwald’s piece will be seen as the final word on the debate. Of course, anyone who’s still itching to pen a rejoinder and join in the fray is invited to do so. The uproar can hardly last forever, though.
Either way, I’d like to draw attention to one passage by Rectenwald in particular, one that I feel makes the connection between intersectionality and identity politics explicit. Now that I think of it, I never got around to spelling out what ties them together. Instead, I left it implicit. Rectenwald fills in this lacuna in two succinct paragraphs:
Fisher never explicitly refers to intersectionality theory, but it lurks just beneath surface of his contempt in “Exiting the Vampire Castle.†Developed in the 1970s and 1980s within feminism, intersectionality seeks to understand how power intersects identities along various axes, including those of race, gender, sexuality, or sexual preference, etc. It aims to locate the articulations of power as it traverses various subordinated peoples in different, multiple ways. Suggestive of a radical critique of patriarchy, capitalism, white supremacy and other forms of domination, it complicates any sense of gender, sex, class, or race as homogenous wholes. And it problematizes any hierarchy of one categorical determination over others. As such, it appears to serve as a method of analysis for opposing oppressions of all kinds. Intersectionality should, it seems, work to deepen our understanding of the composition of class society, and to add to the means for overcoming it.
But operating under the same schema as a more simplified identity politics, intersectionality theory serves to isolate multiple and seemingly endless identity standpoints, without sufficiently articulating them with each other, or the forms of domination. The upshot in political practice is a static pluralism of reified social categories, each vying for more-subaltern-than-thou status on a field of one-downsmanship. While it may be useful for sociologists attempting to describe groups and their struggles with power, as a political theory, it is useless, or worse. This is because, by ending with the identification and isolation of its various constituencies, it in fact serves to sever the connections that it supposedly sought to understand and strengthen. The practical upshot of intersectionality theory is the perpetual articulation of difference, resulting in fragmentation and the stagnation of political activity that Fisher bemoans.
This explains the kind of “race to the bottom” mentality that tends to accompany intersectionality and identity. In fact, here’s a graph I found that illustrates exactly their relationship, with binaries emanating radially from the center in either direction, showing relative degrees of privilege vs. oppression: .
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Logically, I suppose identity would thus be a subordinate or constituent component of intersectionality, with each category of identification counting as a sort of token that signifies a form of oppression. Continue reading →
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May Day, Leningrad 1931. A constructivist set design depicting the global forces of reaction — a capitalist with a Howitzer coming out of his hat, an Orthodox priest mounted on top, a policeman straddling a swastika — serves as the centerpiece for a parade outside the Winter Palace in Leningrad. One can see from the pictures in the gallery below that these sets were mobile, adaptable, and collapsible, with different fitted parts allowing for various juxtapositions and transformations.
The group responsible for this monstrous mise-en-scène was IZORAM (the Young Workers’ Visual Arts [Изобразительное иÑкуÑÑтво рабочей молодежи]), a Leningrad collective that combined theatrical constructivism with strong Proletkult overtones. It was led by the rather brilliant Moisei Solomonovich Brodskii, who’d begun his career as a popularizer of cubism in Russia. Didn’t last long, though; founded in 1928, IZORAM would dissolve by the end of 1931. Presumably, this coincided with the forced unionization of the different independent art organizations throughout the USSR, a measure that allowed the Stalinist regime to impose its prescribed brand of “socialist realism” on practitioners.
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Lidiia Komarova is one of my favorite architects of the Soviet avant-garde, even if the vast majority of her work was, as with so many others, never realized. She was a student Ladovskii and Dokuchaev in the “rationalist” camp of ASNOVA for most of the 1920s, but eventually migrated over to “constructivist” school of OSA headed by Ginzburg and Vesnin by the close of the decade.
Her drawings, models, and floor plans were some of the best to come out of VKhUTEMAS-VKhUTEIN during its brief ten years of existence. They stand as a testament to what once seemed imaginable, even in an economically impoverished, technologically backward country encircled by its would-be gravediggers.
Very few of her designs ever saw the light of day, as was stated earlier, and none of her more modernist compositions. Continue reading →
An introduction to the problem from a Marxist perspective
. The first part of a planned series on the separation of city and countryside has been posted on Ian Abley’s Audacity website. It’s a fascinating subject in my opinion, neglected for some time now, so Ian from got in touch with me about writing a reappraisal of the problem today. Looking forward to continuing it. Here’s an excerpt from the first post:
This [series] will hopefully serve to clarify an issue that for too long now has gone neglected by theory, despite once having been thought crucial to its integrity. Do the categories of Marxism adequately describe existing social relations? While terms like urban and rural are widely accepted, to contend that this separation constitutes an “antithesis” to be abolished is a good deal more controversial. If such a contention is today deemed untenable or outdated, can it be casually written off as unessential to the coherence of Marx’s thought? Or would this cast doubt on the legitimacy of his other claims? At stake here is the very competence of Marxism, given its standard arsenal of concepts, to conduct an accurate analysis of the present. Can the framework it provides grasp contemporary reality?
Whether or not a study of this sort has any purchase beyond circles with an interest in Marxist theoretical debate largely depends on whether Marxism is able to reassert itself as an effective political force in society. Though the odds of this happening seem exceedingly low at the moment, it can never be completely ruled out as a possibility. Until such a time, an inquiry into the Marxist theory of town and countryside is destined to remain a fairly parochial concern. Its relevance is bound up with the general irrelevance of Marxism as a whole. Otherwise, the question is purely academic. Better to dispel such illusions at the outset, however, than to proceed filled with a false sense of purpose, only to discover the true triviality of one’s endeavor later on.
You can read the rest of the article over at Audacity. And thanks again to Ian for setting me this task.
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Not all of the early Soviet architectural avant-garde was “Constructivist,†strictly speaking. Though this was the title often generically used to describe to all modernist architecture coming out of Russia, only those pieces produced by the architectural group OSA can really be considered constructivist per se. OSA’s self-proclaimed doctrine was constructivism, founded on the principle of the “functional method†of design, as Ginzburg and the Vesnin brothers described it.
Earlier, another avant-garde group — the Association of New Architects, or ASNOVA — had been founded in 1923 by Nikolai Ladovskii, Nikolai Dokuchaev, Vladimir Krinskii, and El Lissitzky (though Lissitzky spent most of his time abroad). This school of architectural thought was deeply informed by the principles of abstract Suprematism in painting, the style invented by Kazimir Malevich some years before. In fact, Lissitzky’s PROUN series led directly into his architectural phase of production.
Project for the “new city”
V. Popov, Diploma project on the theme of the “New City” (1928), studio of Nikolai Ladovskii, housing commune model
V. Popov, Diploma project on the theme of the “New City” (1928), studio of Nikolai Ladovskii, housing commune axonometric view
V. Popov, Diploma project on the theme of the “New City” (1928), studio of Nikolai Ladovskii, administrative building axonometric
V. Popov, Diploma project on the theme of the %22New City%22 (1928), studio of Nikolai Ladovskii, living complex, axonometric and plan
V. Popov, Diploma project on the theme of the “New City” (1928), studio of Nikolai Ladovskii, perspective view of the administrative center
V. Popov, Diploma project on the theme of the “New City” (1928), studio of Nikolai Ladovskii
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As opposed to the Constructivists in the Society of Modern Architects (OSA), founded two years later, the premise of architectural Rationalism, as it came to be called, was formalistic rather than functional. The members of ASNOVA appealed to evidence gleaned from the study of psychotechnics, a science imported from Germany and America, to claim that certain formal shapes and patterns of design had a direct effect on the psychology of those who viewed the structure of a building. Once these formal principles could be discerned, they could be used to produce a psychological effect, lifting viewers and inhabitants out of false consciousness and inspiring them to participate in the construction of a new society. Continue reading →
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There are two events coming up this weekend in New York that readers of this blog might be interested in attending. Or at least that I’d want to attend. First, there’s the “Global Secularisms” conference at NYU, organized by Michael Rectenwald. Michael is a professor there in the Global Liberal Studies program, and an occasional contributor to Loren Goldner’s journal Insurgent Notes. A few days ago I republished his article “A Singular Deception.” It’s a two day conference with a long list of participants, which you can check out below.
Besides that, there’s also an event on “Isyan and the Turkish Left” at SVA in Manhattan hosted by the Platypus Affiliated Society, the organization of which I formerly a member. Though I resigned several months ago now, this still looks like it’ll be an interesting talk. Ivo Furman, a native of Istanbul currently living in London, will lead the discussion. You can read his article “Isyan: The participation of the radical left in the Gezi Park protests,” online. The event description is included below. Continue reading →
Yesterday I posted a brief exchange between Michael Rectenwald and myself aboutthe pernicious effects of “identity politics”on the contemporary Left. Today I’d like to spell out two different uses of the term “identitarian” as a term of critique on the Left.
“Identitarian” ideology under Fordism
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The first form of thought identified as “identitarian” here comes from Adorno. In his late magnum opus Negative Dialectics (1966), Adorno seeks to critique ideological representations of society that minimize or suppress real antagonisms and unresolved antinomies that historically persist. Adorno approaches this problem from the highest level of abstraction in modern (Western) philosophy, the split between subject and object. He takes issue with philosophies that contend that objects can be perfectly comprehended by the concepts of an apperceptive, epistemic subject. Though this seems to place Adorno at a further remove from Hegel’s speculative idealism and closer, as some have maintained, to Kant’s transcendental epistemology — in which the thing-in-itself, the original source of all a subject’s intuitions, remains forever unknowable — the non-identity of concept and object is not a permanent natural condition, but a potentially transient social condition. For Adorno, continued division, disharmony, and disequilibrium in cognition are constitutive of a society in which capitalism has not yet been overcome. Identitarian thinking, which obscures these uneven realities, belongs to a conceit symptomatic of the tendency to deny social conflict:
Nonidentity is the secret telos of identification. It is the part that can be salvaged; the mistake in traditional thinking is that identity is taken for the goal. The force that shatters the appearance of identity is the force of thinking: the use of “it is†undermines the form of that appearance, which remains inalienable just the same. Dialectically, cognition of nonidentity lies also in the fact that this very cognition identifies — that it identifies to a greater extent, and in other ways, than identitarian thinking. This cognition seeks to say what something is, while identitarian thinking says what something comes under, what it exemplifies or represents, and what, accordingly, it is not itself. The more relentlessly our identitarian thinking besets its object, the farther will it take us from the identity of the object. Under its critique, identity does not vanish but undergoes a qualitative change. Elements of affinity — of the object itself to the thought of it — come to live in identity.
To define identity as the correspondence of the thing-in-itself to its concept is hubris; but the ideal of identity must not simply be discarded. Living in the rebuke that the thing is not identical with the concept is the concept’s longing to become identical with the thing. This is how the sense of nonidentity contains identity. The supposition of identity is indeed the ideological element of pure thought, all the way down to formal logic; but hidden in it is also the truth moment of ideology, the pledge that there should be no contradiction, no antagonism. (Negative Dialectics, pg. 149)
Put differently, “identitarian” ideology for Adorno occurs wherever apparent homogeneity masks underlying heterogeneity. This can be elucidated with reference to the historical problem he was addressing. Following the end of World War II, with the defeat of Nazism and the onset of the Cold War, a kind of consolidation was achieved between Keynesian economic policies in North America drifting leftward and social-democratic economic policies in Europe drifting rightward. With the Fordist state’s periodic intervention to “correct” the market’s inherent volatility, by manipulating interest rates, controlling currency, and the creation of large bureaucratic welfare agencies through deficit spending, it appeared that the massive class conflict of earlier periods of capitalism had finally been resolved. Labor appeared to have been largely integrated into the new postwar constellation through collective bargaining and the emergence of big unions to match big business and big government. Continue reading →
Everyone remembers Althusser’s numerous objections to the overemphasis placed on the concept of “alienation” amongst Marxists, and in general the fascination with the young, “humanistic” Marx at the expense of the old, “scientific” Marx. What is less often remembered, however, is that even many who stressed the Hegelian underpinnings of Marxism had grown tired of the all the talk of “alienation” by the 1960s. In his Introduction to Sociology lecture series delivered in 1961, no less a dialectician than Theodor Adorno remarked:
One hears much talk about the concept of alienation — so much that I myself have put a kind of moratorium on it, as I believe that the emphasis it places on a spiritual feeling of strangeness and isolation conceals something that is really founded on material conditions. (Introduction to Sociology, pg. 3).
Since the word “alienation” is used ad nauseum today, I try to dispense with it as far as I can. Nevertheless, it does impinge on the subject under discussion, and I shall mention it at least as a general heading for what I mean. We live within a totality which binds people together only by virtue of their alienation from each other. (Ibid., pg. 43)
Clearly, Adorno is not objecting to the concept of alienation as such, but rather a pernicious effect resulting from its overuse. Two years later, he linked this tendentious usage of the young Marx’s terminology to a rekindled communitarianism enchanted by the memory of “community” [Gemeinschaft] and distraught over the reality of “society” [Gesellschaft]. In one of his lectures on History and Freedom (1963), he maintained:
Infected by an irrational cult of community, the term “alienation” has recently become fashionable in both East and West, thanks to the veneration of the young Marx at the expense of the old one, and thanks to the regression of objective dialectics to anthropology. This term takes an ambivalent view of a repressive society; it is as ambivalent as genuine suffering under the rule of alienation itself. (History and Freedom, pg. 265)
As has already been mentioned above, the French Marxist Louis Althusser was likewise exhausted with the jargon of “alienation” being bandied about in the universities. Unlike Adorno, however, this led him to reject the entire philosophical apparatus of the young Marx root and branch. Furthermore, adopting the rather hazy distinction made by the humanist Marxists — he had in mind here Jean-Paul Sartre, Erich Fromm, and Roger Garaudy rather than Raya Dunayevskaya — Althusser posited a decisive, unequivocal “epistemic break” between the young Marx and the old Marx supposedly taking place around 1845. (Though, for the curious, Dunayevskaya had this to say about Althusser: “Althusser really goes backward. Compared to him, [Eduard] Bernstein was practically a revolutionary. Althusser wants to ‘drive Hegel back into the night’.”)
Rejecting the earlier category of “alienation,” Althusser now railed against the theory of “reification” proposed by Marxist Hegelians influenced by Georg Lukács and Isaak Rubin during the 1920s. Continue reading →
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Last night I went to see a preliminary screening of Isabella Willinger’s newly-released documentary Away from all suns. Sammy Medina of FastCo, with whom I frequently collaborate, and Anna Kats of ArtInfo were also in attendance. The movie was being shown as part of  Tribeca Cinema’s “Architecture and Design Week,” an event sponsored by Archtober and a host of other companies/publications (far too numerous to name). Her film focuses on three contemporary individuals whose lives are somehow connected to utopian modernist buildings slowly decaying in Moscow. One building, Ivan Nikolaev’s student commune (1929), is currently being renovated. Another, El Lissitzky’s printing factory, is in danger of being torn down. Yet another, Moisei Ginzburg and Ignatii Milinis’ Dom Narkomfin, is left in a general state of disrepair. Stunning archival footage is mobilized to juxtapose these buildings’ original state against their current dilapidation.
Hopefully I’ll be writing up a review of the film and pitching it to Art Margins or Calvert Journal, so I’ll spare the reader any further thoughts of my own. What follows is an interview with the director Isa Willinger conducted by Boris Schumatsky. It’s being reposted here from the film’s official website. Willinger expresses some sentiments in this exchange that more or less approximate statements that writers like Owen Hatherley, Douglas Murphy, Agata Pyzik, and myself have voiced in the past, independently of or in close dialogue with one another — nostalgia for an age we never knew, awe before the ruins of a past seemingly more futuristic than our own, hope against hope that radical transformation might yet be possible. The line from Willinger I paraphrased for the title of this entry runs as follows: “Many of [these Constructivist buildings in Moscow] are quite run down today, yet they still radiate their futuristic visions.” It recalls, consciously or not, something Owen Hatherley wrote about Il’ia Golosov’s Zuev Club nearby:
The windows might be infilled, the balconies long since disappeared ⎯ what all this damage proves is that buildings with this much power and conviction can still carry you away with them. Or it carries me, anyway. I look at this and I can still feel radiating off the bloody thing the promise of a better society.
Below you can watch a trailer of the film, followed by the edited transcript of the interview.
Away from all suns (2013)
Isa Willinger interviewed by Boris Schumatsky
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Boris Schumatsky:Â Your film is about people living in buildings of the Russian avant-garde and about the buildings themselves. You seem to be just as fascinated by the buildings as by your protagonists. What is it that struck you about the Constructivist buildings?
Isa Willinger:Â To me the buildings seem like ruins from another future. I spent some time in Moscow some years ago and on my walks through the city I discovered these exceptional buildings. They really stick out from the rest of Moscow’s city landscape. Many of them are quite run down today, yet they still radiate their futuristic visions. This, of course, is a stunning paradox: Something is from the past and at the same time it seems from the future.
Boris Schumatsky:Â Can you tell us about the background of Constructivism?
Isa Willinger:Â The term was first applied to the abstract works of art by Tatlin, Malevich, Popova, Stepanova, El Lissitzky, and others in the 1910s and 1920s. Soon, the artists’ works transgressed the boundary between geometrical shapes on paper or canvas and architectural drawings toying with those shapes. The first Constructivist buildings were built in the mid 20s only, due to a lack of resources in early Soviet Russia. The Constructivist movement was infused with the hopes of socialist revolution, overcoming a repressive tsarist regime, and building a better, more modern society. Continue reading →
