NYC panel event: THE MANY DEATHS OF ART

   Julieta Aranda | Gregg Horowitz
Paul Mattick | Yates Mckee

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65 W 11th St.
Wollman Hall (5th fl)
New School

February 23, 2013
6-9pm

Please register on our official event page
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The “death of art” has been a recurring theme within aesthetic and philosophical discourse for over two centuries. At times, this “death” has been proclaimed as an accomplished fact; at others, artists themselves have taken the “death of art” as a goal to be accomplished. So while this widely perceived “death” is lamented by many as a loss, it is celebrated by others as a moment of life renewed. For them, art is all the better for having disburdened itself of the baggage of outmoded modernist ideologies. Insofar as the “death” of longstanding cultural traditions has in the past typically been understood to signal a deeper crisis in society at large, however, the meaning of death necessarily takes on a different aspect today — especially when the tradition in question is modernism, the so-called the “tradition of the new” (Rosenberg). Because the very ideas of “death” and “crisis” appear to belong to the edifice of modernity that has been rejected, these too are are to be jettisoned as part of its conventional yoke. Modernity itself having become passé, even the notion of art’s “death” seems to have died along with modernism.

We thus ask our panelists not merely whether art is at present “dead,” but also if traditions are even permitted the right to perish in conservative times. If some once held that the persistence of philosophy indicated the persistence of obsolete social conditions, does the persistence of art signal ongoing social conditions that ought to have long ago withered away? If so, what forms of political and artistic practice would be sufficient to realize art, and in what ways would realizing art signal something beyond art? Marx felt that the increasing worldliness of philosophy in his time (heralded by the culmination of philosophy in Hegel) demanded not only the end of philosophy, but also that the world itself become philosophical. If avant-garde movements once declared uncompromising war on art in order to tear down the barrier between art and life, would the end or overcoming of art not similarly require that the world itself become artistic?

The Many Deaths of Art event poster

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Period photographs of Soviet avant-garde built exteriors, 1926-1934

Hi-resolution images

Untitled.
Image: Nikolai Trotskii,
Stachek region (1933)

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Alesei Shchusev, hotel in Sochi, USSR (1928)

Alesei Shchusev’s hotel in Sochi, USSR (1928)

Just a couple remarks in prefacing these breathtaking photos, nearly all of which have never appeared online.  Even those that have aren’t available on anywhere near the scale or resolution as they are here.  In the past I’ve often posted pictures — sketches, blueprints, proposals, models, etc. — of Soviet modernist structures that were never built, whether they simply could not have been built at the time (given the material, technological, and industrial limitations of the Soviet Union in the 1920s or 1930s) or were abandoned or rejected.  But the focus of this post is on those buildings that were actually built; more specifically, their exterior aspect.  These period photographs should attest to the built legacy of the early architectural avant-garde in the Soviet Union, even if the window during which such pieces of architecture could have been realized was extremely brief. Continue reading

The relationship between psychoanalysis and emancipatory politics

Amanda Armstrong
Platypus Review, № 2
February 2, 2008

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Castoriadis, Marx, and Freud
on time and emancipation

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On two occasions, Sigmund Freud observed that politics, pedagogy, and psychoanalysis are all impossible professions. Cornelius Castoriadis attempted to make sense of this cryptic observation in a 1994 essay entitled “Psychoanalysis and Politics,” in which he argued that, not only are these three “professions” structurally analogous, they are also entangled with each other such that the “impossible” realization of pedagogical or psychoanalytic aims is ultimately conditional upon an emancipatory political transformation.

The impossibility of psychoanalysis as well as of pedagogy lies in the fact that they both attempt to aid in the creation of autonomy for their subjects by using an autonomy that does not yet exist. This appears to be a logical impossibility…But the impossibility also appears, especially in the case of pedagogy, to lie in the attempt to produce autonomous human beings within a heteronomous society…The solution to this riddle is the “impossible” task of politics — all the more impossible since it must also lean on a not yet existing autonomy in order to bring its own type of autonomy into being. [1]

Castoriadis’s analysis of the “impossible possibility” of emancipatory politics, while deformed by his tendency to treat dynamic social formations as static states of being (i.e. “autonomy”), conveys, in a partially veiled form, certain important dimensions of Marxist politics. First, by analogizing social emancipation to pedagogy and psychoanalysis, Castoriadis squarely positions social emancipation along a temporal axis, indicating that Marxists should strive to bring about a break, in time, between an era characterized by “personal independence founded on objective dependence,”[2] and a subsequent era characterized by a more thoroughgoing form of social freedom. The essentially temporal (rather than spatial) nature of this hoped-for “break” has often been forgotten on the Left — an amnesia that has had disastrous consequences for the project of social emancipation.

Karl_Marx_001

Second, Castoriadis’s paradoxical formulation concerning the (non-)existence of the conditions for social autonomy indicates, albeit in a highly attenuated manner, something significant about the ground upon which a possible socialist future might be built. As Marx argued in the Grundrisse, an emancipatory transition to a post-capitalist society would entail the abolition of the value form of social mediation and the freeing up of the social wealth and human capacities accumulated in alienated form under capitalism.[3] In other words, the social form that currently frustrates social emancipation — namely, capital — would also constitute the ground upon which a socialist society would be built. Thus, in a sense, it is right to say that there is no currently-constituted social basis for emancipation, but that the basis for emancipation can nevertheless be found in contemporary society. Were this not the case, as Marx observed in the Grundrisse, “then all attempts to explode [capitalist society] would be quixotic.”[4] As Moishe Postone argues:

The specificity of capitalism’s dialectical dynamic, as analyzed by Marx, entails a relationship of past, present, and future very different from that implied by any linear notion of historical development….In capitalism, objectified historical time is accumulated in alienated form, reinforcing the present, and, as such, it dominates the living. Yet, it also allows for people’s liberation from the present by undermining its necessary moment, thereby making possible the future — the appropriation of history such that the older relations are reversed and transcended. Instead of a social form structured by the present, by abstract labor time, there can be a social form based upon the full utilization of a history alienated no longer, both for society in general and for the individual. [5]

In a brief footnote attached to this passage, Postone observes:

One could draw a parallel between this understanding of the capitalist social formation’s history and Freud’s notion of individual history, where the past does not appear as such, but, rather, in a veiled, internalized form that dominates the present. The task of psychoanalysis is to unveil the past in such a way that its appropriation becomes possible. The necessary moment of a compulsively repetitive present can thereby be overcome, which allows the individual to move into the future. [6]

With this footnote, we return to the analogy between psychoanalysis and emancipatory politics with which we began. In what follows, I want to try and open up some inroads into thinking through the significance of this analogy — is it merely a coincidence, or can we offer an explanation as to why Freud formulated a theory of individual emancipation that was so strikingly analogous to Marx’s formulation of the relationship between history and emancipation?

sigmund-freud-photographed-by-max-halberstadt-in-1921

One way to make inroads into this comparison of Marx and Freud’s conceptions of time and emancipation is through an examination of Freud’s theorization of the “compulsion to repeat” — a hypothesized compulsion that, in his metapsychological essay “Beyond the Pleasure Principle,” Freud finds evidence for in a number of social and psychological phenomena (from a number of developmental phases and historical eras). He goes so far as to suggest that this “compulsion” might properly be understood as an “urge inherent in organic life to restore an earlier state of things which the living entity has been obliged to abandon under the pressure of external disturbing forces.”[7] The paragraph in which this quote is embedded is directly preceded by a discussion of the psychotherapist’s attempt to help their patient overcome a compulsively repeated present, indicating that Freud conceptualized the psychotherapeutic aim of helping a patient move into the future as somehow continuous with, or relevant to, a broader world-historical problem concerning the socially general “death instinct” — a problem that he would explore more extensively in Civilization and Its Discontents.

Freud’s rapid and undertheorized switching of levels of analysis in these paragraphs, as well as at other points throughout his writings, leads me to hypothesize that Freud partially identified his individual patients with society, and that, in developing his psychoanalytic practice, he was — in part — formulating a veiled model for how society might overcome the “compulsion to repeat” imposed by the value form of social mediation and thus realize the possibilities for human emancipation immanent in the present. Assuming that this explanation of the analogy between psychoanalysis and emancipatory politics is plausible, we (as Left historians) can formulate an ambivalent historical evaluation of Freud: on the one hand, he fostered a conception of the temporal dimension of emancipation at a historical moment during which many Left social theorists were shifting into a spatial frame of reference — a shift that still haunts the Left; on the other hand, by partially identifying individuals with society (instead of — like Marx or Adorno — analyzing the manner in which, under capitalism, the individual mediates society), Freud prepared the ground for Herbert Marcuse and other New Left Freudo-Marxists, who replaced social emancipation with a reified “desire” as the desideratum of Left politics.

Notes

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1. Cornelius Castoriadis, World in Fragments: Writings on Politics, Society, Psychoanalysis, and the Imagination. Ed. & Trans., David Ames Curtis. (Stanford University Press. Stanford, CA: 1997). Pg. 131.

2. Karl Marx, Grundrisse, Trans. Martin Nicolaus. (Penguin and New Left Review. London, England: 1973). Pg. 158.
3. Ibid, pgs. 704–712.
4. Ibid, pg. 159.
5. Moishe Postone, Time, Labor, and Social Domination: A Reinterpretation of Marx’s Critical Theory (Cambridge University Press. New York, NY: 1993). Pg. 377.
6. Ibid, pg. 377, n. 131.
7. Sigmund Freud, “Beyond the Pleasure Principle.” The Freud Reader, Ed. Peter Gay. (Norton and Co. New York, NY: 1989). Pg. 612. Emphasis added.

Ivan Leonidov

These are some utopian sketches and plans by Soviet avant-garde architect Ivan Leonidov.  Here’s a defense of Leonidov’s work against some of the criticisms leveled against it by the rationalist Nikolai Dokuchaev, written up by his fellow constructivist, Aleksandr Kuzmin:

Projects may be criticized in various ways.  Amongst the critics of Leonidov’s projects there is a category of architects who, whilst understanding and recognizing the great importance of the projects to the development of a genuinely contemporary architecture, try by all means fair and foul to discredit them.

True, for all who understand this, such manoeuvers appear dismal and trite.  But unfortunately they do not all understand this.  They do not all see clearly that the heart of the problem can all too easily be littered up with scientific rubbish; not everyone sees that there are very few true theorists of architecture on the pages of our magazine, but a lot of reporters who jump from one case to another and are helplessly attacking issues which are beyond their capabilities.  In just this way Professor Dokuchaev writes in the journal Building Moscow (and when not being unduly familiar, he is incoherent), in an attempt to shape public opinion on Leonidov’s work. Continue reading

Dynamite or détournement?

One year after Pussy Riot’s “punk rock prayer”

Figure 1: Pussy Riot performs in the Cathedral of Christ the Savior in Moscow (February 21st, 2012)

I. Détournement

When members of the Russian femme-punk outfit Pussy Riot ascended the altar inside the Cathedral of Christ the Savior around this time last year, few seemed to notice the physical space in which their performance was taking place.  This is perhaps understandable, after all, given the spectacle unfolding before their eyes.  Less than a minute into their gig, the band was unceremoniously carted “offstage” by officers of the Moscow militsiia.  It was an absurd scene: the frenetic punching motions of the five musicians, colorfully clad in their trademark balaclavas, clashed sharply with the sterile, Neoplatonic immobility of the gilded iconostasis and paneled Carrara marble chapel behind them.  The sole video documenting the event, which went viral almost immediately thereafter, featured a tiny Orthodox nun herding the crowd of bewildered onlookers away from the nave with far greater success than the burly cop who meanwhile attempted to assail the band.  After eluding his clutches several more times — one member even managed to kneel and cross herself before being arrested — all five were jailed and made to stand trial for “blasphemy” and “hooliganism” (an oldie-but-goodie harkening back to the days of Stalin, and before him, the tsars), of which they were eventually convicted.  A few months later, on August 17th, 2012, they were sentenced to two years in prison.

Outside Russia, news of the verdict was met with widespread uproar and scathing criticisms, roundly condemning the Putin government’s callous disregard for the most basic democratic freedoms.  These were for the most part justified, if a little poorly expressed at times.  Slavoj Žižek’s contention that “the true blasphemy [in the blasphemy allegations] is the state accusation itself” is one of his clumsier dialectical inversions to date — a category mistake, even if it’s a nice sentiment.  The few dissenting voices that warned against lending uncritical support to Pussy Riot’s shenanigans, such as Vadim Nikitin in The New York Times, may have been right in parts (especially about the hypocrisy of Western observers’ puffed-up indignation at the fact that such things “still happen”) but generally had their emphasis all wrong (Nikitin’s shocked moral and aesthetic sensibilities at some of the band’s past stunts).  These complaints were by and large drowned out, and rightly so.  Still, one year on, two of the women from Pussy Riot remain locked up, their sentences increased in both extension and duration, relocated to “far-flung prison colonies” in the Urals with a few extra months tacked onto their terms.  Little, if anything, seems to have changed in the country.  Putin’s judo death-grip on Russian political life has been decisively reasserted.  No major challenges present themselves to his continued administration.

Figure 2: Pussy Riot frontwoman Nadezhda Tolokonnikova, surrounded by police, raises her fist

Figure 2: Pussy Riot frontwoman Nadezhda Tolokonnikova, surrounded by police, raises her fist

Pussy Riot’s sad fate should call into question the prevailing political imagination of the Left, both in Russia and abroad, however.  This may seem an odd claim to make, as the general public still largely considers the band’s defiance of Putin a courageous, if not heroic, act.  As such, their high-profile performances have even been regarded in some circles as a success, despite (although precisely because of) their subsequent imprisonment.  In the final analysis, this is a consequence of decades of impotent protest politics.  For many activists today, the assurance that “action will be taken” is enough to allay any anxieties they may have that nothing can be done.  The experience of mobilization and coordinated demonstrations is a virtue unto itself, and arrest only grants false legitimacy to the idea that such pseudo-activity poses a threat to existing structures of power.  Whether or not an action contributes in a meaningful way toward its purported goal — e.g., if an anti-war march actually helps bring an end to war — the sheer fact of mass participation is (mis)taken as a sign of its success.  The experience of defeat has become so naturalized for the Left that it no longer even recognizes its defeats as such.  The most miserable failures are held up as the most shining triumphs, and no one is better off for it. Continue reading

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