Category Archives: critical thought

Breaking the Silence on the Art World: ArtLeaks Gazette Launch @ Brecht Forum (May 4th, NYC)

art-leaks.org

546092_490420224358441_679844155_nCredit: Zampa di Leone

We are happy to share with you the details of the official public launch of our ArtLeaks Gazette which will take place at the Brecht Forum in NYC on Saturday, May 4th from 7 PM!  Hope to see many of you there – we promise it will be  an exciting evening! Please help us spread the word by sharing this announcement!

ArtLeaks members would like to initiate an open discussion at the Brecht Forum in NYC on May 4th from 7 PM, around our upcoming ArtLeaks Gazette, focused on establishing a politics of truth by breaking the silence on the art world. This will be the official public launch of our gazette, which will be available online and in print at the beginning of May 2013, and will be followed by a series of debates in the near future.

Artleaks was founded in 2011 as an international platform for cultural workers where instances of abuse, corruption and exploitation are exposed and submitted for public inquiry. After almost two years of activity, some members of ArtLeaks felt an urgent need to establish a regular online publication as a tool for empowerment, reflection and solidarity. (More about us here: http://art-leaks.org/about.)

Recently, this spectrum of urgencies and the necessity to address them has come sharply into the focus of fundamental discussions in communities involved in cultural production and leftist activist initiatives. Among these, we share the concerns of groups such as the Radical Education Collective (Ljubljana), Precarious Workers’ Brigade (PWB) (London), W.A.G.E. (NYC), Arts &Labor (NYC), the May Congress of Creative Workers (Moscow), Critical Practice (London) and others.

Eager to share our accumulated knowledge and facilitate a critical examination of the current conditions of the cultural field from a global perspective, we are equally interested in questioning, with the help of the participants in the event, the particular context of New York City with its cultural institutions, scenes and markets.

The event will be divided in two parts. In the first, we will announce and present the forthcoming ArtLeaks Gazette. Focusing on the theme “Breaking the Silence – Towards Justice, Solidarity and Mobilization,” the structure of the publication comprises six major sections: A. Critique of cultural dominance apparatuses; B. Forms of organization and history of struggles; C. The struggle of narrations; D. Glossary of terms; E. Education and its discontents; and F. Best practices and useful resources (More here http://art-leaks.org/artleaks-gazette.) This publication gathers contributions from different parts of the globe, highlighting both historical initiatives and emerging movements that engage issues related to cultural workers rights, censorship, repression and systemic exploitation under conditions of neoliberal capitalism.

This also becomes an opportunity to bring up for discussion a series of questions that have defined ArtLeaks’ activity and that we would like to tackle anew in conjunction with local cultural producers in the second part of the event: What are the conditions of the possibility of leaking information concerning institutional exploitation, censorship, and corruption in the art world? What does it mean to speak the truth in the art field and to whom may it be addressed? What analogies and what models can we use in order to describe and operate within the conditions in which cultural workers pursue their activities? We aim to bestow a greater level of concreteness to these questions by inviting the participants to share its own concerns and experiences related to inequality of chances, structural injustice and forced self-censorship within the context of their work. We are also interested in discussing current collaborations and future alliances and projects that unite common struggles across international locales. Visual and scriptural material which documents the evening will be uploaded on the ArtLeaks platform.

Gazette Contributors: Mykola Ridnyi, Gregory Sholette, Marsha Bradfield & Kuba Szreder (Critical Practice), Fokus Grupa, Amber Hickey, Lauren van Haaften-Schick, Organ kritischer Kunst, Veda Popovici, Milena Placentile, Jonas Staal & Evgenia Abramova

Gazette Editors: Corina L. ApostolVladan Jeremić, Vlad Morariu, David Riff & Dmitry Vilensky

Editing Assistance: Jasmina Tumbas

Graphic Intervetions: Zampa di Leone

Facilitators of the event @ Brecht Forum: Corina Apostol & Dmitry Vilensky

The Brecht Forum has a  donation sliding scale of $6 to $15. We recommend registering for this event in advance here. Even if you are unable to make a donation, we still encourage you to come – we will not turn away anyone that wishes to participate in the discussions.

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Marxism Today (or, The Soft Power Approach to Changing Perceptions of Russia)

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Join us for the first stage of Sarajevo-born artist Nada Prlja’s new commission Subversion to Red, a performative round-table discussion reflecting upon the relevance and application of socialist and Marxist ideals today.

Speakers include: Dave Beech, Hannah Black, Gail Day, Mark Fisher and Nina Power. Chaired by Vlad Morariu

As part of First Thursdays the gallery will be open until 9pm.

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In March 2011 the London arts foundation Calvert 22 and the Russian investment company VTB Capital have announced a strategic partnership designed to showcase cutting-edge Russian artists in London and widen the exposure of the British public to creative Russian culture as part of a wider artistic programme that presents culture from Russia, Central and Eastern Europe.

VTB Capital is positioned as Calvert 22’s primary strategic partner, providing support for the artistic vision and core activities of the organization. Calvert 22 and VTB Capital are committed to promoting global co-operation through cultural understanding. 

VTB Capital is the recognized leader in Russian investment banking, and one of the company’s key objectives is to promote Russian culture throughout the world. VTB Capital’s partnership with Calvert 22 provides a unique opportunity to engage an open dialogue with the British audience.

Working together, VTB Capital and Calvert 22 are committed to promoting and developing new possibilities for global cooperation through cross-cultural understanding and exchange by implementing an ambitious artistic programme that is part of the company’s soft power approach to the global community.

Nonna Materkova, Founder/Director of Calvert 22, comments:
“I am delighted to announce VTB Capital as our primary strategic partner and proud to be associated with such a highly regarded, trailblazing organisation. This partnership marks a truly exciting and significant new phase in Calvert 22’s development and one that will ensure the foundation continues to present the very best of contemporary Russian, Central and Eastern European art as well as supporting new artists and cultural practice from these regions so as to genuinely introduce fresh and original perspectives to the UK. We are immensely grateful for their support and look forward to working together.”

Olga Podoinitsyna, Member of the Board at VTB Capital, comments:
“Throughout the nearly 3 years of partnership between VTB Capital and Calvert 22 Foundation, we have made a considerable contribution to the showcasing of Russian art in London, and also promoting the understanding of Russia as part of the global community. We support Calvert 22 as a unique vehicle for bringing contemporary Russian culture to Britain, putting people in touch with the actual trends in the country and offering them a new perspective on Russia. Our company plays an important role in strengthening ties between the Russian and British business communities and the partnership with Calvert 22 is a key part of VTB Capital’s soft power approach to changing perceptions of Russia.

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VTB Bank (Russian: ОАО Банк ВТБ, former Vneshtorgbank) is one of the leading universal banks of Russia. VTB Bank and its subsidiaries form a leading Russian financial group – VTB Group, offering a wide range of banking services and products in Russia, CIS, Europe, Asia, Africa, and the U.S. The Group’s largest subsidiaries in Russia are VTB24, Bank of Moscow, and TransCreditBank.

VTB was ranked 236th on the FT Global 500 2011, The Financial Times’ annual snapshot of the world’s largest companies. It climbed to 82nd in the ranking of the 500 largest companies in Europe, the FT Europe 500 2011, and to 38th in the FT Emerging 500 2011, the list of the 500 largest companies on the world’s emerging markets. The Moscow-based bank is registered in St. Petersburg and came 65th in the British magazine The Banker’s Top 1000 World Banks in terms of capital in 2010.

[…]

The main shareholder of VTB is the Russian Government, which owns 75.5% of the lender through its Federal Agency for State Property Management. The remaining shares are split between holders of its Global Depository Receipts and minority shareholders, both individuals and companies.

In February 2011, the Government floated an additional 10% minus two shares of VTB Bank. The private investors, who paid a total of 95.7 billion roubles ($3.1 billion) for the assets, included the investment funds Generali, TPG Capital, China Investment Corp, a sovereign wealth fund responsible for managing China’s foreign exchange reserves, and companies affiliated with businessman Suleiman Kerimov.

[…]

As of September 2009, the Supervisory Council of VTB Bank consist[ed] of Alexei Kudrin (Deputy Prime Minister, Minister of Finance of the Russian Federation), Arkady Dvorkovich (Aide to the President of the Russian Federation), Anton Drozdov (Chairman of the Management Board, Russian Pension Fund), Andrey Kostin (President and Chairman of the Management Board, JSC VTB Bank), Alexey Savatyugin (Head of Financial Policy Department of the Ministry of Finance of the Russian Federation), Vitaly Saveliev (CEO, JSC Aeroflot-Russian Airlines), Alexei Ulyukaev (First Deputy Chairman of the Central Bank of the Russian Federation), Grigory Glazkov (Independent Consultant), Matthias Warnig (Managing Director, Nord Stream AG), Nikolai Kropachev (Rector of the St. Petersburg State University) and Muhadin Eskindarov (Rector of Finance Academy under the Government of the Russian Federation).

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CALVERT 22 FOUNDATION

Founder and Director
Nonna Materkova

Board of Trustees
Nonna Materkova (Chair)
Alexey Kudrin
Margarita Gluzberg
Innokenty Alekseev
Dominic Sanders
Nigel Nicholson

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From 1990 to 1996, Kudrin worked in the Saint Petersburg Saint Petersburg City Administration under the liberal mayor and reformer Anatoly Sobchak. His first position was Vice Chairman of the Committee for Economic Reform. Until 1993, he worked in various financial positions in the city administration, before he was promoted to Deputy Mayor, in which position he served from 1993 to 1996. Future President Vladimir Putin was the other top Deputy Mayor of Saint Petersburg at the time. Kudrin was also Chairman of the City Administration’s Economic and Finance Committee.

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Russian President Vladimir Putin jokingly called former Finance Minister Alexei Kudrin a “slacker” on Thursday [April 25, 2013] for refusing to rejoin his government, as the two jousted on live television over how to revive a weakening economy.

“I offered – he refused,” Putin told a live call-in show after Kudrin took the microphone to criticise his administration’s economic policies. Smiling, Putin added: “He’s a slacker and doesn’t want to work.”

The good-natured exchange indicated that, although Putin remains on good personal terms with Kudrin, who served as finance minister for 11 years before resigning in September 2011, their economic views remain far apart.

Since quitting, Kudrin has publicly sympathised with opposition protests over alleged ballot fraud in the ensuing parliamentary and presidential elections that secured Putin’s return for a third Kremlin term.

His presence in the audience of Putin’s annual question-and-answer session and his tough questions were probably stage-managed to show that Putin could tolerate hard questioning.

Kudrin, a fiscal hawk and economic liberal, told Putin it was important to find political consensus and take into account the concerns of people who want to invest money and create jobs.

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The Argument Nadezhda Tolokonnikova Wasn’t Allowed to Make at Her Parole Hearing

[Originally published by The Russian Reader]

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Yesterday, April 26, 2013, a district court in Zubova Polyana, Mordovia, denied imprisoned Pussy Riot activist Nadezhda Tolokonnikova’s request for parole. According to Radio Free Europe/Radio Liberty, Judge Lidiya Yakovleva agreed with arguments made by prison authorities that it would be “premature” to release Tolokonnikova given that she “had been cited for prison rules violations and expressed no remorse,” and had not participated in such prison activities as the “Miss Charm Prison Camp 14 beauty contest.” Judge Yakovleva made her ruling without allowing the defense to make a closing argument, thus allegedly violating the Criminal Procedure Code. Tolokonnikova had written her statement out in advance. The translation below is of the Russian original as published in full on the web site of RFE/RL’s Russian Service (Radio Svoboda). Photos courtesy of the Free Pussy Riot Facebook page.

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“Has the convict started down the road to rehabilitation?” This is the question asked when a request for parole is reviewed. I would also like us to ask the following question today: What is  this “road to rehabilitation”?

I am absolutely convinced that the only correct road is one on which a person is honest with others and with herself. I have stayed on this road and will not stray from it wherever life takes me. I insisted on this road while I was still on the outside, and I didn’t retreat from it in the Moscow pretrial detention facility. Nothing, not even the camps of Mordovia, where the Soviet-era authorities liked to send political prisoners, can teach me to betray the principle of honesty.

So I have not admitted and will not admit the guilt imputed to me by the Khamovniki district court’s verdict, which was illegal and rendered with an indecent number of procedural violations. At the moment, I am in the process of appealing this verdict in the higher courts. By coercing me into admitting guilt for the sake of parole, the correctional system is pushing me to incriminate myself, and, therefore, to lie. Is the ability to lie a sign that a person has started down the road to rehabilitation?

It states in my sentence that I am a feminist and, therefore, must feel hatred towards religion. Yes, after a year and two months in prison, I am still a feminist, and I am still opposed to the people in charge of the state, but then as now there is no hatred in me. The dozens of women prisoners with whom I attend the Orthodox church at Penal Colony No. 14 cannot see this hatred, either.

What else do I do in the colony? I work: soon after I arrived at Penal Colony No. 14, they put me behind a sewing machine, and now I am a sewing machine operator. Some believe that making political-art actions is easy, that it requires no deliberation or preparation. Based on my years of experience in actionism, I can say that carrying out an action and thinking through the artistic end-product is laborious and often exhausting work. So I know how to work and I love to work. I’m no stranger to the Protestant work ethic. Physically, I don’t find it hard to be a seamstress. And that is what I am. I do everything required of me. But, of course, I cannot help thinking about things while I’m at the sewing machine (including the road to rehabilitation) and, therefore, asking myself questions. For example: why can convicts not be given a choice as to the socially useful work they perform while serving their sentences? [Why can they not chose work] in keeping with their education and interests? Since I have experience teaching in the philosophy department at Moscow State University, I would gladly and enthusiastically put together educational programs and lectures using the books in the library and books sent to me. And by the way, I would unquestioningly do such work for more than the eight hours [a day] stipulated by the Russian Federation Labor Code; I would do this work during all the time left over from scheduled prison activities. Instead, I sew police pants, which of course is also useful, but in this work I’m obviously not as productive as I could be were I conducting educational programs.

In Cancer Ward, Solzhenitsyn describes how a prison camp detective stops one convict from teaching another convict Latin. Unfortunately, the overall attitude to education hasn’t changed much since then.

I often fantasize: what if the correctional system made its priority not the production of police pants or production quotas, but the education, training, and rehabilitation of convicts, as required by the Correctional Code? Then, in order to get parole, you would not have to sew 16 hours a day in the industrial section of the colony, trying to achieve 150% output, but successfully pass several exams after broadening your horizons and knowledge of the world, and getting a general humanities education, which nurtures the ability to adequately assess contemporary reality. I would very much like to see this state of affairs in the colony.

Why not establish courses on contemporary art in the colony?

Would that work were not a debt, but activity that was spiritual and useful in a poetic sense. Would that the organizational constraints and inertia of the old system were overcome, and values like individuality could be instilled in the workplace. The prison camp is the face of the country, and if we managed to get beyond the old conservative and totally unifying categories even in the prison camp, then throughout Russia we would see the growth of intellectual, high-tech manufacturing, something we would all like to see in order to break out of the natural resources trap. Then something like Silicon Valley could be born in Russia, a haven for risky and talented people. All this would be possible if the panic experienced in Russia at the state level towards human experimentation and creativity would give way to an attentive and respectful attitude towards the individual’s creative and critical potential. Tolerance towards others and respect for diversity provide an environment conducive to the development and productive use of the talent inherent in citizens (even if these citizens are convicts). Repressive conservation and rigidity in the legal, correctional, and other state systems of the Russian Federation, laws on registration [of one’s residence] and promotion of homosexuality lead to stagnation and a “brain drain.”

However, I am convinced that this senseless reaction in which we now forced to live is temporary. It is mortal, and this mortality is immediate. I am also certain that all of us—including the prisoners of Bolotnaya Square, my brave comrade in arms Maria Alyokhina, and Alexei Navalny—have the strength, commitment, and tenacity to survive this reaction and emerge victorious.

I am truly grateful to the people I have encountered in my life behind barbed wire. Thanks to some of them, I will never call my time in prison time lost. During the year and two months of my imprisonment, I have not had a single conflict, either in the pretrial detention facility or in prison. Not a single one. In my opinion, this shows that I am perfectly safe for any society. And also the fact that people do not buy into state media propaganda and are not willing to hate me just because a federal channel said that I’m a bad person. Lying does not always lead to victory.

Recently, I got a letter containing a parable that has become important to me. What happens to things different in nature when they are placed in boiling water? Brittle things, like eggs, become hard. Hard things, like carrots, become soft. Coffee dissolves and permeates everything. The point of the parable was this: be like coffee. In prison, I am like that coffee.

I want the people who have put me and dozens of other political activists behind bars to understand one simple thing: there are no insurmountable obstacles for a person whose values  consist, first, of her principles and, second, of work and creativity based on these principles. If you strongly believe in something, this faith will help you survive and remain a human being anywhere.

I will surely use my experience in Mordovia in my future work and, although this will not happen until completion of my sentence, I will implement it in projects that will be stronger and politically larger in scale than everything that has happened to me before.

Despite the fact that imprisonment is a quite daunting experience, as a result of having it we political prisoners only become stronger, braver, and more tenacious. And so I ask the last question for today: what, then, is the point of keeping us here?

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Chto Delat, To Negate Negation (Wrocław)

www.bwa.wroc.pl


 Nikolay Oleynikov, mural at the show Chto Delat, The Urgent Need to Struggle, ICA, London, 2010. Photo  courtesy of Chto Delat

CHTO DELAT
To Negate Negation
April 29–June 16, 2013

April 29, 2013 (Monday):
5 p.m. – Discussion (in English) with Chto Delat (Dmitry Vilensky, Olga Egorova, Nikolay Oleynikov), Jan Sowa, and Jakub Szreder

7 pm. – exhibition opening 
Awangarda Gallery (Wita Stwosza Street, 32, Wrocław)

Curators: Alicja Klimczak-Dobrzaniecka and Patrycja Sikora

Download press materials here


Chto Delat, The Russian Woods. Installation at the show Lessons of Dis-Consent, Stadliche Kunsthalle Baden-Baden, 2011. Photo courtesy of Chto Delat

TO NEGATE NEGATION

Philosopher Georg Lukács once said that orthodox Marxists should not believe in this or that thesis, nor in the exegesis of a sacred book. On the contrary, orthodoxy refers exclusively to method. By method, Lukács meant dialectics as a means of analyzing and representing the whole of society as a totality of struggling contradictions.

To speak about dialectics makes particular sense at BWA Wrocław. Its architecture confronts the ruin of an old palace with a new modernist intervention, facing us with obvious conflicts between the classics and modernism, between the old functions of exclusive noble privacy and the modern public institution. The current exhibition responds to this living contradiction by presenting a survey of many old and newer Chto Delat projects in a specially developed dialectical display whose main point is to “negate the negation.”

All graduates of socialist schools and universities will remember this negation of negation as the third principle of dialectics, culled from Friedrich Engels’ Dialectics of Nature. What could this principle mean in art today? Confronted with a simple dumbly positive postulate of an artwork, the viewer reacts with a very basic question: why should I care? It looks like the artists are trying to brainwash me but for what reason? I won’t believe it, I’m not that simple; the characters are so conditional, it must be a Brechtian device. Why are they constructed in such a way? And why do they still give me aesthetic pleasure? Perhaps there is something beyond this simplicity? It is with such questions that the negation of negation begins.

We invite the visitor to a tour through a show where art works only communicate by calling one another into question, making complex things simple and simple things complex, as the work of negativity turns into the play of its own negation. But make no mistake. Art is never just a self-referential game. It always suggests further implementations and resolutions outside the gallery space in real life. As Mao once wittily remarked, “Theory (read also art) is the negation of practice while the opposite of practice is of course non-practice. In turn, only when theory is further negated in practical activity is a higher development of man’s knowledge of the world achieved.”

Dmitry Vilensky and David Riff (Chto Delat)

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The Dialetical Play of Opposite: About Chto Delat in the Institutional Framework

Chto Delat have embarked on a quest for a currently attractive, emancipatory potential of leftist ideas. Chto Delat strongly criticize the reality of contemporary political and social life in Russia, art institutions, and Western capitalism. Chto Delat flourish in the international institutional art market, operating in the convenient framework of the capitalist system. Chto Delat embody the dream of engaged Russian art in the Putin era, dreamed of by curators from the West. At the same time they rarely show up in the official salons in Russia. Each of the above statements is true: this is a conclusion one can draw upon a close inspection of the exhibition in Wroclaw, reading the numerous descriptions, theoretical and polemical texts, or studying the performances and documentation of actions published on the collective’s website.

To Negate Negation is a unique exhibition, as it is the first presentation of contemporary Russian art in the Wrocław gallery Awangarda after the fall of the Berlin Wall and the collapse of the Soviet Union. It is also the first exhibition of the group Chto Delat in Poland, presenting the whole panorama of its activity. As part of the show, we will find all themes characteristic of the artistic practice of Chto Delat, including, in particular, references to the Hegelian and Marxist dialectical struggle of opposites, inevitably driving social change. The title To Negate Negation already contains direct references to the terminology originally borrowed from the idealist dialectic of classical German philosophy, and specifically to one of the three universal laws formulated by Hegel’s dialectic – negation of the negation. In turn, individual projects of the collective shown in the exhibition relate to the dialectical principle of testing the reality which involves the disclosure of its existing contradictions, the study of the clash of these contradictions and the resulting changes, that is, in short, to the principle underlying the methodology of Marxism.

At the core of the exhibition lie projects commenting on the current situation, social and political events in various countries (Russia, Serbia, the Netherlands), petrified by allegorical methods and visualized primarily in film productions, the so-called Songspiels. The actors embody various sections of the society, represent various (age, professional, political) groups and their aspirations, interests and visions, as well as the existing opposition between them, building tension and conflict. Both these projects and other documentary and para-documentary recordings reveal interest in “classic” leftist work – the epic theatre of Brecht and Godard’s New Wave cinema. Apart from film showings, the arsenal of devices employed by Chto Delat consists of a few simple methods. Institutional space, annexed by the group in various parts of the world, is usually organized in a similar manner – by means of simple elements of stage design, reminiscent of home-made banners or mock-ups, as well as prints, murals, flags, posters and publications. These elements are often accompanied by on-site actions, meetings and discussions. Each of these devices is invariably associated with the language of propaganda and agitation, a message addressed to the widest possible audience. In each case, an institution turns into such a propaganda mouthpiece, becoming at the same time the (knowing) object of the collective’s genuine contempt. Yet the collective declares the aim of protecting the institution against the “economization, and subordination to the populist logic of the culture industry,” only to say: “That is why we believe that right now it would be wrong to refuse to work in any way with cultural and academic institutions despite the fact that the majority of these institutions throughout the world are engaged in the flagrant propaganda of commodity fetishism and servile knowledge. The political propaganda of all other forms of human vocation either provokes the system’s harsh rejection or the system co-opts it into its spectacle. At the same time, however, the system is not homogeneous – it is greedy, stupid, and dependent. Today, this leaves us room to use these institutions to advance and promote our knowledge. We can bring this knowledge to a wide audience without succumbing to its distortion.” Institutions inviting Chto Delat decide to play this game. This is the case this time as well. In Wroclaw, the game with the institution takes on another dimension – the game with the potential inherent in the relationship with the audience and with the surrounding reality. Thanks to Chto Delat the monumental windows of the Awangarda Gallery, overlooking a busy street, become stands. The gallery turns into the audience, and the street turns into a performance. There is a clear reversal of the viewer-institution relationship, ascribed to the building by the very architectural device of unveiling and glazing the top coat of the facade of the historic palace ruined during WWII – and, in this way, opening up its institutional interior to constant public view. The metaphor of game and the play of opposing forces present inside and beyond the institutional framework does not merely serve the purpose of turning the set relationship between an art gallery and the external world inside out, but rather of evoking a critical reflection on the observed reality, seen as a potential that can be offered to the viewer.

Patrycja Sikora

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CHTO DELAT (WHAT IS TO BE DONE)?

What is Chto Delat?

The Russian group Chto Delat is a platform that unites representatives of various areas of artistic and intellectual life: artists, philosophers, writers, activists, and social scientists. The group is guided by the principles of collectivism and self-realization. As described by its members, the core of the group is formed by a team of coordinators who cooperate closely with grassroots workgroups that share the principles of internationalism, feminism, and equality. Their activity represents the entire platform and provides a common context for interpreting their projects. Permanent activists of the collective include: Olga Egorova aka Tsaplya (artist, Petersburg), Artemy Magun (philosopher, Petersburg), Nikolay Oleynikov (artist, Moscow), Natalia Pershina aka Gluklya (artist, Petersburg), Alexei Penzin (philosopher, Moscow), David Riff (art critic, Moscow), Alexander Skidan (poet, critic, Petersburg), Oxana Timofeeva (philosopher, Moscow), Dmitri Vilensky (artist, Petersburg), and Nina Gasteva (choreographer).

Where did they come from?

Chto Delat was established on May 24, 2003, in the action “The Refoundation of Petersburg,” during which a group of artists, architects, and critics symbolically founded a new city centre on the city’s outskirts. Inspired by the pompous celebrations of the 300th anniversary of St. Petersburg, the event was seen by the police as a disruption of the ceremony. Shortly afterwards, still unnamed, the group began to publish the newspaper Chto Delat, targeting the international audience. The name of the newspaper, and later of the collective, was borrowed from Nikolai Chernyshevsky (1828–1889), a philosopher, journalist, writer, and socialist, who in 1863 published the novel Chto Delat, one of the creative harbingers of the Russian Revolution. In 1902, Vladimir Lenin referred to the novel in his pamphlet bearing the same title, in which he presented a new look on the problems of self-organization of work groups. In this context, the artists and intellectuals working in the collective see themselves, by way of analogy, as a self-organizing group of “cultural workers.”

What do they do?

Chto Delat actions integrate different fields of intellectual activity: visual arts, literature, journalism, film, theatre, philosophy, and political thought. Created with a variety of tools, their work is a collective action, which means that it has a common context and stems from a deep theoretical reflection. The group realises its principles issuing a newspaper, creating movies, theatre, plays, installations, prints, murals, performing actions.

Program

Chto Delat are preoccupied with the issue of cultural autonomy, considered from the point of view of the artists who can’t perform in the post-Soviet Russia and create outside the mainstream, but also who are active in Europe. The group expresses its concern about art, today often perceived as a commodity or an element supposed to provide entertainment to the audience, a part of a system in which museums and galleries are instruments of power having monopolised presentation of art, while they should be institutions that help art search for truth about the world. The essence of art is to create the viewer’s awareness, to develop forms of critical perception of reality, and to be a tool for independent functioning in the world. This is a public activity, so that no authorities or institutions should have a monopoly over its “distribution.” In their projects Chto Delat discuss how culture functions in the machinery of western and post-Soviet capitalism, showing the culture’s dependence on the money, state, and ideology. Thus the emancipation of art guarantees human emancipation as such, and the role of artists and intellectuals is to expose the current situation and try to define the optimal conditions for the development of free creativity. For them a way to achieve these goals is to return to the original ideas of ​​the Left and fulfil them in a fresh combination of actions from the sphere of art, radical thought and politics.

Where do they work?

Defying the Russian cultural establishment and politics in general, the group operates outside the mainstream of the art world at home, on its outskirts. At the same time, Chto Delat is a very active group, constantly present and performing in the countries of Western Europe, the USA, or Australia. However, the “activity” and “existence” of the group can and should also be seen in a non-material way. Theoretical work, publishing an online newspaper, online meetings and lectures are just as important as the institutional dimension of their activity. The group’s projects have been shown in numerous group and individual exhibitions, including Kiasma Museum of Contemporary Art in Helsinki (2004), Museum of the History of St. Petersburg (2004), Kunsthalle Fridericianum, Kassel (2005), Centre for Contemporary Art in Moscow (2006), the 3rd Prague Biennale (2007), 11th Istanbul Biennial (2009), the Institute of Contemporary Arts in London (2010), the Staatliche Kunsthalle Baden-Baden (2011), Smart Project Space, Amsterdam (2011), Gallery 21, St. Petersburg (2012). The collective’s works are exhibited in the Museum of Contemporary Art in Belgrade, National Museum Reina Sofia in Madrid, Van Abbemuseum in Eindhoven, KIASMA Museum of Contemporary Art in Helsinki, the Library of the Museum of Modern Art in New York. Chto Delat has participated in many conferences, seminars, open discussions, meetings, lectures, e.g., Documenta 12 in Kassel (2007),  Working Title: Archives at the Lodz Museum of Art (2009), and Former West in Berlin (2010, 2012).

Alicja Klimczak-Dobrzaniecka

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The Coming Russian Nationalist Theocracy

Rumata feels alarmed, as the kingdom is rapidly morphing into a fascist police state.

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ruskline.ru

On March 5, Varya Strizhak’s video “The Imperial Spirit, or, God Save the Tsar!” had its premiere.

Varya Strizak’s video “The Imperial Spirit, or, God Save the Tsar!” had its premiere yesterday, March 5. According to the songstress’s official biography, “Varvara Strizhak was born in Saint Petersburg on December 25, 1999. She is a schoolgirl studying in the seventh form at grammar school. Recording songs and shooting videos is just a hobby, without any pretenses.” We offer readers the video and lyrics to Varya Strizhak’s song “The Imperial Spirit, or, God Save the Tsar!”



Anthem of the Russian Empire (1833–1917)
Words: Vasily Zhukovsky
Music: Alexei Lvov
Words: Vladimir Shemchushenko
Music: Mikhail Chertyshev

1st Verse
The empire cannot die!
I know that the soul does not die.
From one end to another, the empire
Lives, truncated by a third.

1st Refrain
God, protect the Tsar!
Strong and majestic,
Reign for glory,
For our glory!

2nd Verse
A rebellious people’s will and peace
And happiness are mourned.
But my sorrow is of a different kind.
It is consonant with Pushkin’s line.

2nd Refrain
God, protect the Tsar!
Strong and majestic,
Reign for glory,
For our glory!
Reign to foes’ fear,
Orthodox Tsar.
God, protect the Tsar!

3rd Verse
Let the chain clank! Let once again the whip whistle
Over those who are against nature!
The imperial spirit is ineradicable in the people.
The empire cannot die!



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Teenaged Russian imperialist Varya Strizhak (far left) and friends (source)


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Boris Vyshnevsky
The Secular State Is Canceled
Novaya Gazeta
April 10, 2013

The State Duma has passed in the first reading a bill introducing criminal liability for “insulting religious feelings and beliefs.”

It passed the bill despite the harsh criticism it faced from experts, lawyers, and human rights activists when it was introduced six months ago, despite the president’s instructions to improve the bill after an expanded meeting of the Human Rights Council, and despite an alternative bill, drafted by the Council’s legal staff.

The bill voted on by the Duma was exactly the same version that Novaya Gazeta analyzed in its November 6, 2012, issue. It can rightly be seen as contradicting four articles of the Russian Federation Constitution, namely, Article 14 (on the secular state), Article 19 (equality of rights regardless of one’s beliefs and attitudes to religion), Article 28 (freedom of conscience, freedom of choice, and the promotion of religious and other beliefs) and Article 29 (freedom of thought and speech).

There is no doubt that even if the law is upheld in the Constitutional Court, the European Court of Human Rights will reduce it to smithereens, because the relevant PACE resolutions clearly state that freedom of expression cannot and should not be restricted “to meet increasing sensitivities of certain religious groups” or “out of deference to certain dogmas or the beliefs of a particular religious community.”

In fact, restriction of such freedom is the bill’s main goal. One of its authors, United Russia MP Alexander Remezkov, declared this outright in the Duma, saying we “need effective legal instruments against blasphemers, scorners, and sacrilegers.” What kind of “secular state” can there be after such laws are passed?

In a secular state, laws may not contain such terms such as “blasphemy” and “sacrilege.” Blasphemy, if we accurately unpack the term, means insulting a god. Dear legislators, do you acknowledge that gods actually exist? And that the clergy are their legal representatives, authorized to decide what exactly offends their clients and to what degree? What century is this?

If the bill is passed into law, for “publicly insulting the religious feelings and beliefs of citizens, [and] debasing worship services and other religious rituals” you can be imprisoned for up to three years. How many times has the world been told one cannot “insult” someone’s feelings or beliefs! Feelings are an emotional response to one’s environment, while beliefs are conscious positions. They cannot be “insulted”: such “insults” are not objectively verifiable, and therefore they cannot be prohibited, and no one can be punished for violating such a prohibition.

Who will establish in court that someone’s feelings have been “insulted,” and how will they do this? It is impossible to rely solely on the opinion of the “insulted” party, whom nothing will prevent from being “insulted” by anything whatsoever, including the existence in the world of religions other than the one he professes. Finally, it is completely impossible to “insult” or “debase” worship services or religious practices, since they are altogether inanimate things.

What the bill, if passed, will mean in practice is clear: sanctioned persecution of any criticism of any religion and the relevant clerical authorities, who love teaching others “spirituality” and “morality.” I wonder whether people will be punished for reading Russian folk tales, which feature greedy priests and stupid sextons? Or for repeating sayings like “like priest, like parish” or “force a fool to pray to God” [i.e., “give someone enough rope”]?

This, of course, might seem ridiculous, but will soon be no laughing matter: essentially, a ban is being introduced banning the promotion of atheist views and the expression of such opinions as unacceptable to the newest group of permanently “insulted believers.” On the other hand, for burning books they do not like, something a group of Orthodox zealots did a month ago outside the offices of the Yabloko party, believers are not threatened by this law. Just like the scoundrel with the title of professor who publicly called atheists “sick animals that should be cured”: the feelings of non-believers are not subject to protection. After all, despite the fact that Article 19 of the Constitution stipulates the equality of rights and freedoms of man and citizen, regardless of one’s belief and attitudes toward religion, the bill puts believers in a privileged position vis-à-vis non-believers, introducing special protection for their feelings and beliefs.

All these things cannot exist in a secular state on principle, and the shameful law on its way to passage by the State Duma should be understood as overturning this constitutional principle.

However, we are moving down this road step by step. Its milestones include bans on exhibitions or performances that don’t catch the fancy of religious fanatics. And the ceremonial consecration of tap water. And requirements to teach creationism in schools alongside evolutionary theory. And the creation of a Department of Orthodox Culture at the Strategic Missile Forces Academy. And the adoption of laws for the punishment of “promotion of homosexuality,” based on quotations from the Old Testament and curses against “sodomites” and “perverts.” And, contrary to law, the obligatory introduction in schools of the subject known as “Orthodox culture” (as was said at the school my youngest son attends, “as recommended by the Patriarch”). And “Orthodox banner bearers,” “people’s councils,” “Cossacks,” and other characters, more reminiscent of the gray storm troopers from the novel Hard to Be a God.

Do you remember how the book ends? “Wherever Graydom triumphs, the blackbirds will always seize power.”

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“I offend your religious feelings.” Graffiti on wall.
Printer Grigoriyev Street, 1, Petrograd. November 25, 2012. Photo by Chtodelat News

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Feminism is a “very dangerous” phenomenon that could lead to the destruction of Russia, the head of the Russian Orthodox Church has said.

“I consider this phenomenon called feminism very dangerous, because feminist organisations proclaim the pseudo-freedom of women, which, in the first place, must appear outside of marriage and outside of the family,” said Patriarch Kirill, according to the Interfax news agency.

“Man has his gaze turned outward – he must work, make money – and woman must be focused inwards, where her children are, where her home is,” Kirill said. “If this incredibly important function of women is destroyed then everything will be destroyed – the family and, if you wish, the motherland.”

“It’s not for nothing that we call Russia the motherland,” he said. . . .

source: www.guardian.co.uk

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Kremlin Backs Law Protecting Religious Sentiment – Spokesman

ULAN-UDE, April 11 (RIA Novosti) – The Kremlin favors the idea of adopting a law protecting the religious feelings of Russian citizens, the Russian presidential spokesman said Thursday.

Russia’s lower house of parliament, the State Duma, passed the bill in the first reading on Tuesday.

“The Kremlin supports the idea of the law, and the wording of the law is up to the lawyers,” Dmitry Peskov said. “The law is very difficult to enforce but it is absolutely essential in this multi-national and multi-confessional country,” he said.

Peskov failed to answer a journalist’s question on how a person could be punished in Russia for desecrating a holy site, saying “this is a judicial practice issue.”

The first deputy of the State Duma Committee on Affairs of Public Associations and Religious Organizations, Mikhail Markelov, said some 80 percent of Russians support the law, according to an opinion poll.

Under the draft document, those who offend religious feelings at church services and ceremonies face up to three years in jail, fines of up to 300,000 rubles ($9,700) or 200 hours of compulsory community service.

Those Russians who insult religious feelings at holy sites face up to five years in jail, fines of up to 500,000 rubles ($16,500) or 400 hours of compulsory community service, the document says.

The bill was submitted for consideration in the State Duma in September 2012. The idea of introducing punishment for offending religious feelings came after members of the female band Pussy Riot performed an anti-Kremlin “punk prayer” at Moscow’s Christ the Savior Cathedral last February.

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Editor’s Note. This posting was updated on April 13, 2013.

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Filed under critical thought, film and video, racism, nationalism, fascism, Russian society

Mark Knopfler Is a True Friend of the Russian People

This is what everyone who is in Mark Knopfler’s position should do. Not “try and talk some sense” into fascist homophobes like Vitaly Milonov, as the otherwise admirable Stephen Fry recently did. Or “stand in solidarity” with political prisoners Pussy Riot on a Moscow concert stage, as Madonna did, all the while raking in hundreds of thousands of dollars in concert fees. The first tack violates the old anti-fascist “no platform” rule, while the second does that, too, while also generating tons of buzz for the Milonovites. More important, it rewards the relatively well-off strata of the Russian urban populace, the people who can afford tickets to Madonna and Knopfler concerts and the like, who are in fact the real bulwark of Putinism (rather than some imaginary post-Soviet “conservative” provincial “grassroots” post-proletariat), at least (but only at least) insofar as these people have been mostly absent from the fight against Putinism or any of its manifestations. In fact, if nothing else, Knopfler’s one-man boycott of their cities might alert otherwise “blissfully” unaware Petersburgers and Muscovites to the recent prosecutorial raids against NGOs in the country, which have included not only (as Knopfler mentions in his statement) Amnesty International and Human Rights Watch, but hundreds of lesser organizations like the Finnish Institute in St. Petersburg, the Caritas Catholic charity’s support center for disabled children in the city, the Petersburg rights organizations Citizens Watch and Coming Out (Vykhod), as well as the NGO Development Center, the German-Russian Exchange, the Centre for Independent Social Research, the Institute for Information Freedom Development and the offices of the LGBT film festival Side by Side (to mention only a few), as well as branches of Alliance Française in several other major Russian cities.

We recently reflected, so to speak, on the odd news that Manifesta, the ultra-progressive European biennial of contemporary art, had chosen Petersburg—once the “cradle of three revolutions,” now a depressive semi-fascist dump ruled over by dreary officially titled bandits in bad suits who think that legislative homophobia and “Cossacks” are a terrific way of preventing their subject population from noticing the really obvious drawbacks in their continuing “governance” of the city—for its super-serious high-brow art hootenanny next year. Upon hearing this same news, Russian contemporary art curatorial doyenne Olga Sviblova commented, “[T]here’s no reason to get all stirred up about it being in St Petersburg. We have already spent 20 years living in a normal, free country, just the same as any others.” This is manifestly not the case, and it is only by pulling (temporarily, we hope) the plug on their supply of entertainment and cultural labor that people outside Russia who are in a position to do so can show real solidarity with Russian political prisoners, local NGOs, and other people and groups targeted by the Putinist police state.

arts-graphics-2008_1186108a

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www.markknopfler.com

Russia dates cancelled

Thursday – Apr 04, 2013

Mark’s June 7 show in Moscow and June 8 date in St. Petersburg have been cancelled. Ticket holders should contact their point of purchase for refunds.

Please see Mark’s official statement below:

Given the crackdown by Russian authorities on groups including Amnesty International and Human Rights Watch, I have regretfully decided to cancel my upcoming concerts in Moscow and St. Petersburg in June. I have always loved playing in Russia and have great affection for the country and the people. I hope the current climate will change soon.

MK

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Filed under activism, critical thought, international affairs, political repression, protests, Russian society

Time Magazine Goes Marxist

Sort of:

That’s not to say Marx was entirely correct. His “dictatorship of the proletariat” didn’t quite work out as planned. But the consequence of this widening inequality is just what Marx had predicted: class struggle is back. Workers of the world are growing angrier and demanding their fair share of the global economy. From the floor of the U.S. Congress to the streets of Athens to the assembly lines of southern China, political and economic events are being shaped by escalating tensions between capital and labor to a degree unseen since the communist revolutions of the 20th century. How this struggle plays out will influence the direction of global economic policy, the future of the welfare state, political stability in China, and who governs from Washington to Rome. What would Marx say today? “Some variation of: ‘I told you so,’” says Richard Wolff, a Marxist economist at the New School in New York. “The income gap is producing a level of tension that I have not seen in my lifetime.”


IMG_4717
Read the rest here.

Photo by Chtodelat News

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