Creative Time in Common Prehistory Drift: Narvskaya Zastava (Saint Petersburg, 2004) Aside from researching the urban environment during a two-day walk around a chosen location, an important component of this project was the results of communication within the group, the personal lives of its participants, and the associations that arose in connection with the places that were researched. An objective mapping of the site was organized in parallel with the subjectivity of the community, which gained new experience by jointly living through a certain moment of time in an environment alien to it. The methods developed in Drift were a continuation of the Leningrad-Petersburg tradition of strolling around strange places. This culture is directed towards the experience of communities that are based on friendship and aspire to a reclaiming and détournement of urban space, thus demonstrating with their own experience the contrast between what life is and what it might be.
48 Hours of Common Effort: How Cultural Workers and Political Activists Met and Talked The entire spectrum of problems connected with the condition of creative workers has recently become the focus of fundamental discussions and reflections on the part of the artistic community as well as a number of leftist political and social activists. These discussions have revealed points of convergence between creative workers and workers engaged in nonstandard forms of employment, which have become more and more widespread in Russia. The search for new ways of regrouping radical leftists, trade unions, and social movements makes new forms of dialogue possible. The 48-Hour May Congress-Commune of Creative Workers was the first initiative to task itself with tackling both theoretically and practically the host of problems connected with the nature of the work done by cultural workers and labor relations in the cultural field.
Late last summer, before the schools in Russia reopened, a remarkable beer ad about post-Soviet space aired on Russian TV. Thirty seconds of feel-good Russian classic rock: an active bass and a prominent slide guitar wafted around a voice, always-already middle-aged, slightly flat after working a night shift. Four measure whole notes by the band: the staggered vocal names the brand. Krasny Vostok. Where the sun rises / the east is red. A new day is dawning / over our land. // How can you resist. Cause' this land is not made of history's pages; it's not made through borders or territorial stages. Our land is made up of people and people are what make our land.
The New Productivisms Translated by Nuria Rodríguez Marcelo Expósito The Russian Soviet revolutionary art produced between the 1910s and 1930s continues to exert a powerful influence on many aspects of our cultural models today. But historically, references to it have tended to oscillate between fetishising its formal inventions and either exalting or denigrating its idealism, which has been portrayed as totally unattainable voluntarism within a more global chimera (the revolution, represented in the image and likeness of a mythological monster that – supposedly – always ends up devouring its children). Likewise, certain dominant visions of the Russian Soviet avant-gardes have tended to stifle its event dimension – the potency of its emergence as a singularity and a difference that should not be reconciled with the stable continuum of both the history of art and mass politics. There has, furthermore, been a tendency to overlook the strong impact of said event beyond its historical bounds, in the many experiences that undertook to explore the political nature of art in subsequent decades, driven by a desire to embrace processes of profound social change.
Public space as translation process I will discuss here the idea of public space in relation to the concept of so-called cultural translation. This concept has been deployed recently (at the end of the eighties and in the nineties) within the postmodern - and especially postcolonial - reflexion to solve some of its most challenging problems, like the problem of universality in culture, or the problem of emancipation in the social and political space which we consider to be historically - to use Ernesto Laclau' term - beyond the emancipation.
What are the sources of this networked resistance? And what exactly is being resisted? Is revolution really the only option—as one could read on a banner at the carnival against capital, on June 18, 1999, in the financial center of London? Or do we not become what we resist? Are the “multitudes” the very origin and driving force of capitalist globalization, as some theorists believe?2
This paper explores an artwork - Black Shoals Stock Market Planetarium, by Lise Autogena and Joshua Portway - as a visual metaphor of the conditions of digital labour in the contemporary financial sphere. The experience of networked trading, the nature of the meta-commodity that is bought and sold, and the aesthetic of the ‘creative city’ that has grown up around the electronic exchanges are shown to cohere into the larger pattern of a predatory society, where ‘super-empowered individuals’ eat away the social framework that spawned their own increasingly precarious existence. Such is the destiny of the flexible personality. In conclusion, the paper inquires into the philosophical principles, scientific calculations and aesthetic figures that could chart another future.