|
Anatoly Osmolovsky, the editor-in-chief of RADEK, represents this new edition and the main theme of the first issue - new ideologies. D.Pimenov describes the way the society ignores and represses the revolutionary elements which try to avoid any identification in its terms. It’s power is supported by the total media and communication nets, while an anarchist stays alone and is obliged for the chase for himself, because he has to speak for himself and to define his place within the society by that speaking. It leads for the isolated position: the subject is closed in the spaces of mirrors, to say precisely - of crooked mirrors, because an anarchist is forced to see himself how they see him around, what provokes claustrophobia and, finally,death. M.Foucault & G.Deleuze “Intellectuals and Power” Two well-known theoreticians discuss and reject the strategy of representation in modern politics. They also rethink the idea of interactivity between political theory and practice. “General product”, an exclusive interview with the soviet-american artists V.Komar and A.Melamid, shows their dadaist position and their unordinary place in the context of so-called “russian postmodernism”. The artists discuss the positioning of contemporary art of so-called “modernism” within the western and eastern societes, state that most reasons for the living of russian unofficial art were lost with the fall of their common enemy - the Soviet state. Ideology of the dadaist “total negation” might be the only thing which stays after that. A.Tarasov observes the history of russian anarchism and it’s contemporary turn to the “new left” ideology. To his point of view, that turn can have progressive results because off its radical break with the previous isolated and self-satisfied position of russian left leaders. It opens many useful sources of experience, for example, the history of western left movement and guerilla. The art project of the scientific-exploratory club “Panika” club shows the militarist and repressive menthality of today’s education by interviewing the children. An article “Symbols of Power” written by O.Kireev is a number of scetches devoted to the actual problems of power: in style of R.Barthes’ “Mythologies” they show what is what in today’s art and politics. The first of them discusses the last elective campaign and investigates the ways of manipulation and lies. The second is devoted to the famous history of M.Guelman’s (the leading gallerist at Moscow) struggle against Z.Tsereteli (the state sculptor making huge monuments in the centre of Moscow) which showed totality of the corruption even in the art-world. The third is about the ways the art-market corrupts or obliges the artists for the conservation and sell of their “strategies” and the fourth continues that theme discussing the action of A.Brener at Stedelijk-museum in the light of these problems. The last sketch observes the history of “critical” and “politically engaged” discourse in the history of russian intelligentsia. The article of international curator D.Deitsch “Post-human” is devoted to the
modern technics of changing the human body and snows the non-human and
anti-anthropologist roots of new imperialist ideologies. The conversation of
A.Osmolovsky and O.Kireev which follows the text discuss and critisize that
way of understanding the technologies and claim it to be, in Marxist terms, a
fetishisation of the consumer goods. |
