CuMMA Discourse Series #25
May 20, 2015
Descents into the past and appeals to history have been symptomatic of recent Russian politics, which is literally obsessed with re-enactments. It has recreated the “Soviet imperial,” the “pre-Revolutionary imperial,” the “Orthodox,” and the “patriarchal” visual and rhetorical discourses. As has been recently pointed out, President Putin has become a genuine performance artist himself. He has piloted a hang glider, flying alongside rare birds; retrieved an ancient Greek amphora from depths of the Black Sea; and shown off his physically fit body. Moreover, he has transformed reality by means of mass media. This political constructivism resembles an artwork. Costumed characters that should have been relegated to historical museums—Cossacks, Orthodox priests, members of the Black Hundreds, cartoonish Stalinists—have suddenly taken to streets of Russian cities in the twenty-first century.
At the same time, the authorities have been making efforts to erase the historical memory of revolution, which no longer conforms to the official conservative state ideology. Unfortunately, the political opposition has also denounced its historical connection with the tradition of the revolution, once victorious in Russia, and has been losing the battle for both the past and the future. While historical exhibitions dedicated to tsarist dynasties have been drawing crowds, Soviet revolutionary museums—former ideological altars that once legitimized the “violence of the oppressed”—have become non-places, potential lots for redevelopment or real estate properties for sale.
The recent transition in post-Soviet society from the political apathy of past years to aggressive intolerance and a nationalist mobilization raises anew the question of the role of artists in society and their engagement in politics. But if the answer to Russian society’s political apathy in the 2000s was radical actionism, such as the art group Voina’s performances, the answer to the current ultra-conservative turn in Russian politics and its uncritical “re-enactments” of the past may be an art that engages with the historical memory of revolution and analytically revises its legacy.
But would the simple presentation of an alternative historical narrative be a sufficient response? What strategies for reflecting history should art have in its arsenal? How can art speak not merely about the political past but also speak about the past politically? While preparing the project A Revolutionary Museum after Ideology, which I produced in collaboration with artist Natasha Kraevskaya in 2014, we faced these questions, too. In this short article, I would like to enlarge on whether we managed to answer these questions and how we elaborated them during the artistic research for the project.
To read the full article, visit TheRussianReader.