On the idea of Communism and Mickey Lenin Sculptures

A recent conference at Birkbeck dealt with the past, the present and the possible future of communism. On the Idea of Communism, was convened by the Birkbeck Institute for the Humanities. Day one saw papers from Michael Hardt, Bruno Bosteels and Peter Hallward, day two from Alessandro Russo, Alberto Toscano, Antonio Negri, Terry Eagleton, Jacques Rancière and Alain Badiou, and finally day three from Slavoj Žižek, Gianni Vattimo and Judith Balso. This is not to analyze the content of the conference but to demonstrate the effect that it is currently having on the study of the visual and artistic production. This will be the first of attempts to analyze the way of play between ethics and aesthetics.

As the rock stars of continental and anglo saxon philosophical theory gathered what was impressive was the lack of Latin American representation, particularly at a time where that is where socialism "is at". In his talk Bruno Bosteels spoke of the virtuality of communism within capitalism and making the world aware of its own consciousness. The concept of mankind carrying into effect past work was presented as seizing the new and folding it into the old. By considering the idea of oppression and the subsequent of rebelion, the notion is formed that from the beginning resistance existed and the world is perceived as a world in two. The Empire and the Multitude transmit the inside and outside perception, which has been steadily increasing through the transformation of selves as technology becomes embedded in our way of being and understanding. The virtual cyberspace and its use for contemporary movements across the globe as a contact platform and discussion. Bosteels outlined that the key renewal of communism would be periphery to periphery and by bi-passing the idea of the 'old Europe'.

A comment I over heard on one of the days "but are we at the royal academy" presented the ethical turn that describes contemporary artistic production and the discussions that surround contemporary art critics, historians, curators and artists. Awaiting to hear Ranciere speak I found myself inspired and motivated by what was presented despite its exclusions in representation. This blend that sees work produced directly and inderictly relating itself to politics and social effect of actions is seen in the work of artist. Awaiting to see the Renzo Martens’ new film Episode III – Enjoy Poverty (2008) – confusingly, the second in a trilogy, I am conflicted by the varied responses that it has been received with. The ambivelence that his work presents is marked by the response of Dan Fox in Frieze Magazine in his description that is is "a supposed exploration of the exploitation of third world poverty by aid organizations and news agencies" and "how the film rehearses themes present in Herzog’s films. Each depicts a European living outside their comfort zone struggling to assert themselves in harsh, unfamiliar terrain, and ultimately realizing the futility of their endeavours". My interest not culminated and aware of the critique, I am still drawn to it.

The repeated use of the visual imagery that have come to represent capitalism and socialism are reiterated by artists and sold as a reminder that commodification and a persistence to frieze points in time. I finish with some images from the work of Russian artist Alexander Kosolapov and his Soviet Mickeys.