Tony Cliff’s legacy today

James Heartfield
Platypus Review
July 24th, 2014
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Tony Cliff’s recognition in his own moment of a certain kind of impasse within Trotskyism and his attempt to overcome it require full consideration and appreciation both in terms of the merits of its potential and a consciousness of its limits.

A panel on the legacy of Tony Cliff opened the panel discussion at the Sixth Annual Platypus International Convention held in Chicago on April 4th, 2014. What follows are the opening remarks by English journalist and author James Heartfield.
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International Socialism and the tradition of Lenin and Trotsky
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I became a Trotskyist in 1933. The theory of state capitalism is a development of Trotsky’s position…But at the end of the Second World War, the perspectives that Trotsky had put forward were not realized. Trotsky wrote that one thing was certain: the Stalinist bureaucracy would not survive the war. It would either be overthrown by revolution or by counterrevolution…The assumption was that the collapse of the Stalinist bureaucracy would be a fantastic opening for the Trotskyist movement, for the Fourth International. The Stalinist bureaucracy not only didn’t collapse but it expanded…Therefore, at that time, Stalinism had a fantastic strength. And we had to come to terms with it.

— Tony Cliff, interview with
Ahmed Shawki (1997)

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Let me start by saying how grateful I am to be invited here today. I’ve been a keen watcher and reader of Platypus. It is really useful that we look critically at the thinking and reasoning of the Left because if the Left doesn’t become self-reflective, it won’t have any importance whatsoever. In my comments on the International Socialist Group, which was founded by Tony Cliff and a few others, I want to say roughly this: the best way to understand the intellectual development of Tony Cliff and of the International Socialist Group is to see it in context.

Tony Cliff was very interested in an argument about socialist organization derived from something Lenin said in the early 20th century. In the pamphlet What is to Be Done? Lenin “bent the stick,” as Tony Cliff used to say, and very forcefully made the point that the spontaneous consciousness of the working class would not go beyond trade-union consciousness and that political, theoretical reflection upon that would necessarily be, as Lenin wrote in the pamphlet, “introduced from the outside.” That argument of Lenin’s was anathema to Tony Cliff and a point he criticized; he criticized it in a 1959 book he wrote about Rosa Luxemburg and in a 1960 pamphlet on Trotsky called Party and Class.

Now this is the core of the argument. What Lenin is doing is very old-fashioned in philosophical terms in that his argument is derived from an Enlightenment view. He’s saying that in essence there is a distinction to be made between higher thought and opinion, between rational or reflective thought and immediate or natural thinking. That distinction would be commonplace amongst Enlightenment thinkers like Hegel or Locke; it would be easily understood by them.

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Did it have the sectarian implication that Cliff saw in it? I suggest not.

Lenin, like Hegel, understood that when he talked about higher thought or reflective thought or theoretical reflection, and distinguished it from the merely spontaneous reflections of people in their activity, he understood that essentially they were the same — they were the same stuff, the same substance. That reflection, that theoretical thinking, was not separate and apart wholly — it was not an absolute distinction — but it was of the same material. It was a distillation of experience, but that distillation was not something that could happen unbidden. That was the very point: it could only come about through organization; it would have to be reflected through organization. Continue reading

El Lissitzky, About Two Squares (1922)

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This short book, intended for children of all ages, is perhaps the best-known work of El Lissitzky (1890-1941). Lissitzky was a Russian artist, architect, designer, typographer, and photographer who was active in the avant-garde movement that flourished in Soviet Russia and in Germany, until the dominance of Socialist Realism by 1930 put a stop to its revolutionary activity. He directly influenced the typographical and display advertising innovations of the Bauhaus and De Stijl. This book entirely integrates modern typographical effects, as Lissitzky intended, with his illustrations in the Suprematist style.

The original book About Two Squares was printed by letterpress, even the slanted text and illustrations. It was first produced (“constructed”) in 1920 at the Soviet art institute UNOVIS in Vitebsk, and around April 1922 printed by Sycthian Press, Berlin, by Haberland Printers, Leipzig, in paperback, with 50 hardbound copies autographed and numbered, as the copyright page states.

A Dutch edition, published as Suprematisch worden van twee kwadraten in 6 konstrukties, edited by Theo van Doesburg, was published in The Hague by De Stijl, 1922. In October/November of that year, it appeared as a regular edition of De Stijl, vol 5 no 10/11. Also, 50 hardbound copies of the Dutch edition were numbered and signed by the author.

  1. About 2 Squares
    El Lissitzky
  2. To all, to all children
  3. El Lissitzky
    A suprematist story — about two squares.
    In 6 constructions: Berlin, Skythen, 1922.
  4. Don’t read this book Take —
    paper…fold
    rods…color
    blocks of wood…build
  5. here ARE
    …………two
    ………squares
  6. flying toward the Earth
    ……………………………from far away
  7. and see
    the black restlessly
  8. craSH — scattering everywhere
  9. and upon the black
    ………………………the Red establishes itself clearly
  10. So it ends —
    ……………further on
  11. UNOVIS
    constructed 1920, vitebsk

CRI_227458 pro02 pro03pro04 pro05 pro07 pro09 pro11 pro13 pro15 pro17 pro18 Continue reading

Mossel’prom [Моссельпром], 1923-1925

Mosselprom

Mossel’prom [The Moscow Association of Enterprises Processing Agro-Industrial Products] was built by the architect David Kogan between 1923 and 1924.  A ten-storey commercial building, it was one of the tallest structures in Moscow built during this period.

It became notorious through Vladimir Mayakovsky’s advertising slogan: “Everything for everyone — at Mosselprom.” 1924 saw the release of the film The Cigarette Girl of Mossel’prom by Iurii Zhelyabuzhskii, which featured the building.

The façade was renovated in 1997.

alexander-rodchenko-mosselprom-building-webmosselprom 1923Мы думаем, что снимок сделан между 1925−1928 годами

silver Gelatin PrintДом Правления Моссельпрома уг.Калашного и Кисловского пер. Россия, Москва, ЦАО, Район Арбат Фото датировано- 20.10.1924a70b0ec9bc1f6e7ff86abb521d0000f3d (1) Мы думаем, что снимок сделан в 1931 году

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Annenkov’s Potraits (1922) and Lunacharskii’s Silhouettes (1923)

Representations of the
Russian Revolution

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SothebysImage


portrait-of-zinoviev-1926 (1) Анненков Каменев


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Revolutionary silhouettes

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The present book is made up of a series of articles written on various occasions about some of our comrades in the RCP.

I should begin with a warning that these are not biographies, not testimonials, not portraits, but merely profiles: it is their virtue and at the same time their limitation that they are entirely based on personal recollections.

In 1919 the publisher Grzhebin, whom I already knew and who had been recommended to me by Maxim Gorky, asked me to start writing my memoirs of the great revolution. I was soon able to deliver him the first — or more precisely the preliminary — volume, in which I attempted to acquaint the readers both with myself, as a point of reference in judging the rather more subjective aspects of my ‘chronicle’, and with the main dramatis personae of the revolution in so far as I knew them and in so far as a knowledge of their characters and the events of their pre-revolutionary lives seemed to me to merit further exposition.

That book, however, was overtaken by a strange fate. At a moment when circumstances precluded me from working on it and when I had become convinced that to write memoirs at a time when not a single event of the revolution had cooled down — we were still living in its very crucible — was simply impossible (Sukhanov’s multi-volume work on the revolution, among others, had already convinced me of this); at a time, as it seemed to me, when any premature description of those events without an adequate study of the documents would be too subjective and little more than essay-writing — it was then that Grzhebin, unknown to me, published the first volume of my proposed memoirs. He is apparently continuing to publish them abroad, entirely without my permission.

I think it essential to state these facts here, in order to avoid any misunderstanding about the nature of that book. Continue reading

Aleksandr Deineka, The Red Army (1929)

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Problems of the Red Army

Leon Trotskii
The Communist
November 1919
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Red divisions are over a front of vast length. Draw a line from Moscow in any direction, prolong it, and you will reach some part of the Red Army which is fighting for Soviet Russia so heroically. The organization of this army is a very good example of the efficiency of the revolution.

No wonder the war was called an examination to the people. Of course, war itself is a great barbarity, and all Socialists are bent upon its extermination. But it must be overcome; that is, circumstances must be changed so that war will become not only needless but impossible. The people cannot leap over war instantly, surrounded by the jackals of imperialism, until the mad teeth are jerked out of the mouths of these jackals. And if the people are forced to wage war, then in its capability of defense, battle and attack all the resources of the people are shown: its economic power, its strength of organization, the spiritual average of its masses, the amount of material for leadership, etc., etc.

And so, taking the question from this angle, we may say with assurance that in a land such as ours, worn out, despoiled and ruined to the last degree, no other regime could organize an army. We may now say with certainty that an army will not be successfully organized in Germany, neither by Ebert or Scheidemann. Only Communists, who have taken the power into their own hands and shown in a practical way that this power knows no interests, worries or problems other than those of the working class, will find it possible to organize an army which will become the dependable hedge of the Socialist Republic.

We commenced with the divisions of the Red Guards. Into these we accepted workers, not seldom those who took a gun into their hands for the first time. While the task was to overcome the fighting bourgeoisie, junkers, white guards, groups of students, etc., the Red Guards showed an incomparable excellence in their revolutionary spirit and determination. In a very short period Red Guard divisions spread the Soviet power to all parts of the country. But with the offensive of the Germans in February of last year the condition changed immediately. The enthusiasm of the untrained, badly armed people proved weak before the well-organized Hohenzollern divisions under junker leadership. The first battle showed this, and brought about a fall of spirits in our divisions and armies. This fall of spirits resulted in decomposition within the ranks.

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Think of that period. The old army turned into an armed beggary all of Russia, filled all stations, cars, made direct attacks upon the workers on the railroads, ruined railroad property, forcefully robbed the food supplies, etc. The enemy attacked us from the west, taking the Ukraine. The Cossacks rebelled on the Don: in the East, the Czecho-Slovaks, and in the north Archangel was taken from us. The ring was growing tighter and tighter. Then the Mensheviki wrote about the “dying corpse” of the Soviet power. Not only the direct enemies of the working class, but some of the friends of the workers thought that there is no way out, salvation is impossible.

It was this moment of deadly danger for the revolution which gave birth to the crisis of salvation. The watchword: “The Socialist Fatherland is in danger” awakened the best that is in the laboring masses. This was the test of one revolution. Now we may say with quiet assurance that the workers’ revolution has passed the test. Continue reading

Il’ia Chashnik, revolutionary suprematist (1902-1929)

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Il’ia Grigorievich Chashnik was born to an unremarkable Jewish family in Lyucite, Latvia on June 20, 1902. He spent most of his childhood in Vitebsk, leaving school at the age of eleven to work in a small watchmaking workshop.

From 1917 to 1919, Chashnik studied art with the local artist Iurii (Yehuda) Pen before moving to Moscow in 1919 to attend the newly-opened VKhUTEMAS [Higher State Art and Technical Studios]. Just a few months later, however, he transferred to the Vitebsk Art Institute in order to study under the Russian-Jewish folk painter and avant-gardist Marc Chagall. Soon he became enamored of the work of Kazimir Malevich, the mastermind of Suprematism. Malevich also happened to teach at the Institute, before receiving a promotion and taking it over during the winter of 1919-1920. El Lissitzky also mentored Chashnik briefly before departing to Western Europe.

Once his apprenticeship under Malevich began, Chashnik’s paintings underwent a radical change. Chashnik cultivated his own distinctive style within the Suprematist idiom, developing Malevich’s ideas of abstraction and non-figuration to produce floating geometric shapes with crossing planes. While Malevich composed white-on-white paintings wrapped in fragile stillness and simplicity, Chashnik moved toward more dynamic pieces where black was the predominant element.

David Walsh of the World Socialist Website described the young painter’s unique talents with considerable eloquence in a review he wrote of The Great Utopia exhibition of 1993, which featured some of Chashnik’s work. Walsh wrote:

Chashnik’s The Seventh Dimension: Suprematist and his Color Lines in Vertical Motion demonstrate an enormous talent. His Cosmos — Red Circle on Black Surface (1925), for example, is an extraordinary work. A giant red circle (sun, planet) hovers in blackness (sky, atmosphere). Under it on the painting’s surface floats a Suprematist-like structure (space station), lines and rectangles arranged horizontally across a central bar. The Suprematist craft — delicate, outweighed, pale in color — is seemingly directed toward the gigantic, perfect red sphere. The enormity of the task, the terrifying emptiness of the universe, the flimsiness of the vessel, are clear to the viewer.

Along with some other talented students of Malevich’s class — Nikolai Suetin, Vera Ermolaeva, and Lev Iudin — Chashnik participated in the organization of the group POSNOVIS [Followers of the New Art], later renamed UNOVIS [Affirmers of the New Art], contributing to all of its exhibitions. He became particularly close with Suetin, a friendship and creative partnership that would endure until the former’s untimely passing in 1929.

Even further, while still in Vitebsk, Chashnik helped Malevich draft the syllabus for the Department of Architecture and Technology at Vitebsk in 1921. There he explained:

The constructions of Suprematism are blueprints for the building and assembling of forms of utilitarian organisms.Consequently, any Suprematist project is Suprematism extended into functionality. The Department of Architecture and Technology is the builder of new forms of utilitarian Suprematism; as it develops, it is changing into a huge workshop-laboratory, not with the pathetic little workbenches and paints in departments of painting, but with electric machines for casting, with all kinds of apparatuses, with the technological wealth of magnetic forces. [This department works] in concert with astronomers, engineers, and mechanics to attain a single Suprematism, to build organisms of Suprematism — a new form of economics in the utilitarian system of modernity.

When local authorities forced UNOVIS out of Vitebsk in 1922, Chashnik, Suetin, Ermolaeva, and Iudin followed Malevich to join the GINKhUK in Petrograd. Throughout the Petrograd/Leningrad period, Chashnik spent his days exploring possible applications of Suprematist art to everyday life.

Creative product photography, catalog and web-site photography Creative product photography, catalog and web-site photography Architektonisches Projekt, 1926-1927. Bewegung der Farbe, 1921-1922. Suprematistische Komposition, 1922-1923 Continue reading

Ernst Friedrich, War against war (1924)

Susan Sontag
The New Yorker
Dec. 9, 2002
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WARNING: Extremely graphic violence.

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For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war. Fourteen years before [Virginia] Woolf published Three Guineas — in 1924, on the tenth anniversary of the national mobilization in Germany for the First World War — the conscientious objector Ernst Friedrich published his Krieg dem Kriege! [War Against War!].

This is photography as shock therapy: an album of more than one hundred and eighty photographs mostly drawn from German military and medical archives, many of which were deemed unpunishable by government censors while the war was on. The book starts with pictures of toy soldiers, toy cannons, and other delights of male children everywhere, and concludes with pictures taken in military cemeteries. Between the toys and the graves, the reader has an excruciating photo-tour of four years of ruin, slaughter, and degradation: pages of wrecked and plundered churches and castles, obliterated villages, ravaged forests, torpedoed passenger steamers, shattered vehicles, hanged conscientious objectors, half-naked prostitutes in military brothels, soldiers in death agonies after a poison-gas attack, skeletal Armenian children.

Almost all the sequences in War Against War! are difficult to look at, notably the pictures of dead soldiers belonging to the various armies putrefying in heaps on fields and roads and in the front-line trenches. But surely the most unbearable pages in this book, the whole of which was designed to horrify and demoralize, are in the section titled “The Face of War,” twenty-four close-ups of soldiers with huge facial wounds. Continue reading

Radical chic: Avant-garde fashion design in the Soviet 1920s

In part, a re­sponse to Alana Mas­sey

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Alana Mas­sey re­cently guest-wrote a short art­icle for The New In­quiry’s beauty blog “The Be­held,” which is usu­ally run by Au­tumn White­field-Mad­rano. Its title is rather ex­cru­ci­at­ing: “The Party’s girls and party girls: Ne­go­ti­at­ing beauty in the So­viet Uni­on.” Parts of it are okay, however, the in­suf­fer­able puns not­with­stand­ing.

What fol­lows is a brief re­flec­tion on her piece and some thoughts of my own, con­cern­ing one of its ma­jor la­cunae.

defrag- Varvara Stepanova's sport uniform. defrag- Varvara Stepanova's sport uniform Varvara Stepanova. Students in sports clothing designed by Stepanova. in performance of An Evening of the Book,. 1924. spelling out “intermission” 1 Varvara Stepanova. Students in sports clothing designed by Stepanova. in performance of An Evening of the Book,. 1924. spelling out “intermission”

Let’s get a few oth­er minor quibbles out of the way be­fore pro­ceed­ing to the stronger points Mas­sey makes, though:

  1. First, there’s this tone of cas­u­al fa­mili­ar­ity to the whole piece that really grates on me, and I could’ve done without the self-in­dul­gent an­ec­dote about get­ting a bikini wax at Spa Jolie. Could be that I’m just old-fash­ioned, even slightly prudish. Don’t think so, though.
  2. Bey­ond that, the Tiqqun­esque ty­po­lo­gies — the So­viet wo­man, the post-So­viet wo­man — also bothered me a bit, es­pe­cially con­sid­er­ing how Sla­vo­phil­ic the whole story is. Mas­sey seems not to real­ize that there are post-So­viet wo­men who aren’t from Rus­sia or Ukraine. Wo­men from Kaza­kh­stan or Uzbek­istan of­ten don’t have the “razor cheekbones and the per­man­ent pout of down­ward-slant­ing lips” she de­scribes (i.e., what Anna Khachiy­an has termed “Rus­si­an cunt face,” a vari­ant of “bitchy rest­ing face”).

Nev­er­the­less, all the stuff about im­pro­visa­tion and beauty stand­ards, the weird tricks and tech­niques by which So­viet wo­men would com­pensate for scarce con­sumer goods, seems to me fairly ac­cur­ate. There were ana­log­ous meth­ods when it came to mak­ing do with short­ages of food or amen­it­ies. Some of this bri­co­leuse men­tal­ity is prob­ably even pre-So­viet, as far as I can tell. For ex­ample, Louise Bry­ant wrote about an in­ter­ac­tion she had with the Bolshev­ik re­volu­tion­ary lead­er Aleksandra Kollon­tai back in 1921 as fol­lows:

Once I com­pli­men­ted her [Kollon­tai] on a smart little fur toque she was wear­ing. She laughed and said, “Yes, one must learn tricks in Rus­sia, so I have made my hat out of the tail of my coat which is already five years old.”

Most of the nar­rat­ive fo­cuses on the later dec­ades of the So­viet Uni­on, un­der­stand­able giv­en the av­er­age age of the sub­jects she in­ter­viewed. Yulia Grad­skova, pro­fess­or of gender his­tory at the Uni­versity of Stock­holm, and Anne Mar­ie Sk­varek, a mas­ter’s stu­dent at the Uni­versity of Ari­zona, provide some his­tor­ic­al depth, but on the whole the story moves from the 1960s up to the USSR’s dis­sol­u­tion in 1991.

Vera Mukhina

Style: Style: Style: Style: Style: Style: Style: Style: Vera Mukhina, sporty costume Style: Style:

Varvara Stepanova and Liubov Popova

Ref­er­ence was made in passing to of­fi­cial “mes­sages” about waist-to-hip ra­tios passed down from the 1930s, but it seemed just leap out of the blue. Not en­tirely sure what she’s talk­ing about.

It would be in­ter­est­ing to know what she made of the really av­ant-garde fash­ion ex­per­i­ments of the 1920s, however, with Var­vara Stepan­ova’s col­or­ful tex­tile pat­terns, Li­ubov Pop­ova’s sportswear, Vladi­mir Tat­lin’s work out­fits, and Vera Mukh­ina’s gen­er­al ward­robe ad­vice. Continue reading

Space race: Cosmonaut

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A collection of posters based on the Soviet side of the space race, put together by the crew over at 2046DESIGN.

Enjoy.

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Cruising past: Moscow’s forgotten gay history

Agata Pyzik
Calvert Journal
July 17, 2013
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In honor of Pride Week, which just passed here in New York, I thought I’d repost this excellent article by Agata Pyzik. Agata is a journalist who writes for the Guardian and author of the recently released Poor but Sexy: Culture Clashes between East and West, which I cannot recommend highly enough. (My review of it should be published shortly; until then, check out Sebastian Truskolaski’s piece over at Review 31, which gives a great overview of the work). Though Pyzik’s article here takes the form of a review of Yevgeniy Fiks’ photo collection Moscow, it clearly is part of a broader reflection on sexual politics and the Left.

Lately, you see, I’ve been somewhat dismayed by the number of LGBT activists online who’ve expressed admiration for communist leaders like Stalin and Mao. Meanwhile, they explicitly rejecting “revisionist” or anti-Stalinist currents such as Trotskyism, revolutionary strains of anarchism, and left communism. Despite being solidly part of the leftist tradition, perhaps even its most historically significant iteration, Stalin and Mao were both cultural conservatives who passed legislation banning abortion and criminalizing homosexual intercourse. Stalin appended the law to the 1934 Soviet Criminal Code under Article 121, which stated that

…sexual relations between men are punishable by prison terms of up to five years hard labor…

Officially, homosexuality was associated with “bourgeois decadence” and immorality, and pathologized as a mental disease harmful to social morality. How any of this squares with their LGBT activism is beyond me. The RCP-USA, I know, held a similar stance until just the last decade, when it apparently underwent an “internal cultural revolution” (whatever that means). For the most part, though, I don’t even see this issue being addressed.

By contrast, the entry on homosexuality in the Great Soviet Encyclopedia just three years earlier was extremely liberal in its tolerance given the standards of the time. While its author, M. Sereinski, did consider it an “unnatural” form of attraction, he was largely sympathetic to the plight of gay men and women who were persecuted in other countries for supposed immorality. Sereinski appealed to the authority of the prominent sexologist Magnus Hirschfeld and the father of psychoanalysis Sigmund Freud, two early advocates for decriminalization. He asserted that many of history’s greatest geniuses — he names Socrates, Michelangelo, Leonardo da Vinci — exhibited homosexual tendencies, and further lamented the fact that many attempted suicide due to the social stigma attached to it. “Soviet law does not recognize so-called crimes against morality,” he explained. “Our legislation, based on the principle of social defense, punishes only those cases in which the object of the homosexual’s sexual interest is under age.”  

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Homophobia has never been in a “better” state in Russia than it is today. The horrific murder of 23-year-old Vladislav Tornovoy in Volgograd this May — he was raped with a bottle, castrated, and stoned — shook the public. But not enough, it seems: little has been done to prevent a repeat. One of the murderers admitted the reason for the killing was the “provocative” dress of the victim and his sexual orientation, which, apparently, “hurts patriotic feelings.” The authorities did have to admit it was a hate crime and to acknowledge Russia’s homophobia problem; but this is a problem that the government themselves have exacerbated with the recent introduction of a new nationwide law “against the propaganda of homosexuality.”

Russian history does not, however, present an uninterrupted line of hellish homophobia. The Bolsheviks legalized homosexuality soon after seizing power in 1917, at the same time establishing equal rights for women. And, although homosexuality was banned in the Thirties as part of Stalinist retrenchment, the Soviet landscape did accommodate spaces of social dissent and revolution in which gay men could express their sexuality together.

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These spaces — the city’s hidden topography of gay life — have recently been brought to light in the work of New York-based Russian photographer Yevgeniy Fiks. A self-proclaimed “post-Soviet artist,” Fiks sees it as his duty to react against the collective amnesia surrounding the Cold War period; previously he commemorated the overlooked history of communism in New York. At first glance, Fiks’ plainly titled new book, Moscow, could be just an ordinary photo album of public places in the Russian capital: we see parks, squares, boulevards, riverside embankments and public toilets. We admire the splendid architecture of the capital, its greenery and its striking constructivist-classicist constructions and we are impressed by the care taken by the Soviet authorities to make even toilets look beautiful. The pictures emanate a sense of peace and silence. But the way in which we see the locations depicted in these photographs is transformed when we learn that each and every one of them was a Soviet cruising ground.

What we suddenly perceive in these pictures is the eye of the original viewer. Yes, there are a lot of public toilets, but we now see these facilities in a different way, as sites that enable spontaneous relations between adults. These prohibited actions had to take place in hiding, away from prying eyes; paradoxically, this was only possible in public. Fiks has ordered the photos chronologically according to the period in which certain haunts were popular, from the Twenties to the Eighties, which means here we’re looking at the complete history of Moscow cruising. But the timescale seems to leave one question unanswered, quite deliberately: what about the years after the transition from communism? Fiks’ photographs seem to distance the author from Soviet, and specifically, Stalinist, times, and to reclaim the public space for a different version of history (not one much promoted in official versions of the Soviet past) and to reclaim homosexuality from today’s horrifically homophobic climate.

As well as a sui generis chronicle, Moscow is also a specific “work of mourning,” in which pleshki — the Russian name for cottaging sites — become unorthodox repositories of collective memory, what Pierre Nora called “lieux de memoire.” Nora’s idea has been influential in Holocaust studies as a term to describe places of extermination and it is striking that the places photographed by Fiks feel completely empty and abandoned, reinforcing the sense of the disappearance and silencing of the victims of homophobia. And these places were dear to many: they acquired a private slang terminology in which the statues of Lenin and Marx that were present in every Russian city were affectionately referred to as “Auntie Lena” and “Director of the Pleshka,” both out of familiarity and as a way of queering them. To use Situationist terminology, gay men were carrying out a détournement of these areas and symbols of revolution — a sort of satirical, subversive reappropriation that demonstrated that there was no real conflict between communist ideology and alternative sexual orientations.

The current spread of far-right, homophobic sentiments cannot be overlooked and marked down as just another effect of the years of communism; instead it must be seen as part of the failed transition to capitalism. The persecution of people with alternative sexual identities must be a serious PR blow to Russian liberals who’d like to see Russia as a potential market, free from the “eastern barbarism” that this part of the world is still often associated with. If homosexuality had been banned in Soviet Russia, anti-communist liberals would have a perfect argument, linking homophobia and the Soviet past; but it wasn’t, or at least not initially. In the Bolsheviks’ original conception of communism, sexuality wasn’t there to be policed by the state; it was there to revolutionize the citizen, with love seen as a public good. Continue reading