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The absurdity of our times is palpable. Climate change is like a slow-motion atomic bomb whose red release-button we are gradually pushing deeper and deeper. While fully aware of the havoc we wreak, we subsidize this trigger-pushing on... more
The absurdity of our times is palpable. Climate change is like a slow-motion atomic bomb whose red release-button we are gradually pushing deeper and deeper. While fully aware of the havoc we wreak, we subsidize this trigger-pushing on the order of trillions of euros a year.[1] Mass extinction of life on earth is an accepted byproduct, the “collateral damage” of this extractive economy. An ideological privatization of everything animate, inanimate, (un)conscious or affective puts every aspect of existence in the hands of the profit-motive — and nature, health, welfare, liberty and the very fabric of our societies is being torn apart in the process.
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A "université populaire" and school of the arts, the PLURIversity cross-seeds artistic, P2P and social imaginaries to develop new pedagogies, skills and solutions for a diverse, pluricultural future.
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Future historians will judge whether the wave of revolts of our time bear comparison to 1640, 1789, 1848, 1968, or, perhaps, following further major convulsions, will be seen as the capitalist antipode to the communist collapse of 1989.... more
Future historians will judge whether the wave of revolts of our time bear comparison to 1640, 1789, 1848, 1968, or, perhaps, following further major convulsions, will be seen as the capitalist antipode to the communist collapse of 1989. What is clear today is that we live in a time of worldwide instability, where hegemonic government by consent is under intense pressures due to the crises of transnational elites above, and the discontent of vast majorities below, which are forced to bear the brunt of the ensuing problems.
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The Square is published as part of TO THE SQUARE 2 (#TSQ2), which re-invigorates the question of public space as a crucial locus for the articulation of the political and the art of protest. TSQ2 is curated by Ivor Stodolsky and Marita... more
The Square is published as part of TO THE SQUARE 2 (#TSQ2), which re-invigorates the question of public space as a crucial locus for the articulation of the political and the art of protest.

TSQ2 is curated by Ivor Stodolsky and Marita Muukkonen and commissioned by Checkpoint Helsinki as part of Helsingin juhlaviikot / Helsinki Festival.

It is the 7th iteration of Re-Aligned Project by Perpetuum Mobilε.
www.Re-Aligned.net

"The Square" newspaper is edited by Ivor Stodolsky, designed by Tzortzis Rallis (Occupied Times) and includes art by Ganzeer, Federico Geller, Vladan Jeremic & Rena Rädle and articles by Michel Bauwens, Nika Dubrovsky/ Feminist Pencil, Grey Violet (aka Seroe Fioletovoe aka Maria Shtern), Núria Güell, G.U.L.F., Noah Fischer/Occupy Museums, Teivo Teivainen & Ivor Stodolsky, Baruch Gottlieb / Telekommunisten and Nadya Tolokno (Tolokonnikova) of Zona Prava/Pussy Riot.
Direct link: http://issuu.com/ivorstodolsky/docs/tsq2_newspaper_hr

TO THE SQUARE 2 FB EVENT: https://www.facebook.com/events/737483989641891/

Webpage: http://www.re-aligned.net/square-newspaper

Extra images of work-in-progress from TSQ2 by
Ammar Abo Bakr (Luxor/Cairo); Núria Güell (Barcelona), Khaled Jarrar (Ramallah); Vladan Jeremić & Rena Rädle (Belgrade); Nikolay Oleynikov (Nizhny Novgorod/Moscow); Anne-Laure Gestering and Berk Asal of Raumlaborberlin (Berlin); and Vasili Subbotin, Evgeniy Rimkevich, Эльдар Ганеев and Stepan Subbotin of the Art group ZIP группировка ЗИП (Krasnodar).

www.PerpetualMobile.org
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This issue of this international art and theory review was based on the Aleksanteri Conference and Cultural Fora (http://www.helsinki.fi/aleksanteri/conference2007/cultural_fora.htm) co-curated by Ivor Stodolsky and Marita Muukkonen.... more
This issue of this international art and theory review was based on the Aleksanteri Conference and Cultural Fora  (http://www.helsinki.fi/aleksanteri/conference2007/cultural_fora.htm) co-curated by Ivor Stodolsky and Marita Muukkonen.

The entire issue was commissioned under the title "Paths Not Taken" (see p. 30 and back cover), and then censored by the "Editorial Director" and published under the title "In Need of Openness" (sic!)."
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and... more
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and Responsibility 37 ...
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and... more
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and Responsibility 37 ...
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002),... more
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002), who gained fame through a wide range of symbolic conceits, creating assumed satirical intentions, cynical denials, kynic hoaxes, and spoofs. The article models actual audiences’ differing judgments of Novikov’s performances. The case studies introduce the formal vocabulary of multi-lectic anatomy, expand Alexei Yurchak’s well-known discussion of stiob and the performative shift, and adapt the Russian concept of poshlost’ to discuss perceptions of moral and aesthetic bad faith. Many observers took delight in Novikov’s postmodern games and paradoxes. The article describes these as elaborate cultural expressions of a banal vacuum of values, and raises questions concerning the wider historical significance of Novikov’s supposedly dangerous artistic strate...
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002),... more
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002), who gained fame through a wide range of symbolic conceits, creating assumed satirical intentions, cynical denials, kynic hoaxes, and spoofs. The article models actual audiences’ differing judgments of Novikov’s performances. The case studies introduce the formal vocabulary of multi-lectic anatomy, expand Alexei Yurchak’s well-known discussion of stiob and the performative shift, and adapt the Russian concept of poshlost’ to discuss perceptions of moral and aesthetic bad faith. Many observers took delight in Novikov’s postmodern games and paradoxes. The article describes these as elaborate cultural expressions of a banal vacuum of values, and raises questions concerning the wider historical significance of Novikov’s supposedly dangerous artistic strategies.
Research Interests:
This article describes a logic of distinction and succession within the late-twentieth-century Leningrad-St. Petersburg cultural field, whereby consecutive intelligentsia mainstreams were replaced by their avant-garde peripheries. In this... more
This article describes a logic of distinction and succession within the late-twentieth-century Leningrad-St. Petersburg cultural field, whereby consecutive intelligentsia mainstreams were replaced by their avant-garde peripheries. In this dynamic picture of socio-cultural transformations, I propose a working hypothesis of a repeated stratification of the field into an ‘official’, an ‘unofficial’, and a third ‘non-aligned’ intelligentsia. This hypothesis is tested in reference to the ‘non-aligned’ groups founded by the avant-garde artist and ideologue Timur Novikov (1958–2002). Three major shifts are described: from the politicized late-Brezhnevite early 1980s to the apolitical radicalism of Novikov’s New Artists; from this anarchistic underground, through the perestroika era, to the playful ‘classicism’ of the New Academy of Fine Arts in the 1990s; and from this postmodern international orientation to an arch-reactionary, neo-imperial posturing at the turn of the 2000s. Lastly, this ‘non-aligned’ intelligentsia is suggested as a possible precedent, or, indeed, a model for understanding other historically significant avant-garde peripheries, which commonly seek to distinguish themselves from (often mutually-exclusive) centres.