Академический Документы
Профессиональный Документы
Культура Документы
572
573
between official and unofficial needed more variegation was perceptive, because it had already become reductively polarised. The shared
experience of former Eastern Bloc countries was differentiated from that
of the West as a matter of veering between the official and unofficial
in Communist times, and of overcoming that distinction after 1989.
The distinction was in fact offered and given content while the iron
curtain was firmly in place. Following Alexander Glezers setting up of a
Russian Museum in Exile in 1974, and accompanying the 1977 exhibition Unofficial Art from the Soviet Union (Institute of Contemporary
Arts, London), Igor Golomshtok and Glezer published a book of that
title (1977) giving the relevant definitions. The introduction clarified
that none of the artists featured has openly sought a conflict with the
political authorities and it is for that reason that we have eschewed such
emotive terms as dissident or underground for this art and prefer to
describe it more naturally and comprehensively as unofficial.6 The
simple fact of systematic institutional neglect, however, seemed
insufficient to characterise such art, and, since positive political content
was eschewed, a sort of negative political content was proposed by
Golomshtok:
Most of the works shown in this book are remote in style for the presentday art of Western Europe. Moreover the vast majority of these works,
which represent a powerful movement in the recent art of an enormous
country, come from unofficial artists who are banned in the sense that
in their own country they and their work do not, as it were, exist, being
surrounded by an impenetrable curtain of silence and hostility, although
in their work these artists do not adhere to any political doctrine and
represent a purely aesthetic movement.7
6. Golomshtok,
Introduction, in
Golomshtok and
Alexander Glezer,
Unofficial Art from the
Soviet Union, Secker &
Warburg, London, 1977,
p vii
7. Igor Golomshtok,
Unofficial Art in the Soviet
Union, in Golomshtok and
Glezer, op cit, 1977, p 81
8. Boris Groys, The Total Art
of Stalinism: Avant-Garde,
Aesthetic Dictatorship, and
Beyond, trans Charles
Rougle, Princeton
University Press, Princeton,
NJ, 1992
9. Golomshtok, Totalitarian
Art: In the Soviet Union,
the Third Reich, Fascist
Italy and the Peoples
Republic of China, CollinsHarvill, London, 1990
10. Vladislav Todorov, Red
Square Black Square:
Organon for
Revolutionary
Imagination, SUNY,
Albany, New York, 1995
There were interestingly contrary strategies at work in these early definitions. On the one hand, the unofficial was defined by what does not
happen to such art (though disapprobation and lack of acknowledgment
are different) and by registering its diversity. On the other hand, rhetorical coherence was attributed to unofficial art by discerning a powerful
movement (as if intended) in it and by asserting its apolitical and purely
aesthetic character (as if aesthetics and politics cannot overlap). Golomshtok also indicatively kept such art separate from the style of presentday art of Western Europe thus suggesting a distinctively Eastern style.
Thus, the so-called unofficial art was not defined by its politics but by
political exclusion and, at the same time, by a distinctively Eastern
apolitical aesthetics. These uneasy negotiations toward polarising unofficial and official hardened from the late 1980s as a totalistic account
of totalitarian culture emerged. Books such as Boris Groyss The Total
Art of Stalinism,8 Golomshtoks Totalitarian Art,9 Vladislav Todorovs
Red Square Black Square,10 and the lectures and work of migr artists
like Ilya Kabakov, all perceivably representing Eastern Europe to the
West from an authentic inside view, gradually widened the gap
between official and unofficial art. By these accounts the official art
was uniformly totalitarian in Communist states and the unofficial art
was anti-totalitarian and natural; the former appeared in indistinguishable clumps according to official initiatives, and the latter was a
variegated area of individual and group efforts. Little space was left for
middle-grounds or overlaps or cross-fertilisations or ambiguities or
574
575
(Evidently Kabakovs map of the world was now the West.) The selection represented the Communist period of Eastern European countries
almost exclusively in terms of unofficial documents and drew lines of
continuity from those to post-Communist artistic productions. The socalled official, by now also habitually designated Socialist Realism,
was entirely missing. It was also clear here that Eastern Europe was still
constructed, as in the early 1990s, almost entirely on the basis of
having been the former Eastern Bloc. In a roundtable on this volume,
during the March 2003 symposium East of Art: Transformations in
Eastern Europe (Museum of Modern Art, New York), Groys drove the
point home by asserting that Eastern European art is seen, and must be
seen, as Eastern European; if the Eastern European artists like it or not
and most do not, you know.16 His argument, in brief, was that in
Eastern European countries Communism erased very violently and very
effectively the cultural differences that existed before Communism
evolved out of the inner logic of these or those cultures, and that postCommunist art from these countries has since been engaged in erasing
that erasure by assuming a universalist and ironic attitude.17 Slavoj
izeks response, while agreeing that East Europe is East Europe,
Z
objected both to the simplifications of this totalitarian model of
Communist art and to the concept of post-Communist universalist
izek these actuated an over-determination of Eastern
irony.18 For Z
European Communism that underplayed the politics of the Wests
izeks comment was, it
construction of Eastern Europe. Pointed as Z
drew attention away from the simplifications toward the somewhat
separate matter of Western constructions. By the early 2000s this diversion was predictable too. As mentioned above, a parallel debate regarding Eastern Europe and art in terms of Western constructions had
izek himself, but that
developed la Wolff and Todorova, and indeed Z
is outside the scope of this article.19
Z
[o
acrn]
o
aczrn
[]
Z
[o
acrn]
o
aczrn
[]
Z
[o
acrn]
zcao
r[n]
zcao
r[n]
zcao
[rn]
Z
[o
acrn]
zcao
[rn]
576
To chart the growing emphasis on the break let me step back again to
the early 1990s. The exhibition Europe Without Walls: Art, Posters,
and Revolution 19891993 at the Manchester City Gallery, November
1993January 1994, may be usefully recalled here. A related 1994
special issue of Art and Design Magazine featured critics from Eastern
European countries commenting on artistic modernism and postmodernism. Mojca Oblaks contribution on Slovenian art tried to generalise
about East European art by focusing on the experience of Communist
totalitarianism but, interestingly, the wall between the pre- and post1980s was fairly porously constructed here. It was suggested that Eastern European modernism/postmodernism before and after was both
distinct from and related to the Western European through a complex of
transfers and cross-fertilisations and shifting ideological orientations. It
was not simply that works of art were self-evidently unofficial and
official or modern/postmodern and otherwise in the Communist
period, but that the emphases of looking at and, so to speak, reading art
were at stake:
The legitimacy of contemporary art was not entirely denied, but certain
works of art were not entirely accepted until, through specific historical
appropriation, they were emptied of their dangerous modernist potential and were no longer regarded as confrontational in respect of socialist
society.20
o
aczrn
[]
It is this matter of how the gaze and reading are ideologically reoriented
that underlies Oblaks analysis of modern or postmodern, post-1980s
and, in particular, Eastern European art. Oblak also picked up the kind
of irony that Groys sees in post-Communist art, but regarded it not so
much as anti-totalitarian aesthetics as a strategy for negotiating within
the ethos of the Communist state (and therefore away from that ethos
too) a strategy arising from ideologically repressive pressure and
ideological contradictions. Interestingly, Oblak also located the recent
post-1980s art as defined against the Western concept of modernity
rather than against the pre-1980s development of East European art:
Recent East European art is constituted in a completely different context
[from the Western] as a result of its relation to political totalitarianism,
or, more precisely, social realism in decay. East European art does not
recognise itself in that relation to modernism and the problematic context
of the commodity which is characteristic of Western postmodernism.
Rather this recognition arises from the traumatic ideological field, which
it reflects in different ways.21
zc[ao
rn]
577
The fall of the Berlin Wall echoes the myth of Eros not only in terms of
an epochal victory of love that has finally reunited what Communist
totalitarianism previously separated, but also in terms of the regressive,
restorative tendency of the democratic Revolution of 1989, in short, its
essentially conservative character.24
Scao
[rn]
ca[u
e]t
caso
r[n]
So
acr[n]
ca[cue]t
In Boubnovas view, it seems, all artists who and art which can be
regarded as contemporary were simply born or reborn in 19841985.
578
TOTALITARIAN AESTHETICS
Throughout the above I have noted occasional calls for caution in
disposing the art of Communist times, and of the post-Communist in
relation to Communist times, too neatly into pigeonholes. Tolnay was
sceptical of both the so-called official art and a variety of unofficial
izek has warned of oversimplification; Buden clarified some of
art; Z
the myths and misrecognitions surrounding the great break of 1989.
And there are others. One of the frequently evoked categories that is
used interchangeably to capture a specific Stalinist phase of control of
cultural production, artistic production under Communist regimes
generally, and totalitarian art as a whole28 is that of Socialist Realism.
Matthew Bowns Socialist Realist Painting (1998) sought to complicate
the category both by placing it within a broad historical perspective
and by discerning qualitative levels.29 In a 2007 article, Re-Thinking
the Cultural Field in Central and Eastern Europe, Lrnd Hegyi calls
for a more differentiated view of Communist regimes and contexts in
different countries of the East, especially when seen from the West,
than currently obtains.30 These warnings are self-consciously against
the grain of the prevailing ethos and come with a sense of speaking
against widely held perceptions. Such perceptions derive largely from
the reductive and homologous account of totalitarian aesthetics in the
Soviet Union and Eastern Bloc countries which has powerfully held
sway since it was put together, as noted above, in the late 1980s and
early 1990s.
The power of this account derives not so much from attention to
details concerning the art in question, but from the manner of its own
self-perpetuating logic; ie, from the way in which the account was put
together and thereafter absorbed details within its structures by selective
and predetermined interpretation. Put otherwise: the conceptualisation
of totalitarian aesthetics, and its containment of artistic practices in
Communist times, has arguably been not merely an accounting of totalitarianism out there in the past but a totalising performance itself. This
has worked by dissociating its perception of an ideologically led totality
from material, pragmatic and everyday worlds, and understanding the
totality as acting upon those worlds in an autonomous and subsuming
fashion as an immaterial, impractical and idealistic aesthetic. All texts
and cultural productions from those complex worlds are thereafter seen
as symptoms of that free-standing and top-down aesthetic, either irremediably fitting in (therefore official) or otherwise invisible (unofficial).
But this mode of recounting Communist times is principally carried by
the thrust of its own rhetorical performance: the identification of a freestanding and auto-perpetuating totality enables the placement of all
complexities after the fact of verbalising the totalitarian core first. It is
the critical text which thus looks back that also performs the subsuming
of all productions in the ever-extending sweep of its own conception of
totalitarianism. This is not to deny that totalitarian repression existed,
all too materially and with visceral effect, but to suggest that it existed in
relation to complexities of material, pragmatic, everyday worlds. The
account in question has written out those complexities in a bid to show
how total the totalitarianism was. Doing that is a totalising performance
itself.
Z
[cao
rn]
zcao
[rn]
579
Art manufactures facts. Art turns the empirical reality of Revolution into
an outstanding and suggestive aggregate of facts. Art produces the virtual
reality of the revolution. Art provides the revolutionary turbulence with
political design and premeditation. It makes Revolution visible. Art is the
ideological conclusion of the empirical flux of Revolution.33
580
The problem here is that in rendering socialist realism as the repository for an expanding embrace of top-down and autonomous ideological power, Groys dislocates the term socialist realism comprehensively
from its agents and pragmatics, from actors and everyday contexts and
materialities. That, of course, was Groyss point: his dislocated account
of socialist realism ultimately conveyed the vision of totalitarianism
that he wished to convey. But just as this did convey something of the
oppressiveness of a totalitarian regime, it also equally performed a
581
The nuances of reception were outside the ken of this version of aesthetics. If Golomshtoks assertion and the metaphor it rested on were
accepted without question, and the focalised contexts concurrently
accepted as exemplifying the unity of totalitarianism, then totalitarianism could only be regarded as a free-standing auto-perpetuating acontextual supersignifier.
Apropos that much highlighted term Socialist Realism the case was,
it can be plausibly argued, that Socialist Realism existed in party-lines
and legislative policy and institutional functioning. What Socialist Realism denoted in art practice, or what it entailed in doing art and receiving
art, was indeterminate at best. The legislative and bureaucratic principles
that imposed Socialist Realism on art institutions and artists could be
called upon to understand certain kinds of patronage and disapproval
within an always complex field of artistic production, reception and
circulation, but not to reduce its complexity. Socialist Realism marked
a (in itself constantly shifting) party-line, and its relation to art praxis
was constantly troubled, constantly open to transgression, in a field that
the party-line could not possibly contain (and often knew as much). The
distinction is important, and the relationship between what was legislated for and what happened in art in Communist times needs to be
explored accordingly. The party-line on Socialist Realism, the documents that actuated it in the Soviet Union after 1932 and more widely
after 1949, are well known in the West.37 How they tested and were
tested by the complex field of artistic practice through repression,
compliance, accommodation, disregard, defiance, assimilation, inspiration, sentiment etc has yet to be examined carefully because of the
sway of totalistic accounts of totalitarian aesthetics.
Bowns Socialist Realist Painting did try to question the totalitarian
aesthetics view of Socialist Realism. This book tried to redress the overdeterminations of the totalitarian model (the phrase is Bowns) by
582
And third, in refusing to consider any socially realist art as art at all,
which Bown put down to critics ignorance of the art in question. He
consequently decided to use his art historical narrative as a corrective
and, in a way, that determination made his own enterprise questionable.
Bowns expansion of the connotations and history of Socialist Realism,
and normative assessments of art labelled as such, simply begged the
question of whether or not he was talking about something different
from what the totalitarian-model proponents had in mind.
Ultimately, the totalitarian model of Socialist Realism cannot really
be questioned by identifying any set of artefacts as definitively Socialist
Realist. The totalitarian model performs its discernment of Socialist
Realism in a rhetorical structure, just as Socialist Realism was
constructed within the precincts of party-line rhetoric. The point to foreground is one that Henri Arvon made succinctly in his study of Marxist
Esthetics in 1970:
[Socialist realism] does not refer to a special style that the writer is to
employ; it is used, rather, as a definition of the artistic principle underlying all works that win the official stamp of approval. It represents, in
fact, the decisive victory and the extension to the entire realm of culture
of the Party spirit (partignost) Socialist realism thus represents a
bureaucratic and administrative conception of literature notable both for
the exceptional vagueness and fuzziness of its notions in the realm of pure
esthetics and for the impeccable rigour of its judgement.39
38. Bown, op cit, p xvii
39. Henri Arvon, Marxist
Esthetics [1970], trans
Helen R Lane, Cornell
University Press, Ithaca,
NY, 1973, p 83
Copyright of Third Text is the property of Routledge and its content may not be copied or emailed to multiple
sites or posted to a listserv without the copyright holder's express written permission. However, users may print,
download, or email articles for individual use.