GLOBAL POSTSOCIALIST PERFORMANCE
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While the myopia and Eurocentrism of Francis Fukuyama’s
claim that the end of the Cold War brought with it the ‘end of history’ has
been torn to shreds, there remains something significant about the way that
postsocialist historiography has diminished the significance of the global
socialist project and banished communist politics to the annals of area
studies. Socialism has been made history, and in so doing, the revolutionary
future has been banished. Despite the best efforts of scholars who have
analyzed the postsocialist condition in relationship to global neoliberalism,
colonialism, and global capitalism, the experience of postsocialism fails to be
taken seriously on both the international and national scale. Rather, socialism
has been transformed into marginalia.
This project responds to Neda Atanasoski and Kalindi
Vora’s (2018) call for a ‘postsocialist methodology’ by engaging with postsocialist
artists—expansively defined—whose performance and video work continues to
iterate communist practice. Examples include the activation of former sites of
social housing, critiques of infrastructural negligence, resuscitation of
anti-fascist speech, and an insistence on internationalist anticolonial
visions. Condemning the neoliberal rhetorical equivalence of fascism and communism,
postsocialist methodology centers the afterlives and past lives of revolution
as potent sources of contemporary political thought and socially-engaged art
production. Engaging the work of postsocialist artists from Afghanistan,
Angola, Uzbekistan, Egypt, Ghana, Chile, Albania, Vietnam, and others, this
project appropriates postsocialism as a trojan horse for Fred Moten and
Stefano Harney’s “prophetic organization that works for the red and black
abolition!” (2013).