Max Stropov: The Cop’s Sacred Body

69481939_2461751597217604_8870679656198569984_o

Max Stropov
Facebook
September 3, 2019

The trials in the so-called Moscow case, in which protesters have been charged with violence against “law enforcement officers” and sentenced to hard time in prison for touching policemen or Russian National Guardsmen, are yet another vivid illustration that violence is not even remotely the issue. The case more resembles lèse-majesté, “doing wrong to majesty,” a modern form of the crime of offending the dignity of sacred authority.

One of the most immediate and common incarnations of this power in the Russian Federation is the Cop’s Body, which has been endowed with more and more mana and has become increasingly taboo. Since the center of power is a void, the ring surrounding the center, the annulus, the sphincter—which, in fact, is the Cop’s Body—has increasingly gained weight. (The numbers of policemen and other “law enforcement officers” in the Russian Federation have been multiplying.)

The Cop’s Body is impersonal, non-individual, and plural. When they are cracking down on demonstrations, law enforcement’s so-called foot soldiers behave like a herd of animals or a swarm of insects. Their faces are concealed. As Putin’s press secretary Dmitry Peskov has argued, they are not citizens.

“In the line of duty,” when “enforcing the law,” their body is transformed into the law’s body. We could also argue, on the contrary, that the law itself is abstract. It means nothing. It acquires reality and efficacy only in the Cop’s Body, which also has no direct connection with the identities of the policeman who constitute it.

Attempts to out and name otherwise anonymous riot cops encounter such resistance not because the cops could get killed, but because they violate the sacredness of their Body.

As for the “physical” and “emotional” trauma they suffer, allegedly, when protesters throw paper cups at them, this trauma is purely symbolic since non-individual, plural, and impersonal power also suffers.

Generally, then, the Cop’s Body does not suffer nor, probably, does it ever die.

Such is the theology of the police. This summer, it would even seem Russian cops have surpassed Russian priests in their sacredness.

Thanks to Max Stropov for his permission to translate and publish this text. Image courtesy of Max Stropov. Translated by the Russian Reader

Advertisements

OMON, HOMO, MONO (Fundraiser for Petersburg Aid to Detainees Group)

67956706_892272241128676_7814619306318102528_o

Rodina nedorogo
Facebook
August 12, 2019

We are donating part of the money raised from the sale of items from our “Police” series to the St. Petersburg Aid to Detainees Group.

67952023_892272401128660_2671370753605107712_o

It is their volunteers who try and get you out of jail, find you legal counsel, and deliver you care packages of food, water, and other essentials if you have been detained at a protest rally or other public political event in Russia’s cultural capital.

67980069_892272317795335_4394822463838486528_o

You can order all these items from us. We can print our logos on t-shirts and sweatshirts. A t-shirt costs 1,500 rubles [approx. 20.50 euros], a sweatshirt, 2,300 rubles [approx 31.50 euros].

#omon #homo #rodinanedorogo

NB. Rodina nedorogo can mail their fabulous t-shirts and sweatshirts abroad. According to them, postage usually costs around 50 rubles or eight euros.  Please click on the link to their Facebook page, above, to see more of their OMON-inspired logos. And remember: it’s for a really good cause. Photos courtesy of Rodina nedorogo. Translated by the Russian Reader

The After Party, or, The Electoral Iguana

iguana

Artplay to Hold “Posh Gubernatorial Election After Party”
Sergei Feofanov
The Village
August 30, 2019

Artplay Design Center in Petersburg (Red Guard Square, 3) will hold Election Night 2019 in the wee hours of September 9, the event’s organizers have informed us. They have dubbed the event a “posh invitation-only after-party” to celebrate the city’s gubernatorial election [on September 8].

Political operatives, politicians, and celebrities [selebriti] will take part in the event. Guests will be treated to projection mapping [sic] and musical sets by Markschneider Kunst and Junkyard Storytellaz, as well as an immersive show [immersivnoe shou] involving actors “made up to look like the eye-catching residents of a communal apartment.” In addition, organizers plan to release an “electoral iguana,” which will crawl to one of four bowels representing the candidates.

Last year, Election Night was held in Moscow, and this autumn the main event will also take place in the capital, including video links with the regions. Organizers include the Russian Public Chamber, National Public Monitoring, the Russian Public Relations Association (RASO), RASO’s Political Strategists Committee, and the Russian Political Consultants Association.

Znak.com reporter Ksenia Klochkova, who writes on the Telegram channel Rotunda, told us that spin doctors working for the campaign of [acting governor and gubernatorial candidate] Alexander Beglov have their headquarters at Artplay. Activist and public figure Krasmir Vranski said that “all normal people” would be up all night contesting the elections.

The organizers claim there will be no campaigning and support for any candidate at the event. Artplay simply met certain criteria as a venue, they explained.

Earlier, the band SBPCh [“The Largest Prime Number”] canceled a concert in the infamous, political scandal-plagued municipal district of Ekateringof. The band’s musicians did not want to play at a politically charged event.

Thanks to Julia Galkina for the heads-up. Photo courtesy of Newsweek. Translated by the Russian Reader

Yevgeniy Fiks, “Moscow: Gay Cruising Sites of the Soviet Capital, 1920s–1980s”

Exhibit Opening. Moscow: Gay Cruising Sites of the Soviet Capital, 1920s–1980s
Wednesday, September 4, 2019, 6:00 pm
Harriman Institute Atrium (12th floor, 420 W 118th St., New York), Harriman Institute, Columbia University

Please join the Harriman Institute for the opening reception of the exhibit Moscow: Gay Cruising Sites of the Soviet Capital, 1920s -1980s featuring a series of works photographed in 2008 by artist Yevgeniy Fiks.

The exhibit runs September 3–October 18, 2019. Exhibit hours are Monday–Friday, 9:30 am–5:00 pm, excluding university holidays.

The exhibit documents gay cruising sites in Soviet Moscow, from the early 1920s to the USSR’s dissolution in the early 1990s. Photographed in 2008 in a simple but haunting documentary style, these sites of the bygone queer underground present a hidden and forgotten Moscow, with a particular focus on revolutionary communist and Soviet state sites appropriated by queer Muscovites.

This opening reception will feature a performative reading by actor Chris Dunlop of the 1934 letter to Joseph Stalin by the British Communist and Moscow resident Harry Whyte, in which he attempts to defend homosexuality from a Marxist-Leninist perspective in the face of the campaign of mass arrests that swept Moscow and Leningrad gay circles from 1933 to 1934. After reading the letter, Stalin wrote “idiot and degenerate” in the margins. The letter, which remained unanswered, was kept in the closed Soviet archives until 1990 and translated into English by Thomas Campbell for publication in Fiks’s Moscow (Ugly Duckling Presse).

Yevgeniy Fiks was born in Moscow in 1972 and has been living and working in New York since 1994. He has produced many projects on the subject of the post-Soviet dialogue in the west. His work has been shown internationally and has been included in the Biennale of Sydney (2008), Moscow Biennale of Contemporary Art (2011), and Thessaloniki Biennale of Contemporary Art (2015).

Text and images courtesy of the Harriman Institute

White Riot

 

2014-10-23_white_riot-90cd7205

George Ciccariello-Maher
Facebook
August 4, 2019

Two and a half years ago, I sent a tweet mocking the white supremacist myth of “white genocide,” which posits that white people are being “replaced” by a combination of migration, birth rates, and racial mixing. Twitter and the media briefly lit up, with thousands discussing the absurdity of the white genocide myth—this was a good thing indeed.

But a great coalition of liberals, conservatives, and cowardly academics, hand-in-hand with white supremacists, found my words too controversial (more controversial, apparently, than the words of the Nazis themselves). Today, two and a half years later, I don’t have a job as a result.

Since then, the myth of “white genocide” and “the great replacement” has metastasized, fusing seamlessly with Trump’s demonization of Central American migrants among others. It has been the direct cause of—among other things—the mass slaughter of 51 in Christchurch, New Zealand, only a few months ago, and in just the past week, 4 deaths in Gilroy (targeting “hoards of mestizos”) and now at least 20 in El Paso (targeting the “invasion” of Texas by Mexicans—explain this to the people who were there before 1848).

Despite this roaring cognitive dissonance, too many Democratic Party hacks, handwringing liberals, and trash professors continue to make excuses for the Nazis in our midst. CNN headlines grant credence to the myth of a disappearing white America. They tell us that Antifa and the Nazis are the same things, that fighting white supremacy only makes it stronger. When liberalism coddles the right and legitimizes its theories, the deaths in El Paso and elsewhere are the only logical result.

But we know that material force defeats material force, that fascism and white supremacy will not go away until we make them go away. We know that white supremacist movements and ideas must be destroyed before they kill again.

Every Proud Boy, neo-Nazi, and Identity Europa member is a mass shooting waiting to happen. And every mealy-mouthed liberal is an accomplice.

Death to the Klan. Death to fascism. Death to white supremacy. Treason to whiteness is loyalty to humanity.

Thanks to Nazir Khan for the heads-up. Comic strip courtesy of Keith Knight // TRR

“White Riot” by The Clash
SongFacts

In this song, Clash frontman Joe Strummer is expressing his view that young white people should be outraged over their oppressive government just as blacks were, and should demonstrate through direct action and protest. He made it clear that the song—and the group—in no way advocated violence, and that it was certainly not racist.

Strummer explained to NME: “The only thing we’re saying about the blacks is that they’ve got their problems and they’re prepared to deal with them. But white men, they just ain’t prepared to deal with them—everything’s too cozy. They’ve got stereos, drugs, hi-fis, cars. The poor blacks and the poor whites are in the same boat.”

This song was inspired by the Notting Hill riots in west London on August 30, 1976. The carnival was a celebration of Caribbean culture, but it turned violent when police were attacked after arresting a pickpocket. Over 100 police officers were hospitalized along with about 60 crowd members. A lot of the tension was along racial lines, with black youths clashing with white officers, although gangs of white youth were also involved. Clash members Joe Strummer, Paul Simonon, and their manager Bernie Rhodes were at the event and got caught up in the riots, which led to this song. They included a photo of the Notting Hill riots on the back cover of the album.

Released in the UK on CBS Records March 26, 1977, “White Riot” was The Clash’s first single. It became one of their signature songs and was an indication of things to come. The Clash spent the next eight years speaking out for the lower class and against the establishment. Targets of their scorn included the British government and their record company.

Predictably, this song caused some problems during Clash concerts at times when audience members—often political punks—would use it as an excuse to cause trouble. Whether they should play it or not was sometimes a source of tension in the band.

At a gig in 1979, Joe Strummer was determined to play the song as an encore but Mick Jones vehemently disagreed, saying he was sick of the song and wanted to leave it behind. The argument became heated and Strummer for the only time in the band’s career punched Jones, leading to an odd situation during the encore where Jones had a bandage around his eye and nose whilst playing on stage—he gave up playing it halfway through and left the rest of the band to play on. Other tales abound of promoters requesting the band not to play the song for fear of wrecking the venue. Naturally, The Clash, being the troublemakers that they were, would play it anyway.

Clash members Mick Jones and Joe Strummer played this together for the last time in November 2002. Jones was in the audience for one of Strummer’s solo shows and came onstage to join him. Strummer usually didn’t like to play this, but he turned to Jones and said, “This one’s in ‘A’, you know it.” Strummer died of a heart attack a month later.

The album wasn’t released in the US until 1979. Over 100,000 copies were sold there as an import in 1977.

Darya Apahonchich: Relaxation for Men

darja-1Darya Apahonchich is one of the artists exhibited at the 2019 Festival of Political Photography at the Finnish Museum of Photography. Photo by Liisa Takala. Courtesy of Helsingin Sanomat

Relaxation for Men
Darya Apahonchich wanted to make prostitution visible so she photographed men
Jussi Lehmusvesi
Helsingin Sanomat
March 13, 2019

A good three years ago, Petersburg teacher Darya Apahonchich was walking to work when she noticed letters painted on the sidewalk.

ОТДЫХ

Freely translated, the word means “relaxation, rest.” Apahonchich knew it was one of the most common phrases in Russia for advertising prostitution.

Apahonchich was intrigued. On previous walks to work, she had noticed that ads for brothels had spread everywhere, including walls, light poles, and transformer boxes, and now they seemed to have flooded the streets, too. There was also something irritating about the word отдых.

Relaxation.

Or the slightly longer version:

Relaxation for men.

Apahonchich had an idea. She was also a professional artist and had worked in several groups that produced political art. She asked male acquaintances to think about how they really relaxed. Then she took the men to the sex ads and asked them to assume the poses they had chosen for relaxing.

The photographs were produced in the middle of sidewalks as passersby watched.

“I wasn’t trying to take smooth, finished art photos but snapshots,” she said. “People’s reactions were supportive or, more often, indifferent. Petersburg is a big city, after all, and people are not easily surprised.”

After the photoshoot, she posted the photos on social media and waited for a reaction.

Things kicked off after a while.

Apahonchich’s photos attracted attention on social media. The photographer was asked for interviews by more traditional media.

She was more delighted by offers from complete strangers, men who wanted to be involved in the project.

“They said they wanted to relax and asked whether they could help me,” Apahonich says.

Despite what you might imagine, there was nothing suggestive about the men’s requests. They genuinely wanted to be involved in doing something good.

The photographer accepted the offers and new photos were produced.

“It started out just as a fun thing but gradually turned into something more serious,” she says.

darja-2Two young men relaxing. Photo by Darya Apahonchich. Courtesy of Helsingin Sanomat

The success of Apahonchich’s photos could be explained by their skewed perspective. We have seen plenty of pictures of people victimized by prostitution at exhibitions but the gaze in her photos is focused on men.

This also has its own meaning for her.

“When people talk about prostitution, they usually talk about women, but I hope to make something invisible visible in the images I produce,” Apahonchich says.

It is a reasonable aspiration in the sense that men are active in the sex trade as middlemen, customers and, sometimes, vendors, too.

“Of course, men see my pictures differently. Some see them only as humorous. In the best case, I make the men looking at the photos reflect on their own position on the matter.”

The artist also has a personal reason for approaching the subject seriously.

Apahonchich walks around the Finnish Museum of Photography at the Cable Factory looking at the works of her colleagues in the Festival of Political Photography, which presents the work of twenty artists from around the world in a show entitled Potentiality.

In Apahonchich’s own images, men relax alongside “Relaxation for men” ads. One reads the newspaper, another plays on the train tracks, a third does yoga, and a fourth plays the balalaika.

A fifth man fishes.

According to the artist, the men who wanted into the project hardly represent the majority opinion regarding prostitution.

“Russia is still a conservative country and we have a different notion of women’s rights than in Scandinavia. It is common for men not to see any problem with prostitution. Many of them think it’s quite acceptable if, say, they have problems with their marriages.”

It is illegal in Russia to advertise sex services but, according to Apahonchich, Russian cities are in no hurry to get rid of the ads. She argues that the economic interests of the powers that be are often linked to human trafficking.

“It’s about money,” she says. “In Russia, the media have written about the links between corruption and prostitution. The police, for example, visit brothels regularly. They even have their own term for their visits. They are called ‘Saturday specials.'”

Her drastic claim is supported by a longitudinal interview study in which researchers mapped the experiences of sex workers with police in Petersburg and Orenburg. The study found that over a third of the sex workers had been abused by police.

The study was done in 2014, but researchers have obtained similar outcomes in more recent studies.

Estimates of the total number of people involved in sex work in Russia are as high as three million.

“I don’t approve of the word ‘sex worker,'” says Apahonchich. “In my opinion, it is not work but exploitation. I am talking about women who are involved in prostitution. Of course, there are differences in how people view the matter. If someone wants to call themselves a sex worker, I accept their choice, of course, but I don’t think of it that way.”

She also finds it misleading to talk about “sex.”

“Many girls go into prostitution at the age of thirteen or even younger. I think it is a question of rape culture more than of sex.”

darja-3Man and pillow. Photo by Darya Apahonchich. Courtesy of Helsingin Sanomat

Apahonchich has a personal reason for regarding prostitution negatively. She earns her daily bready by teaching Russian to women who have come from Syria and Afghanistan, for example. She is painfully aware her students are at high risk of being marginalized and forced into prostitution.

“Since they come to Russia as refugees and immigrants, they are on really shaky ground. They are often undocumented and cannot defend themselves,” Apahonchich says, looking anxious.

She is clearly concerned about her students.

She has not shown her photographs in class.

“I try to keep politics to a minimum,” she says. “A large number of my students are from quite conservative regions and I don’t want to scare them. Also, some of the students’ husbands have a negative attitude to their going to school, so in this sense, too, caution is important.”

“So, I concentrate on teaching the language and I answer their questions.”

There is one subject, however, that Apahonchich plans to raise in class.

She wants to teach the women how to talk to the police.

darja-4A man relaxes by meditating. Photo by Darya Apahonchich. Courtesy of Helsingin Sanomat

Relaxation for men. Although sex advertising has been moving to the Internet in Russia, the letters on the cobblestones still entice men into becoming customers.

Apahonchich’s own attitude to the advertisements has changed as she has photographed them.

“In the past, I would complain about them and think about all the young women they concealed. But after shooting them I saw them as locations and advertisements.  I would think that one was in a good spot for marketing or this one had really different colors, that I had no photos with yellow lettering in them. Or this image was in a good place for setting up and shooting.”

Another thing has changed. The photographer now knows what to say to men who fiercely defend prostitution.

“I ask them whether they would be willing to do the same job themselves or let their children do it. Since they don’t want it for their own children, why would they wish it on others?”

darja-5.JPGThe ads encouraging relaxation are also in English. Photo by Darya Apahonchich. Courtesy of Helsingin Sanomat

Apahonchich recounts how one of the men in the photos heard a child ask his parents what the ad meant as the model sat waiting on the pavement.

It was no easy task for the parents to explain what the words meant.

Nor was it easy to tell the child why a price had been placed under a woman’s name.

Translated from the Finnish by the Russian Reader

 

The Russian National Guard

spiderman national guard.jpg

“Come here, citizen!”

“And who are you?”

“I’m an officer of the Russian National Guard.”

“Tell me your name and show me your ID, please.”

“I’m not obliged to tell you my name and show you my ID.”

“Then I’m an officer of the Russian National Guard, too!”

“Show me your ID!”

“I’m not obliged to do it.”

Thanks for the heads-up to Poteshnyi Kopipast via zlaya zashchitnitsa. Translated by the Russian Reader