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de masæ, consumerism total, formele cele mai de impact ale divertismentului,
concepte teoretice hegemonice, studii culturale, studii postcoloniale,
sus-menflionatul feminism, filosofie analiticæ, deconstructivism, limbæ englezæ
etc. Ele aparflin aceluiaøi pachet în care regæsim øi o producflie artisticæ
inspiratæ de stînga øi o reflecflie teoreticæ asupra acestui praxis al artei.
Øi tot aici gæsim ceva comparabil cu Che Guevara cel de pe tricouri, produs
probabil într-o fabricæ exploatatoare [sweat shop] undeva în Europa
de Est, însæ, cu toate astea, în calitate de marcæ eminamente occidentalæ.
Acelaøi lucru se întîmplæ cu Lenin. Øi el e cu totul nou în Est øi nu are nimic
de-a face cu acel Lenin al cærui nume mai decora încæ, doar un deceniu
mai devreme, atîtea stræzi, piefle, instituflii, øi a cærui teorie revoluflionaræ
constituia o parte esenflialæ a programei academice din Estul socialist. Acest
nou Lenin trebuie încæ învæflat în Est – în englezæ, desigur, øi la pachet cu
Lacan, Badiou øi Negri, cu Documenta, Manifesta øi restul bienalelor.
Ca sæ rezum: dacæ existæ vreun fel de angajament de stînga în Est, el e cu
necesitate un produs de import, cu totul eclectic, din Vest.
Asta se întîmplæ pentru cæ relaflia dintre Vest øi Est urmeazæ astæzi acelaøi
tipar tranziflional: Vestul e subiectul, aflat în posesia cunoaøterii øi, prin urmare,
autorizat sæ dea lecflii. Estul, dimpotrivæ, e cel care are de învæflat – de
învæflat orice de la Vest, inclusiv acele idei de stînga articulate în practica
artisticæ øi activismul cultural de azi, ceea ce înseamnæ inclusiv propriul Lenin.
Tiparul la care mæ refer aici se bazeazæ, de fapt, pe conceptul aøa-numitei
„revoluflii întîrziate“ [catching-up revolution (die nachholende Revolution)]
inventat de Jürgen Habermas. Astfel definise el revoluflia democraticæ din
1989. Conform acestui concept, întreaga semnificaflie a revolufliilor din 1989
din Europa de Est constæ într-o nevoie de-a prinde din urmæ [catch up]
dezvoltarea deja produsæ în Vest. Prin urmare, Estul e definit în mod esenflial
de nevoia sa de recuperare [backlong demand (Nachholbedarf)] sau, mai
descriptiv, de ceea ce unii teoreticieni, incluzîndu-l pe Habermas, numesc
„modernism întîrziat“.
Ceea ce s-a întîmplat de la præbuøirea comunismului nu e, conform acestui
concept, nimic altceva decît procesul unei modernizæri accelerate. Øi
aøa ar trebui sæ înflelegem receptarea ideilor øi a practicilor culturale de stînga
din Vest – ca un element al acestei modernizæri. Totuøi, existæ ceva cît
se poate de caracteristic pentru aceastæ receptare, aceastæ reînvæflare a
ideilor de stînga venite din Vest. Acest lucru presupune cæ nu existæ nimic
în experienfla istoricæ a Europei de Est, adicæ a fostelor flæri comuniste,
ce-ar putea prinde din urmæ sau de care s-ar putea agæfla o idee stîngistæ
din zilele noastre.
Dupæ cum ne amintim, Pol Pot avusese ideea cæ o nouæ societate comunistæ
trebuie sæ înceapæ ab ovo, sæ porneascæ, adicæ, de la firul ierbii, într-un
fel de nou început radical, ca øi cum n-ar fi fost nimic înainte, niciun trecut,
nici vreun fel de experienflæ istoricæ.
Ar fi necesar oare sæ credem astæzi cæ inifliativele politice, artistice øi culturale
de stînga din Europa de Est – care-øi au, toate, originea în Vest –
ar trebui sæ adopte aceeaøi atitudine radicalæ faflæ de propria istorie, altfel
spus, faflæ de tradiflia ideilor øi miøcærilor de stînga originare, de fapt, din
Est øi, imitîndu-l pe Pol Pot – parodic, desigur –, sæ înceapæ, øi ele, de la
firul ierbii? Aceastæ întrebare nu e, probabil, altceva decît o provocare retoricæ,
aøa cæ nu e cu adeværat nevoie sæ i se ræspundæ. Cu toate astea, ne face
conøtienfli de faptul cæ recitirea noastræ, în societatea postcomunistæ de
political system, capitalist economy, liberal ideology, mass culture, total consumerism,
most influential forms of entertainment, hegemonic theoretical concepts,
cultural studies, postcolonial studies, aforementioned feminism, analytical
philosophy, deconstructivism, English language, etc. This is part of the same
package in which we also find a left-wing-inspired art production and theoretical
reflection of this art praxis.
Here too, we find something we might compare with Che Guevara on a T-shirt,
probably produced in a sweat shop somewhere in Eastern Europe, but nevertheless
as an exclusively Western brand. The same happens with Lenin. He too is
completely new in the East and has nothing to do with that Lenin whose name
still decorated so many streets, squares, institutions only a decade ago, and
whose revolutionary theory was an essential part of the academic curricula in
the socialist East. This new Lenin has yet to be learned in the East – in English
of course and in a package with Lacan, Badiou and Negri, with Documenta,
Manifesta and all of the biennales.
To summarize: if there is some sort of a left-wing engagement in the East, it is
necessarily a completely eclectic import from the West.
This is because the relation between the West and East today follows the same
transitional pattern: the West is the subject, who is in possession of knowledge
and therefore authorised to teach. The East, quite to the contrary, is the one
who has to learn – to learn everything from the West including those left ideas
articulated in today’s art practice and cultural activism, which means, including
its own Lenin. The pattern I refer to here is actually based on the concept of the
so-called “catching-up revolution” (die nachholende Revolution) invented
by Jürgen Habermas. This is how he has defined the democratic revolution
of 1989. According to this concept the whole meaning of the 1989 revolutions
in Eastern Europe consists in a need to catch up with the development that has
been already made in the West. The East is, therefore, essentially defined by its
backlog demand (Nachholbedarf) or, more descriptively, by what some theorists
including Habermas call “belated modernism”.
What has actually happened since the collapse of communism is, according to
this concept, nothing other than the process of an accelerated modernisation.
And this is how we should understand the reception of left-wing ideas and cultural
practices from the West – as an element of this modernisation. However,
there is something very peculiar about this reception, about this re/learning
of the left ideas from the West. It implies that there is nothing in the historical
experience of the European East, that is, of the former communist societies that
a leftist idea of today could catch up on or hold on to.
As we remember, Pol Pot had the idea that a new communist society has to start
ab ovo, which means to start from scratch in a sort of a radically new beginning,
as if there had been nothing before, no past, no historical experience whatsoever.
Are we supposed to believe today that the left-wing political, artistic and cultural
initiatives in Eastern Europe – originating altogether in the West – have to
take the same radical stance with respect to their own history, that is, with
respect to the tradition of the left ideas and movements that authentically originated
in the East and, echoing Pol Pot – in a parody of course –, to start from
scratch as well? This question is probably nothing but a rhetorical provocation,
so there is really no need to answer it. However, it makes us aware of the fact
that our re-reading of Benjamin’s “Author As Producer” in a post-communist
society today happens under similar circumstances, in other words within
an hermeneutic space that has been thoroughly emptied of any kind of a genuine
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