The discourse of Marxism, on the contrary, produces not trust but distrust. Marxism is basically a critique of ideology. Marxism looks not for a “reality” to which a particular discourse allegedly refers but to the interests of the speakers who produce this discourse—primarily class interests. Here the main question is not what is said but why it is said.

It is particularly dangerous when something from the cultural imagination is later read as a reliable prophecy, since it renders the abstraction and alienation of human suffering as a set of perpetuating clichés. For example, the only similarity between the current pandemic and the “predictions” pulled from Dean Koontz’s 1981 novel The Eyes of Darkness, noted on social media this February, is a reference to a killer virus called “Wuhan-400” that emerged from the Chinese city of Wuhan. As the reality of the pandemic unfolds globally, “China” continues to operate as a spectacle in both intellectual gossip and pop-cultural speculation. But we need more than just an arbitrary imagination of the suffering. There is rage, confusion, fear, and despair: concrete and real.

Kozłowski arranged a “reception” of the materials that the recipients of NET had sent him in response to the proposal in his apartment in Poznań on the evening of May 22, 1972. Though the reception was a way of sharing the materials that had arrived in the post (“after a month or two all sorts of mail arrived”) from twenty-four of those to whom they had sent the proposal, it was more informal than an exhibition, with materials hung all over the place, piled up on tables, and arranged on the floor for lack of space. Among them was Perneczky’s series on the theme of identification, suspended above a desk. Kozłowski had written to Perneczky (in German) in March 1972 after receiving a card from him, promising to put him on the NET appendix and send him a copy soon. He explained that he was planning to present the NET materials received to date in May and asked to include “Deine Concept Art.” The artist had invited just ten close acquaintances to the reception, making the raid that occurred forty-five minutes after the invitees arrived all the more shocking, since it was clear that one of his friends had informed on him. The materials were duly confiscated, including the film from the camera used to document the meeting itself: “They took it all down and took it away.”

Is freedom of speech universal? In what follows, I try to reflect on freedom of speech as a political structure, working through it in light of a key question: Who has the right to speech? The reflections, anecdotes, thoughts, and real-life experiences here show the power structure within which freedom of speech operates, and the paradox that confronts politically engaged artists who speak to power, or about it. Freedom of speech reveals itself as the structure that defines what is and isn’t...

Feminist Affects Let’s face it: we were in shock after reading the infamous, collectively authored column—aka “Deneuve’s text”—published in the French newspaper Le Monde last January, defending the (male) right to “disturb” as a way to dismiss women’s struggles against sexual abuse. 1 As a response to the Weinstein affair and the emergence of the #MeToo movement, a group of one hundred women, mostly high-profile professionals from the fields of art and culture, argued in favor of...

The Idea of an Archive An archive is a non-random collection of things, or the place where such a collection resides. The concept of non-randomness or purposiveness implies that archivists have a reason for archiving—that an archive is a meaningful project with a set of goals. It is possible to generate an archive by accident, so long as some party in the future can attribute meaning to this accidental collection of things. 1 An accumulation of dangerous nuclear waste is not normally...

Military and cultural officials are not the only ones to blame for the intense scrutiny of artists and the deliberate acts of violence against them that erase them from state media and other systems of dissemination, legitimation, and history. Nor are the art critics and curators the only arbiters who evaluate or devalue, who elevate or bury artists’ work. Worst of all are the searing, inexcusable verdicts handed down by the artists themselves. They pit themselves against one another as they...