ONE FINDS QUITE A BIT OF NAME-CALLING among the innumerable articles and blog posts written in criticism of Hugo Chavez and his government. Although most of this invective is not very illuminating, one article by a young, Colombian, Trotsky-ish labor organizer describes Chavez perfectly in two words: a “postmodern Bonapartist.”
From their canonization in the 1960s through their appropriation by postmodernism in the 1980s, the writings of the Frankfurt School have had their Marxian dimension minimized, vulgarized and ultimately ignored.
There was a gathering of about fifteen people on the evening of December the 13th at Mess Hall, a small artist-run storefront in Rogers Park dedicated to community education and organizing. Sponsored by the 49th St. Underground and the Industrial Workers of the World, the topic of the event was described as “anti-capitalist street protest,” but the presenter made it clear from the beginning that he was going to talk about the Seattle anti-WTO summit protests of 1999 and their aftermath.
My first impression upon entering Haseeb Ahmed’s installation, “The Common Sense,” which opened at Around the Coyote Gallery on September 5th was one of open space. It was an openness that contrasted sharply with the hundreds of paintings, photographs, sculptures that cluttered the rest of the many other galleries that opened that Night in Wicker Park’s FlatIron Building.
Hungarian literary critic and political theorist Georg Lukács is generally recognized, along with thinkers such as Antonio Gramsci and Rosa Luxemburg, as one of the most influential intellectual figures of twentieth century Marxism. And while Lukács’ reading of Marx is possibly the most sophisticated and intellectually rigorous to be found in the century and a half long trajectory of historical materialism, his legacy suffers from the “misfortune” that, unlike Gramsci and Luxemburg, he survived what is known as the heroic period of Third International Marxism: the late teens and early twenties.