Aesthetic Leveling: Riot + Poetry (Part One)

“Leveler” was coined in the 17th century to describe those who tore down hedges in the Enclosure Act Riots. It was later generalized. As long as the working-classes have sought political and economic leveling these aspirations have been expressed in art and culture – from the social gospel of Matthew to the gestures of punk and early Hip Hop. Aesthetic leveling can be used in ways that divert class anger toward the wrong targets or toward personalized solutions. But it also can express movement toward proletarian consciousness. And the socially promiscuous artist – coming from, and historically mixing with, all classes – is often predisposed toward leveling (as well as a political volatility that produces the aforementioned variations).

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Red Wedge at Historical Materialism London

Red Wedge will be presenting two panels at this year's Historical Materialism London conference. This year's conference takes place at the confluence of three auspicious anniversaries: the 20th anniversary of the HM journal, the 150h anniversary of the publication of Marx's Capital, and the 100th anniversary of the Russian Revolution.

It is no surprise to anyone familiar with Red Wedge that we share HM's commitment to Marxism's reinvention and rediscovery. Which is why we are glad to be contributing these panels, dedicated to a creative and critical assessment of the Marxist aesthetic experience. 

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The Barista Who Could See the Future

This video is part of Adam Turl's installation, The Barista Who Could See the Future, on display as part of the Exposure 19: Jumbled Time exhibition at Gallery 210 in St. Louis through December 2, 2017 (also featuring artists Lizzy Martinez and Stan Chisholm). The installation and short video “documentary” above center around the story of Alex Pullman – a coffee shop worker and artist who claimed he had visions of the future. A zine accompanying the installation, supposedly written by Pullman, reads as follows.

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