Talking about nationalism from the comfort of an armchair is one thing, but discussing nationalism after having traversed Anatolia and conducted face-to-face interviews is quite another. Let’s turn our attention to Ferhat Kentel, Fırat Genç, and Meltem Ahıska, who have conducted a seminal study titled “The Indivisible Unity of the Nation:” Nationalisms That Tear Us Apart in the Democratization Process.
The romantic word “resistance” is being widely and eagerly circulated in the field of contemporary art, as it encloses in its essence one of the key symbols of faith in contemporary art – its claim and volition of resisting the “natural order” of capitalism.
The political and social developments in contemporary Armenia share common features with developments in other “third world” countries. However, there are differences in addition to these similarities . The Soviet industrialization in Armenia was accompanied by tendencies of concentration in demography, economy, politics and culture; 30 percent of the nation’s population was concentrated in the capital.
The following essay aims to elucidate the meanings and functions of autonomy within the post-socialist framework of peripheral neo-liberal political economy of “cultural production” in the former Yugoslavia region or, as the contemporary geopolitical agenda terms it, the Western Balkans.
What kinds of traces have been left on our personal and political lives by the long history of ecstasy and fear, of anxiety and desire, that structures the relation between the democratic individual and the urban multitude? What kind of traps and dead-ends have been built into the very fabric of the city, and indeed into human skins and psyches, in order to stanch this fear and quell this anxiety?
Metaphorical meaning of the expression ‘red thread’ suggests not only way out of labyrinth, but also a fragile, elastic link between different intellectual, social and artistic experimentations that share a desire for social change and the active role of culture and art in this process.
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