Coco Fusco

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The museum may now be assuming a new function in the network. It is being reformatted as a recording device, a flexible memory machine that can store culture like a bank, artworks like a storefront, politics in the form of data. And each of these can be exchanged with one another as currency: the political movement can be turned into an activist archive, sold as an artwork, then exhibited as data, then sealed off in a vault with cultural artifacts for safe keeping. Museums in China are built without staff or contents to fill them long after they are constructed. ...
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The texts gathered in this issue of e-flux journal reflect upon the censorship of Cuban artists that has taken place in the shadow of the political negotiations between the island and the United States. They are the words of Cuban intellectuals who have chosen to respond to erasures brought about by overzealous state authority, a politics of complicity among Cuban artists, and the strategic blindness of Cuba’s enthusiasts.
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In this issue of e-flux journal, Nikolay Smirnov examines the historical left-wing, Marxist splinter of Eurasianism and its merits in the face of contemporary neo-Eurasianist figures who have turned it towards nativist and right-wing agendas. Also in this issue, Khaled Saghieh, in the first essay of a series guest-edited by Marwa Arsanios, recounts the postwar intellectual debates of the 1990s in Beirut as a war of and on memory. A whole city can shift. The memory of what was, or what wasn’t, becomes an intellectual battlefield.
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For episode 21, Sky Goodden spoke with Coco Fusco, the legendary Cuban-American critic, artist, educator, and art historian. Speaking from the center of a pandemic, and on the brink of a significant wave of civil unrest and anti-racist protest, Fusco circled themes relevant to each crisis, looping them through the lens of Cuban history and the seismic shifts it is currently undergoing, in relation to protest, artistic freedom, and criticism against the government.

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