A name to sing about (Journal of Visual Culture & HaFI, 20)

This is the twentieth instalment of a collaborative effort by the Journal of Visual Culture and the Harun Farocki Institut, initiated by the COVID-19 crisis. The call sent to JVC’s editorial board, and a wide selection of previous contributors and members of its extended communities, described the task as follows: “There is a lot of spontaneous, ad hoc opinion-making and premature commentary around, as to be expected. However, the ethics and politics of artistic and theoretical practice to be pursued in this situation should oblige us to stay cautious and to intervene with care in the discussion. As one of JVC’s editors, Brooke Belisle, explains: ‘We are not looking for sensationalism, but rather, moments of reflection that: make connections between what’s happening now and the larger intellectual contexts that our readership shares; offer small ways to be reflective and to draw on tools we have and things we know instead of just feeling numb and overwhelmed; help serve as intellectual community for one another while we are isolated; support the work of being thoughtful and trying to find/make meaning…which is always a collective endeavour, even if we are forced to be apart.'” TH


Nightingale Hospital, Excel Center, London, April 2020 (photo Matt Writtle, Evening Standard)

Florence Nightingale in a ward of the hospital at Scutari, Albania (from an 1856 lithograph by William Simpson)


A name to sing about

By Jelena Stojković


On May 04 the media reported that NHS Nightingale hospitals around the UK are going to be shut, weeks after they were opened and only having admitted what sounds like an insignificantly small number of patients. The explanation offered—that there are enough beds in regular hospitals—has been confusing, to say the least. If the national health service is doing fine, why are we discouraged from going to our local surgeries or emergencies? If so, why were the hospitals built in the first place, especially on such a scale? Nightingale London alone had the capacity of up to 4000 beds and there were seven hospitals opening across the country over the last month. Why were the specific locales chosen and how? And I could go on.

Listening to the MayDay Radio Notes on May 10, titled Nightingale Chronicles 2 – Failure and dedicated to London Nightingale, it struck me that there is something intrinsically flawed with the very name of the hospitals. Supposedly celebrating care giving, by evoking Florence Nightingale (1820-1910), the note tells us how nurses were expected to train for the challenges expecting them on the floor within a day, which failed to acknowledge even the basic premise of the profession, let alone appropriately respond to the complexities of the ongoing health crisis. The inability to adequately staff them is speculated as one of the main reasons why the hospitals were eventually closed.

Learning this made me realise how there are two different contradictions entangled with the failure to activate the effort invested in the Nightingale hospitals. Applying a simple modus ponens renders their closure clearly illogical, as it is inferring that although the NHS is under the biggest pressure in decades because of Covid-19 it nevertheless does not need any help. But derailing the idea of care while proclaiming to monumentalise it, as their name does, is a performative one and not as easily spotted. As Martin Jay explains it:

“A performative contradiction does not arise when two antithetical propositions (A and not A) are simultaneously asserted as true, but rather when whatever is being claimed is at odds with the presuppositions or implications of the act of claiming it .”(“The Debate over Performative Contradiction: Habermas versus the Postructuralists,” in Martin Jay, Force Fields: Between Intellectual History and Cultural Critique [New York: Routledge, 1993], 29)

In retrospect, calling the hospitals by the person epitomising modern nursing was not a simple misnomer but a poor attempt at dressing up a wolf bred by austerity in the clothes of a sheep versed in historical knowledge. There is nothing new about this gesture. Quite the opposite, we heard this song many times before.

For instance, in Catch Phrases – Catch Images (1986), Harun Farocki interviews Vilém Flusser for television following the publication of Towards a Philosophy of Photography (1983). Sitting in a café, the two men discuss the working of news reporting, by looking at a cover page of Bild from November 1985. Their analysis focuses on the relation between texts and images, and how they intertwine in the service of demagogy, but their conclusion still resonates with us today. It is under the assumption of shared values (in this instance motherly love), they agree, that the newspaper camouflages its double moral standards, or its endorsement for and spectacularising of violence, kitschifying, debasing and reducing human dignity along the way.



Jelena Stojković is an art historian and writer based in London. She is the author of Surrealism and Photography in 1930s Japan: The Impossible Avant-Garde (2020).




May 15th, 2020 — Rosa Mercedes / 02

Olena Lyubchenko on Whiteness, Expropriation, War, and Social Reproduction in Ukraine (via LeftEast): “[…] when we hear on the news that ‘Ukraine is fighting a European war’ and ‘Ukraine is defending Europe’, amid images of fleeing ‘poor white’ women with children prioritized over racialized ‘Others’, ‘Ukraine’ is being made ‘white’ in the global imaginary. That is, “the injunction to ‘return to Europe’ by way of Europeanization is enabled and conditioned on the mythologies of Western civilization, and that Europeanization at once marks (promulgates) and unmarks (naturalizes) racial whiteness” [Nadezhda Husakouskaya and Randi Gressgård]. The paradox is that Europe’s existence as such has only been possible precisely because of the exploitation of global working peoples through expropriation of resources and today neoliberal economic reforms and reproduced by feminized labour.”

Vasyl Cherepanyn about the “inertness, hiding behind the European Wall” (via L’Internationale): “Many Western institutions that have been claiming ‘radical political engagement’ for years, have simply resorted to a white cube radicalism and self-satisfying humanitarianism, too afraid of acting politically beyond their comfort zone and unsettling their publics and authorities by attempting to affect the decision-making process regarding the Ukrainian cause.”

May 28th, 2022

Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): “[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.”

Vasyl Cherepanyn on that “It’ll take more than tanks to ease Germany’s guilt” (via Politico): “Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‘peripheries,’ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‘deeply concerned.’ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‘balanced’ with a Russian perspective, so as to not exclude the latter by any means.”

An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on “Digital Leviathan and His Nuclear Tail” (via Your Art and e-flux notes): “At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.”

April 20th, 2022

Vasyl Cherepanyn (Visual Culture Research Centre, Kyiv) on Putin’s “World War Z” and the West’s deadly “foot-dragging”, via Project Syndicate: “The main feature of this Western condition is constant belatedness. The West has always been too late, incapable of acting ahead and instead just reacting to what has already happened. As a Ukrainian joke went at the time, ‘While the European Union was taking a decision, Russia took Crimea.’ Then as now, Ukrainians wondered, ‘What is the West’s red line? What will compel the West to act instead of waiting and discussing when to intervene?’”

Barbara Wurm on Lithuanian director Mantas Kvedaravičius, killed in Mariupol, via Die Welt: “Kvedaravičius unfolded a whole spectrum of visual anthropology over a decade with only three films [Barzakh, Mariupolis, Parthenon]. It now awaits evaluation and exploration. The time will come. The films themselves make possible an infinite immersion in the matter of the world, between dream and reality, horror and everyday life, facts and phenomenal imagology.”

April 5th, 2022
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