{"id":22940,"date":"2026-09-13T00:22:22","date_gmt":"2026-09-12T22:22:22","guid":{"rendered":"https:\/\/eeclectic.de\/?post_type=product&p=22940"},"modified":"2026-09-15T19:09:03","modified_gmt":"2026-09-15T17:09:03","slug":"postsocialism-as-method","status":"publish","type":"product","link":"https:\/\/eeclectic.de\/en\/produkt\/postsocialism-as-method\/","title":{"rendered":"Postsocialism as Method: Anti-Geographies of Collective Desires"},"content":{"rendered":"

\u201cThe queerness of postsocialisms, in our sense, is that they are propelled by political desires that do not aim to reproduce capitalist reality […]. We may not even yet know what these radical political desires move toward. This is part of their queerness.\u201d
\nNeda Atanasoski and Kalindi Vora (2020)<\/em><\/p>\n

Postsocialism as a Method: Anti-Geographies of Collective Desires is the title of the second cycle of collectively created research and program of the nomadic platform and online archive for video art, experimental, and documentary film D\u2019EST. The platform maps artistic forms of memory at the intersection of postsocialist, queer-feminist, and decolonial narratives and imaginaries.<\/p>\n

This bundle of five zines documents and expands the constellation of curated video art chapters, a nomadic cinema format, and experimental, performative publishing practices that were created by the collectives Kr\u0451lex zentre, Nh\u00e0 S\u00e0n Collective, and Fehras Publishing Practices together with D\u2019EST\u2019s directors Ulrike Gerhardt and Suza Husse since 2023. Following slippy timelines and diasporic geographies, they connect political desires and collective life worlds from different post\/socialisms in Central Asia, Vietnam, the Eastern Mediterranean, North Africa and Southwest Asia, Germany, Europe and the US.<\/p>\n

\u062d\u0627\u0636\u0631 \u062d\u0644\u0627\u0644 Hader Halal [With Regards To Presence]
\n<\/strong>Hader Halal assembles texts around the literary journal Lotus: Afro-Asian Writings published by the Afro-Asian Writers Association from 1968 to the late 1990s, aiming to promote Afro-Asian solidarity and anti-colonial politics through literature and culture. Fehras Publishing Practices initiated collective fabulations in response to their Lotus collection, and especially to texts from and in solidarity with Palestine, to explore the necessity of \u201cPublishing as a Solidarity Practice\u201d and to mirror the interconnectedness of hopes, liberation struggles and resistance across different geographies.
\nEdited by Fehras Publishing Practices. Contributions by Aaron Ahalu, Anna Ehrenstein, DNA (Blair & Clint Opara), Farkhondeh Shahroudi, Fehras Publishing Practices, Iskandar Abdalla, Jyl Franzbecker, Moonis Ahmad, Promona Sengupta, Rebecca Pokua Korang, Shaunak Mahbubani, Shrujana N. Shridhar, and Vidisha-Fadescha, 40 pages<\/em><\/p>\n

Postsocialist Time Slips
\n<\/strong>The Almaty-and-Vienna-based Kr\u0451lex zentre is an imaginary para-institution blending queer cosmopolitics, speculative world-building, inclusive diasporic aesthetics, and translocal cultural practices. Kr\u0451lex zentre\u2019s video art chapter Postsocialist Time Slips explores translocal queer imaginaries from Central Asia and asks how experiences of loss, silence, terror, resistance, compassion and love can lead to temporal and political slippages.
\nEdited by Kr\u0451lex zentre. Contributions by Dilda Ramazan, Ulrike Gerhardt & Kr\u0451lex zentre, 16 pages<\/em><\/p>\n

Tr\u1eddi qu\u00ea h\u01b0\u01a1ng trong xanh nh\u01b0 l\u1eddi h\u00e1t [The Hometown Sky is as Blue as a Song]
\n<\/strong>Through assembled letters, graphic interventions, layered video stills, film and performance scripts, the zine relays a stream of songs of desire, nostalgia, sex, death, humor and chaos that flows through Nh\u00e0 S\u00e0n Collective\u2019s D\u2019EST chapter. Their selection of moving image works echoing queer imaginaries and sonic worlds reflects experiences during an era of socialist-oriented market economy, of monetizing and spiritualizing, of globalization and localization in Vietnam and the Vietnamese diasporas in the 1990s.
\nEdited by Nh\u00e0 S\u00e0n Collective. Contributions by Nguy\u1ec5n V\u0103n Song, Nguy\u1ec5n Duy Anh, S\u00edu Ph\u1ea1m, Nguyen Tan Hoang, Vu T. Thu Ha, Quynh Dong, 16 pages<\/em><\/p>\n

Shut Up White Boy<\/strong>
\nThis zine celebrates the 2002 cult film Shut Up White Boy directed by V\u0169 T. Thu H\u00e0 and collectively written, produced and performed by a group of queer Asian American women and dyke artists and punk rock musicians. The film shows a racialized dream-comes-true nightmare of revenge, desire, lust and fun. Together with images from key scenes of the 16mm B&W celluloid film, the zine unfolds a conversation between two co-makers of the film as well as artists and researchers on occasion of Nh\u00e0 S\u00e0n Collective\u2019s chapter Tr\u1eddi qu\u00ea h\u01b0\u01a1ng trong xanh nh\u01b0 l\u1eddi h\u00e1t [The Hometown Sky is as Blue as a Song] for D\u2019EST.
\nEdited by Nh\u00e0 S\u00e0n Collective and Suza Husse. Contributions by Leslie Shih Shu Mah, Vu T. Thu Ha, Nguyen Quoc Thanh & Suza Husse, 24 pages<\/em><\/p>\n

Postsocialism as Method: Anti-Geographies of Collective Desires. Cin\u00e9 Moon Mobile<\/strong>
\nThis introductory double zine accompanies D\u2019EST cycle #2 at Schloss Biesdorf and Flutgraben e.V. (summer\u2013winter 2023). Cover and inlay are its own small zine by Suza Husse and Ulrike Gerhardt, they introduce the ideas, collectivities, anti-geographies, artistic and curatorial practices that shape D\u2019EST cycle #2. The main zine focuses on the Cin\u00e9 Moon Mobile, a nomadic performative architecture and hosting vehicle developed by Aziza Kadyri and Kim Bode in exchange with Husse, Gerhardt and the East Berlin environments of cycle #2. Bode\u2019s contribution shows how the Cin\u00e9 Moon Mobile is situated in relation to Soviet cinema buses that traveled across the USSR, former Yugoslavia, and Africa in the 1960s. Kadyri weaves her investigation of Suzani embroidery \u2013 a Central Asian art form connected to invisibilized female labor and intergenerational knowledge transfer \u2013 into the making of this vehicle. Karolina Majewska-G\u00fcde and Gal Kirn deepen the historical and artistic-methodological resonances of the Cin\u00e9 Moon Mobile with a view on decolonial and archival perspectives in feminist art history (Majewska-G\u00fcde) and on the history of revolutionary cinefication (Kirn).
\nEdited by Suza Husse, Ulrike Gerhardt. Contributions by Aziza Kadyri, Gal Kirn, Karolina Majewska-G\u00fcde, Kim Bode, Suza Husse, Ulrike Gerhardt, 24 pages<\/em><\/p>","protected":false},"excerpt":{"rendered":"

D\u2019EST Cycle #2<\/span>. Artistic forms of memory at the intersection of postsocialist, queer-feminist, and decolonial narratives and 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