'Time for Peace, Time to Go': demonstrations in London, Belfast and Dublin - August 1994

1994 marked the 25th anniversary of British troops being sent on to the streets of the north of Ireland, and there were demonstrations in London, Belfast, and Dublin on the theme of '25 years - time to go, time for peace'.

London, 13 August 1994

In London the Troops Out Movement and other groups including the Irish in Britain Representation Group held a march from the park by the Imperial War Museum. Black balloons were released to mark the dead of the conflict and a coffin taken to Downing Street labelled 'Britain's War: 25 years - 3400 dead'. Around 3,000 people took part.

A sticker for the demo

Black balloons released over Westminster

'Troops Out' magazine, August/September 1994

Belfast, 14 August 1994

In Belfast the next day there was another demonstration, with thousands of people converging on City Hall in parades from all parts of the city. The largest contingent came from West Belfast, where 'The march proceeded to the Whiterock Road where the Ballymurphy section of the march joined them. Several of the visiting delegations were with this section of the march. There were contingents from Noraid, from the Basque country, from Italy as well from the Troops Out Movement and many other solidarity groups' (An Phoblact, 18 August 1994). Speakers at the end of the march included Sinn Fein president Gerry Adams.

'Falls/Clonard: 25 years of resistance' - mural in Dunville Street off the Falls Road in Belfast

'Free the Ballymurphy Seven' - the campaign in support of seven young men who were arrested following a bomb attack on an army patrol in 1991. They were charged on the basis of 'confessions' obtained under duress in Castlereagh interrogation centre. Eventually all were acquitted but not after spending several years in prison.

'Cheering marchers say Britain Must Go', An Phoblact, 18 August 1994

Dublin, 20 August 1994

The march in Dublin on the following Saturday 20th August was one of the largest pro-republican rallies there since the 1981 hunger strikes.  Over 10,000 people took part in what was billed as a parade and pageant rather than just a traditional demo. There was street theatre and more than 54 floats highlighting current and historic issues.  The Wolfe Tones played to the crowd gathered by the GPO, and of course there were various republican flute bands including the Spirit of Freedom,  Sliabh Dubh, Gleann an Lagain and Tom Smith.

 

The Angel of Death leads the march

'Get out of my sight!'

A float highlighting Fermanagh/Monaghan border posts

'Guth na mBan' singing 'Something inside so strong'

The Dublin and Monaghan bombs in 1974 killed 33 people and were planted by the Ulster Volunteer Force with the knowledge of British intelligence

At the GPO

'Slán abhaile' (Safe Home)

An Phoblact, 25 August 1994

A summary of other Time to Go events including in Derry, Crossmaglen, Newry and around the world
(An Phoblact, 18 August 1994)

1994 was a key turning point in the conflict. The year before Gerry Adams and John Hume had launched the Irish Peace Initiative, and then on 31 August 1994 the Irish Republican Army announced a ceasefire.  After several years of a stop and start process the Good Friday Agreement was signed in Easter 1998, paving the way for demilitarisation and prisoner release.

Anyway that was a busy week for me, rushing from London to Belfast then travelling around Ireland towards Dublin. Stopping off in Sligo for a banging house club night in a hotel back room full of people celebrating on the day of their Higher exam results. Where was that I wonder? 

[I recently donated some photos and papers to the MayDay Rooms in London for their archive of Troops Out Movement and related materials. If you have anything you can share with them get in touch with them. This post is one in a series where I contextualise this material with my recollections]

See also:

The Hunger Strike, the Irish War and an English Town: Luton 1980-81

Remembering Bloody Sunday 

May Days in Dublin 1994

'Time for Peace, Time to Go'
(I did think this photo might have been from Dublin, but seems it's actually Albert Square in Manchester, so this must have been on the Bloody Sunday demo there in January 1995)

Birdsong, Sonic Diversity and Extinction Rebellion

A large crowd in London yesterday for 'The Big One' Earth Day demonstration called by Extinction Rebellion and others. The organisers estimated that 60,000 people took part, marching around Westminster.

There were the usual demonstration noises of chanting, samba bands, not to mention morris dancers and a guy playing the bagpipes. But throughout people were also playing amplified birdsong, sometimes loud enough for me to look round expecting to see a swift or other bird. This may sound a bit twee(t), but it actually addresses the threat of a fundamental change in our species being. 

The decline in the number of birds is not a hypothetical future catastrophe but something that has been happening for years and this is shaping our lives as well as theirs. I recently read Steven Lovatt's 'Birdsong in a time of silence' (2021) which makes the point that 'we've grown up with birdsong, both individually and as a species. It has always been there, and it's part of our feeling of belonging to the world. And since sounds produce chemical effects within our bodies of stress or pleasure, it's more than figuratively true to say that we have birdsong in the blood'. 

'No system but the ecosystem'

In Donna Harraway's terms we need to nurture our kinship with such 'companion species' and shape the 'conditions for multispecies flourishing' (Staying with the Trouble: Making Kin in the Chthulucene, 2016). But the opposite is happening. David George Haskell highlights birdsong as part of  the ‘world’s acoustic riches’ which are under threat. ‘Habit destruction and human noise are erasing sonic diversity worldwide’ and feeding a 'crisis of sensory extinction'.  As a consequence ‘The vitality of the world depends, in part, on whether we turn our ears back to the living Earth. To listen, then, is a delight, a window into life’s creativity and a political and moral act’ (Sounds Wild and Broken: Sonic Marvels, Evolution's Creativity, and the Crisis of Sensory Extinction, 2022).

'No borders in climate justice'

'Doggedly pursuing climate justice'

Annotated Archives at 56a Infoshop

56a Infoshop near the Elephant and Castle has been going for more than 30 years now as a small but perfectly formed radical social centre, bookshop and archive tucked in behind Fareshares Food Co-op at 56a Crampton Street, London SE17.

People have been invited to write a series of 'Annotated Archives' to highlight and reflect upon some of the huge amount of material crammed inside. The first series of these was launched in January 2023, but more are on their way.

In his contribution 56a lynchpin xChris highlights a few samples focusing on the labour, pain and love that goes into writing, printing and distributing: 'when you hold something from the archive in your hand, you are touching something that contains a labour of love from those who believed in it, producing it in various contexts and conditions and who, in thinking, in spreading the word virus, in getting it out, they believed it was part of changing the world!'

'Women's Squatting Histories and where to find them in the 56a Archive' does just  what it says on the tin, pleased to see some of the zines produced by friends in the 1990s such as Shocking Pink, Feminaxe and Bad Attitude getting their dues.

With so much to choose from 'R-Z' looks at a 'tiny selection of the zines in the 56a Zine Library' from between those letters

'Here 2 There EP', Adam Denton's contribution, is less a guide to parts of the archive than a reflection on the possibilities and limitations of archive documents to access the past, in the specific context of his interest in the scene around 1990s techno/speedcore club Dead by Dawn held at 56a's sometime Brixton sibling, the 121 Centre on Railton Road. I went there a lot and have written about it here so was of course interested in his take. 

'We can still talk with the living here and the dead. We can read the blogs. We can think about how noise was characterised then and what's the use? what do  you draw using noise now?, in the up-ticking criminalised sphere of just being about and trying to occasionally sleep.

'What we're most engaged with now and what we'll try to retain focus on, is the repercussions of noisey activity like DbD: how it came to be, what traces the tracks, themselves traces… If we take from the papers alone, it's difficult to know anything other than what we want to. There's some detailing of what goes on, we get a sense. But the reality of that lived time cannot be accessed, people may say, say many things, many misremembered, obscured or clarified by drug haze or….

After leaving hours earlier I eventually arrive home, sit for a while at the kitchen table, beginning to read again. Beginning Sadie Plant on Situationism again. […]  I type SP as she gave a lecture at  DbD at the 121 Centre according to the History is Made at Night blog, and I imagine her touching on it, on it somewhere. Dancing together in 93 is seeing me too glassy about other people's pasts’

‘communing at high BPM, pummelling and relentless music. I'm listening to some of that stuff as I write this, on the Praxis imprint. Wonder if it was about the kinds of people who were populating these nights: who was known, who was up for speaking before, what dissonance and breakage that kind of speech act engenders, in that context 1993 – what could happened here tonight? Spoken texts, becoming noise, cracks the buildings of amplified continuum. Was it friendship alone, shared purpose, the re-purposing where you went somewhere’

[my memory may be fallible but yes I saw Sadie Plant speak at Dead by Dawn in July 1995. According to the flyer she spoke on 'girls, music and other dangerous substances' if I recall correctly talking about some of the stuff that went into her book 'writing on drugs'. It was part of a night themed around 'cyber feminisms, grrrl DJs and she-core'. Most people turned up at the club much later, I think there was probably about 20 people max at the talk. I think I went from the talk to Club UK (then back to 121)  so was dressed for a glam clubbing night out in a silver Daniel James top and tartan trousers!]

Post lockdown party at 56a in July 2021 to celebrate its 30th birthday

The next set of Annotated Archives will be launched at 56a on Thursday 27th April, 6-8pm. I've written one of them so come along for a chat, nibble stuff & grab free zines

 

The Redskins - revolutionary rock'n'roll?

The Redskins were one of the few avowedly revolutionary socialist bands in mid 1980s Britain. They also had some decent tunes as well as a very sharp look. Two members of the band were active in the Socialist Workers Party and their musical output reflected this, indeed their first and only album took its name from the SWP's defining tagline 'Neither Washington nor Moscow' (but International Socialism). The band played numerous benefit gigs, especially during the miners strike. 

We might expect the party hierarchy to have been pleased at having such a band talking up its politics in songs and in the music press. But when the band were covered in Socialist Worker in September 1984 the tone was decidely lukewarm. After acknowledging their use 'to raise funds and fuel the spirit' Ed Warburton's article 'Powerful music, political pitfalls' goes on to warn that 'the dangers are great'.  Some of the arguments are not particularly controversial - yes, the music press builds people up then knocks them down again, and 'the music business turns everything  into a commodity. Rebellion is safely packaged'. The final sentence 'you can have revolutionary rock'n'roll but you can't be a revolutionary rock star' does though read a little bit like a direct warning to the band and a lot less than a glowing endorsement.

The negative tone was certainly picked up by many and there was an outpouring of support in the letters page of the paper. Paul McGinlay from Glasgow described the article as 'cynical, uneducated' and '  that 'The Redskins are the poison in the machine, and if you'd seen them you'd know that they'd go down rather than sell out'.

A Tyneside miner likewise called the article 'insulting and narrow-minded' and said 'I say all power to the Redskins and thank them for their Victory to the Miners gigs'.

'Ed Warburton's friend' came to his defence, claiming that he hadn't been slagging off the Redskins but making a broader point of critiquing those on the left 'who believe that red bands and stars spouting socialism in the NME are the shortcut to getting our message across. All that does is turn socialism into a fashion that the rock business can turn into last year's model and discard at a whim'.

A review of miners strike music in the paper shortly after does highlight the Redskins 'Keep on keeping on' single. Seemingly the band 'aren't to everyone's taste musically, but for sheer hard work, commitment and rock 'ard politics they can't be beat'.

The band split up in 1986. Over at Moving the River I found the story announcing this from the NME with the headline 'A rock and roll socialist fantasy ends'. It reads a little like the kind of state sponsored 'apology' read out by prisoners on Chinese media with the band's Martin Bottomley bemoaning the band's drift away from 'the party and its collective discipline'. He did though make the point that 'socialists should not discount the possibilities that popular culture can present'.

The SWP's ambivalence about the band most associated with it had a number of sources I think. The first stemmed from the top down culture of the party. Essentially a small number of people did the writing and thinking for the party, the job of the thousands of other members was to distribute this by the main activity of selling the paper.  Before social media and the internet, there was very little opportunity for people to put their own political views out there unless they started their own publication. People in the SWP who had their own platform independently of the party, such as a band or a zine, were always viewed with some suspicion.

But in the case of the Redskins there was perhaps a more specific issue. To lay claim to the skinhead identity as a socialist in the early 1980s was a bold move: a  statement of intent to occupy a subcultural space that the far right thought belonged squarely to them. Inevitably this was going to get a violent response, and it did at on June 10 1984 at the Greater London Council's 'Jobs for a Change' festival  in Jubilee Gardens on the South Bank.  An estimated 150,000 went along to see The Smiths, Billy Bragg, Misty in Roots, Gil Scott-Heron and the Redskins. As the latter were playing a group of around 100 bonehead fascists stormed the front and attacked people around the stage. I was in the crowd and there was a lot of panic as most people ran to get away, despite the fascists being massively outnumbered. Later there was more fighting as the fascists regrouped and attacked the crowd at another stage where Hank Wangford was playing. I ended up with a motley crew of Red Action, punks and anarchists chasing nazis around the South Bank. 

By this point the SWP, who had arguably been amongst those at the forefront of militant anti-fascism in the 1970s, were in no position to respond to such attacks even if they wanted to. It had actually recently expelled some of its most militant streetfighters for the offence of 'squadism' by which they meant putting too much focus on physically opposing fascists. Those expelled went on to form Red Action which was to be the backbone of Anti Fascist Action for at least the next 10 years. When The Redskins next played a London gig it was Red Action who provided the security. The experience of The Redskins showed that the SWP's position at the time of more or less ignoring the far right threat was untenable, not that they would ever acknowledge it. The SWP acted like nothing had happened on the South Bank and neither the event or the fascist attack fiasco were mentioned in the following week's Socialist Worker. 

From Red Action no.13, 1984 - their account of the GLC festival in Jubilee Gardens:

Stand up and Spit has lots of good material about Redskins and related scenes

1984 Socialist Workers courtesy of excellent Splits and Fusions

See previously Socialism through Oi? Chris Moore (Redskins) looks at the music scene in 1982

 

In defence of Billy Bragg and Trans Rights

Billy Bragg has fluctuated in my estimation over the years. When he first appeared on the scene, singing solo on electric guitar was more or less unknown and he had some great songs. I mean a double A side single of New England and St Swithins Day in 1984... few can top that.  Levi Stubbs Tears can still make me cry.

And yes he was on the right (left) side of the all the big battles like the miners strike. My main criticism of him in those days from my anarcho/ultraleft stance was that he was so close to the Labour Party. Must confess I may even have heckled him from this perspective when he played on a National Union of Students demo though he was great live (sorry Billy)! I've never been entirely convinced by his 'progressive patriotism' line of reclaiming icons of English identity from the far right, though I can see that it can sometimes be effective. 

Billy Bragg singing outside the Festival Hall, June 2007

Still he has stuck to his guns politically when others have gone quiet, not to mention later nameless indie folk singers influenced by him who must be suspected of being shy Tories given their absence of anything to say. He has played countless benefit gigs for various worthy causes.

Musically he has steered an interesting path for someone from a punk background -  I actually have a copy of his 1978 punk single with his band Riff Raff, 'I wanna be a cosmonaut', which I sometimes played as part of my Disconaut Autonomous Astronauts set. He has explored Americana through his interpretations of Woody Guthrie lyrics with Wilco, and English folk music with Imagined Village. 

I might add that my partner is from Dagenham and no word can be spoken against him in our house.

But recently my social media timelines have been flooded with accusations about Bragg accusing him of misogyny and being anti-women. The reason for this attention is that he has been an outspoken supporter of trans rights, including changing the words of songs to be trans-inclusive. He now sings his old song 'Sexuality' with the lyrics “And just because you're they,  I won't turn you away' instead of  'just because you're gay', explaining 'Times changed. Anyone born since the song was released would wonder why it’s a big deal to find common ground with a gay man. The front line now is trans rights'. Bragg has also been critical of those feminists who oppose trans rights along with their far right allies. But if Bragg is a misogynist then so presumably are the Feminist Library, Sisters Uncut, Gal-Dem etc. and many other feminist projects - not to mention most left wing/anarcho/radical folks under the age of 35.

I think Bragg is braver than most because he actually stands to lose some of his livelihood for speaking out. I hate the lazy political stereotyping of generations, but I do feel there is a generational aspect at play here. The trans exclusionary position does seem to be particularly concentrated among British lefties of a certain age.  I would estimate that the majority of people I know who were involved in radical politics in the 1980s have this as a default setting. This is precisely the constituency who are Bragg's natural fan base and it would be very easy for him to just serve them up 'what did you do in the strike?' platitudes rather than challenge their current day prejudices.

And I don't feel that prejudice is too strong a word. For me the issue does come down to the simple one of  'Some people are trans, get over it'. We can debate biology, gender and ideology until the cows come home, but it is a fact that some people really do experience gender dysphoria and that their lives can be made better by having their gender identity recognised. It seems needlessly cruel to deny this, or to portray those in this position as some terrible threat.  Of course that's a simple version of the argument and there's much more that I could say, but that has to be the starting point.

The vigil in Soho Square on 18 February 2023 for the murdered Brianna Ghey Vigil. A very moving event and I couldn't believe some of the hateful stuff some people were posting about it. You know 'how do they know it was a hate crime' like every racist says about every racist murder ever. Well it sure wasn't a love crime. 

There are some comparisons here with what happened when the Gay Liberation Front and similar groups erupted in the 1970s. Then too there were plenty of older (and some younger) leftists who found this threatening and denounced them, didn't they know that homosexuality would disappear under socialism and anyway wasn't all this a diversion from the class struggle? (see for instance this Gay Left article on the experience in the International Socialists). Let's just say that history has not been kind...

I know change and challenges to accepted ideas are uncomfortable. I would just urge people to pause and sit with this discomfort for a while rather than make knee jerk responses to something they mostly don't know much about. Read some books, listen to some trans people.  People also need to look around at the company they are keeping. Globally the anti-trans movement is being driven by the far right who are also coming for abortion rights and LGBTQ+ people generally. As someone once said 'If you board the wrong train, it is no use running along the corridor in the other direction' (attributed to Dietrich Bonhoeffer). Wouldn't you rather be heading along the A13 with Billy Bragg?

Part of the big crowd that turned out at the Honor Oak Pub in South London on 25 February 2023 to oppose a far right threat to a drag storytelling event. I know it's not exactly the same issue but quite an overlap and  the anti-drag mob were a motley crew of ex-Combat 18 thugs and assorted Tommy Robinson wannabes. As somebody once sang 'which side are you on?' 

[sometimes it's a lonely and painful path when you feel so many of your friends have taken a wrong turn. Anyone for a support group for 'Boomers and Gen Xers for trans rights'?]

by Neil Transpontine, written on transgender day of visibility 2023

(had some positive responses to this post including one friend saying 'I think us boomers / gen x for trans rights ARE the majority - it’s just the usual crap about those shouting loudest')

Update 31 March 2024

Nothing much has changed, though I've noticed a few left anti-trans people nervously trying to distance themselves from the openly far right associations of some of the people they previously defended (but see Bonhoeffer quote above). A 'wait, are we the baddies?' moment can't come too soon, but I don't think it's good enough. The most sustained anti-fascist movement in London in the past 12 months was at the Honor Oak pub in South London from February to August 2023 where for six months people turned up to oppose openly far right protestors targeting a drag storytelling event. The anti-fascist effort was led by trans/queer activists - see 'South London Loves Trans People' banner below. Being an anti-fascist today means standing alongside and in solidarity with trans people.

For more on the Honor Oak movement, see my article in Datacide magazine: Defending Drag - South London is Still Anti-Fascist

Police raid South London Squat Gigs, 1991

A report on a couple of police raids on squat venues in South London from 1991 - an occupational hazard of going out in that era.

The Hellhouse was a squatted factory in Borough Road SE1, near the Elephant & Castle. On 3rd August 1991 The Blaggers and Oi Polloi were playing a benefit there for Anti Fascist Action. Police came in 'with dogs and wielding truncheons' and kicked everybody out. There were clashes in the streets outside and around 30 people were arrested. Within 24 hours the place had been resquatted.

Notice for Hell Haus/Hellhouse gig - I believe from SHIP Network News

A couple of weeks later there was another gig in a squatted Midland Bank in Peckham which ended in a police raid: 'On August 17th a gig was held in the  squatted Midland bank in Peckham. As it was free about 400 people turned up and had a good time. The police called around after complaints about noise and then they disappeared. About 4 am when the crowd was down to less than 100, the riot police arrived and viciously attacked the partygoers. Many people were injured by police dog bites, and some were beaten up by the cops with batons. The cops sealed off Peckham High Street for two hours. About eight people were arrested and some have been charged with affray which is a very serious public order charge'  (56a Info Shop Bulletin, no.1, August 1991). 56a Info Shop recalled on twitter in 2023: 'At the Midland Bank police raid, a friend of ours hid under a sofa to avoid a beating but when the cops cleared the building they then sat on the sofa for an hour or more! Poor Sergio! Was then locked in to the empty building when coppers left'

 I wrote at the time in a letter: 'I spent Monday in court ready to stand bail for a friend who was arrested over the weekend. I wore a suit in order to look like a respectable member of the community and it worked - a couple of people came up to me and asked if I was a solicitor! As it turned out I needn't have bothered with the fancy dress as my friend got unconditional bail, but he had been kept in since Saturday night, so it was touch and go. Along with 12 others he was nicked when the police raided a party on Saturday night. It was being held in a squatted bank, and over 300 people were there. The police sledgehammered down the door and piled in in full riot gear. People were thrown out of the building and on the way out had to walk between lines of cops who hit them as they passed. Quite a few people got bitten by police dogs'.

Flyer for the Peckham Midland Bank free party - 'live bands, music, friendly peoples', guess the police didn't get the memo.  

 The report below are from the 56a Info Shop Bulletin, no.1, August 1991.

The address of the Peckham party was 69 Peckham High Street  Pictured below is the Street in 1980s. From left to right a co-op store, Nat West bank (still standing in 2023), then the entrance to no.69 (Midland bank) where the party was held, leading through to main building behind. The Midland Bank was demolished in 1990s, so that entrance would be in the gap between the current Nat West Bank (no. 65) and the 'spoons pub The Kentish Drovers (no.71). 

A meeting the day the Peckham raid set up joint 'Hell-bank' campaign to support those arrested at the two parties. The leaflet below about the campaign seems to have been produced to distribute at an anti-racist march which went from Peckham to Bermondsey on 24 August 1991 (this infamously faced a violent British National Party mobilisation, but that's another story).

Leaflet set and printed by RedType who operated at the time out of Clearprint at 61-63  Peckham High Street, very close to the then empty Midland Bank.  Judging by style and language of leaflet (including referring to squatters as 'homeless youth') I think it may have been written by Steve the printer who I think had been in the group Workers Power as well as Anti Fascist Action.

All documentation above found at the 56a Info Shop Archive.

[post last updated January 2024 with details of Hell-Bank campaign]

See also:

Police raid on Arlingford Road party in Brixton (1993)

Hackney Homeless Festival (1994) 

One Becomes Two: Badiou vs Spice Girls

The Spice Girls' pop ballad '2 Become 1' was the UK Christmas number one single in 1996. I loved it at the time for its melody, its video, and (working as I was in HIV at the time) its subtle safer sex use a condom message ('Be a little bit wiser baby, Put it on, put it on').  According to Spice Girl Emma Bunton they also changed the album version lyric of 'Boys and girls feel good together' to 'Love will bring us back together' to be inclusive of their LGBT audience.

The main sentiment of the song though is a familiar one in pop music: 'tonight is the night when two become one', through sex the lovers are united into a single entity.

But it is precisely this notion of love that radical leftist philosopher Alain Badiou takes issue with in his 'In Praise of Love' (2009). Badiou is critical of ‘the meltdown concept of love’ based on the fusion of lovers into the One. That may be a feature of the initial ecstatic encounter, but ‘Real love... that triumphs lastingly, sometime painfully, over the hurdles erected by time, space and the world’ is about Two not One.

For Badiou, 'Love isn't simply about two people meeting and their inward-looking relationship: it is a construction, a life that is being made, no longer from the perspective of the One but from the perspective of Two’. He asks 'what kind of world does one see when one experiences it from the point of view of two and not one? What is the world like when it is experienced, developed and lived from the point of view or difference and identity? That is what I believe love to be'. Again, ‘love suggests a new experience of truth about what it is to be two and not one. That we can encounter and experience the world other than through a solitary consciousness’.

This basis of love in difference rather than identity has political implications: ‘it is urgent to defend love’s subversive, heterogenous relationship to the law. At the most minimal level, people in love put their trust in difference rather than being suspicious of it. Reactionaries are always suspicious of difference in the name of identity’.  Love even bears aspects of communism: ‘By “communist” I understand that which makes the held-in-common prevail over selfishness, the collective achievement over private self-interest.  While we’re about it, we can say that love is communist in that sense, if one accepts, as I do, that the real subject of a love is is the becoming of the couple  and not the mere satisfaction of the individuals that are its component parts. Yet another possible definition of love: minimal communism!’

There is something very French about Badiou's observations, or rather something that accords with Anglo stereotypes of French radical philosophy. There does seem to be a line stretching from the Surrealists through the Situationists and beyond that posits love, desire and passion as unproblematic buildings blocks of a better world. Usually from a male perspective, the view of the objects of their desire are not usually given much thought (though not sure that criticism can be levelled at Badiou). Obviously there is something quite heteronormative in the conception of the couple (the Two) as the subject of love. And don't fascists, reactionaries and racists of all sorts also fall in love, often with people they see as being like them? Their emotional ties can strengthen their sense of identity to their imagined community to the exclusion of those they see as other.

Still we can't deny that we are drawn to stories like Romeo and Juliet where the Two come from rival camps demonstrating ‘the power love possesses to slice diagonally through the most powerful oppositions and radical separations’. Badiou observes that ‘The commonest, most exploited conflict on the stage is the struggle of chance love against implacable law. More subtly, it is the struggle of young people, helped by proletarians (slaves and servants), against the old helped by Church and State’. In these stories and sometimes in our lives,  love is 'a cosmopolitan, subversive, sexual energy that transgresses frontiers and social status'.

Cinzia Says...

'Cinzia says...' at Goldsmiths Centre for Contemporary Art is a retrospective of the work of Italian fashion designer and artist Cinzia Ruggeri (1942-2019).  It features many examples of her 1980s clothing ranges, very much of the time with their playful postmodernist aesthetic, as well as some of her art and video works.  She collaborated with Gianni Emilo Simonetti, sometime Fluxus and Situationist associate, and with Italian pop band Matia Bazar among others.

The exhibition in New Cross, London SE14 closes on 12 February 2023