The only lesson from which there is no returning back is the lesson of antagonism”, (Alain Badiou)

 Rab-Rab is an independent magazine dedicated to the relationship between politics and art, but also a platform that supports, collects, discusses and disseminates the experiences of people who want to organize themselves against capitalism, nationalism, chauvinism and all other types of ideologies reactionary. 
In open contrast to the cultural operators who support themselves exclusively thanks to institutional subsidies, with what follows in terms of artistic production, Rab-Rab wants to bring to the surface the contradictory nature of the language of art.

"We do not want to hide our satisfaction with the fact that works that address political issues (such as the brutality of the fascist state, the question of the strength of the state apparatus, the emancipatory potential of urban riots, the indispensability of class struggles and other topics that frequent in the magazine's contributions) are both formally and conceptually richer than "formal" works that accept the banality of everyday capitalist ideologies as the only fact of their work. What we want to make explicit is that politics (read the politics of class struggles) enriches the form, but also that the formal contradictions of artistic productions are inseparable from the implications that reside in the extra-artistic field. To take a step forward, it is possible to state that class struggles in art are elementary and omnipresent forces that cannot be precluded in the mysticism of liberal experiences. Our position is that the novelties of artistic forms arise from these coercions".

In this issue we talk about the political resonance that music can have, about feminist literature, about the representation in the cinema of injustices at work. Then there is an essay that addresses the issue of the prevalence of conservative ideologies in contemporary art.
As a supplement to this issue, you will find an insert with the first part of the English translation of Walter Benjamin's reviews of the correspondence between Lenin and Maxim Gorky. Translated by Esther Leslie, Benjamin's text portrays a different Lenin, whose personal life is not detached from his revolutionary politics.