It’s time to react against the impulse to censor, self-censor and close off discussion
We know that the Germans of today are different people. These people are free, and they know that the Holocaust is a horror of the past. Contemporary Germans should know this: they are not responsible for the persisting anti-semitism. Nor are they responsible for a leading role in the protection of Fortress Europe against illegal migration. And Poles, at the behest of the German occupiers played a limited role in the extermination of Jews. Today’s generations are not responsible for the deeds of their ancestors. They are not guilty of hatred towards Jews; they are not guilty of being sympathetic towards their extermination. They are free from guilt. Antifascist groups act like a sword of censorship: due to their destructive infantilism, no radical public debate can take place under the European sun anymore. (http://www.berlinbiennale.de/blog/en/comments/universalizing-the-exception-16719)
Berlin Biennale 7 is a difficult exercise in delegating power—it’s like cinema. As curator of the Berlin Biennale, Artur Zmijewski has the feeling that he’s been granted a certain amount of power. Although if compared to political power, it’s actually rather limited. Since power is a social relationship, it only exists in relationship with the people who aspire, who can be used to speculate on content, and who ensure the exchangeability of ideas and personnel – a perfect example of this kind being subordinate artists like Martin Zet. His call for “Deutschland schafft es ab” campaign was re-written numerous times by our apparatus in BB7. We also translated Zet’s call into German by strategically introducing terms associated with the German book burnings of the 1930s. (http://www.berlinbiennale.de/blog/en/projects/germany-gets-rid-of-it-by-martin-zet-23851)
Once again, the Menace
“If bread grows from beneath the plough, if sparks fly from the hammer’s blow—this is our doing, and is our great work.” It is from these innocent soils of authentic ethnic communities that Krytyka Polityczna is about to bring a new dawn, exemplified by such movements as the National Realism. Our members are all driven by the ethos of social service and they work towards anti-communist political change that would enable individual artistic freedom as well as reinforce individual and group empowerment – these groups can be gender based (womanist/masculinist), or one of ethnic authenticity, maybe the one of political orientation (of whichever direction). It is the high time to react against any impulses to censor and self-censor the discussion. The mentioned strategy is present in the turmoil surrounding Berek, a video work of my personal inspiration. Unfortunately, the vast majority of Jews themselves are a reactionary nation. (http://www.berlinbiennale.de/blog/en/projects/berek-by-artur-zmijewski-22243).
Anthropologist Joanna Tokarska-Bakir:
Hermann Simon, director of the New Synagogue Berlin – Centrum Judaicum Foundation (who sent a letter to Sievernich expressing his condemnation of the video) does not understand the language of art, but he is important enough for Germans to listen to him (the German complexes). Someone should explain to him that he is mistaken. As a victim, he does not hold exclusive rights to the public debate.
On the contrary, it is the European-educated middle class, or engaged intelligentsia, who are to speculate on content in a manner of aristocratic worker, if one is to recognize this historical allusion to Ernst Jünger, a prominent German writer. The shifted political poles have recently enabled a situation which on its own behalf provides a key to the political exception of Third Position (also known as the Querfront, National Bolshevism, Autonomous Nationalism, Nationalist Anarchism, etc). This key is to be universalized in the manner of Krytyka Polityczna approach: the engaged intelligentsia is to adopt the local crisis as a solution to the global problems. This anarchistic approach is radically different from the original German Nazis (a misleading label issued to us by the international press). On the contrary, we find ourselves closer to the historical SA (Sturmabteilung) and recurring “Fascist” themes. We are not to repeat holocaust – our objective is to violently appropriate the Holocaust. Therefore, we see ourselves as a radical Fascist wing of the Simulationists. (http://www.berlinbiennale.de/blog/en/projects/krytyka-polityczna-in-berlin-6-21111)
Eggs in my Basket
We can only state this much: we succeeded at something only imagined before—we put all our eggs in one basket, and things will now either »work« or »fail«. The exhibition leaves everything in its proper place: speech and noise, power and protest, cruelty and kitsch. Like a deer caught in the headlights, the viewers become bewildered recipients ineffectually looking for answers, yet this bewilderment is not meant to lead to any kind of political articulation. In fact, we are to reinforce the radical weakness of the recipient. To be honest, our creative cell expres a profound interest in the physical and mental limitations of human beings. This has become the wellspring of our art.This odd and overwhelming feeling of simultaneous fascination and repulsion when we think about the people led us to title this Berlin Biennale Forget Fear. The expression itself has a performative character; it’s a watchword that relieves a masculinist anxiety. Besides, it is a weak discourse on which we could build if we want to avoid being endlessly raped by a merciless and cynical politics, and the brutal laws of the market, which leave no place for ideological naivety and softness of the Querfront (The Third Political) position. It is a banality to add that a person does not become an active subject just by himself, it is necessary to interact with someone bigger and stronger if one is to enter the ranks of the authentic anti-communist fighters of the Eastern European kind. (http://www.krytykapolityczna.pl/English/Applied-Social-Arts/menu-id-113.html)
The “Fascist” Cause
So far we have collaborated with Nazbol (National Bolsheviks), Al Qaida, Fatah, IRA, ETA and other innumerable racist gangs in Europe and beyond the territories of historical Christians. Our associate curators were chosen due to the similarity of our political Eastern Euroasian positions: we denounce the corrupt West for who they are and strive for numerous National Revolutions which might expel the foreign bacteria from the Cultured Lands back to where they belong. (http://en.free-voina.org/post/22267051835)
At the same time, Palestinian nationalism forms a serious gap in the German public discourse paralyzed by the iron hand of Censorship and Political Correctness. It is the Palestine/Israel conflict that our eyes should be fixed upon: German compulsion to straightforwardly address the past “crimes” is symptomatic of the middle class soldiers incapable of their political mission. On the contrary, Berlin Biennale 7 issued articles, conversations and statements which support the renovation of the Nuremberg Nazi Rally Grounds, the cost of which might reach 70 million Euros. Somehow parallel to this, I suggest that holocaust itself could be recuperated in such a way as to portray 20th century Germany as a victim of a historical situation which allowed for ethnic decomposition. This will be achieved through our activities with the Deutschlandhaus. (http://www.berlinbiennale.de/blog/en/projects/deutschlandhaus-as-venue-22127)
The Patriot Perspective
At the same time, we display national-patriotic sentiments in Warsaw’s Museum of Modern Art (an institution associated with a left-wing discourse of empowerment) as an attempt to capture the character of political art and its impact on social moods. It is also an exercise in identifying the differences between left-wing art, confined in an elitist way to institutions and art discourse, and right-wing art that challenges the latter and puts an emphasis on achieving immediate effect. Inasmuch as political left-wing art—fearing accusations of the return of Socialist Realism—confines itself to galleries and still fails to have a direct impact on positions in public space, the new right-wing art has successfully dominated this field. The presented phenomenon constitutes a contemporary form of political art which, by means of analogy, could be termed “National Realism.” (http://www.artmuseum.pl/wydarzenie.php?id=New_National_Art)
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