e-flux Journal #76

<p>“How Much Fascism?” asked the curatorial collective WHW. Quite a bit, it would appear. As always, the prefix “neo-” can stand for many differences in the repetition, yet the noun asserts itself with all the subtle grace of an elephant in the room. Historical fascism, too, was a many-headed hydra, and scholarly struggles over exact definitions are ongoing, and will continue, for there is no Platonic Idea, but rather a set of historically grown family resemblances – revolving around tropes such as a cult of strong male leadership that will reverse a country’s decline, the identification of the cause of that country’s decline as the work of some “other,” the need to purify and unite the <em>Volkskörper</em>, and an ensuing taboo regarding class conflict. Not to mention dependency on extralegal violence even while extolling Law and Order, and so on, and so on … complete, delete, bicker, and argue at will…</p> <p><strong>Editorial—“The Perfect Storm”</strong><br /> Sven Lütticken, Julieta Aranda, Brian Kuan Wood, Stephen Squibb, and Anton Vidokle</p> <p><strong>If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms</strong><br /> Hito Steyerl</p> <p><strong>What Can We Learn from Vampires and Idiots?</strong><br /> Ilya Budraitskis</p> <p><strong>In the Nebulous Zone between Class Antagonism and Violence</strong><br /> Keti Chukhrov</p> <p><strong>With the Blow of a Paintbrush: Contemporary Fascism and the Limits of Historical Analogy</strong><br /> Boris Buden</p> <p><strong>So Far, So Good: Contemporary Fascism, Weak Resistance, and Postartistic Practices in Today’s Poland</strong><br /> Ewa Majewska and Kuba Szreder</p> <p><strong>Who Makes the Nazis?</strong><br /> Sven Lütticken</p> <p><strong>Male Fantasies: The Sequel(s)</strong><br /> Ana Teixeira Pinto</p> <p><strong>Some Theses on “Populism”</strong><br /> Tony Wood</p> <p><strong>Transdemocracy</strong><br /> Jonas Staal</p>