2012ISTHESEASONFORTREASON has researched the shadowy connections and factual ideology of the establishment gentrification event “Berlin Biennale 7”. Unfortunately, some ignorant journalists took liberty to mis-title our exhibition and related events “antibiennale by Organ Kritischer Kunst” (http://www.polit.ru/article/2012/05/05/dm040512/). On the contrary, 2012ISTHESEASONFORTREASON has involved 8 international collectives, who presented their practice, which even unintentionally challenge the aggressively stupid conception of the biennial. This fact has been completely overlooked by the authors of the BB7 review on polit.ru portal who chose to fetishize biennale and concentrate on the bollocks surrounding the event. Needless to say, 2012 team has a different analysis of the mentioned event. Additionally, 2012ISTHESEASONFORTREASON showed support to such campaigns as FREE PUSSY RIOT and BERLIN MAY 9-11, ignored by the BB7. Happily, the Pussy Riot case has been took up by both activists and KW Institute for Contemporary Art, but unfortunately the personalist approaches to the mentioned campaign seem to be closer to the demands for (artistic) “freedom of expression”. The situation is much more sad if one is to look at Berlin 9-11 campaign, held in order to scandalize the worsening deportation policies which directly affect the lives of millions.
Nevertheless, as another repeating example of our attempt to present very distinct practices of our comrades, and as just another proof of 2012ISTHESEASONFORTREASON attempt to further contextualize the Querfront/Third Position political ideology embraced/supported by both Berlin Biennale 7 and VOINA, we are republishing a Datacide article “From Subculture to Hegemony: Transversal Strategies of the New Right in Neofolk and Martial Industrial”, which has been discussed parallel to Kavecs Projects’ “Third Positionism and the politics of Greek indignados”. Those who missed the talks in OKK/Raum29 have a chance to catch up with Kavecs Projects presentation in KW Institute for Contemporary Art on Monday, May 14, 2012 – 20:00.
The following article written by Datacide author Christoph Fringeli is a detailed research of the involvement of some of the main characters of Querfront/Third Position/National Anarchist ideologies in the subcultures of Neofolk and Martial Industrial. Brilliantly researched and engaging article is suggested to everyone who wants to find out more about the “not so phenomenal” political obscurity of the artistic individuals and bands associated with this particular brand of neo-fascism.
From Subculture to Hegemony: Transversal Strategies of the New Right in Neofolk and Martial Industrial
Neo-Folk and Martial Industrial are two sub-categories of Industrial Music, which developed in the 1980’s. Industrial as such was a direction that – parallel to Punk Rock – worked with the latest electronics in order to create an aesthetic of futuristic noise machines of the late 20th century and research extreme zones of contemporary society and history. Throbbing Gristle already thematized concentration camps, serial killers, Aleister Crowley etc by using cut-up techniques of William S. Burroughs and Brion Gysin and thus with strategies of liberation from brain washing. Similarly, Cabaret Voltaire were said to wage a “propaganda war against the propaganda war” (Industrial Culture Handbook). With SPK this was combined with a critique of Psychiatry and a presentation of extremes of the body and death. In the 80’s there were agitational and critical bands such as Test Dept., Nocturnal Emissions and Bourbonese Qualk which were often associated with the ever broadening spectrum of “Industrial”. However, with Laibach the critique of totalitarianism became more ambivalent. This ambivalence was at first seemingly shared by Death In June, the band that in many ways was at the origin of what is now considered Neo-Folk and Martial Industrial.