Art or provocation? Discussion about Niwa's poster in the Graz Styrian Autumn

Art or provocation? Discussion about Niwa's poster in the Graz Styrian Autumn

The current art exhibition “Horror Patriate” is causing a stir in the heart of Graz. What initially seemed like a simple introduction to the exhibition quickly turned out to be a provocative and controversial topic when artist Yoshinori Niwa's poster “Cleaning a Poster During the Election Period Until its No Longer Legible” was covered up by the police. This happened before the official opening, and the provocative slogan “To each our own” on the poster is strongly reminiscent of the fateful slogan “To each his own” from the Nazi era. This situation raises the question of whether this is a critical examination of National Socialist ideas or a creeping glorification.

The Styrian FPÖ reacted immediately to the unveiling of the poster and expressed sharp criticism. This work of art is one of the few pieces in this year's “Autumn” that was not incorporated into the traditional concept of the alternative (national) museum. In her program book, artistic director Ekatarina Degot addresses the role of museums as “factories of national identities”, which seems particularly relevant in view of the growing right-wing populism. The exhibition in the Neue Galerie Graz aims to create a counterpoint to common national museums using humorous and critical approaches.

Artistic discussions and historical references

A striking example of the curatorial approach of this exhibition is the film “Noreia” by Jan Peter Hammer. The approximately 45-minute film illuminates how the illusion of a Celtic city of glory arose from a misguided love of homeland. Using the Styrian town of St. Margarethen, which was renamed Noreia in 1930, the film shows how historical narratives are used to support this illusion. In addition to the film, historical scenes are re-enacted with members of a club dedicated to preserving this supposed tradition. The film is also associated with the never-realized monument to the alleged glorious history of Noreia.

Another notable work of art is the neon light by Peter Friedl entitled “Kill and Go”, which refers to the crime of murder of four Roma in Oberwart. The underlying message is captured by the red-white-red coloring, which reflects the national colors of Austria. Opposite hangs a figure of a “Slavic woman” from the traditional costume hall of the Graz Ethnological Museum. This depiction is used to foreground xenophobia through the simple depiction of the character's white clothing—a clear reference to the backward views that existed about minorities in the past.

The limits of museum discourse

However, it remains to be feared that such approaches to art, despite their quality, are stuck within the typical art discourse and contribute little to the broader discussion about the worrying shift to the right in democratic societies. The museum contexts often seem to cling to historical phenomena, while current issues shaped by neoliberal globalization are only mentioned in passing.

A large part of the audience that is intended to be addressed by the critical content of this exhibition could already be pre-sorted by the type of presentation and the discursive context. Right-wing movements are rarely included in exhibitions of contemporary art, so the discussion tends to be in the realm of art-interested critics. The election poster designed by Yoshinori Niwa remains the only element that provokes intense debate.

An additional exhibition that serves as an appendix to the current presentation in the Neue Galerie is “Kunst Heimat Kunst Revisited”. This is reminiscent of the original project that took place in 1992 as part of the Styrian Autumn and illuminates the concept of home from a critical perspective. The “revisited” version documents the significant artistic contributions and represents an important history lesson that shows what art can do when given the freedom to do so.

In summary, it can be said that the current art exhibition in Graz not only impresses with its provocative works, but also with the associated profound questions about national identity and its contemporary relevance. These debates are more important than ever, especially in a time of global change and increasing right-wing tendencies. And while the discussion surrounding Niwa's poster perhaps provokes the only controversial reaction, the question remains how much influence such exhibitions can ultimately have on society.

More information on this exciting topic can be found in an article on www.artmagazine.cc.