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Posts tagged as Germany

Who’s afraid of Cultural Marxism?

Just in case the significance of Braverman’s interjection was missed, Foster was on hand to explain in a follow-up tweet: ‘”Cultural Marxism” .
A member of government using it and linking it to Labour is really worrying.And, in part, Foster is right. The phrase cultural Marxism does potentially allude to an anti-Semitic conspiracy theory.It is not the same thing as cultural Bolshevism, the term the Nazis used for art, especially avant-garde and modernist art, that did not conform to their vision of blonde boys and rustic kitsch. Rather, its provenance is much more recent, emerging as it did, on the loonier right-wing fringes of the Culture Wars of the 1980s and 1990s; in the speeches, essays and books of William S Lind, who claimed the Jewish emigres of the Frankfurt School had set in motion the destruction of ‘Western culture and the Christian religion; and in Patrick Buchanans 2001 jeremiad The Death of the West, which, again, blamed a long-line of Marxian, Jewish thinkers for undermining, well, Western civilisation.

All of which was taken up, and imbibed, by Norweigian mass murderer Anders Breivik, whose turgid and surely unread 1,500-page manifesto references cultural Marxist and cultural Marxism nearly 650 times, according to word searches.Since then, this theory, such as it is, has continued to be propagated from the bedrooms of the alt-right, and given a largely oblivious endorsement by Jordan Peterson, who, in 2016, retweeted a Daily Caller article by Moses Apostaticus, in which Mr Apostaticus notes the historical subversion of the nuclear family, traditional morality and concepts of race, gender and sexual identity, before attributing blame:This call to subversion was picked up by Marxist scholars based around the Institute for Social Research in Frankfurt, Germany.

In the tumultuous milieu of Weimar Germany, theorists such as Max Horkheimer, Herbert Marcuse, Erich Fromm, Theodor Adorno and Georg Lukács integrated the theories of Sigmund Freud with classical Marxism to develop the foundations of critical theory, deconstructionism, post-structuralism and postmodernism. Known as the Frankfurt School, many of these intellectuals fled Hitler’s Germany for the United States where they were welcomed by Progressives and socialist intellectuals.

The theories of the Frankfurt School unified the vanguard of the 1960s countercultural movement and have since spread to every discipline in our universities, colleges and schools. These theories, which obsess about colonisation, subjugation and oppression, have indeed colonised higher education in the West.
Its not true, of course. Postwar Western society was not undermined from without, by some sort of Freudo-Marxist diaspora.
It was already undermined from within, already suffering a crisis of legitimacy, moral and political, faced, as it was, by the chronic failures of prewar laissez-faire capitalism, the horrors of the war, and, of course, the Holocaust itself.As for the intellectual history, its just nonsense.Lukács was a committed Communist who later endured a vexed relationship with Stalinism; and the Frankfurt School were resolutely anti-Communist, with Adorno famously publishing a critique of Lukács in 1958 in, of all anti-Western places, the CIA-sponsored journal Der Monat.

Yes, Marx and Freud were significant influences on all, but equally, if not more, significant were Kant and Hegel, Nietzsche and Weber, and, in the case of Marcuse, Martin Heidegger, who taught him in the 1920s.But that, of course, would ruin the daft contention that there was something specifically Jewish about all this cultural Marxist malarkey.So cultural Marxism, in this sense, is as unpleasant as it is asinine, even by the standards of right-wing conspiracy theory.

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Frestas – Triennial of Arts announces curatorship of 3rd edition Sesc Sorocaba R. Barão de …

A trans-disciplinary platform, it promotes new actions and reflections in a broader field of the visual arts, engaging the public and the circuit in a more.Frestas is concerned with a passage, cracking and rupture—an opening to a new democratic place of activity.This project is carried out by the SESC unit in Sorocaba, in the state of São Paulo, Brazil. The third edition of Frestas is being held between August and December, 2020, presenting a plural art show and entirely new programming for SESC Sorocaba and other contexts of the city.

Since its 1st edition, the exhibition has presented around 170 artists from a wide variety of generations and backgrounds, in different curatorial contexts and programmatic cross-sections. Its extensive spectrum of participants allows for interchange among local, regional and international artists, while also promoting dialogic instances with various professionals from the area, including curators, researchers, professors, cultural agents and others, and with a vast range of publics.Beatriz Lemos (Rio de Janeiro, RJ), curator and researcher, with an MA in Social History of Culture from PUC-RJ. She conceived the research platform Lastro – Intercâmbios Livres em Arte and works in the promotion, teaching and curating of processes of anticolonial, antiracist and feminist creation in Brazil and Latin America.
She is the curator of Bolsa Pampulha 2018/2019 (Belo Horizonte, MG) and coordinates the Grupo de Estudos Lastro na Casa 1 (São Paulo, SP). In 2017, she served on the curatorial commission of the 20th Contemporary Art Festival Sesc_Videobrasil and coordinated the artist residency Travessias Ocultas – Lastro Bolívia.Diane Lima (Mundo Novo, BA), curator and researcher, with an MA in Communication and Semiotics from PUC-SP. She carries out multidisciplinary curatorial practices in a decolonial perspective.This year, she was co-curator of the artist residency PlusAfroT, at Villa Waldberta, and of the group exhibition Lost Body – Displacement as Choreography, both in Munich, Germany. In 2018, she was the curator of the Valongo Festival Internacional da Imagem and a member of the Grupo de Críticos de Arte of the Centro Cultural São Paulo.
Thiago de Paula Souza (São Paulo, SP), curator and educator with a background in the social sciences. He participates in the program Propositions for Non-Fascist-Living, organized by BAK (base voor actuele kunst), in Utrecht, Netherlands.With curator Gabi Ngcobo, he created the platform I’ve seen your face before, as part of the project Ecos do Atlântico Sul, of Goethe Institut, in São Paulo. In 2018, he was a member of the curatorial team of the 10th Berlin Biennial, entitled We Don’t Need Another Hero.This curatorial team is consistent with the institution’s aim of confronting a contemporary global reality, opening borders and constructing dialogues with the international circuit, without losing sight of the local complexity.SESC – Serviço Social do Comércio is a nonprofit private institution created in 1946 by business leaders of the commerce and service sector throughout Brazil.In São Paulo, SESC has 40 centers active in the areas of Culture, Education, Sports, Leisure and Health. The institution’s actions are guided by its educational character and aim to foster social well-being based on a broad understanding of the term culture.

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Heron Preston Visits Nairobi With United Nations Alliance for Sustainable Fashion

Invited by the United Nations Alliance for Sustainable Fashion, the two-night trip was a launch for its program Future Fashion Now. The UN Alliance for Sustainable Fashion is rooted in the urgency to better coordinate sustainable fashion efforts as they fit with the 2030 Agenda for Sustainable Development and the 17 Sustainable Development Goals.

The UN flew him and a cadre of other young designers to Nairobi, where he gave a talk, explored local secondhand markets and went on a safari. The markets were packed with essentially the effects of what happens to our stuff when we no longer want it.Taking out his smartphone to illustrate that point, Preston reeled through photos of a room stacked to the rafters with compressed bales of secondhand clothes.So flooded with secondhand goods, the markets have more than they can sell, Preston said.Then that really affects the local designers and markets there. It’s harder for them to thrive because of all this stuff that we’re sending, he said.It’s crazy just clothes, bras, athleticwear, jerseys. There’s a documentary about it.

We think we’re donating clothes, and it gets sold off by the weight in bales and bales. There’s a bunch of stuff that isn’t even used.Another photo shoot by Preston showed a man unstuffing a pile of teddy bears to reuse the cotton. They’re just breaking things down and using it for different purposes, he said.Preston was at The Whitby in New York to reconnect with Fashion 4 Development’s senior adviser sourcing and innovation Jeanine Ballone, who was on the Nairobi trip, and to meet the group’s founder Evie Evangelou.The designer, a contender for the CFDA’s Emerging Designer of the Year award, said his interest in sustainability started out with a zero-waste collaboration with New York Citys Department of Sanitation repurposing 9,000 old uniforms.

That sparked this curiosity and challenge to do better in fashion. From there, I really learned and discovered how damaging the textiles and apparel industries were.
I had no idea. And I had no idea that I was part of that problem as a designer.An apprenticeship with Eileen Fisher had helped to set him on his way, repurposing a tarp that he had hung in his showroom with an Eileen Fisher quote before he met her into camera bags. His latest earth-friendly project is Jump, items made from military grade decommissioned parachutes, which launches next month.

During his UN-sponsored trip to Nairobi, he presented some of those designs. Preston has switched his cotton sourcing and is now using only organic certified cotton, and is looking to use other environmentally preferred materials.Preston buzzed by Germany to visit Rimowa and tour the factory, getting a closer look at the machinery that is used to make Porsches and airplanes. It was million dollar heavy-duty engineering that just goes into aluminum luggage, he said.They started back in the 1800s making leather luggage. The factory had a fire and the only thing that survived was the aluminum.It’s beautiful luggage as well all handmade, weather-resistant, super, super airtight glue, nice design. On Monday, he is off to Hong Kong for the city’s Art Basel where he will DJ for David Zwirners gallery.The trip east will give Preston the chance to stop by his Hong Kong store in Causeway Bay. He shrugged off his resilience to transcontinental travel.

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