Art versus the Right: Because Silence is Not an Option

A group exhibition titled Kunst gegen Rechts opened in Berlin’s Friedrichshain district, positioning itself against far-right extremism ahead of regional elections in Saxony-Anhalt, Mecklenburg-Vorpommern, and Berlin. The exhibition, held at the former fire station turned public gallery, features works from international artists and aims to counter rising right-wing influence in politics. Organizers Anne Mundo and Dirk Teschner warned in the exhibition booklet that the upcoming elections could pose a risk to democratic governance, with the possibility that mainstream parties might fail to form a government. They emphasized that art should not remain silent in the face of such threats, stating, “Kunst macht da nicht mit! Kunst schlägt dazwischen!” The exhibition builds on a previous show in 2017, which coincided with the first time a far-right party entered the German federal parliament since 1960. Since then, numerous taboos have been challenged, reflecting growing concerns over the normalization of extremist ideologies. The current display includes 17 artworks, each contributing to a nuanced critique of right-wing violence while avoiding overt alarmism. Instead, the exhibition balances emotional engagement with documentary-style presentation and subtle humor, offering a layered response to contemporary political tensions. One standout piece is a glass baseball bat created by Dresden-based artist Thomas Judisch. Mounted on a wooden frame, the object initially appears as a beautifully crafted vase. Upon closer inspection, however, its surface reveals engraved tags and logos resembling graffiti, referencing incidents of far-right violence. The bat, originally a symbol of right-wing aggression during Germany’s unification in the early 1990s, is recontextualized through Judisch’s work, drawing parallels to ancient mythological symbols such as the club of the tragic hero Hercules. Despite this artistic transformation, the piece still carries latent traces of violence. Another powerful contribution comes from Berlin-based musician and artist Moritz Sturm, whose 45-part charcoal portrait series Todesopfer rechter Gewalt documents victims of far-right attacks in the three states where the upcoming elections will take place. These include individuals murdered by neo-Nazis since 1990, many of whom have no known photographs. Sturm uses these portraits to highlight gaps in official records and state accountability, underscoring how institutions have failed to address systemic issues. A QR code allows visitors to access biographical information on the victims, including that of Dragomir Christel, an 18-year-old Romanian refugee killed near Rostock in March 1992. In a statement, Sturm argues that silence is no longer an option, pointing to shifts in societal discourse that have allowed far-right rhetoric to infiltrate mainstream language. He criticizes not only the popularity of the Alternative für Deutschland (AfD) party but also the broader acceptance of toxic slogans that mimic mainstream political speech. Sturm warns that factual knowledge and scientific understanding are increasingly being replaced by irrational fears, creating space for racist ideologies to gain traction. The exhibition also features large-format flags by Raul Walch, displayed outside the venue. These flags, though fictional, reflect the symbolic power of national identity and the potential for ideological manipulation. Their presence underscores the ongoing debate around the role of art in political activism, particularly in times of heightened polarization. The exhibition runs until September 20, with artist talks scheduled on September 2nd and 9th.