Ekaterina Degot – författare

Steirischer herbst ’24 explored nationalism, identity, and origins through exhibitions, performances, and essays, exposing the fictions and horrors of fatherland narratives. At a time of resurgent nationalism, steirischer herbst ’24 raised questions about nations, identities, and origins, playfully shedding light on fatherland narratives as well as the horrors that (re)emerge from these fictions. This richly illustrated publication showcases the festival’s central exhibition, which transformed Neue Galerie Graz into an imaginary museum of national complexes and dark fantasies. It also documents the other projects of the 57th edition—including performances and cabaret shows—and features essays on the subjects broached.

Horror Patriae, the 2024 edition of steirischer herbst, tackled nostalgic and imaginary constructions of nationhood, juxtaposing them with neglected and silenced stories of strange encounters, hybrids, and happy miscegenation Nationalism has made a spectacular comeback, with tribalism, particularism, and local pride embraced across the political spectrum. As the post–Cold War order erodes, the nation appears as a refuge, yet it remains an illusory one, an “imagined community,” as Benedict Anderson put it. Combining essays and conversations, the festival's reader further examines the new nationalisms and how to resist them.

Inspired by Ernst Toller's prophetic satire Nie wieder Friede! (1936), steirischer herbst '25 confronted the rise (and return) of authoritarianism and the never-ending wars in the world. Recalling its antifascist roots, the festival's fifty-eighth edition invited artists to respond to a present in which the lessons of World War II appear to have been forgotten, if not perverted. This richly illustrated publication showcases the central exhibition in an abandoned industrial site in the city of Graz. It also documents the other projects of Never Again Peace-including performances and cabaret shows-and features essays on the subjects broached.

By placing emerging artists in their political and social contexts, this collection attempts to confront the new activist scene that has arisen in the Russian art world during the past few years. The recent explosion of protests in Russia - often with their very purpose being to decry the lack of artistic freedom - is a symptom of a fundamental change in culture heralded by Vladimir Putin's first election. This shift was precipitated by the change to a highly commercial, isolated world, financed and informed by oligarchs. In response, the Russian contemporary art scene has faced shrinking freedom yet an even more urgent need for expression. While much of what is emerging from the Moscow art scene is too new to be completely understood, the editors of this volume seek to bring to light the important work of Russian artists today and to explicate the political environment that has given rise to such work. "Post-Post-Soviet?" features criticism by writers and scholars, as well as dialogues with artists. Contributors include Boris Kagarlitsky, Ekaterina Degot, Keti Chukhrov, Boris Buden, Artur Zmijewski, and others.