26 namn på skribent Is a Gateway Aesthetic to Fascism? On the Rise of Taboo in Contemporary Art

dorian batycka

“We live in a moment of profound cultural deceleration.”

Mark Fisher 1

There is a specter haunting contemporary art, the ­specter Emerging in the early 2000s, a cadre of artists began of accelerationism. It is often said that art provides­ a populating and congregating online, creating in the ­window in which to look at the present. Today, with the ­process new digital forms that would later be described rise of reactionary populism and neoconservatism all over as ‘post-Internet’ art.4 In contrast to the rise of Net Art in the world, we have seen a concomitant rise in techno-­ the 1990s, post-Internet practices tend to use both online futurism, an emergent paradigm within contemporary­ and offline media to underscore the immense impact that art adopting right-wing metaphysics, science fiction,­ the internet has on our lives. Whether through ­digital ­fantasies of social collapse, doom, and the failings of the culture, corporate culture, or the effects of machine status quo. Over the last decade or so, life online and learning and artificial intelligence today, the term Post- offline has changed considerably. Together with the rise Internet initially emerged from discussions between of the alt-right, taboo forms of culture have started to Maria Olson in 2008 and elaborated further by critic circulate in obscure corners of the internet, entering the Gene McHugh in 2009.5 While the term post-Internet pantheon of biennales and museums all over the world. continues to evolve, and in some cases even devolve, it According to cultural critic Brian Holmes, the laby- is primarily associated with artists and collectives like rinth of the Internet and mass communication ­systems AIDS-3D, Petra Cortright, Lucky PDF, Jon Rafman, are today fraught with ambiguity in terms of their Ryan Trecartin, Amalia Ulman, Harm van den Dorpel, ­emancipatory potential, “in an era when civil society has Artie Vierkant, and Addie Wagenknecht. been integrated to the military architecture of digital However, the paradox of the internet is that while media,”2 there is today an increasing presence of taboo it has given marginalized voices a space in which to forms and aesthetics online. However, according to the secure access to speech and community, disobedience author and communications researcher, Stefan Wray: and nonconformity,­ it has also given platform to taboo ideas, fascist and far-right literature and memes, canni- Resistant Internet use follows a lineage of earlier forms balizing extremist views into a cornucopia of half-truths of resistant media application. All types of mediated and anti-establishment conspiracy theories. Exhibitions ­communication technology – print, telegraph, telephone, such as the 9th Berlin Biennale curated by DIS in 20166; radio, film, television ­­­– have at times been instruments and the 6th Athens Biennale7, curated by Stefanie for collective acts of resistance. Resistant media use in Hessler, Kostis Stafylakis and Poka-Yio, both come to moments of revolutionary social upheaval ranges from the application of the printing press in the 1525 German mind, the latter was billed as an “opportunity to put Peasant War to the use of the fax machine in the 1989 our values forth.” Values, it seemed, that sought to over Chinese student movement.3 identify with images, ideas, and politics of the ­far-right, brimming with tokenistic, deliberately un-woke “LOL On top of the imperial infrastructure of the Internet, ,” satirical modulations of post-Internet art, there are taboo arenas where hate speech takes form. ­deliberately and disdainfully trolling identity politics Such phenomena are nothing new, take 4chan and and the progressive values of the art world writ large. for example, image boards that served as the Related to the rise of recent taboo in ­contemporary ­breeding ground for mass shooters, memes, and far-right art, a relatively more recent catch phrase dubbed “cancel­ Euripides Laskaridis / OSMOSIS thirío, 2018. Performance 6th Athens Biennale ANTI. Foto: Nysos Vasilopoulos. ­messages, trolls, and symbols. culture” has taken root. Cancel culture relates to the 28 dorian batycka is accelerationism a gateway aesthetic to fascism? 29 idea that identity politics has become firmly situa- negate to consider the ways in which politics may instru- ted within the privileged terrain of art: in galleries, mentalize art that overidentifies with far-right symbols. ­museums, ­biennales and institutions all over the world. Yet art has always been rife with examples of artists And with it the idea that art can and should run anathema who flirt with taboo and/or controversy. Toying with to ­popular or progressive ideas. This taboo, let’s call morality and free speech in ways that are deliberately it “contrarian aesthetics,” has led to a divisive battle of provocative, artists tend to feel at home with rebellio- ideas within contemporary art practices and discursive usness and disobedience. Think of Gustave Courbet’s fields like literature, cinema and theater. Against calls for toppling of the Vendome column, for example. Courbet ­greater parity in the art world, identity politics has led was an anarchist in the spirit of Proudhon, and many to a hyper-polarized state within the art world at large. artists today who identity with some form of anarchism Satire and irony aside, parafiction and over ­identification tend to delight in the toppling of social norms, creating have all had various roles to play within this milieu, so the basis for contrarian aesthetics and taboo. too various artists associated with post-Internet art. But like Courbet’s toppling of the vendome column While critics of cancel culture propagate a myth in the 19th century, contrarian aesthetics today can be that being cancelled is akin to a form of censorship or read through the prism of ideas that emanated from an attack on free speech, cancel culture is ­voluntary the early 20th century. Between 1927 and 1940, when withdrawal of attention, be it through a public Benjamin wrote the fragments that would later become re-reading or harsh critique. A variant of the term The Arcades Project9, he envisaged how, during the late ­“call-out culture”, cancel culture describes a form of 19th century, European ideas relating to technology and boycott in which ­someone (usually a celebrity) who consumerism were beginning to lead to extreme social has shared a questionable or an unpopular opinion,­ regression, which he connected to industrial capitalism, or has had behaviour in their past that is perceived the First and Second World Wars, totalitarianism, and Panos Sklavenitis, Cargo, 2018. Performance, installation. 6th Athens Biennale ANTI. Foto: Nysos Vasilopoulos. to be either offensive or problematic, is called out genocide. In his ambitious and unfinished project, which on social media and subsequently “canceled” by way can be applied not just to the 19th century but also to of a ­blanket and near total boycott. Cancel culture is the present day, including, perhaps most importantly, The technological determinism that once fuelled and difficult to define. According to Arns, this is “because not, as Jonty Tiplady argues, “being redesigned as the to the 9th Berlin Biennale curated by DIS, Benjamin the Futurists doctine of progress bound to modernity, it (the ‘alt-right’) seeks to mask precisely these political cancellation of culture itself.”8 Instead, cancel culture ­mapped out how modernity was bound to mythical ideas has instead given way to nuanced forms of parafiction, beliefs; namely, Islamophobia, , racist natio- functions like a system of checks and balances on art, of progress­ fuelled by a technological determinism, a third-positionism and overidentification, prompting nalism and contempt for the constitution” as a means of a check and balance on taboo. Critics of cancel cul- utopian way of thinking about technology and mass renewed debate about the constant digital feedback of creating confusion and sowing dissent. Arns’s exhibition­ ture, such as Tiplady, recycle a myth that free speech ­communication that presupposes technology­ will deliver the Internet and whether or not the technological and helped shine light on how the alt-right manifests online, is in crisis. Inflated fears of censorship have, conversely, social emancipation. In short, the techno-futurism­ social freedoms upon which the Internet functions is but it did so in a way not entirely critical of post-­Internet marshalled in new forms of hate speech including the ­ushered in by artists of the post-Internet­ generation­ instead being debased by throngs of trolls and right-wing art. In fact, the exhibition largely platformed many artists gas lighting and/or silencing of minorities, leading to has created a chasm within contemporary­ art, bound conspiracy theorists. associated with the movement, as well as artists who new forms of taboo and disobedience. When nudged not to progressive­ ideas of identity­ politics­ and cultural­ The arcades and boulevards of Paris once ­illuminated simply make use of digital anthropology as a means of ­against a society that is under increasing political threat ­freedom but, rather to insidious ideas involving a slick by streetlights from above now pulsate down an studying the morphology of fascism online.10 from right-wing, neo-fascist elements, critics of cancel blending of cyber-utopian­ thinking­ and acceleratio- ­information superhighway lined with social media, Art and alienation have always been uneasy bedfel- ­culture retort to the age old argument that society is in nism, an impulse to think that humanity’s problems will online ­shopping, the sharing economy, leisure, games, lows, yet the recent uptick in bluntly fascist taboo ­cultural danger of Orwellian derailment, and with it artists have magically be solved through technology, science and and more frequently, digital alienation, hate and trol- forms is today fuelled by artists interested in cheaply a responsibility to act in a taboo manner. engineering. Indissoluble from deliberately nihilistic­ ling. However, the lexicon of tyranny also has a long manufacturing confusion. Take the recent case of LD50, And with the rise of post-Internet art over the last ­meltdowns, technological determinism­ has exacerbated and complex history, and, perhaps, an even more com- for example, a London gallery that was ­forced to close decade, borrowing elements of satire and irony have the vertiginous speeds of capitalism­ gone amock. plicated present. after local East Londoners got wind it was programming become particularly fashionable for young artists keen With the emergence of “arcades” – literally the While the Futurists claimed fascism as the natural and giving a platform to alt-right groups, ideas, theorists on rebelling against the status quo. Such taboo forms structures that created passageways through blocks of political extension of their aesthetic form, today post-­ and artists.11 One of them, a guest at LD50’s Neoreaction have been used to unfairly criticize identity politics and buildings lined with stores and shops and which first Internet artists claim a nonlinear ideology in order to conference in the summer­ of 2016, was Brett Stevens, the progressivism of the art world, which tends to lean appeared in Paris during the city’s transformation under mask the political intentions of art in lieu of fake news, the white supremacist whose writing was an inspiration towards progressive values. In general, post-Internet­ art Seine Department Prefect Georges-Eugène Haussmann post-­truth and mass media. to Oslo far-right terrorist­ Anders Breivik, who murde- makes use of three common tactics: ­parafiction (presen- – new liminal spaces formed creating false indexes of At a recent exhibition The Alt-Right Complex: On red 77 people in 2011. Others on the same conference ting fiction as fact); third-positionism (a stance opposing public freedom bound to social dreams of utopia. Right-Wing Populism Online at the Hartware Medien programme ­included anti-immigration ­activist Peter both communism and capitalism); and overidentification,­ However, rather than the social dreams of utopia­ KunstVerein (HMKV) in Dortmund, Germany ­curator Brimelow, who runs Vdare, described by the Southern the act of identifying oneself to an excessive degree with ­fitted to shopping arcades, utopian thinking today is Inke Arns shone light on the verbiage of ­alt-right Poverty Law Centre as “an anti-immigration­ hate web- ideas or concepts antithetical to one’s own ideology. very much bound to technology and progress. The ­movements including its polyvalent ethos, ideology, site” that “regularly publishes articles by prominent There are many examples of contemporary artists who connection once again re-emerges to post-Internet art ­terminology, taboo and aesthetics. Crucially, the white nationalists, race scientists and antisemites.” employ one or all three of these tactics; NSK, Laibach and taboo, accelerationist ideas that lack an ­intellectual ­exhibition contained symbols and phrases that today Gallery owner Lucia Diego said at the time that the are perhaps the best examples, artists who romatically pedigree beyond the mysticism of an anonymous form the basis of alt-right. However, as Arns herself programme was intended to create “a dialogue between flirt with politics in ­topographical ways, but ­sometimes Tumblr page. noted at the time, the term ‘alt-right’ is itself problematic two different and contrasting ideologies” and that the is accelerationism a gateway aesthetic to fascism? 31

I samarbete med den georgiska armén. ”Was ist Kunst”, Tbilisi. Producerat tillsammans med TRAM-stiftelsen för One Stop project inom ramen för Art Cacasus 2017. Ilfochrome, 2007. Foto: Bojan Radovič. Publicerat med tillåtelse av Galerija Gregor Podnar.

audience for the conference was “very liberal”. However, graduate students in the 1990s began looking­ at how glo- after critics got wind of this type of programming, which bal varieties of technology and capitalism should be sped also included exhibited works by former Turner Prize up and intensified, if only to ensure their (and our) demise. nominees Jake and Dinos Chapman, progenitors of According to Land, in order to move past the disastrous post-Internet art, critics accused the gallery of curating effects of capitalist accumulation,­ we must instead accele- “one of the most extensive programmes of racist hate rate past it towards its own eventual destruction.12 speech to take place in London over the past 10 years”. Land’s paradoxical philosophy has at its core a dialec- Some of the art exhibited at LD50 included works cele- tic: that in order to move past capitalism it is necessary brating , the former Imperial Wizard of the to accelerate its worst tendencies, thereby ensuring its Ku Klux Klan. The most telling exhibition held at LD50 eventual destruction. In the domain of art; interventio- was titled Amerika, which explored far-right and Nazi nist efforts that leave behind the commercial circuits of imagery and featured video works of far-right and neo- art presentation in attempt to create a socially-engaged reactive texts being read out by avatars. LD50’s owner, praxis, accelerationism offers very few pragmatic solu- Diego, took a third-positionist and over-identification tions. The term “accelerationist aesthetics” can be traced stance, claiming that the works and exhibitions were to Steven Shaviro in his book Post-Cinematic Affect. The intended to “provide a vehicle for the free exploration term—accelerationism—actually derives from Deleuze of ideas, even and perhaps especially where these are and Guattari in Anti-Oedipus, together with the Lyotard challenging, controversial or indeed distasteful for some of Libidinal Economy, but which eventually took root in individuals to contemplate.” Predictably, this is the same some of Land’s texts in the late 1980s and early 1990s. stance many have used to defend other art works and According to Gean Moreno, “although often disparaged­ imagery with neo-nazi symbols and content. as a political program, accelerationism, which early on In part, the aesthetics of the alt-right and neo-­fascist performed its ideas most notably through carefully crafted programming platformed at LD50 can be traced to not theory-fictions, has always had a robust aesthetic side.”13 just overidentification and third-positionism, but also to a What does this have to do with taboo and culture? once obscure philosophy called accelerationism. The once Well, consider for a moment that LD50 used the idea of fringe philosophy developed by a former university­ pro- accelerationism to host a neo-reactionary and right-wing fessor at the University of Warwick, , is partly conspiracy conference. However, rather than forming a informed by science fiction and a new way of thinking subtractive logic to animate the potentially destructive about the contemporary world in relation­ to technology force of accelerationist aesthetics: the LD50 conference

Binelde Hyrcan, The King is Dead! Vive Le Roi, 2017. Uppstoppade kycklingar, and capitalism. Land founded the Cybernetic Culture merely served as a subjective imprint, a gratuitous orna- liten kista, landskap. 6th Athens Biennale ANTI. Foto: Nysos Vasilopoulos Research Unit (Ccru), and together with a cohort of ment that gave credence to the ideolgical posturing of 32 dorian batycka namn på bidrag 33

third-positionism and overidentification to formulate what curators called the “distinct, idiosyncratic and uneasy screenshot of our political, social and cultural momentum.” Taking voice of the “cunning villain, the proactive manipulator, the taboo perpetrator,” the 6th Athens Biennale accelerated through many of today’s most polarizing and politically divisive issues. Whether humanism, Marxism, capitalism, or identity politics, the Biennale seemed to offer a critique of just about ­everything, while managing to propose little by way of solutions or alternatives to the status quo. Take the work of the Front Deutscher Äpfel for instance, exhibited at the 6th Athens Biennale, it ­inhabited one of the largest and most complex instal- lations in the entire show, taking up an entire confe- rence room at the Esperia Palace. There, the group used ­satirical organization to troll extremist parties in Germany, mimicking the very organizational structures and militaristic style of fascist extremism they purported to criticize. During the opening days of the Biennale, the group staged a performance called “How to become a nationalist pop star.” Dressed in black slacks and mili- Sirous Namazi, Leaning Horizontal II, 2018. Hyllsystem från tary-style jackets adorned with red armbands, the group livsmedelsbutik, stål, lack, plast, livsmedelsvaror, olika dimensioner. 6th Athens Biennale ANTI. Foto: Nysos Vasilopoulos. surrounded themselves with banners emblazoned with an apple, appropriated Nazi imagery, all to in effect ­propagate what the artists called “the need to maintain delirious and maximalist redeployments of parafiction, the purity of the German fruits, worshiping the apple overidentification and thirdpositionism. as the most emblematic German crop.” In the summer of 2016, the program hosted at In the 1980s, this strategy was employed to varying LD50 consisted of speakers contextualized by the gal- degrees of success by Laibach, the musical wing of the art lery as a “conference on reactionary and neo-reac- collective Neue Slowenische Kunst (New Slovenian Art, tionary thought.” Though the list did include some or NSK), who became known for developing a practice reputable speakers, it also included a number of divi- around a similar set of tactics. That is, NSK employed sive figures that would, to borrow a catch-phase from overidentification as a means of undercutting totalitarian Charlottesville, unite the right. Nick Land was one of aesthetics and their symbols, not by an open or direct those in attendance, popular in LD50 / post-Internet art critique of them, but rather through an obscenely exag- circles for his books and articles critical of the left for gerated adoption of them. In doing so, NSK and by their inability to stop, much less slow down, ­capitalism. extension Laibach famously claimed to be “fascists” just Since his ­unceremonious departure from academia in the as much as “Hitler claimed to be a painter.” Using irony late 1990s, Land has published frequently on internet and satire, Laibach and NSK appropriated the imagery blogs, often under pseudonyms, covering all manner of of state power and elements of pan-Slavic folk traditions, topics from the supposed obsolescence of western demo- exploring how such connections could manifest in unfo- cracy; to “human biodiversity” and “capitalistic human reseen ways, which often had overseen consequences. sorting”–the pseudoscientific idea taken up by fringe As a strategy of cultural and political intervention,­ members of the far right, that different races “naturally” overidentification has become a strategy used by various coexist within the modern world, and that we are on other groups and collectives since, including the Yes the cusp of a supposedly inevitable “disintegration of Men, Christoph Schlingensief, Reverend Billy, the the human species” when artificial intelligence finally Billionaires for Bush, and many others. All of these reaches its tipping point. artists, to a ­certain extent, empty satire and irony, Following the events at LD50 including its ­eventual ­overidentification and third-positionism in ways that are protest and shuttering, Land’s influence continued to relevant, interesting and politically speaking, important. grow, albeit subliminally. The 6th edition of the Athens Shortly before the Athens Biennale opened, however, Biennale attempted to cryptically unleash many of the artist and writer Luke Turner penned an open-­ Land’s ideas in an exhibition format. Entitled ANTI, letter stating his intention to boycott the event. Turner Tai Shani, Psy Chic Anem One, 2018. Polystyren, jesmonite, färg, stål, tyg, aluminium, the biennale employed the old strategies of parafiction, ­claimed that he was withdrawing his own participation polyuretanskum, glas, trä, gips, harts. 6th Athens Biennale ANTI. Foto: Nysos Vasilopoulos. 34 dorian batycka is accelerationism a gateway aesthetic to fascism? 35

Mraz, an Austrian cultural attachè working in Moscow, Indeed ideas and art works that may, on the surface, who, underthe relative obscurtiy of an embassy employee, appear contrarian or taboo, are being upheld by a shaky has been programming an incredible array of cultural intellectual hodgepodge of accelerationist ideas. Bearing all content on difficult and taboo subjects from his apart- of this in mind, we must continue to develop proportionally ment overlooking the Kremlin. For the past 10 years, well-honed critiques of the alt-right, taboo and ­contrarian Mraz has been using art to tackle subjects that are diffi- aesthetics that use satire and irony to cycle through dang- cult, if not outright censored in Russian state-supported­ erous ideas. In such politically uncertain and chaotic times, institutions. Topics like sexual violence, art works critical the sense of impatience many people feel today can make of the Kremlin, or the Orthodox Church, often ­feature neoreactionary ideas like accelerationism­ seem romantic. in the Mraz exhibitions. Meanwhile, in the West, we are However, following accelerationist ideas to their logical seeing the rise of fascism and in Europe conclusion, we should critically oppose any means by which and North American contemporary­ art unchallenged, right wing ideas formulate, including,­ importantly, when and with it its satirical modulations that operate, at least these ideas seemingly ­emanate from ‘the left’ or within the hermetically, at the level of art. experimental domain of contemporary­ art.

Eva & Franco Mattes, Ceiling Cat, 2016. Taxidermi, polyuretanharts, hål, 56 x 13 x 20 cm. 6th Athens Biennale ANTI. Foto: Nysos Vasilopoulos. citing organizers’ decision to platform a number of However, rather than giving into politically correct artists who have either outright supported or defended cultural forms, the Athens Biennale merely leaned heavily alt-right sentiments in art communities. He drew atten- into irony and satire, strategies once used by Laibach and tion to “organizers’ collective failure to take any deci- NSK to form sweeping theoretical conjectures that, in the sive stand against the abusive behaviour of another of end, have real world consequences. “In the ­hermetic, often the invited artists,” notably Berlin-based artist Daniel obsessive terrain of the Internet’s ‘woke’ positionism,”­ I Keller. Turner presented evidence that he was ­targeted wrote at the time in Hyperallergic, “a skepticism towards on social media by Keller and other artists linked to PC culture can manifest itself in real-world violence. LD50. After protests of the gallery reached a near fever And cherry-picking issues that fit into a curatorial frame pitch, Keller — who self-identifies as a politically-active without giving much afterthought to how platforming leftist of Jewish descent — came to the defense of LD50 ­alt-right sympathizers may be detrimental, if not outright­ and Deanna Havas (an artist who had previously shown dangerous to marginalized communities in the long run, at LD50). Havas, an artist who came to LD50’s defense is a serious concern with exhibitions­ that employ the claiming to be both “apolitical” and a Donald Trump ­strategies of overidentification and accelerationism.” ­supporter, got into a confrontation with Turner online Recycling accelerationist and parafictional tropes of after she liked a meme of Turner’s work being carried capitalist consumerism and digital alienation may seem away by , a taboo symbol that was inclu- cool and fashionable at the moment, but one might 1 , “A social and psychic revolution of almost 8 Jonty Tiplady, Semi-Automatic Angel: Notes on “Cancel Culture” and inconceivable magnitude”: Popular Culture’s Interrupted Post-Cancellation Rococo, self published essay, 2019. Available online: ded in Arns’s exhibition, which has proven to be used by ultimately ask: how far is too far? Accelerationism is not Accelerationist Dreams, e-flux journal #46, 2013. https://xn--wgiaa.ws/3-jonty-tiplady-notes-on-cancel-culture ­far-right hate groups as a symbol. Keller, in turn, rose to about constraint. 2 Brian Holmes, Drifting Through the Grid: Psychogeography and 9 Walter Benjamin, The Arcades Project, Harvard University Press, Havas’s defense, prompting a flurry of tweets between Yet, as the divisive culture war continues to perco- Imperial Infrastructure, Springerin, 2013. 1999. 3 Stefan Wray, Rhizomes, Nomads, and Resistant Internet Use, 10 The PDF version of the magazine accompanying “The Alt-Right them, which prompted Turner to boycott the Athens late in different formats, institutions and biennales all RhizNom, 1998. Available online: https://www.thing.net/~rdom/ Complex” exhibition is available here for download. Biennale (where they were both scheduled to appear). over the world, it is worth examining how the ­semiotic ecd/RhizNom.html 11 Hannah Ellis-Petersen, “Art gallery criticised over neo-Nazi Accordingly, ANTI seemed to present a cacophony of ­functioning of fascism takes shape. Today, there is an 4 For added theoretical content on “Post-Internet” see, for example: artwork and hosting racist speakers”, The Guardian, 2017. Available Karen Archey and Robin Peckham. “Art Post-Internet.” Beijing: onlinehttps://www.theguardian.com/uk-news/2017/feb/22/ well-intentioned, albeit politically basic artists who used urgent need to redress ideas about art and language Ullens Center for Contemporary Art (2014). art-gallery-criticised-over-neo-nazi-artwork-and-hosting-racist- cheap provocation as a means of trolling and creating through the prism of identity politics and the progres- 5 Gene McHugh, Post internet. Lulu Press, Inc, 2014. speakers division. In doing so, the biennale seems to platform art sive anti-capitalist values of socially engaged art. Artists 6 Dorian Batycka, The 9th Berlin Biennale: A Vast Obsolescent Pageant 12 Andy Beckett, Accelerationism: How a fringe philosophy predicted the of Irrelevance, Hyperallergic, 2016, available online: https:// future we live in, The Guardian: https://www.theguardian.com/ and artists that no longer had to take justification in the and curators cut from the ilk of socially engaged practi- hyperallergic.com/306932/the-9th-berlin-biennale-a-vast- world/2017/may/11/accelerationism-how-a-fringe-philosophy- progressive identity values of the art world, no POC or ces, operating on a 1:1 scale of engagement between art obsolescent-pageant-of-irrelevance/ predicted-the-future-we-live-in minority or class issues were platformed, instead the exhi- and activism, are paving the way today by developing 7 Dorian Batycka, The Athens Biennale Negligently Satirizes the 13 Gean Moreno, “Accelerationist Aesthetics”, guest-edited by Gean Aesthetics of the Alt-Right, Hyperallergic, 2018, available online: Moreno, e-flux issue #46, available online: https://www.e-flux.com/ bition seemed to reference well-heeled artistic practices new tools of aesthetic resistance outside traditional art https://hyperallergic.com/471032/the-athens-biennale-negligently- announcements/32473/issue-46-accelerationist-aesthetics-guest- emanating from post-(Internet) discourses and forms. circuits. An excellent example of this is the work of Simon satirizes-the-aesthetics-of-the-alt-right/ edited-by-gean-moreno/