This article first appeared in the Berlin Art Week 2025 special issue of Monopol Magazine.
Japan is the shape of an erect penis—at least in the eyes of Fuyuhiko Takata. His performance video ›Japan Erection‹ shows the artist transforming into a Shinto god. He clenches a Japan dildo between his legs that swings around and destroys his studio. This slapstick piece from 2010 plays with myths of creation and destruction, old-fashioned machismo, and resurgent nationalism. It’s now on view at House of World Cultures.
›Global Fascisms‹ is an exhibition and research project that seeks to understand fascism ›as an ongoing global challenge that transcends its historically confined definition, manifesting in diverse political, cultural, and social contexts today.‹ The spectrum of works by 50 international artists testifies to the gravity of the situation. Firenze Lai, an artist from Hong Kong, paints nightmarish figures whose bodies and spirits have been formed by a manipulative society. South African artist Jane Alexander’s animal/human sculptures reflect nature without humans in a (post-)apartheid society. And Israeli conceptual artist Roee Rosen records the metaphors and euphemisms his country uses to disguise Israeli military operations in Gaza. The words come together to form a text that sounds more like a romantic’s lyrical ramblings than a record of destruction and death.
The show looks at the politicization of religion and the nationalist conjuring up of a ›golden era‹ as well as social media as echo chamber. Nigerian-American artist Mimi O. nu.o. ha’s short film ›These Networks in Our Skin‹ shows four women working to rewire internet cables using traditional Igbo techniques, manually subverting the power dynamics of this technological infrastructure.
›Global Fascisms‹, Haus der Kulturen der Welt, 13 SEP—7 DEZ 2025
Credits for images: Jane Alexander, Council with emblem (2025), Monitor (2023); Representative in law enforcement jacket, (2006,14), Bird in Step Out tunic (2024); Beast (2003); Emblem (2025) © Courtesy Jane Alexander; Maria Lassnig, 55 Millionen Tote, 2000 © Courtesy Maria Lassnig Foundation; Gülsün Karamustafa, Window (1980); Soldier (1976) © Courtesy Gülsün Karamustafa, BüroSarıgedik. Salt Research und Gülsün Karamustafa Archive; Firenze Lai, A Porous Dream (2024) © Courtesy Firenze Lai; Roee Rosen, Military Historical Poem, 2024 © Courtesy Roee Rosen; Chulayarnnon Siriphol, A still from Myth of Modernity (2014) © Courtesy Chulayarnnon Siriphol und Bangkok CityCity Gallery