What might we mean by monoculture? What is the impetus for ‘identitarian’ or nationalistic monoculture movements who do not see, or wish, their society to be pluralistic, not just in the context of Europe but globally? Might we locate positive or even emancipatory aspirations of monoculture? Might a culturally homogeneous society also be inclusive and transformational? What lies at the fringes of monoculture, and what does it not tolerate? What may be the position of the arts within the context of monocultural ideology? Or alternatively, how might the arts look under monocultural ideology when taken to its logical conclusion?


Image00004 scan: (c) M HKA, Published by Verlag Knorr & Hirth
Grosse Deutsche Kunstaustellung, 1937
Book , 14.8 x 21 x 1 cm
paper, ink

The Great German Art Exhibition took place eight times from 1937 to 1944 at the Haus der Deutschen Kunst (House of German Art) in Munich, a monumental neoclassical building, which had been constructed especially for this purpose.The exhibition was propagated a sthe most important cultural event in Nazi Germany and the main representative of art under National Socialism. The first exhibition opened just a day before the Entartete kunst exhibition, so that 'degenerate art' and the art promoted by the regime, the so-called 'German art', would be intentionally juxtaposed. In his opening speech on July 18, 1937, Hitler gave a comprehensive presentation of the National Socialist understanding of 'German art', defining the new German art stylistically and ideologically with the words: "To be German means to be clear". (“Deutsch sein, heißt klar sein”), which was implied to be “logical” and above all true.