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?

MONOCULTURE – DAS WUNDER DES LEBENS

2020 monoculture photo m hka cc 9 wunder3 image: (c) M HKA
Der glaeserne Mensch, 1935
Other , 9 x 14 cm
post card

This rare postcard shows The Transparent Man also known as 'Der Träger des Lebens' (‘The Bearer of Life’), which was the main attraction of the lavishly designed Das Wunder des Lebens – a propaganda exhibition that took place in Berlin in 1935. The main idea of the exhibition was purely eugenicist – on both the protection of the physical body from diseases through the latest achievements of modern hygiene, and the maintenance of the so-called 'body' of German folk with the help of 'racial hygiene'. Within a few years, The Transparent Man became the symbol of German-specific understanding of man and health. It also served as a centrepiece to the traveling version of The Miracle of Life exhibition presented in Antwerp in 1936.