In recent years, there has been a notable surge in right-wing extremism on a global scale. Artist duo Jakob Ganslmeier and Ana Zibelnik amalgamate seemingly innocuous imagery sourced from social media platforms to delve into the contemporary manifestations of radicalisation in the online sphere.

GIGA comprises a series of video works that offer an incisive exploration of the perilous undercurrents of cynical humour, the allure and ‘legitimatisation’ of violence, and the profound influence wielded by prominent internet meme figures like Wojak and GigaChad. The exhibition’s title is borrowed from its prevalent usage across social media platforms, embodying greatness and commanding respect.

While much of the presented material may not initially appear to align with far-right ideology, Ganslmeier and Zibelnik adeptly delineate a pattern illustrating how mainstream visual language is co-opted by extremist factions to amplify their influence. Drawing parallels with historical Nazi propaganda, the artists unveil a coded language, elucidated through an explanatory glossary, underscoring the unfortunate reality that Nazi history persists as a haunting presence in contemporary discourse. (From the exhibition text by Mirjam Kooiman, Foam)

The current version that premiered at Foam in the spring of 2024, is a video installation with three works. The project will be updated on a regular basis.

Bereitschaft, 2024
Motion design: Boyd Rotgans (RNDR)
Music: Daniel Hermann-Collini

The German term “Bereitschaft” encompasses readiness and willingness to take action, yet it also harbours darker undertones. In 1939, German sculptor Arno Breker (1900-1991) crafted a statue titled with this word, portraying a male, nude warrior drawing a sword, symbolising preparedness for the impending call to arms faced by the German people. This sculpture has become an obsession on TikTok. Through their video work, the artists delve into the glorification of the ‘sculpted’ male physique and the advocacy of self-discipline within TikTok fitness trends, examining how these inclinations mirror fascist tendencies and serve as symptoms of a right-wing ideological shift. Terms like ‘brohood’, ‘gymbros’, and ‘bromance’ evoke a sense of unity, wherein the individual becomes subordinate. Influencers promote order and discipline, urging followers to disregard the inner “bitch voice” which purportedly leads to weakness. The trend not only defends masculinity with misogynistic characteristics but also manifests increasingly peculiar manifestations, including ‘bonesmashing’, ‘chiselled jawline’, ‘mewing’, ‘looksmaxxing’, facial fitness, and ‘hunter eyes’, advocating an unsettling and extreme pursuit of physical perfection.

Redpilled, 2023
Animation: Oddkin
Music: Daniel Hermann-Collini

Redpilled delves into the propagation of alt-right ideology alongside the global surge of memes. Ganslmeier and Zibelnik ingeniously repurpose the ubiquitous meme character Wojak (Polish for ‘soldier’) as an avatar, giving voice to the dangerous humour and fascination with violence perpetuated by memes. Initially conceived as a relatable figure (‘I know that feel, bro’), Wojak has metamorphosed into various generational archetypes like doomer, zoomer, and boomer. Despite spoofing different age groups, Wojak increasingly embodies the perspective of doomers, individuals who perceive themselves as victims of pressing global issues like climate change and overpopulation. The doomer typically feigns superiority over ‘normies’ after being ‘enlightened’ or redpilled. Originally denoting a quest for truth, the term ‘redpilled’, borrowed from the movie The Matrix (1999), has been co-opted by far-right factions to signal disillusionment with reality, often fostering radical ideologies. The video work is interspersed with cryptic slogans and numerical codes found online by the artist duo, the meanings of which are revealed in the explanatory glossary elsewhere in this exhibition. Redpilled illustrates how seemingly innocuous memes, with mildly racist, misogynistic, and anti-Semitic jokes, can serve as conduits for extremist notions, potentially precipitating real-world violence.

Public Enlightenment‍ – Strong is Beautiful, 2022
Sound design: Darius Timmer

Strong is Beautiful comprises Nazi propaganda films from the Third Reich, often referred to as ‘Nazi Hollywood’, alongside related footage. What’s striking is the seemingly innocent, positive, and cheerful portrayal of the propaganda, starkly contrasting with our current perception of the dubious ideology it espouses. The video work underscores that the underlying violence is not overt, explaining its widespread appeal. The glorification of a muscular, healthy body as a prerequisite for a strong mind and a ‘healthy nation’ eerily echoes contemporary trends promoting rigorous physical routines.

War Room presents a curated collection of prevalent online imagery, portraying both historical and contemporary influential figures of the far-right as humorous and extravagant heroes. This video compilation sheds light on how themes such as power, dictatorship, and even re-enactments of WWII atrocities are romanticized, particularly captivating teenagers and young adults who perceive the online realm as a fertile ground for exchanging ideas and connecting with like-minded individuals. Through its depiction, War Room highlights the resurgence of interest in Nazi memorabilia and the dissemination of conspiracy theories presented as “logical” truths. Importantly, the aim of showcasing this unsettling material is not to endorse the political ideologies of its creators but to prompt critical reflection on their motives and to explore the internet’s transformation into a battleground for the propagation of hateful ideas.