Laibach and Fascism
Originally written by
Terre Thaemlitz and revised by Peter Werner and later myself
I've been following the threads on Laibach and fascism, and I thought
there might be a few things you might like to know which may fill in
your picture of Laibach. You might even already know it.
As I'm sure you know, Laibach is from Yugoslavia. I'm getting my
information from my (torturous) years of art school with a close friend
of mine who was also Yugoslavian. The Neue Slowenische Kunst affiliated
with Laibach is a very active and visible part of contemporary political
art, and until recently Laibach was considered more of a performance art
group rather than musicians. Let me say you are not the first to "not get
it," as I once saw someone stand up at the end of an NSK lecture/ slide
presentation against neo-conservatism in Yugoslavia and ask why they
would show the image of a swastika.
The person had never thought of fascism as taking hold in any country
but Germany, and never thought of it beyond the scope of anti-semitism.
Laibach and the NSK's primary critique was that of the conservative
Yugoslavian government. With their popularity, this seems to have
expanded to include critiques of other European and American social
structures as well. However, their earlier works (if you've heard them)
are much more specific in their commentary. Their primary method of
critique was to portray the current politics of the conservative
Yugoslavian state in a way which made people aware that it was fascist,
and that these fascist tendencies had a specific history in their
country. (A classic example of this would be "Krst Pod Triglavom -
Baptism," which is a soundtrack by Laibach to a performance dealing with
the construction of Yugoslavian history from a contemporary neo-
conservative viewpoint.) Many of the lyrics in their earlier tracks were
fascist commentaries made by Yugoslavian leaders of the past. Their
objective was to break peoples complacency with the current government
and address the mind-numbing affects which conservatism had set upon the
country. Their performances were banned by the Yugoslavian government
early on, although current changing situations may have reversed this
ban. Laibach and the NSK's use of John Heartfield images and collage
techniques are a reference to anti-fascist movements of the 30's, which
also had a wry cynicism to them. Part of Laibach and the NSK's message
involves the fact that an image like the Heartfield axe-swastika can be
taken as a pro-fascist symbol today, simply because people are not
informed on the history of fascism and the struggles against it. This is
particularly true in the US, where we tend to believe fascism fell with
Hitler. But political views do not change that easily, and much of
Eastern Europe has yet to openly confront its conservatism. As it is,
people generally ignore the topic.
Like outright fascism, neo-conservatism has to do with a sense of
returning the state or country back to it's origin and traditions. The
search for a "pure heritage" means wiping out social differences and
imposing conformity on all peoples. This is the irony behind Laibach's
"voice of the state" (the deep authoritarian demon voice) singing the
Beatles' feel good lyrics "Get Back! Get Back! Get Back to where you once
belonged!"