Far-right terrorist ‘manifestos’, like the one apparently published by one of the Christchurch shooters, are a kind of Rorschach test, inviting the reader to finish the job by finding meaning in the incoherent and contradictory ideas it contains. An act of mass murder is turned into a global spectacle by the use of real-time social media networks. Traditional media organisations and individuals online are drawn into repeating, arguing over and sharing the claims and images made by the perpetrator.
The European Commission says the ‘migration crisis’ is over. It has published a fact sheet aimed at countering both the far right, who tell lies about migrants and refugees, and humanitarian campaigners who point to Europe’s complicity in the imprisonment and torture of people in Libyan detention camps. It acknowledges that some ‘structural problems remain’.
But what is over, and who is it over for?
An exhibition split between the Jewish Museum and the Photographers' Gallery revisits the work of Roman Vishniac, best known for recording the lives of Eastern European Jews in the years immediately before the Second World War.
The single-lane road cuts through an almost empty grassland plateau. Every so often there are signs warning drivers not to wander, at risk of death from unexploded bombs. A burned-out tank punctuates the horizon, its gun raised in salute. The road continues like this for a good twenty minutes before reaching a small car park outside a village church. On the morning of New Year’s Day the car park was almost full. People were getting out of their cars and making their way up the hill to the church: families with children and elderly relatives, a dog-walker in a camouflage anorak, a young couple in quilted jackets and Union Jack wellies.
The Estonian National Museum is a glass, concrete and steel slope that rises out of the runway at Raadi, a former Soviet air base near the city of Tartu. On a tour of the museum, which opened last year, the guide explained that its design incorporates several features of Estonia’s history. It bridges a stream that once ran through the estate of a Baltic German baron, part of the aristocracy that ruled over a largely Estonian-speaking population for centuries. The former air base is evidence of domination by Moscow: two hundred years under the Russian Empire, a brief period of independence from 1918 to 1939, then reoccupation by the Soviet Union until its break-up in 1991. And the new building, opened several months before Estonia took up the presidency of the Council of the EU, suggests how the country would like to be seen today: bright, open, European, on the up.
The genocide memorial in Yerevan, a giant complex built when Armenia was part of the USSR, sits on a ridge overlooking the city: its museum tells of how ethnic Armenians in the final years of Ottoman rule were massacred and forcibly scattered and how the lands claimed by Armenian nationalists were reduced, by military defeat and international diplomacy, to the present-day republic in the South Caucasus. Passengers who leave the metro station at Yerevan’s central square are greeted with a giant map of Greater Armenia, a historical region that mostly falls within the borders of the current republic’s neighbours: Turkey, Iran, Azerbaijan and Georgia. And on the streets, pasted to lamp-posts, walls and junction boxes, are fly-posters offering cheap minibus rides to distant cities: Krasnodar, Rostov, Novosibirsk. The republic’s economy is partly sustained by emigrant workers, most of whom go to Russia.
The Documenta festival, a contemporary art exhibition that usually takes place every five years in Kassel, Germany, is currently in Athens. Its presence there isn’t uncontroversial. The role of the art market in gentrification, the festival’s preference for established or dead artists, the spectacle of a wealthy German institution descending on a city that has been at the centre of economic and refugee crises in recent years – all this has drawn criticism. The curators have made some effort to engage with the political context, but not everything has gone to plan: a collaboration between the artist Roger Bernat and an LGBT refugee group foundered when the participants stole the exhibit in protest at what they saw as exploitation.
‘Colonialism as a form of violent foreign rule was legitimised by a racist ideology of European superiority,’ says the board that greets you at the Deutsches Historisches Museum in Berlin. In a slightly too small room, hundreds of objects are laid out in clusters along a line representing the Greenwich Meridian, a ‘symbol of Eurocentrism’ and the anchor for a system that European powers used to navigate, conquer and impose borders on large parts of the world. The objects – carved elephant tusks, commercial images for coffee brands, whips – tell the story of the German Empire.
An estimated 387 child refugees who have relatives in the UK are stranded alone in Calais. The UK government doesn't really want to bring them over, and has only started to after being sued by a group of charities. Three teenagers who arrived this week have been accused of looking like young men rather than children. The way the right-wing press has singled out these boys and published their faces in a hit parade is straight-up racist intimidation, playing on a stereotype of non-white foreigners being freakishly and threateningly overdeveloped.
Ilya B., my great-grandfather, is buried in the Jewish cemetery at Weissensee in Berlin. He was born around 1880, into a middle-class family in Kiev, which was then part of the Russian Empire. Like many Jews in Kiev at the time, he spoke Russian, not Ukrainian. Russian was the language of power, essential for minorities who wanted access to jobs or education.