Jonas Höschl

27 March — 26 June 2022

A Song for Germany.

Small Exhibition Hall

© Jonas Höschl

Filter bubbles, echo chambers and similar terms have recently dominated discussions about the private use of the internet and its communication platforms. In the digital world, it is easy to get caught in a “bubble” in which like-minded people largely reinforce one’s own opinion.

As a member of the artists’ collective “Tannhäuser Kreis”, Höschl has intensively studied the affirmative power of images and has come to the conclusion that, on the one hand, there is a newly articulated innocence in Germany that distances itself from the past. On the other hand, xenophobia and intolerance are growing, accelerated by social media platforms, which gives impetus to such forces. Höschl observed this in his home region of Lower Bavaria/Upper Palatinate. Here, anti-vaccination activists and other reactionary to right-wing forces have increasingly come together to cause a stir through actions such as the “Black Truth” in Regensburg.

Participants and organisers of Anti-Corona or right-winged demonstrations can download martial music and sound files with right-wing appeals for free on scene forums in advance. The aim is to create as many offshoots of the action as possible in other cities, which follow similar acoustic and visual patterns.

Höschl was interested in what these patterns looked like, what music the New Right used and how they disseminated it. He began to build up a collection by collecting material over a period of months and developing it from a visual science point of view.
The result is a film project based mainly on found footage, which is collaged and supplemented by historical documents and new, digitally created scenes. Höschl developed a sound file from the music offered on scene forums, which unites the slogans of conspiracy theorists and right-wingers into a sound carpet in the exhibition space and thus makes the dangerous content tangible, but at the same time robs it of its narrative.

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