The Idiocracy Strikes Back: Freedom of Expression under Siege

Illustration by Will Allen/Europinion

Culture is often the first to come under attack during the ascendancy of authoritarian movements, and the MAGA movement is no exception in its push to suppress forms of expression that threatens its hold on power. Those in power seek to distort the public’s sense of  reality, paving the way to reshape the narrative in ways that serve their interests and vilify their opponents. History has shown us that when culture and history are politicised, the result can be devastating: the fuelling of identity-based conflict and steering of nations toward collapse. Skimming the headlines in past months regarding the dissolution of the Ukraine-United States partnership over the egregious demands made by the Trump administration, has thrown up only the most morally reprehensible of headlines. Obtusely remarking that Ukraine had started the conflict and accusing Zelensky of riding the “gravy train” made my stomach sour. Experts like Timothy Snyder have weighed in, remarking  that this incessant lying and conspiracy peddling is terrifyingly shaping our reality. 

Currently working at the Metropolitan Museum of Art, I am reminded daily of the importance of cultural education and the decisiveness of identity politics. Associate Curator of European Paintings, Dr. Alison Hokanson, has made her stab at the sticky situation of cultural icons and what they mean for identity. Using Red Sunset by Arkhyp Kuindzhi, Hokanson highlighted the importance of preserving culture and better equipping Staten Island’s own Reserve 353rd Civil Affairs Command to understand “The weaponization of art history.” This is a part of the ongoing project to reevaluate the museum’s collection in an effort to decolonize works formerly labeled as Russian. Putin has maintained an ongoing cultural battle against Ukraine in an attempt to disrupt the public memory of the Russo-Ukraine war and, more importantly, Ukrainian National identity. It is incredibly difficult to pass Red Sunset and not feel a pang of injustice when the president of the United States recently publicly humiliated Volodymyr Zelensky for his own personal agenda of aligning with authoritarianism.

The MAGA movement has been an extremely raucous and visually explicit group that uses imagery in such a way that pulls at the very fibres of the nation. Whether it is Donald’s face on Mount Rushmore or better yet “Crossing the Swamp” there is no new low to reach as it has already hit rock bottom. Nationalism has been the largest asset to the Trump administration. We can see this in the way they have callously misused American iconography in a way that blurs the line between fact and fiction. The seizure of the Kennedy Center immediately reminded me of Orwell’s Notes on Nationalism due to its dissection of patriotism and nationalism’s symbiosis. The competitiveness and ‘America first’ ideal that Trump has touted is not patriotism but nationalism, which “is inseparable from the desire for power.” The erosion of cultural expression is what is most startling about this seizure. It is obvious from the past eight years that Trump sees extremist nationalism as his only way forward in consolidating his following. One can only hope that through this, Trump will struggle to maintain a consistent cultural image, as it has become more prevalent that many do not share these values.

When I gaze up at the painting Washington Crossing the Delaware, one cannot help but stand back in its immensity, both figuratively and literally. But where is the substance, and how do we perceive this painting in its contemporary climate? Trump has repeatedly put the United States down in a quite strange manner, decrying the country as a drug-addled, globally abused, and with an uncontrolled immigration problem. For someone who constantly touts American exceptionalism, he has only shown what he strongly dislikes. In viewing powerful pieces at the Metropolitan Museum of Art, such as The Belizaire Portrait and even Mary Sully’s Native Modern, it is possible to illuminate some semblance of hope in this bleak hour of our country. We must recenter ourselves, and, most importantly, we must acknowledge the past as a reference point rather than the only way forward. American art has been an extremely exclusive movement, but thanks to the amazing work of the American Wing Curatorial staff, the public has gained further insight into what the American image can be through more inclusive scholarship. Places like the Metropolitan continue to foster the growth of diversity and even continue to challenge the common narrative in hopes of changing traditional thought.

Whether it’s socialist realism from Stalin, fascist propaganda from the 1940s, or the MAGA movement, they all demand absolute control of the arts so that the state can dictate how the people express themselves. The erasure of people’s ability to create meaningful art falls into the ultimate chasm of authoritarianism, as many experts such as Timothy Snyder have detailed in his books, and I urge you, dear reader, to pick up a copy of On Tyranny: Twenty Lessons from the Twentieth Century. Columbia University is a blaring red light in this realm of freedom of expression, and it is possible that museums could be next. That is why it is imperative that those working in cultural institutions and those that love them deeply do not abandon them. These can be garrisons of intellectual advancement to all backgrounds, as they deepen the sense of cultural unity and curiosity. Most of all, they are a respite for the weary and a refuge for the persecuted when they need it most. I am incredibly proud to work in such an institution, and I hope with every ounce of my being that it continues to fight the good fight of expression so that we can delve into the darkness with the hope of seeing some light.