I handle myself quite well. I'm kind of fascist with myself,
you know. There's no discussion. There is an order. You follow it.
In a society where everything is forbidden, one can do
everything: in a society where something is permitted, one can
only do that something.
Pier Paolo Pasolini
Irrational thoughts should be followed absolutely and logically.
Sol Lewitt, from ‘Sentences on Conceptual Art’
What is it that makes the idea of fascist architecture so appealing? Probably this uncompromising devotion to itself, the fact that, under such a restrictive regime like Mussolini’s Italy, architects seemed to enjoy unlimited freedom and were able to create buildings as well as entire cities that have since become icons of elegance.
In a world bereft of ideologies, which is filled with stuff made accessible from almost everywhere, there is an enormous lack of accuracy as well as an enormous want for aesthetical guidelines. It is a world in which it has become daring, although necessary, to state that we are in dire need of superordinate models, even if they might not be at our disposal.
With UEBERMODELS we analyze the relationship between “self-fascism” and conceptual work in a time of too much. We are looking for possible definitions of typologies, of a rule, of the ideal, in a time in which increased knowledge/capabilities have rendered it no longer possible to remain naïve and to fall back on an apparent spontaneous expressivity, while at the same time we seem to be condemned to a constant jadedness that paralyzes us.
The main focus of UEBERMODELS lies on the strategy of reduction, not intended as a formal point of departure that leads to a sterile minimalism, but in terms of an intellectual process that results in an increase in complexity. Our interest is to draw a parallel between the characteristics of two main disciplines: the dogmatism and functional constraints of architecture/urban planning, reflected in the severity of the related discourses, and the self-constraining strategies of conceptual art.
–Niels Betori Diehl and Barbara K. Prokop