We are a non-profit historical art museum dedicated to the study of modern nationalism and the preservation of its cultural artifacts. Through the medium of art, we hope to educate our patrons on the history and philosophy behind early 20th century revolutionary nationalism.
Fascism can be understood as the natural evolution of romantic nationalism, identifying and embracing the unique cultural characteristics responsible for bestowing a nation with its sense of identity. The ideology of Fascism is not only malleable, but fundamentally adaptive, taking on nation-specific forms rather than being a universally applicable and generic political theory. Whether it be traditional Italian Fascism, German National Socialism or Japanese State Shintoism, each nation’s idiosyncratic conception of Fascism is advised by their respective indigenous belief systems, folklore and history to be in consonance with the local polity and to invigorate these cultural traits. Reflecting this ethos, ethnospecific symbolism feature prominently in the Fascist aesthetic. Distilled of the perceived decadent impurities of postmodernism, its art offers an unclouded view into a nation’s soul and the spiritual essence of its people.
No conventional political explanation seems to account for such an alien phenomenon and in many ways Fascism remains an enigma today. Yet its state-sponsored art reveals a potent idealism. A central political tenet within Fascist thought is known as ‘palingenesis’, meaning the rebirth of an organism with ancestral characteristics, understood within this political context as the rebirth of a nation. In bridging the divide between classicism and futurism, Fascism draws upon a mythologized view of the past, not as a return to antiquity but as a vision for the future that remains indelibly rooted in tradition. It is through this temporality that Fascism imbues the present with purpose. This dichotomy of modernity and tradition is a recurring theme in Fascist art, juxtaposing historic subject matter with modern rendition techniques. Emphasizing simplicity, the Fascist aesthetic is striking and evocative, extolling classical virtues such as justice, self-sacrifice, duty and bravery.
While comprehending the history behind a particular piece of artwork augments its value beyond the aesthetic by framing it with context, this insight then allows the artwork to illuminate the ephemeral zeitgeists of a bygone era and their societies only expressible through, and inextricably linked to, its cultural artifacts. It is this reciprocal synergism that allows for history to be deciphered through an acutely human-oriented approach that supersedes any accumulation of raw data. There is no better application for this methodology than in unraveling the spectre of Fascism.
Here at Imperium Gallery, our mission is to curate a world-class collection of historical relics that embody the aforementioned artistic and philosophical qualities to forge a window into the past. We hold an unwavering commitment to intellectual integrity, free speech and honesty. We do not endorse any form of racism or antisemitism.
Western historiography of the Second World War does not hide its preferential bias for typical subjects of the era: repression, resistance, aggression, economic decline and above all, the Holocaust. The preponderance of popular works and international literature persist in emphasizing these facets while ignoring others that clash with the established narrative. These biased optics perpetuate a selective ignorance which has made it nigh impossible to recover objective truth, as academia becomes inundated with material based upon this initial favoritism that forms its intellectual foundation. This flawed historiography has given rise to the systematic conditioning of a new Western morality rooted in guilt, enabled by an acutely superficial comprehension of historical events. We hope to remedy this one-sided interpretation of history by focusing on subjects deliberately eschewed by mainstream historiography, rather than attempting to debunk established fact. Our exhibits are designed to invite the reader to reconsider presuppositions that permeate our modern way of thinking in ways which at times may be uncomfortable. In doing so, we strive to retrieve these topics from the realm of the taboo and into the light of public consciousness in the interest of attaining objective truth.
Our logo is the silhouetted head of an eagle, the fearless and noble avian par excellence, according to philosopher and spiritual teacher Julius Evola. A pioneer within the field of fascist esotericism, Evola emphasizes how the symbolism of the eagle carries “a traditional character in a superior sense, representing a constant and immutable element within the myths and symbols of all civilizations.” The eagle thus represents a primordial truth shared across all higher cultures, reflecting the transnational focus of our institution. At the core of all revolutionary nationalist ideologies lies an esoteric ideal which reveals a radical departure from the prevailing norms of liberal-capitalist materialism. This idiosyncratic spiritualism is an oft overlooked aspect of politico-historical research, yet without which our understanding of the Second World War and its causes cannot be satisfied.
In relation to modern fascist thought, the eagle takes on a distinctly ‘Greco-Roman’ character. Being the messenger of the supreme deity Zeus-Jupiter, the eagle is associated with power and justice, legitimate and indeed necessary, as a balancing force in nature, serving as the moral antithesis to liberal decadence. Dating back as far as the Middle Ages, the eagle, representing active justice, was seen as a counterweight to the passive faith of the cross.
“Crazy is he who is about to conquer the superior states of being without the Eagle and the Cross, while humanity is lost and, despite having the virtue of the cross, is deprived of the justice of the eagle.” — Dante Alighieri (c. 1321)
Acquisition of first artifact.
Website launched in commemoration of the 100th anniversary of the Munich Beer Hall Putsch.