“Blood and Soil” was a mental crystal of feel-good darkness, a mobilizing call in the “severe style” of contempt for the Other that melted so many twentieth-century hearts. It still melts the hearts of those who live in fear of humiliation by those they, in turn, hold in contempt.
The broader fear today is that violent conflicts between humans will be the outcome of human violence against nature. One cursory look at the state of the world is enough to realize that these are not dystopian musings. 

The exhibition title drives a wedge between three dangerous words—“and” is never as innocuous as it might seem—and reveals them as lethal poetic weapons. This, in fact, was precisely how Nazi ideology worked. Yet the hateful slogan is repurposed for another agenda, one of preservation and development rather than destruction and violence.
 

“Dark arts” should be understood as dialectically related to the tradition of enlightenment rather than as diametrically opposed to it. Only by acknowledging the darkness behind the shining façades of contemporary life can we start moving towards the light. 

The exhibition follows some threads in contemporary art, such as using painting and performance to tell multi-dimensional stories. It also speaks to the importance of the underworld—the “chthonic”—and darkness as a semi-conscious articulation of lingering trauma, not least in Lithuania: the Second World War with the Holocaust and their aftermath.
 

this is from the announcement of the show blood and soil:dark arts for dark times in vilnius. 
it feels like a handy trope to compare these times with the recent times of fascism, but no matter, it's not the same, the circumstances change, we've altered the world so much further since the beginning of world war, now the extermination is corporate, multinational, it's still the same blood and soil. and we know bloody well war only destroys us along with the other for the short gain of criminal cadres. there must be more to this than extermination.