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    The Artists Bringing Activism into and Beyond Gallery Spaces

    At a time when the basic power structures of the art world are being questioned, collectives and individuals are fighting against the very institutions funding and displaying their work.I.It’s a sunny Tuesday afternoon, and Eyal Weizman is at his central command — his London living room, which has been his base of operations since the outset of the pandemic. A vase of peonies is visible on the table behind him. His dog, Bernie, leaps into the frame, something about his shaggy visage evoking his eponym. His teenage daughter wanders through, making goofy faces to distract her father. His phone buzzes incessantly.It’s a stressful time for Weizman, the founder of Forensic Architecture, a roughly 30-member research group comprising architects, software developers, filmmakers, investigative journalists, artists, scientists and lawyers that he started at Goldsmiths, University of London in 2010, and which has become well known in the art world for data-driven museum exhibitions that serve as detailed investigations into human atrocities that history has tended to ignore; he describes their headquarters as a cross between an artist’s studio and a newsroom.This summer at Berlin’s Haus der Kulturen der Welt, Forensic Architecture unveiled a new investigation into the cybersurveillance of human rights workers; at London’s Institute of Contemporary Arts, it presented new evidence in its inquiry into the 2011 shooting by London police of Mark Duggan, a 29-year-old Black man (thanks to F.A.’s investigation, Duggan’s family was able to negotiate a financial settlement). A third show, “Cloud Studies,” at Manchester’s Whitworth Gallery, included a major new investigation in Louisiana linking the development of land on the Mississippi River by petrochemical plants — land on which burial grounds of enslaved people have been found — to centuries of human and environmental exploitation. The day of our conversation in May, Weizman had just gotten off the phone with the Colombian Truth Commission, and had earlier taken a call from a lawyer involved in an inquiry into London’s 2017 Grenfell Tower fire. (Forensic Architecture is making a film recreating the event, which killed 72 people, a disaster that evidence seems to show was partly caused by the construction’s failure to meet fire-resistance requirements.) Meanwhile, bombs had been falling on Gaza for over a week, and colleagues and sources there and in the West Bank were in danger. His own world had shrunk, too, the cost of doing the kind of work he does; he’d been advised not to travel to Russia or Turkey after investigations involving those countries; even the United States was off the table.Welcome to the life of a 21st-century activist artist, whose work is as likely to be exhibited at an international human rights tribunal as it is a museum, and in which death threats and cyberattacks are all in a day’s work. Forensic Architecture was a finalist for the 2018 Turner Prize in part for an investigation it presented at Documenta in 2017 involving the 2006 murder of a German man of Turkish descent by a neo-Nazi group in Kassel, Germany — in the presence, as F.A. proved, of a national intelligence agent. “In the art world, the reviews were saying, ‘This is evidence, this is not art,’” Weizman recalls. Later, it became part of a parliamentary inquiry. “And when it was taken to the tribunal, the tribunal said, ‘That’s art, that’s not evidence, you cannot have it here. How can you pull out a piece of art from Documenta, which we know is an art exhibition, and put it in a parliamentary commission?’ But it didn’t help them, and the agent that we found complicit in killing was actually made to watch the artwork at the parliamentary commission. So to a certain extent, we love it, being not this and not that. It’s part of our power.” A 2020 work by Decolonize This Place about how to topple a racist monument. The New York-based group campaigns against systemic racism and human rights violations in museums.Content by Sarah Parcak, 2020, courtesy of Decolonize This PlaceActivism has become a powerful force in contemporary art of late — exciting, resonant, even potentially reparative in nature, rather than irritatingly salubrious. In recent years, the photographer Nan Goldin helped popularize this new era of cultural institutions as the site of active protest by staging die-ins at museums including the Guggenheim and the Metropolitan Museum of Art in New York to highlight the philanthropic support of the Sackler family, owners of the company that produces OxyContin. This led to a host of institutions, including the Guggenheim, the Met and the Tate galleries embargoing further donations from the family. This year, the art collective Decolonize This Place, which has organized actions at the Brooklyn Museum and the American Museum of Natural History, among other institutions, was one of the groups involved in Strike MoMA, which originated as an effort to call attention to the ties of the former board chairman and hedge fund billionaire Leon Black to the accused sex trafficker Jeffrey Epstein. In March, days after Strike MoMA announced a series of protests calling for an end to “toxic philanthropy” and for Black’s resignation, he told colleagues that he would not seek re-election for his position. The tipping point for these shake-ups in institutional power came in 2019 when Warren B. Kanders, the C.E.O. of the munitions company Safariland, stepped down as vice chair of the Whitney Museum of American Art’s board of trustees. The movement, in this case, came from inside the museum: After articles connecting Kanders to the company appeared online, staff members at the Whitney wrote a letter to the museum’s leadership condemning his position; Decolonize This Place organized protests to support those efforts and the sculptor Michael Rakowitz declined his invitation to participate in that year’s Whitney Biennial. Forensic Architecture, for its part, showed what is probably its best-known work in the United States: the 2019 11-minute film “Triple-Chaser,” a collaboration with Laura Poitras’s Praxis Films that illuminates the link between Kanders and Safariland. It includes unsparing footage of migrant families being tear-gassed at the U.S.-Mexican border and a protester being shot in Gaza, his leg ripped apart by a bullet. (The film’s title comes from the name of the tear-gas grenade that separates into three pieces in order to allow “increased area coverage.”) This synergistic response to a war profiteer’s effort to launder his reputation with philanthropic efforts felt galvanizing.II.We’ve always been fascinated by art that has a real-world impact. But why is there so much of it now, and why is it suddenly so effective? Art is, as Barbara Kruger puts it in a 1990 essay, “What’s High, What’s Low — and Who Cares?,” a way of showing and telling, through an eloquent shorthand, how it feels to be alive at a particular point in time. But certain times are more volatile than others, and art has risen, once again, to meet the politically charged moment, in which desire for accountability has taken hold across the culture, from #MeToo to Black Lives Matter. This fall marks the 10-year anniversary of Occupy Wall Street, which led to a greater understanding of the structures that uphold inequality, including the cultural institutions that prop up the forces degrading the values art and culture purport to protect. The very concept of freedom has been co-opted by bare-chested men in coonskin caps storming the U.S. capital, or legislators constraining teachers’ discussions of the racism endemic to American history. We’re free to be killed by a lunatic wielding a military-style weapon at the supermarket; we’re free to be taxed a quarter of our incomes while the wealthiest pay one-tenth of 1 percent. What use is freedom these days, really? As a concept, it’s always been of limited use, depending on where you were born or the color of your skin. It’s no wonder, then, that the conversation around art is one that calls for reckoning and repair.Hans Haacke’s “MoMA Poll” (1970) asked visitors of New York’s Museum of Modern Art whether or not they would support Governor Nelson Rockefeller, whose family remains one of MoMA’s major donors.Hans Haacke/Artists Rights Society (Ars), New York/Vg Bild-Kunst, Bonn. Courtesy of the Paula Cooper Gallery, New YorkThese groups operate in different modes — Decolonize This Place recognizes the emotional impact of protest and spectacle (close to a thousand people attended a 2018 protest at the American Museum of Natural History), while Forensic Architecture seeks to build a legal case — but they share a belief in art as a revolutionary practice, and an emphasis on the value of collaborative efforts between artists and the public. They recognize common cause across a host of issues, including police brutality, Indigenous rights, income inequality and gentrification. (Both groups have also stoked controversy among their ideological opponents, most recently pro-Israel activists, who have said their support of Palestine has helped contribute to antisemitic violence, an accusation that members of Decolonize This Place and Forensic Architecture vehemently deny.) In the same way that Safariland tear gas can be used in Palestine, Ferguson, Baltimore, Egypt and at the southern border of the United States, or that ultranationalism and self-victimization have global reach, this new fusion of art and human rights work crosses borders of geography and identity, rather than siloing causes. As with other social justice movements worldwide, there is a collective structure to this work that serves as a rebuke to the artist as superstar, the narrative of the great man or woman as creator. Anticommercial and antiauteur, the emphasis is on the relational, a recognition that by working synergistically and across areas of professional expertise, everyone becomes emboldened to address entrenched asymmetries of power. What these groups also share is a belief in art that’s self-aware — transparent about process, explanatory in nature, seeking to pierce the fog of complication and misinformation with data — the tool by which we hold people, institutions and corporations accountable. That so much contemporary activist art is centered around marshaling and corralling data also speaks to our moment, in which willful ignorance is arguably more widespread than at any other time in history. In a fake news, post-truth world, in which conspiracy theories and foolishness (rigged elections, space lasers) have flourished faster than Silicon Valley coders can intercept them, data has become the de facto authority, summoned up to debate everything, from the pandemic to critical race theory to bias in general, not just within institutions but in one-on-one arguments. No one really has credibility anymore; we assume everyone is distorting information to suit their interests until we see hard proof. Accompanying the dissemination of untruths are the constant undermining and defunding of those who do, in fact, buttress factual information, such as universities, scientists and journalists. The desire for something resembling definitive truth is all-encompassing. It makes sense, then, that we would want art that not only incites empathy or starts a conversation but that makes our fragmentary, mediated world graspable and actionable. Thinking of art — in this hyperverified form, meticulously crafted — as a kind of tool against injustice is undoubtedly like bringing a flash drive to a sword fight. But it may be the best weapon we have.III.Inequalities are visible everywhere we go in the modern world. It’s the West Bank security wall; it’s which neighborhood gets a beautiful new park and which one gets the petrochemical plant. Weizman, 51, who is Jewish and grew up in Haifa, Israel, has written at length about the ways in which the structures of power and politics manifest themselves. “Israeli apartheid is evident in everything in the built environment, from the way the city is organized to the way that communities are clustering, in where roads go and where forests are being planted. It’s in where new settlements are being established. It’s in where there is a flyover, and where there is a tunnel. Politics is actually a physical architectural reality, it has that sort of immersive dimension. You’re in politics. It’s not something you read about; you can bump your head into it,” he says. As an architecture student, he was drawn to writing and researching; as a young adult, he volunteered at the Palestinian government’s Ministry of Planning in Ramallah, where he was tasked with photocopying Israeli documents like maps and aerial images that Palestinians could not access.A 2019 protest in front of the Pyramid of the Louvre in Paris, opposing the museum’s ties to the Sackler family. The demonstration was organized by the activist group P.A.I.N., or Prescription Addiction Intervention Now, which was founded by Nan Goldin.Stephane De Sakutin/AFP via Getty ImagesOften, though, the powerful forces that shape our lives and well-being can be difficult to see and touch. We can pull down racist monuments (the statue of Theodore Roosevelt in front of New York’s Natural History museum, a locus of D.T.P. protests, is set to be replaced next year), but structural racism remains. Over the past decade, a number of prominent artists have been focused on making those unseen forces visible and tangible. Think of Trevor Paglen’s work in artificial intelligence that “sees” us, or Hito Steyerl’s 2019 video installation at the Park Avenue Armory, “Drill,” which was built around gun violence testimonials. In the case of Forensic Architecture, this “making visible” often involves deploying the very technologies that surveillance states and corporate entities use against us. Compiling data fragments of all kinds — witness accounts, leaked footage, photographs, videos, social media posts, maps and satellite imagery — they create platforms to compile the information, cross-reference it and uncover the hidden connections between dispersed events. In the 21st century, revolution is still about winning hearts and minds, but it’s also a technology war.When I ask Weizman if he considers himself an artist, he brings up the German filmmaker Harun Farocki, an early inspiration for F.A.; Farocki was making a film about Forensic Architecture when he died in 2014. “He compared what we do to a bird building a nest,” Weizman says. “You take a little bit of reed, you take some nylon, you take some plastic, you take some leaves, and somehow one assembles shape from there. So there’s an act of construction, and in an act of construction there’s always imagination that comes into it, but it does not mean that it reduces its truth value. The truth comes out of that aesthetic work.” Using satellite imagery, aerial photographs and centuries-old historical records, F.A. creates a timeline of evidence; that evidence is used to close the gaps between probable and provable, meeting a burden of truth (something that, Weizman has said, we need like air and water). Unlike Farocki, who used security camera footage in his work to make a point about our disembodied reality, or documentary filmmakers such as Errol Morris, who creates re-enactments to show us the subjective nature of memory and testimony, F.A. makes video work that strives to bear the scrutiny of judicial interpretation. Protecting sources is paramount to F.A.; meetings involving sensitive information are conducted in a special room called the Fridge, in which cellphones aren’t allowed; identifying information on vulnerable sources is written down instead of stored on computers.Forensic’s work assists the imagination by pulling together vast quantities of fragmentary evidence, moving backward in time to establish a record of accounting. Sometimes, this timeline can be short — the shooting of Mark Duggan, for example, transpires over the course of a few seconds; other times, it can be vast: The Louisiana investigation involves a time span of three centuries, from the first arrivals of enslaved people on the Mississippi River to today’s Cancer Alley, so named in the 1980s for the skyrocketing cancer rates among the largely Black communities living there. Increasingly, the area is referred to as Death Alley, making the history of exploitation clearer. “Our ancestors are ultimately at the front line of resistance to this industry,” says Imani Jacqueline Brown, the project’s coordinator. “Slavery,” she notes, “not only established this notion of sacrificing populations from whom life and labor can be extracted in order to produce profit for others but also literally lay the grounds for the petrochemical plants to come in.”A rally, organized in part by Decolonize This Place, outside the Metropolitan Museum of Art in 2019.Erik McGregor/LightRocket via Getty ImagesF.A.’s work often physically manifests itself as short videos that closely examine their source material and their methodology. It is not visually unappealing, but it has the look of a formal presentation, almost like an exhibit at a criminal trial. The Louisiana project was, tellingly, unveiled this past June to the public not in a gallery or museum but on The New York Times home page, in a short film produced with the paper’s video team. The fact that a phase of the project, which includes 3-D models and detailed cartography that illustrate how the Louisiana landscape has changed over time, was part of an exhibition at an art space across the Atlantic from the actual site the group is investigating is also not an accident: Nearly every cultural institution in Louisiana is funded by the oil and gas industry. One irony of contemporary art that critiques or transcends the institution is just how central the institution remains to it. Indeed, the complexity of the art ecosystem as a reflection of global power is at the heart of F.A.’s origin story. In 2002, Weizman was asked, along with his partner in his Tel Aviv practice, Rafi Segal, to represent Israel at the World Congress of Architecture in Berlin. But their project, which examined in detail the spatial form of Israeli settlements in the West Bank and how their physical layout is informed by politics, was abruptly withdrawn by the Israel Association of United Architects. That widely reported censorship created an immediate buzz, and the work was exhibited instead at New York’s Storefront for Art and Architecture in 2003. In 2004, Weizman co-curated with Anselm Franke an exhibition called “Territories,” which focused on spatial warfare — the way in which dominion is built into the construction and destruction of the landscape, housing and infrastructure. It was part of a shift in architecture away from flashy luxury developments and toward a more politically engaged construction, practiced over the past decade by everyone from Shigeru Ban to Rem Koolhaas, which explicitly tries to respond to issues like climate change and inequality. When Goldsmith’s hired Weizman to establish an architecture program in 2005, it was with the goal of creating an alternative paradigm to existing studio-based architectural education models, a refuge for architects that want to take part in reform and activism.“We thought, ‘Art will allow us to do what we need,’” Weizman tells me wryly. “And then we realized, ‘No, we have another war to wage here.’” F.A. had already been invited to contribute to the Whitney Biennial when he read the articles linking Kanders to Safariland. Weizman immediately thought of a 2016 demonstration in the West Bank in which he’d participated. “I was running with a young woman toward the Israeli army, and they shot a tear-gas canister at us, and she got hit in the head,” he recalls. “And after tending to her, I looked at the thing, I took a photo of it. And when we heard about Kanders, I realized that that canister was actually something I had breathed: You breathe with your eyes and with your nose, and it’s kind of like everything is watering, an extremely unpleasant, intense sort of sensation. Fast-forward to 2017, and we realized, ‘OK, hold on, that stuff that was thrown at me is now funding our contribution.’ We knew that we had a slightly different role than other artists because we had a capacity: We had people on the ground, we had the technology, we knew that we could investigate. We wanted to turn the art world into a site of accountability.” The Death Alley investigation will be exhibited in October in Louisiana at community spaces, and eventually, Brown hopes, the platform will be handed off to local activist groups. While the stories F.A. tells aren’t designed to elicit emotion or push aesthetic boundaries, these things have a way of seeping in. If violence has an aesthetic, so do the physical traces it leaves behind. Looking at the aerial imagery Brown and her team scour for anomalies, clues that might indicate the site of an unmarked burial ground, she points out a lone oak — the last remaining descendant of trees once planted by people who didn’t have access to stone to mark the graves of their loved ones — and for a moment, neither of us can speak.Forensic Architecture’s “Cloud Studies” (2008-2021), at Manchester’s Whitworth Gallery.Courtesy Forensic Architecture and the Whitworth, the University of ManchesterIV.It’s impossible, in thinking about what transpired at the Whitney, not to recall one of the earliest examples of what would later be called institutional critique, Hans Haacke’s 1970 installation “MoMA Poll.” Visitors to New York’s Museum of Modern Art were asked to deposit their answers to a question — “Would the fact that Governor Rockefeller has not denounced President Nixon’s Indochina policy be a reason for you not to vote for him in November?” — into one of two transparent plexiglass ballot boxes, one for “Yes” and another for “No.” Nelson Rockefeller, whose family money had funded MoMA in the first place, was up for re-election, and was a major donor and board member at the museum, but in this case his reputation went relatively unharmed, even though, by the end of Haacke’s exhibition, there were twice as many “Yes” ballots as there were “No” ballots. While the flow of money hasn’t changed much since Haacke’s day (several Rockefeller family members remain on the museum’s board), the call for transparency has grown very loud; hence, the rise of the term “artwash” to describe the way in which art and culture are used — by institutions, by the state, by individuals — to normalize and legitimize their reputations.Activist art has a way of capturing our attention during culture wars. By the 1960s, conceptual art movements had taken art out of museums and into the wider world; that inspired the political art movement of the 1970s, as well as the ecological and feminist art movements. Institutional critique reached its apotheosis in the 1980s, when artists historically excluded from museum spaces began to take on the mainstream. In 1989, Andrea Fraser made “Museum Highlights: A Gallery Talk,” in which she performed the role of a museum docent in order to mock the robber baron mentality of art connoisseurship; the video work was produced at a time when federal cuts to cultural funding meant that museums increasingly had to rely on corporate sponsorship and private donors. But in the years since, that irreverence has fallen away. In 2016, Fraser published a 950-page study titled “2016 in Museums, Money and Politics,” breaking down the donations of 5,458 museum board members to party-aligned organizations during the general election. There was no wit, or cheekiness, here, only the numbers telling their own inarguable story: The people who support cultural institutions that fly the flag of diversity and inclusion are also major donors to conservative politicians who fight against those very causes.Then there’s the rebirth of collectives, a mainstay of ’60s-era art, which have also taken up the cause of post-institutional work. In the 1990s, the Artnauts, a group founded by the sociologist and artist George Rivera, created actions and self-curated installations in locations that drew attention to issues that generally fell outside of art’s traditional purview, from post-Pinochet Chile to the closed borders at the Korean DMZ Museum. Decolonize This Place, with its sit-ins and eye-catching graphics, draws from a lineage of activist art established by the Situationist International, or S.I., which was founded in 1957 after the French theorist Guy Debord brought together a number of art collectives in Alba, Italy, for a meeting of the First World Congress of Free Artists. The Situationist manifesto draws from philosophers like Gyorgy Lukacs to examine culture as a rigged game dominated by powerful interests that squelches dissent or commodifies subversive thinking, and now feels uncannily current.A 1987 poster, “Guerrilla Girls Review the Whitney,” by the Guerrilla Girls, an anonymous feminist collective that has spent decades examining gender disparity at arts institutions across the world. © Guerrilla Girls, Courtesy guerrillagirls.comOne of the more iconic progenitors of today’s data-driven activist art collectives is the Guerrilla Girls, which arose in 1985 amid a frustration with the commercialism of art. The Guerrilla Girls, who wear gorilla masks and use the names of deceased female artists as noms de guerre, targeted spectators in public with posters and slogans that challenged the status quo using language borrowed from advertising. “Do women have to be naked to get into the Met Museum?” one 1989 poster asked, beside a graphic of an odalisque wearing a gorilla mask, noting in the text that while less than 5 percent of the artists in the Modern section were women, 85 percent of the nudes were female. Then, as now, critics of these movements suggested there was a certain hypocrisy afoot, given that many artists involved in institutional critique were having their work funded by and exhibited at those very institutions. But this was, according to the artists, always the point: Rather than purifying the art world, it’s about liberating it.“We still do street posters and banners dissing museums, but we also diss them right on their own walls,” Käthe Kollwitz, a longtime Guerrilla Girls member, wrote to me in an email (her name is a pseudonym). Their latest project, “The Male Graze” (2021), is a series of billboards that reveal a history of exploitative behavior by male artists. Their focus remains largely unchanged: “We say to everyone who cares about art: ‘Don’t let museums reduce art to the small number of artists who have won a popularity contest among big-time dealers, curators and collectors,’” Kollwitz writes. “Unless institutions show art as diverse as the cultures they represent, they’re not showing the history of art, they’re just preserving the history of wealth and power.”Revolutions, like art, begin as works of imagination: a reshaping of the world in a new image. Nitasha Dhillon, a co-founder, along with Amin Husain, of Decolonize This Place, points me to a 1941 essay by the surrealist theorist Suzanne Césaire, in which she envisions a “domain of the strange, the marvelous and the fantastic. … Here are the poet, the painter and the artist, presiding over the metamorphoses and the inversion of the world under the sign of hallucinations and madness.” We can all agree that the world has gone mad; can the art of reckoning and trauma show us a way forward? The fact is, there’s no blueprint for decolonization; nothing involving people working together for greater justice is especially utopian or marvelous. There will always be disagreement, imperfection, more to learn, more work to be done. This kind of art is nothing if not effortful; it comes at a personal cost. And so, while groups like Forensic Architecture and Decolonize This Place have already had their proven successes — in courts of law, in art spaces — I can’t help but think that it’s the less measurable impact that might, in the end, be the more powerful one, as models of cooperation and correction in a cynical, self-interested and often violent world. If nationalism and greed are globally transmissible, then so, perhaps, is idealism. Accountability, in the end, means paying attention to whose suffering is footing the bill for our lifestyle, our comfort, even our beauty. The fear of being canceled is, after all, about the fear of facing those hard truths and being found complicit. The question, maybe, has never really been whether or not art can heal us but rather to what extent we have the courage to heal ourselves. More

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    Ignoring Arizona Humiliation, ‘Stop the Steal’ Races Forward

    As a Republican review of 2020 votes in Arizona sputtered to a close, Donald Trump and his allies signaled that their attack on the election, and their drive to reshape future elections, were far from over.After all the scurrying, searching, sifting, speculating, hand-counting and bamboo-hunting had ended, Republicans’ post-mortem review of election results in Arizona’s largest county wound up only adding to President Biden’s margin of victory there.But for those who have tried to undermine confidence in American elections and restrict voting, the actual findings of the Maricopa County review that were released on Friday did not appear to matter in the slightest. Former President Donald J. Trump and his loyalists redoubled their efforts to mount a full-scale relitigation of the 2020 election.Any fleeting thought that the failure of the Arizona exercise to unearth some new trove of Trump votes or a smoking gun of election fraud might derail the so-called Stop the Steal movement dissipated abruptly. As draft copies of the report began to circulate late Thursday, Trump allies ignored the new tally, instead zeroing in on the report’s specious claims of malfeasance, inconsistencies and errors by election officials.Significant parts of the right treated the completion of the Arizona review as a vindication — offering a fresh canard to justify an accelerated push for new voting limits and measures to give Republican state lawmakers greater control over elections. It also provided additional fuel for the older lie that is now central to Mr. Trump’s political identity: that the 2020 election was stolen from him.“The leaked report conclusively shows there were enough fraudulent votes, mystery votes, and fake votes to change the outcome of the election 4 or 5 times over,” Mr. Trump said in a statement early Friday evening, one of seven he had issued about Arizona since late Thursday. “There is fraud and cheating in Arizona and it must be criminally investigated!”For Mr. Trump, Republican candidates vying to appeal to voters in primary races, and conservative activists agitating for election reviews in their own states, the 91-page document served as something of a choose-your-own-adventure guide. These leaders encouraged their supporters to avert their eyes from the conclusion that Mr. Biden had indeed won legitimately, and to instead focus on fodder for a new set of conspiracy theories.“Now that the audit of Maricopa is wrapping up, we need to Audit Pima County — the 2nd largest county in AZ,” Mark Finchem, a Republican candidate for secretary of state in Arizona who supported the effort in Maricopa, wrote on Twitter. “There are 35k votes in question from multiple sources & I want answers.”Even Republicans who do not subscribe to false claims of election fraud are using investigations to justify more restrictive voting laws. In Michigan, State Senator Ed McBroom, a Republican who leads his chamber’s elections committee and wrote an unsparing report in July debunking an array of Trump-inspired fraud claims, said Friday that the discovery of potential avenues for election fraud — not evidence of fraud itself — was reason enough to pass new voting restrictions.“Just like we found in Michigan, it’s good that we found that these vulnerabilities weren’t exploited to any important extent in this election,” Mr. McBroom said in an interview. “It doesn’t mean that somebody might not use them in the future.”Cherry-picking from the report on Friday, the former president and his allies cited a series of eye-popping statistics that, on first glance, appeared to bolster their case, trusting that their supporters either would not digest the document in full or would not trust the mainstream news outlets that laid out its complete contents.Peter Navarro, a former adviser to Mr. Trump, falsely claimed on Twitter that the report had shown that 50,000 potentially illegal votes were cast in Maricopa County. That number was in fact the tally of ballots that the report — through questionable methodology — described as problematic in some way.Liz Harrington, a spokeswoman for Mr. Trump, pointed on Twitter to “23,000+ Phantom Voters.” This was apparently a reference to 23,344 mail-in ballots that Cyber Ninjas, the company assigned by Arizona Republicans to carry out the review, had claimed came from voters listed under prior addresses. (Such claims were quickly refuted by the Maricopa County elections board, which said that “this is legal under federal election law.”)People in Phoenix, including supporters of former President Donald J. Trump, watched a live stream on Friday as the results of the election review were presented to the Arizona State Senate.Adriana Zehbrauskas for The New York TimesProponents of the Arizona review seized on vague suggestions by the report’s authors that “canvassing,” or the common political campaign practice of knocking on doors, was needed. Without defining what sort of canvass they had in mind, many Republicans in Arizona and beyond made the word a new rallying cry in the hunt for election fraud.“Canvass Maricopa,” Wendy Rogers, a Republican state senator in Arizona, wrote on Twitter.The Arizona review, and similar partisan election investigations around the country, are one spear in a multipronged effort by Mr. Trump and his allies to dispute the outcome of the 2020 race and to overhaul future American elections.That push has alarmed Democrats, good-government groups and historians, who point to the ways that Mr. Trump undermined democratic norms while in office, including his fight to subvert last year’s election, an effort that culminated in the Capitol riot.New evidence for their arguments emerged this week in the form of a memo unearthed in a new book by Bob Woodward and Robert Costa of The Washington Post. According to the memo, drafted by John Eastman, a Republican lawyer who worked with the Trump campaign, by refusing to accept the results, Mr. Trump could help prompt a state legislature to send an alternative slate of electors to Congress.The memo concluded that, with multiple slates to consider, former Vice President Mike Pence and allies in Congress could refuse to certify the states in question, which would nullify the election results and lead instead to a vote in the House of Representatives on the president, with each state delegation receiving one vote.In 2020, Republicans held the advantage in state delegations, with 26, meaning that Mr. Trump would have successfully overturned the election in this scenario.Trump’s Bid to Subvert the ElectionCard 1 of 4A monthslong campaign. More

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    The Jan. 6 Plotters Had a Mob. They Also Had the Eastman Plan.

    You can understand a revolution as a time when the unthinkable becomes, suddenly, thinkable. It is a time when the rules that ordinarily govern political life lose their force and conflict takes the place of consensus, a time when the struggle for power is a struggle to define the political order itself.Sometimes, as with our Civil War, revolutions are loud, violent and disruptive. At other times, as in the 1930s, revolutions are a little quieter, if no less significant.As the full picture of Jan. 6 begins to come into view, I think we should consider it a kind of revolution or, at least, the very beginning of one. Joe Biden ultimately became president, but Donald Trump’s fight to keep himself in office against the will of the voters has upturned the political order. The plot itself shows us how.Trump, we know, urged Mike Pence to reject the votes of the Electoral College, with the mob outside as the stick that would compel his obedience. “You can either go down in history as a patriot,” Trump told Pence, as recounted in this newspaper, “or you can go down in history as a pussy.”When this was first revealed, I assumed that Trump simply wanted Pence to do whatever it would take to keep himself in power. But this week we learned that he had an actual plan in mind, devised by John Eastman, a prominent conservative lawyer who worked with the former president to challenge the election results, a job that included a speaking slot at the rally on the National Mall that preceded the attack on the Capitol.“We know there was fraud,” Eastman said to the crowd that would become a mob. “We know that dead people voted.”“All we are demanding of Vice President Pence,” he continued, “is this afternoon at 1 o’clock, he let the legislatures of the states look into this so we get to the bottom of it and the American people know whether we have control of the direction of our government or not!”These weren’t just the ravings of a partisan. Eastman was essentially summarizing the contents of a memo he had written on Trump’s behalf, describing the steps Pence would take to overturn the election in Trump’s favor.First, as presiding officer of the joint session in which Congress certifies the election, Pence would open and count the ballots. When he reached Arizona, Pence would then announce that he had “multiple slates of electors” and would defer his decision on those votes until he finished counting the other states. He would make this announcement for six other swing states — including Georgia, Michigan, Pennsylvania and Wisconsin — before announcing that “there are no electors that can be deemed validly appointed in those States” on account of election disputes and accusations of fraud.Mike Pence presiding over the certification of the 2020 Electoral College results.Erin Schaff/The New York TimesJohn Eastman, left, with Rudy Giuliani, at the “Stop the Steal” protest in Washington on Jan. 6.Jim Bourg/ReutersAt this point, Eastman explained, Pence could declare Trump re-elected, because — with seven states removed from the count — the president would have a majority of whatever electors were left, and the 12th Amendment states that the “person having the greatest number of votes for President, shall be the President, if such number be a majority of the whole number of Electors appointed.”If, for some reason, this didn’t fly, Eastman went on, Pence could then say that no candidate had won a majority and thus the election must go to the House of Representatives, where each state has a single vote and Republicans controlled a slim majority of state delegations, 26 to 24. If Democratic objections led both houses of Congress to split into their separate chambers to resolve the dispute, then Republicans could obstruct the process in the Senate and create a stalemate that would allow Republican-controlled state legislatures “to formally support the alternate slate of electors.”As for the courts? Eastman argued that they don’t matter. “The fact is that the Constitution assigns this power to the Vice President as the ultimate arbiter.” If Pence has the power, then Pence should act and “let the other side challenge his actions in court.”Eastman’s confidence throughout this memo (he dismisses potential Democratic objections as “howls”) belies his shoddy legal, political and constitutional thinking. For one, his argument rests on an expansive reading of the Twelfth Amendment for which there is no precedent or justification. The vice president has never directly counted electoral votes. “Beginning in 1793, and in every presidential election since,” the legal scholar Derek Muller notes in a piece debunking key claims in the memo for the website Election Law Blog, “the Senate and the House have appointed ‘tellers’ to count the electoral votes. These tellers actually tally the votes and deliver the totals to the President of the Senate, who reads the totals aloud before the two houses after the tellers, acting on behalf of Congress, have ‘ascertained’ the vote totals.”The 12th Amendment, ratified in 1804, codified that practice into the Constitution. Congress would do the counting, and the vice president would simply preside over the process.Eastman also asserted that the vice president could disregard the procedure specified under the Electoral Count Act because the law itself is unconstitutional. That, Muller notes, is controversial (and something Eastman himself rejected in 2000, in testimony before the Florida Legislature during the dispute between George W. Bush and Al Gore). And even if it were true, the 117th Congress, on its first day in operation, Jan. 3, adopted the provisions of the law as its rule for counting electoral votes, which is to say Pence had no choice but to follow them. His hands were tied.Which gets to the politics of this scheme. If Pence were to disregard the rules and the history and seize control of the counting process, House Speaker Nancy Pelosi would presumably have suspended the joint session, which relies on the consent of both chambers of Congress. “With a stalled and incomplete count because of a standoff between Pence and Pelosi,” the legal scholar Ned Foley writes in a separate Election Law Blog post, “the Twentieth Amendment becomes the relevant constitutional provision.” Meaning, in short, that at noon on Jan. 20, Pelosi would become acting president of the United States. Pence would lose authority as vice president (and president of the Senate) and the joint session would resume, with Congress putting its stamp of approval on Biden’s victory.And let’s not forget that a series of moves of the sort envisioned by Eastman would spark national outrage. The “howls” would not just come from congressional Democrats; they would come from the 81 million voters who Pence would have summarily disenfranchised. It is conceivable that Trump and his allies would have prevailed over mass protests and civil disobedience. But that would depend on the support of the military, which, if the actions of Gen. Mark Milley were any indication, would not have been forthcoming.None of this should make you feel good or cause you to breathe a sigh of relief. Consider what we know. A prominent, respected member in good standing of the conservative legal establishment — Eastman is enrolled in the Federalist Society and clerked for Supreme Court Justice Clarence Thomas — schemed with the president and his allies in the Republican Party to overturn the election and overthrow American democracy under the Constitution. Yes, they failed to keep Trump in office, but they successfully turned the pro forma electoral counting process into an occasion for real political struggle.It was always possible, theoretically, to manipulate the rules to seize power from the voters. Now, it’s a live option. And with the right pieces in place, Trump could succeed. All he needs is a rival slate of electoral votes from contested states, state officials and state legislatures willing to intervene on his behalf, a supportive Republican majority in either house of Congress, and a sufficiently pliant Supreme Court majority.As it happens, Trump may well run for president in 2024 (he is already amassing a sizable war chest) with exactly that board in play. Republican state legislatures in states like Georgia and Arizona have, for example, used claims of fraud to seize control of key areas of election administration. Likewise, according to Reuters, 10 of the 15 declared Republican candidates for secretary of state in five swing states — Arizona, Georgia, Wisconsin, Michigan and Nevada — have either declared the 2020 election stolen or demanded that authorities invalidate the results in their states. It is also not unlikely that a Republican Party with pro-Trump zealots at its helm wins Congress in November of next year and holds it through the presidential election and into 2025.If Trump is, once again, on the ballot, then the election might turn on the manipulation of a ceremony that was, until now, a mere formality.Here, I’ll return to where I started. If this happens, it would be a revolutionary change. In this world, the voters, as filtered through the Electoral College, no longer choose the president. It becomes less a question of the rule of law and more one of power, of who holds the right positions at the right time, and especially, of who can bring the military to their side.On Jan. 20, Joe Biden became president and Donald Trump slunk off to Mar-a-Lago to lick his wounds. But the country did not actually return to normalcy. Jan. 6 closed the door on one era of American politics and opened the door to another, where constitutional democracy itself is at stake.There are things we can do to protect ourselves — legal experts have urged Congress to revise the Electoral Count Act to close off any Eastman-esque shenanigans — but it is clear, for now at least, that the main threat to the security and stability of the United States is coming from inside the house.The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips. And here’s our email: letters@nytimes.com.Follow The New York Times Opinion section on Facebook, Twitter (@NYTopinion) and Instagram. More

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    Republican Review of Arizona Vote Fails to Show Stolen Election

    The much criticized review showed much the same results as in November, with 99 more Biden votes and 261 fewer Trump ones.PHOENIX — After months of delays and blistering criticism, a review of the 2020 election in Arizona’s largest county, ordered up and financed by Republicans, has failed to show that former President Donald J. Trump was cheated of victory, according to draft versions of the report.In fact, the draft report from the company Cyber Ninjas found just the opposite: It tallied 99 additional votes for President Biden and 261 fewer votes for Mr. Trump in Maricopa County, the fast-growing region that includes Phoenix.The full review is set to be released on Friday, but draft versions circulating through Arizona political circles were obtained by The New York Times from a Republican and a Democrat.Late on Thursday night, Maricopa County, whose Republican leaders have derided the review, got a jump on the official release by tweeting out its conclusions.“The county’s canvass of the 2020 General Election was accurate and the candidates certified as the winners did, in fact, win,” the county said on Twitter. It then criticized the review as “littered with errors and faulty conclusions.”Mr. Biden won Arizona by roughly 10,500 votes, making his victory of about 45,000 votes in Maricopa County crucial to his win. Under intense pressure from Trump loyalists, the Republican majority in the State Senate had ordered an autopsy of the county’s votes for president. The review was financed largely by $5.7 million in donations from far-right groups and Mr. Trump’s defenders.The draft reports implicitly acknowledged Mr. Biden’s victory, noting that there were “no substantial differences” between the new tally of votes and the official count by Maricopa County election officials. But they also claimed that other factors — most if not all contested by reputable election experts — left the results “very close to the margin of error for the election.”Among other alleged discrepancies, the reports claimed that some ballots were cast by people who had moved before the election, that election-related computer files were missing and that some computer images of ballots were missing.One expert and critic of the review who had seen a draft report of the findings called those red herrings.“The whole report just reflects on the Ninjas’ lack of understanding of Arizona election law and election administration procedures,” said Benny White, a Republican in Tucson who is an adviser on election law and procedures.It was not possible to determine whether the conclusions in the final version of the report being released on Friday would differ from those in the drafts. Mr. White said he had been told that some Republican Senate officials were unhappy with the findings.But if those findings stand, they would amount to a devastating disappointment for pro-Trump Republicans nationwide who have hoped the Arizona review would vindicate their belief that the presidency was stolen from him. For many loyalists, the investigation has been seen as the first in a string of state inquiries that would, domino-like, topple claims that Mr. Biden was legitimately in the White House.State Senator Wendy Rogers, a Republican who is among Arizona’s most ardent advocates of the stolen-election canard, posted on Twitter late on Thursday that the 110-page document was “simply a draft and is only a partial report,” and looked ahead to a hearing on Friday discussing the results. “Tomorrow we make history,” she wrote.On Thursday night, without acknowledging the findings of the draft reports that had been rippling across Arizona for half a day, the former president said in a statement, “Everybody will be watching Arizona tomorrow to see what the highly respected auditors and Arizona State Senate found out regarding the so-called Election!”Election experts said the inquiry run by Trump partisans with unrestricted access to ballots and election equipment failed to make even a basic case that the November vote was badly flawed, much less rigged.Critics said that would raise the bar for Republican politicians in Wisconsin and Pennsylvania who, under pressure from Mr. Trump and his supporters, have mounted their own Arizona-style investigations. Under similar pressure, the Texas secretary of state’s office on Thursday announced a “comprehensive forensic audit” of the results from four of the state’s largest counties.“If Trump and his supporters can’t prove it here, with a process they designed, they can’t prove it anywhere,” David Becker, the executive director of the Center for Election Innovation and Research, said on Thursday.In fact, the Republican inquiry may not be completely over. Senate investigators still want to examine Maricopa County computer servers for evidence of tampering, even though county officials insist they have had no connection to election machinery.In general, however, the report was a cap-gun ending to an inquiry whose backers hinted would turn up a cannonade of fraud.Republicans in the State Senate pushed for the inquiry in December, spurred in part by a daylong meeting with Rudolph W. Giuliani, Mr. Trump’s lawyer.The Republican president of the State Senate, Karen Fann, insisted that the review was a nonpartisan effort to reassure voters that the election had been well run, but faith in that pledge ebbed after she chose Cyber Ninjas, a firm with no prior experience in elections, to oversee the inquiry.The firm’s chief executive, Doug Logan, soon was shown to have suggested on Twitter that Mr. Biden’s victory in Arizona was illegitimate. Other firms and consultants hired for the inquiry also proved to have pro-Trump ties or were election conspiracy theorists.While the report’s authors declared that their monthslong review of votes in Maricopa County represented the “most comprehensive and complex election audit ever conducted,” the hand count of 2.1 million ballots and a review of voting machines and systems was plagued from the start by missteps and accusations of incompetence and partisan influence.Some elections officials said the draft reports offered an unlikely vindication of what they have been insisting for months: that Arizona ran a transparent, credible election in November.“The numbers match up,” said Adrian Fontes, who as county recorder oversaw the election in Maricopa County and is now a Democratic candidate for secretary of state.Mr. Fontes said some critiques and concerns raised in the report, such as the potential for duplicate votes, reflected a lack of knowledge about how the county conducts elections. Mr. Fontes said his office had put systems into place that reconciled in real time voter lists with records of who has voted.Trump’s Bid to Subvert the ElectionCard 1 of 4A monthslong campaign. More

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    Texas, Spurred By Trump, Announces Election Audit in 4 Counties

    Eight and a half hours after former President Donald J. Trump made a public demand for Gov. Greg Abbott of Texas to back legislation to create a “forensic audit of the 2020 election,” the Texas secretary of state’s office announced a “comprehensive forensic audit” of the results from four of the state’s largest counties.The quick response by state officials in Texas, which Mr. Trump carried last year by more than five percentage points, was the latest example of the former president’s enduring influence over the Republican Party, particularly when it comes to his efforts to undermine public confidence in the legitimacy of his loss last year to President Biden.“Governor Abbott, we need a ‘Forensic Audit of the 2020 Election,’” Mr. Trump said in a midday open letter to Mr. Abbott. “Texans know voting fraud occurred in some of their counties.”Texas is currently without a secretary of state, after the May retirement of Ruth Ruggero Hughs. Mr. Abbott, a Republican, has yet to appoint a successor.Nevertheless, the office released a two-sentence statement late Thursday stating that it would examine ballots from the 2020 election in Collin, Dallas, Harris and Tarrant Counties. The news release called those counties the “two largest Democrat counties and two largest Republican counties” in the state, but of the four, only Collin County backed Mr. Trump against Mr. Biden in the 2020 election. The statement said the audit process had already begun.Since Arizona Republicans began a review of more than 2 million ballots in Maricopa County, Trump-aligned Republicans across the country have sought to replicate the effort. In Wisconsin, a former State Supreme Court justice is investigating the election results and said Monday that an audit of ballots is possible. Pennsylvania Republicans last week sought driver’s license data and Social Security numbers for every voter in the state as part of an inquiry into the 2020 election there.The various reviews have not uncovered any significant evidence of fraud or impropriety in the vote counting. But they have created a new kind of security risk as third parties gain access to voting equipment and raised questions about the use of public resources to investigate Republican conspiracy theories.To date, there have been no serious allegations that the Texas election was flawed.Texas Democrats called the audit the latest attempt by Mr. Abbott and the state’s Republicans to cater to Mr. Trump.“This is all an organized effort to overturn the will of the people in an effort to fuel the ‘Big Lie’ and stroke Trump’s ego,” said Gilberto Hinojosa, the chairman of the Texas Democratic Party. More

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    Arizona's Election Review Inspires Copycat Efforts in Other States

    The inquiry into the 2020 vote, derided as a badly flawed partisan exercise, has already spawned imitators in other states.WASHINGTON — Republicans in the Arizona Senate are expected on Friday to unveil the results of the deeply flawed review they ordered into Democratic election victories last November in the state’s largest county.The study, conducted by Republican loyalists and conspiracy theorists, some of whom previously had called the election rigged, has long since lost any pretense of being an objective review of the 2020 election. It focuses on the votes that saw President Biden narrowly win the state and elected a Democrat, Mark Kelly, to the U.S. Senate, and its origins reflect the baseless Republican claims of a stolen election.But regardless of the outcome, the effort in Arizona has already inspired copycat efforts in other states still poring over the results from an election nearly a year old. And it has become a way to keep alive false claims of fraud and undermine faith in the 2020 election and democracy itself.In Wisconsin and Pennsylvania, for example, Republican-dominated Legislatures have ordered Arizona-style reviews of the 2020 vote in their states, sometimes in consultation with the same conspiracy theorists behind the Arizona investigation.The speaker of the Wisconsin State Assembly, Robin Vos, ordered the inquiry in June days after former President Donald J. Trump lambasted the Legislature for not pursuing fraud claims. He expanded it in August, allotting $680,000 in tax dollars, a week after a private meeting with Mr. Trump. The Pennsylvania inquiry, announced in July, began in earnest last week with a demand for information on every voter in the state.David Deininger, a former Republican state representative and judge in Wisconsin who served on the state’s Government Accountability Board, said the stakes extended well beyond the 2020 election. “Because of the fanfare and notoriety of these investigations, people are beginning to lose confidence in the fairness and accuracy of election results,” he said.“I hate to point to the Jan. 6 riot in the Capitol,” he added, “but if people lose confidence in our elections, there will be more events like that.”An Arizona Senate spokesman, Mike Philipsen, said that a public briefing on the findings would be held on Friday at 1 p.m. Pacific time, and that a link to the full report would eventually be posted on the Senate Republican caucus website.Mr. Biden carried Maricopa County, home to Phoenix and six in 10 Arizona voters last November, by some 45,000 votes out of roughly 2.1 million cast. He won Arizona by 10,457 votes. Legitimate audits of the vote ordered by the Republican-controlled Maricopa County Board of Supervisors, which oversaw the election, have repeatedly found no evidence of fraud that could have tainted the results.“We’re at an inflection point,” said Chuck Coughlin, a Phoenix pollster and Republican political consultant who has been skeptical of the Arizona investigation. “When the results drop, I’ll be curious to see how the Legislature’s Republican leaders react to this, including the State Senate itself.”The 16 Republicans in the 30-member Senate unanimously supported the review when it was proposed in December. But at least two Republican senators have publicly renounced their backing, one using Twitter in July to accuse the Senate president, Karen Fann, also a Republican, of a “total lack of competence” in overseeing the inquiry.The inquiry has been dogged from its start by slipshod and sometimes bizarre conduct. The firms conducting it had essentially no prior experience in election work, and experts said their haphazard recounting of ballots guaranteed unreliable results. Election officials said security lapses raised the risk that voting equipment had been compromised. And some aspects of the investigation — checking ballots for secret watermarks, and for bamboo fibers that would suggest they were printed in Asia — were based on outlandish conspiracy theories.Recent developments have only heightened skepticism about the election review.In July, officials said the vote review had been largely financed by nearly $5.7 million in donations from nonprofits run by far-right figures and allies of Mr. Trump. But in late August, a court-ordered release of documents related to the inquiry disclosed that another $1 million had come from an escrow account controlled by Cleta Mitchell, a lawyer who advised Mr. Trump as he sought to subvert the election results.Ms. Mitchell was a participant in an infamous telephone conversation in January during which Mr. Trump urged Georgia’s secretary of state to “find” enough votes to overturn Mr. Biden’s win there, suggesting he could be guilty of “a criminal offense” if he did not.Although officials said Mr. Trump did not contribute to the escrow account, it remains unclear who did. An email among the released documents indicates that it came from a previously unknown group called the American Voting Rights Foundation, whose only known officer is an accountant who has managed money for Republican congressional campaigns and conservative political action committees.Cleta Mitchell, a lawyer who advised former President Donald J. Trump, controls an escrow account that has given $1 million to the election review in Arizona.Anna Moneymaker for The New York TimesOther documents show that the Arizona Senate signed two $50,000 contracts — to inspect voter signatures on mail ballot envelopes and images of all 2.1 million ballots in Maricopa County — with Shiva Ayyadurai, an election conspiracy theorist who is against vaccines and known in far-right circles as “Dr. Shiva.”And this week, The Arizona Republic reported that Doug Logan, the head of Cyber Ninjas, the firm the State Senate hired to oversee the investigation, had worked with allies and lawyers for Mr. Trump last winter as they sought to overturn Mr. Biden’s election victory.Trump’s Bid to Subvert the ElectionCard 1 of 4A monthslong campaign. More

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    Trump Campaign Knew Lawyers' Dominion Claims Were Baseless, Memo Shows

    Days before lawyers allied with Donald Trump gave a news conference promoting election conspiracy theories, his campaign had determined that many of those claims were false, court filings reveal.Two weeks after the 2020 election, a team of lawyers closely allied with Donald J. Trump held a widely watched news conference at the Republican Party’s headquarters in Washington. At the event, they laid out a bizarre conspiracy theory claiming that a voting machine company had worked with an election software firm, the financier George Soros and Venezuela to steal the presidential contest from Mr. Trump.But there was a problem for the Trump team, according to court documents released on Monday evening.By the time the news conference occurred on Nov. 19, Mr. Trump’s campaign had already prepared an internal memo on many of the outlandish claims about the company, Dominion Voting Systems, and the separate software company, Smartmatic. The memo had determined that those allegations were untrue.The court papers, which were initially filed late last week as a motion in a defamation lawsuit brought against the campaign and others by a former Dominion employee, Eric Coomer, contain evidence that officials in the Trump campaign were aware early on that many of the claims against the companies were baseless.The documents also suggest that the campaign sat on its findings about Dominion even as Sidney Powell and other lawyers attacked the company in the conservative media and ultimately filed four federal lawsuits accusing it of a vast conspiracy to rig the election against Mr. Trump.According to emails contained in the documents, Zach Parkinson, then the campaign’s deputy director of communications, reached out to subordinates on Nov. 13 asking them to “substantiate or debunk” several matters concerning Dominion. The next day, the emails show, Mr. Parkinson received a copy of a memo cobbled together by his staff from what largely appear to be news articles and public fact-checking services.Even though the memo was hastily assembled, it rebutted a series of allegations that Ms. Powell and others were making in public. It found:That Dominion did not use voting technology from the software company, Smartmatic, in the 2020 election.That Dominion had no direct ties to Venezuela or to Mr. Soros.And that there was no evidence that Dominion’s leadership had connections to left-wing “antifa” activists, as Ms. Powell and others had claimed.As Mr. Coomer’s lawyers wrote in their motion in the defamation suit, “The memo produced by the Trump campaign shows that, at least internally, the Trump campaign found there was no evidence to support the conspiracy theories regarding Dominion” and Mr. Coomer.Read the Trump campaign’s internal memoLast November, communications staff members on the Trump campaign hastily assembled a memo examining outlandish election claims. The memo found that many of the allegations were baseless.Read DocumentEven at the time, many political observers and voters, Democratic and Republican alike, dismissed the efforts by Ms. Powell and other pro-Trump lawyers like Rudolph W. Giuliani as a wild, last-ditch attempt to appease a defeated president in denial of his loss. But the false theories they spread quickly gained currency in the conservative media and endure nearly a year later.It is unclear if Mr. Trump knew about or saw the memo; still, the documents suggest that his campaign’s communications staff remained silent about what it knew of the claims against Dominion at a moment when the allegations were circulating freely.“The Trump campaign continued to allow its agents,” the motion says, “to advance debunked conspiracy theories and defame” Mr. Coomer, “apparently without providing them with their own research debunking those theories.”Eric Coomer, a former Dominion Voting Systems employee, was accused of playing a role in a conspiracy to breach voting machines and reverse the 2020 election’s outcome. Bob Andres/Atlanta Journal-Constitution via Associated PressMr. Coomer, Dominion’s onetime director of product strategy and security, sued Ms. Powell, Mr. Giuliani, the Trump campaign and others last year in state district court in Denver. He has said that after the election, he was wrongly accused by a right-wing podcast host of hacking his company’s systems to ensure Mr. Trump’s defeat and of then telling left-wing activists that he had done so.Soon after the host, Joe Oltmann, made these accusations, they were seized upon and amplified by Ms. Powell and Mr. Giuliani, who were part of a self-described “elite strike force” of lawyers leading the charge in challenging Joseph R. Biden Jr.’s victory.On Nov. 19, for example, Ms. Powell and Mr. Giuliani appeared together at the news conference at the Republican National Committee’s headquarters and placed Mr. Coomer at the center of a plot to hijack the election by hacking Dominion’s voting machines. By Ms. Powell’s account that day, the conspiracy included Smartmatic, Venezuelan officials, people connected to Mr. Soros and a “massive influence of communist money.”Ms. Powell and Mr. Giuliani did not respond to messages seeking comment on the documents. Representatives for Mr. Trump also did not respond to emails seeking comment.Mr. Trump continues to falsely argue that the election was stolen from him, and in recent months Ms. Powell and Mr. Giuliani have stuck by their claims that the election was rife with fraud. A lawyer for Mr. Giuliani said in a court filing last month that at least some of his claims of election fraud were “substantially true.”And as recently as three weeks ago, Ms. Powell told a reporter for the Australian Broadcasting Corporation that the 2020 election was “essentially a bloodless coup where they took over the presidency of the United States without a single shot being fired.”It remains unclear how widely the memo was circulated among Trump campaign staff members. According to the court documents, Mr. Giuliani said in a deposition that he had not seen the memo before he gave his presentation in Washington, and he questioned the motives of those who had prepared it.“They wanted Trump to lose because they could raise more money,” Mr. Giuliani was quoted as saying in the deposition.Trump’s Bid to Subvert the ElectionCard 1 of 4A monthslong campaign. More

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    In Russia Election Results, Online Votes Sweep Putin Opponents Aside

    The official tally gave a strong parliamentary majority to President Vladimir V. Putin’s United Russia party. Opposition leaders cried foul, pointing to earlier signs of gains.MOSCOW — Russia’s ruling party retained a two-thirds majority in the lower house of Parliament and claimed a sweeping victory in opposition-minded Moscow — a stark display of Kremlin power as the authorities on Monday announced the results of a nationwide parliamentary election that opposition leaders denounced as blatantly falsified.Partial results released after the polls closed on Sunday evening had shown significant gains by opposition parties and potential victories by several candidates supported by the imprisoned opposition leader Aleksei A. Navalny. But by the time Russia’s Central Election Commission revealed a nearly full count on Monday, those gains were largely gone — prompting anger from Kremlin critics, claims of large-scale fraud and scattered calls for protests.Russian elections are not free and fair, and the country’s best known opposition figures were barred from the ballot, jailed or exiled in the months before the three-day-long vote that ended on Sunday. But Mr. Navalny’s allies had hoped to use a coordinated protest vote in the election to deliver a rebuke to President Vladimir V. Putin.The focal point of the opposition’s anger on Monday was the Russian capital, a stronghold of anti-Kremlin sentiment where the government had urged voters to cast their ballots online. Challengers to the ruling party, United Russia, led in several electoral districts before the results of online voting were tabulated, with a delay, on Monday. Soon after, the election commission declared the pro-Kremlin candidate the victor in each of those districts.As a result, the ruling United Russia party swept to a dominant performance and kept its two-thirds “supermajority” in the lower house of Parliament, the Duma — all despite recording approval ratings below 30 percent in recent polls published by state-run research groups. The party received 50 percent of the vote with 52 percent turnout — and won 198 of the 225 seats apportioned in direct, single-district elections.“We’ve never had a voting process that we didn’t know anything about,” Roman Udot, a co-head of Golos, an independent election monitoring group, said of Moscow’s online voting system. “There’s some kind of big, big skeleton in the closet here.”An official in the Moscow city government explained the delay in the tabulation of online votes by pointing to a “decoding” process that took “considerably longer than we had expected,” the Interfax news agency reported.Mr. Navalny said in a social media message from prison that the delay in releasing online voting results allowed “the deft little hands” of United Russia officials to “fake the results to the exact opposite.” The Communist Party, which came in second nationwide and in several of the disputed district-level races in the capital, said it would not recognize the online voting results in Moscow.Graffiti depicting the imprisoned opposition leader Aleksei A. Navalny in St. Petersburg in April. Anton Vaganov/ReutersBut it was not clear what, if anything, critics of the outcome could do about the situation. The judiciary is under the thumb of the Kremlin, while prominent opposition figures are exiled or behind bars. Street protests are increasingly punished by jail terms.In all, the outcome further demonstrated Mr. Putin’s strengthening lock on political life — and served, perhaps, as a dress rehearsal for the presidential election of 2024, in which Mr. Putin could seek a fifth term.“For the president, the main thing was and remains the competitiveness, openness and honesty of the elections,” Mr. Putin’s spokesman, Dmitri S. Peskov, told reporters on Monday. “We, of course, assess the electoral process very, very positively.”Kremlin critics had been warning for weeks that online voting could open up new avenues for fraud, since the tabulation process was even less transparent than the counting of paper ballots.On Monday, the Communists called for protests, but the Moscow authorities quickly denied them a permit because of pandemic-related restrictions, according to state news agencies. Leonid Volkov, a top aide to Mr. Navalny who has been trying to coordinate opposition votes from exile, stopped short of urging people out into the streets but said that he and his colleagues would support “any peaceful protest actions” that could help overturn the results.Television images on Monday showed police trucks massing at central Moscow’s Pushkin Square, but it was not clear whether any protests would materialize.“The Kremlin took this step because it was certain it could get away with it,” Mr. Volkov said in a post on the messaging app Telegram. “Putin decided that he need not be afraid of the street. Whether or not he’s right — we’ll find out.”Oleg Matsnev More