Sunday, 20 November 2016

THE PURITANISM OF PERVERSITY: (1) MARINA ABRAMOVIC'S LEFTIST ANTI-ART OF POLITICS



I have come to refer to the contemporary Left's dogma as "the Puritanism of Perversity." There are historical, philosophical and even theological reasons for this term, which I will go into in another article, but the main principle rests on a certain fanatical pursuit of everything outside of societal norms, while simultaneously attacking even the very idea of normality with quasi-religious zealotry. This is very much reflected in the anti-art the Left serves up in the galleries, which is a kind of ritualisation of abnormality.

Leftist anti-art is very much political, for one thing the Left does is to politicise all aspects of life. Recently, the Podesta Brothers, Tony and John, the former being the head of a powerful Leftist lobby group, the latter Hillary Clinton's campaign manager, were implicted in anti-artist Marina Abramovic's "Spirit Cooking", which would appear to be some kind of Satanic ritual dressed up as art. As we see from these images, she very much sees herself as the successor of full-time Satanist and part-time poet Aleister Crowley.

The piece of so-called performance art known as "Spirit Cooking" bears all the hallmarks of Satanic ritual. One sees distinctly in the image below the number 666, the inverted pentagram, as well as, interestingly, a Star of David and the figures 9 11, as she sits on a high altar-like plinth between two buckets of blood, robed in white. The religious and ethnic symbolism of the Star of David has a certain pertinence when one considers the Hebraic association of Abramovic's surname. She has also stated in interview that she bathes in Kosher salts. This image was taken from Youtuber Reality Calls' analysis, but she neglected to mention the Judaic element, perhaps because of her own Jewish heritage.

Another of Abramovic's Satanic stunts was 1975's Thomas Lips, in which, among other things, she carved an inverted pentagram around her navel with a razor blade. "Spirit Cooking" then is nothing new. One could perhaps dismiss all this as the cries for attention from an overgrown teen that is so typical of the Leftist, but there is more to it than that.

Certainly, Abramovic's so-called performance art is little more than invitations to sado-masochism, exaltations to ugliness and Satanic ritual. It does not matter whether we believe in the existence of Satan, and it is not part of my own belief system; what matters is that she believes, that her political cronies believe, and the rituals are a means of focusing power while simultaneously destabilising societal norms. The latter she freely admits.

Abramovic is obsessed with power; her anti-art has been testimony to this throughout her career. Her work of "performance art" from 1974 Rhythm 0 was an exercise in Sklavenmoral (slave morality), in which she stood prostrate to her audience, placing these instructions on the table:
  • Instructions.
  • There are 72 objects on the table that one can use on me as desired.
  • Performance.
  • I am the object.
  • During this period I take full responsibility.
  • Duration: 6 hours (8 pm – 2 am)
One notices here again the multiples of six: 6 hours, 6 x 12 objects, which itself is twice six. The allusions to both the Hebraic and Satanic are not incidental, as they permeate her work. One remembers that in Judeo-Christian tradition, Man is born on the sixth day and Satan will bear the number of a man. The art critic Thomas McEvilley, himself married to a Jewish wife, observed the stunt:
"It began tamely. Someone turned her around. Someone thrust her arms into the air. Someone touched her somewhat intimately. The Neapolitan night began to heat up. In the third hour all her clothes were cut from her with razor blades. In the fourth hour the same blades began to explore her skin. Her throat was slashed so someone could suck her blood. Various minor sexual assaults were carried out on her body. She was so committed to the piece that she would not have resisted rape or murder. Faced with her abdication of will, with its implied collapse of human psychology, a protective group began to define itself in the audience. When a loaded gun was thrust to Marina's head and her own finger was being worked around the trigger, a fight broke out between the audience factions."
This says as much about the character of the bourgeois arty set of which the Podesta Brothers are a part as about Abramovic herself. The whole purpose of the stunt was so that the "artist" could confront the audience at the end of the stunt from a position of moral superiority as victim, gaining power through victimhood being de rigueur in today's bourgois Sklavenmoral. It is sort of bemusing to think that Nietzsche foresaw the Antichrist as someone who would undo the Sklavenmoral of Christianity, as he saw it. Nothing could be more contrary, for the whole belief system is based upon the same principles. The audience/participants, in typically bourgeois fashion, scurried away rather than be confronted by the "artist."

As the image on the right shows, Abramovic is part of the attack on aesthetics, on beauty itself, yet has simultaneously played on her own beauty, especially in her youth, to gain favour and, by her own admission, has had major cosmetic surgery, which has staved off the ageing process somewhat. This highlights the doublethink of the Left and that their ideas are superficial and insincere. It should come as no surprise, then, that they are drawn to he whom the Bible describes as "the father of lies."

One of the major philosophical differences between the Left and Right is that the Right's highest standard is Truth, whereas the Left's is "Progress." This explains why committed Leftists can never be reasoned with, for they have no commitment to Truth. A lie is perfectly acceptable if the result of the lie is progress, and when the Left say Progress, they mean an advance towards some utopian abstraction where everyone is allegedly free. To quote Herbert Marcuse:
"There is a sense in which truth is the end of liberty, and liberty must be defined and confined by truth. Now in what sense can liberty be for the sake of truth? Liberty is self-determination, autonomy—this is almost a tautology, but a tautology which results from a whole series of synthetic judgments. It stipulates the ability to determine one's own life: to be able to determine what to do and what not to do, what to suffer and what not. But the subject of this autonomy is never the contingent, private individual as that which he actually is or happens to be; it is rather the individual as a human being who is capable of being free with the others. And the problem of making possible such a harmony between every individual liberty and the other is not that of finding a compromise between competitors, or between freedom and law, between general and individual interest, common and private welfare in an established society, but of creating the society in which man is no longer enslaved by institutions which vitiate self-determination from the beginning. In other words, freedom is still to be created even for the freest of the existing societies."
Abramovic is certainly of Marcuse's ilk and has created the Marina Abramovic Institute in Hudson, which is essentially a brainwashing camp where interns go through series of tasks that are aimed at altering their consciousness. As Abramovic herself said in an interview with (((Norman Rosenthal))):
"I was thinking, if I take Hudson, which is like a small town, who have every single characteristic of the big town, by which I mean poverty [...] crime, racism, political struggle, political differences, religion differences, everything, the same as with anywhere else, but small scale, and if these people from Hudson could be my first visitors in this kind of institute and by being there for six hours and or coming there more often, they see if they can make the change, if their life, in whatever they do in their own work, because this is not for art, this is for everybody, and if this experience can change something in their life and change their way of seeing our world and change their consciousness, we are creating a prototype for society on a small scale, which can maybe affect somebody else, so let's start small."
There's that lucky number again. She denies being political, and yet, as we have explored, lying is an intrinsic part of Leftism, and her own words betray her—"we are creating a prototype for society." Her whole life has been dedicated to exploring means of control, over the mind, the body, the soul, through ritual, through confidence trickery, through brainwashing techniques, through the manipulation of politicians. This has been her real art. I urge people to look at the website for her institute, and her "Kaldor Project 30," for one really has to see this Brave New World to believe it.

Originally published at Mjolnir Magazine

 

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