The historical mission of our time is to arrange a new culture of humanity, one that will replace the previous ruling system. This reorganization consists of two essentials: the destruction of the old order and the building of the new. To begin with, all physical border posts, ethical barriers and social definitions of the old system must be eliminated and replaced by elements of the new system. Thus the first task of our time is DESTRUCTION! Every social strata and all social formations created by the old system must be destroyed, each individual has to be uprooted from its ancestral environments, no tradition will be anymore regarded as sacred, the Old is merely a sign of disease, and the new credo is: What was, must go! And even though during the first phase all people are declared the same, in the next and final phase they need to be re-divided and differentiated, and a new pyramidal hierarchical system must emerge.
Nahum Goldmann, The Spirit of Militarism, page 37 ff, Berlin / Stuttgart, 1915
Small defeats inflicted on a mighty foe should be regarded as substantial victories.
The Dark Grail
While recently drifting past southern Russia’s snowy mountains and stormy seashores, I observed a small ray of light in the odious murk that has suffocated our unsurpassed Christian-European Culture. Namely a collective indignation expressed by a group of pugnacious citizens who thwarted another brazen attempt to disseminate this nauseous and highly destructive ruse called Modern Art. The clash came to pass in Krasnodar, capital of Russia’s Northern Caucasus region, on the occasion of an exhibition launched by one Marat Guelman, owner of a Moscow flea-market bazaar of the same name that peddles this particular kind of junk.
Touted as Post-Soviet Russia’s first and most famous art gallery by that equally obnoxious huckster and chosen schmuck Charlie Saatchi, it panders to clients with a totally crippled aesthetic and moral discernment who try to convince us that Modern art is the non-plus-ultra in bedroom decoration. And this because they have, within their general scheme of artistic deconstruction, paid for it with such large amounts of ill-gotten cash.
These are just a few examples of modern artwork displayed in Mr. Guelman’s fabled haunt.
Dumbo’s Joy fits nicely into the general trend to acquaint our children as early as possible with the dirtiest pornography possible, in this way depriving them of whatever romantic emotion we might have been able to instil into their small hearts.
Lenin, Mickey & Christ is one more attempt, just like This is my Blood or Light of our Life, to vilify and ridicule the settled faith of innumerable believers, past and present.
Poor Russia looks like a cheap replica of that wretched diamond-plastered Skull by a Modern art punk named Damien Hirst. Whom the aforementioned Saatchi pushed into grandiose prominence with masterpieces like half-severed sheep conserved in formaldehyde, and who, never understanding his sponsor’s motives, was stupid enough to go solo one day. Which ended his artistic career, made him a leper in the Modern art world, and rendered his exultations for what they are, namely miserable trash that hardly fetches a dirty dime anymore.
The travesty of Russia’s National Coat-of-Arms is one of the most barbarous and degrading exhibits I have ever seen. To pervert a pair of magnificent hawks who once roamed the high heavens into a crude defamation of this country’s national symbol bespeaks a monstrously diseased mind, both in the so-called artist and the one who permits its display. The Double-headed Eagle is a sublime Christian symbol, representing the opposing forces inherent in every human being and the lifelong battle of good against evil that will, if finally won, facilitate the spiritual ascension into enlightenment and divinity. A concept, needless to say, as impossible to grasp for a dissolute and vicious nihilist like Mr. Guelman as the enigma of Great Art.
What comes across as completely baffling is the reckless contempt which seems to be a hallmark of these revolting exhibitions. Has its instigator no fear to insult powerful institutions like the Church, the Army or the President himself? Does he think them too dumb to understand what really is on his mind? Could he believe that his sainted ethnic pedigree is a carte blanche to slander whomever he likes? Or is he, like so many of his kind, simply demented and beset by a shameless chutzpah combined with delusions of grandeur?
In order to find out what exactly is on the celebrated curator’s mind, we only need to flip through his past output to get a clearer idea.
To begin with, and how could it be otherwise, masculine protrusions are prominently epitomized, most likely under the disguise of Freudian exonerations.
As to those who are earmarked for the great sexual liberation, they can’t be young enough. If already callous and bored and of a know-it-all mentality, the best way to bring about their complete ruin is filling them up to the ears with booze and drugs and Rap, and then wait until they have lost whatever moral or aesthetic inhibitions might still linger in the deeper recesses of their minds.
As to Mother Russia herself, she wallows of course in an appalling state of utter repression. The Western mainstream media or NGO-sponsored Russian publications tell us incessantly how terribly Human Rights, the Free Press or the Saintly Opposition are kicked in the teeth by the ones presently in power.
Small wonder therefore if Hole, a magnum opus by Guelman’s kinsman Chaim Sokol, depicts a big black emptiness in the form of Russia and in this way confronts us, according to its creator, with a country that should be ashamed of its nationalist attitudes. Whereby he implies that globalism, multiculturalism and liberalism are without doubt a much better medicine for those blockheaded Russians who cling stubbornly to their national identity and refuse the blessings that have so entirely ruined the Western world.
To underline this important point, Mr. Guelman has exhibited a number of artistically daring and visually overpowering representations. Namely magnificent metaphors aiming to combat an evil spirit that has been long since believed to be utterly destroyed, but managed somehow to creep back out of the gutter. Whereby you may perhaps come to the conclusion that these dumb and repulsive antifascists are even worse than those dense skinheads who display the tattooed symbol on their feisty biceps.
Which brings me to the aforementioned beam of light that shone recently onto a small part of the world.
Cloaking his ruse into our guaranteed freedom of expression while disguising it with the sublime maxim that great cultural achievements are a matter of definition, and never mind if you are too stupid to appreciate them, Mr. Guelman descended on Krasnodar with an exhibition called Icons. Now everybody with a bit of cultural acumen knows that this particular label has only lately been sequestered by digital wizards for their virtual somersaults, but is generally understood to be an emblematic artefact of the Christian-Orthodox Faith. Painted through the ages by monks and artisans in a distinctive technique and unmistakable style, Icons are used to adorn Churches, private sanctuaries or a corner in the house set aside for worship.
So how in God’s name can the following items fit into this particular category?
Well, they obviously can’t.
Even more to the point, you may see them for what they are, namely an undiluted blasphemy intended to vilify and ridicule those who recognize in their own Icons, no matter how simple or elaborately fashioned, a symbolic embodiment of Christ’s message of Love and Compassion.
Which is the reason why a fairly large number of Krasnodar residents felt sufficiently offended, took Mr. Guelman by his ringed ear and gave him a lesson in aesthetically sound attitudes.
Whereupon the Liberal Press got mightily miffed about this obviously fascist behaviour, and dark insinuations like Discrimination, Extreme Right and Anti-Semitism made the round. But as it is, and thanks to the Muses and other Heavenly Hosts, to no avail. The cultural extremists remained not only unrepentant, but were visibly pleased to see the celebrated curator collecting his junk and scuttling out of town with his tail between the legs.
A small postscript to this elevating affair might be the following observation.
We in the West get completely inundated with the destructive antics of Modern Art and are constantly assured by a cringing and slobbering media that the Guelmans and Saatchis of this world are the supreme artistic arbiters of our time. To chase them out of the Temple, as the people of Krasnodar have done, is therefore an act of legitimate self-defence. And if we need some theoretical and ethical corroboration for this kind of action, we don’t have to look very far.
Like, for example, at Mr. Nahum Goldman’s plan for a new pyramidal hierarchical system, in which, it is to be feared, and after every social strata and all social formations created by the old system have been destroyed, you and I will find ourselves slogging and sweating somewhere near the base of that Pharaonic edifice.
Michael Colhaze’s website: http://michael-colhaze.biz/