Helen Cammock: Poet?
“From Brutality to Livelihood to Discarded Cumbersome Noncompetitive Capital Investment…”
“Politics, n. A strife of interests masquerading as a contest of principles.”
The UK’s Tate Museum holds an annual awards ceremony, the Turner Prize. It’s supposed to be about art, but it isn’t. This spectacle is meant to lavish funds and attention on whoever is judged to be Britain’s best exemplar of the Postmodern establishment’s efforts to undermine Western civilization.
The elites are on a relentless quest to eliminate genuine art from the culture. The long march through the institutions has resulted in our social foundations being riddled with radical hacks. Since colluding Cultural Marxists maintain monopolistic control over society’s mass communications, including the arts, these partisans set the agenda. It’s now painfully clear the program is to reduce art to just another vehicle for social justice activism.
The excesses and absurdity of the Turner Prize are nothing new. It’s been retreating from recognizing actual artistic achievement since its inception in 1984. The Stuckists, the first Remodern art movement, organized protests against the inane non-art of the Turner shortlists for years.
But a shift is happening in the art world. Emphasis is moving away from trends which dominated the art market since the 1990s: obviously silly anti-art.
Not Woke Enough
This junk was political in the sense it was an assault on traditional expectations of artistic excellence. Now even that mask is off, and nothing but pure propaganda will be advanced and rewarded.
Case in point: Turner Prize nominee Helen Cammock. She makes dull videos while reciting derivative observations and slogans. It’s a poor substitute for creativity and skill.
She lays out her cred in this article:
“I think all art is political,” Cammock says. “Even if you make work that doesn’t speak of politics, if you’re not speaking you’re making a political decision.” But the artist feels her message is wider in scope than just a criticism of Italian politics. “It’s a global statement, and it’s the same statement I would make about this country” she says. “We are also living in the politics of the far right, we are just in a different geographical location.”
“The call to action is to everyone,” Cammock says. “It’s not about identifying Italian politics or Italian culture as any more extreme because I believe we are all in a very dangerous and poisonous moment.”
Fascinating. While Cammock’s fellow travelling leftists dominate not only the arts, but government, media, social media, tech companies, academia, corporate boardrooms, and the globalized upper class, she’s lamenting that the “far right” is shaping the environment. Right.
In a way though, she’s got a point. There are threats to the status quo, which was supposed to be permanent. Even though the Cultural Marxists rule, they have not succeeded is forcing all to bow before their usurped power. The people oppose the New Aristocracy of the Well Connected.
Eruptions are happening around the world. From American Deplorables to French Yellow Vests, from the UK’s own Brexiteers to Hong Kong’s Umbrella Protests, from Italian sovereignism to the Brazilian PSL, there are mass movements against our declining Postmodern masters.
This was foretold in the arts, going back to when the Stuckists dressed like clowns as a condemnation of the beclowning of the Tate Museum. Welcome to the next phase of civilization: the Remodern Age. The story of the 21st century will be the dismantling of centralized power. It’s an exciting time, even though the course ahead will not be easy.
The Helen Cammocks of the art world oppose this developing and promising future. They lash out against it because it threatens their privileged positions as useful tools within the Postmodern hierarchy.
Of course Helen Cammock believes all art is political. Her inferior replacements for art are nothing but realpolitik screeds of victimhood and implied retributions. Helen Cammock is up for the Turner Prize because she checks the correct diversity boxes, not because of the quality of her so-called art.
Watch one of her pieces here, if you can bear it: Helen Cammock Showreel. It may have been the longest 6 minutes of my life. A static camera films uninteresting scenes, or stock footage unspools, while a monotonous voice drones on in buzzwords about economics and exploitation. Truly an art for the ages!
Helen Cammock is cashing in on the passive aggressive stance of the establishment’s preferred mode identity politics. Because once people were mistreated, she must be above criticism. Whatever she churns out must be lauded and praised. She presents her stale monologue travelogues as if appreciation is mandatory due to ethical concerns.
The art world set these expectations for her. She’s come so far without displaying any legitimate artistic chops. Does she realize she gets opportunities not despite the fact she is a 40-year-old-female-of-color-Sociology-major-former-social-worker-without-an-artistic-background-who-spouts-leftist-dogma, but because she is a 40-year-old-female-of-color-Sociology-major-former-social-worker-without-an- artistic-background-who-spouts-leftist-dogma? This quote from the article may reveal some lack of self-awareness:
Her affinity for text was something she discovered while studying for her Master’s degree at the Royal College of Art. She was juggling the coursework while running a photography festival in Brighton, and a sympathetic tutor excused her from having to make work for the remainder of the course if she promised write something every day. “That was the beginning of it,” Cammock says.
Wow, getting preferential treatment from an institute of higher learning. Better check your privilege! I feel sorry for all those saps who had to actually do their coursework to earn their degrees.
Not everything has been easy for Cammock though. She ruefully describes this:
“People can be very suspicious of artists,” she explains. “There’s an idea that it’s really surface or superficial, or that it’s a way of stealing, like cultural thievery. But I want it to be an exchange.”
Maybe if her art was better, she wouldn’t be so sensitive to the charges. Granted, the establishment art industry has been superficial for decades. The griping about cultural appropriation sounds like the wailing of other leftists butthurt they got outmaneuvered in the intersectional grievance identity sweepstakes. Normal people don’t think or act that way. But hurling ideological accusations to drag a rival down is a prime tool for leftist status seeking. We can see it playing out in the increasing frantic Trotskyites versus the Maoists dynamic which is roiling the political classes. Stay tuned to see how that plays out.
As I describe in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:
Postmodernism started off by redefining art into anti-art. It’s now spread. Like a virus, Postmodernism converted every institution it infested into a factory for producing more of the Postmodern disease. Postmodernism makes every worthy cause betray its rightful mission. Remodernism is the correction of this treachery.
In another article, Cammock describes her efforts as “ventriloquising.” I’m confused by the analogy. Is she claiming to be the puppet master here, making her subjects mouth her approved tropes? Or is she saying she is the dummy, and supposedly the downtrodden masses are speaking through her? Is she The People’s Poet? Ryk, the original SJW from the cult TV show The Young Ones, shows how it’s done:
Either way, whether she’s claiming to be the mastermind or the mouthpiece, such a method has nothing to do with the intimate explorations that lead to compelling artistic excellence. Just look at her results.
The art of Helen Cammock is a phenomenon of the elite’s totalitarian effort to squeeze every aspect of life into rigid political submission. Her videos are not art, they are indoctrination. Politically correct Postmodern attitudes would demand we ignore the misdirection and failure on display.
Remodernism rejects this conformist approach. It recognizes we the people have the right to self determination, including the right not to accept a biased, uninspired sociology lecture as a valid replacement for the mystery, the grandeur, and beauty that only real art can provide.
Helen Cammock: Putting Identity Politics on a Pedestal
My previous article on last year’s Turner Prize follies. From May 6, 2018:
Update: Welcome Instapundit readers! Please visit other articles for more commentary on the state of the arts from a Remodern perspective.