Elitist Artist Marina Abramovic and Postmodernism’s Diabolical Agenda

Definitely Not a Satanist:

Marina Abramovic

 

“I’m only interested in an art which can change the ideology of society….”

-Marina Abramovic

 

Part of what I want this blog to do is highlight certain notable figures of the commercialized contemporary art world to a new audience.

I’d like to help educate all those good people who, up until now, have been uninterested, alienated, or even hostile to the efforts of today’s educated creative classes and their deep-pocketed supporters. From what I see, this potential audience of the disengaged is practically everyone in entire world.

What I want this newly attentive audience to appreciate is how correct they were to reject this garbage all along. This involves exposing the corruption festering away in the greedy and debased hearts of the institutions who have forced these toxins on an unwilling culture.

I also like to talk about inspirational figures and exciting new paths I see developing, but that’s for another post. I do see this as a time of renewal and opportunities. The future will be what we make of it, and I see a gathering of forces that ultimately will change the course of civilization. It’s part of what artists do; on an archetypal level we get the news before others, and help spread the word. Big changes are coming.

But the first step of recovery is to admit we have a problem, and the art world is a serious problem indeed.

Postmodernism rejects the combination of disciplined skills and inherent talent that made traditional art such a powerful human achievement. Postmodernism believes reality is shaped by manipulation and control of communications. It’s a form of magical thinking by the elites. They think they can break the endless chains of cause and effect, action and consequences, by stubbornly insisting on getting their way, always.

Marina Abramovic wanted to be an artist. In the 1970s she decided to become an artist not by making art, but by being a “performance artist.” This is when an artiste enacts some kind of public display, usually without the talent, coherence, or skills the traditional performing arts require.

Abramovic’s shtick was stupid rituals: playing with knives,  cavorting around flaming pentagrams, and publicly undergoing drug intoxications. Many later pieces feature feats of endurance, sort of like the one-time trend of flag-pole sitting, but with the added cache of pretentiousness and snobbery. Her risky yet pointless acts took her far in in the debased art world. She made good connections in the years since.

How good? How about right to the pinnacles of political power?

Wikileaked  2015 “Spirit Cooking” Invite for the Podesta Brothers 

 

That’s right, this celebrity artist was intertwined with the super-creepos Tony Podesta, and Hillary Clinton handler John “Skippy” Podesta. Tony Podesta’s “art collection” in particular is such a combination of unwitting confession and blatant horror show, I’ve never been able to finish the piece I started writing describing it.

The referenced “spirit cooking” seems to refer to an earlier piece by Abramovic which features a litany of nasty behaviors. The website Artsy was quick to explain away how any concerns raised over such ideas passing as art in the ruling class must be due to alt-right-nutsy-tinfoil-hatter-hater-fascists:

The email, which referenced Abramović’s 1996 performance piece Spirit Cooking, set off a false conspiracy theory concocted by the alt-right. It grossly misrepresented the email, distorted Abramović’s work, and drew the unsupported conclusion that Abramović, the brothers Podesta, and even Hillary Clinton were in cahoots as Satan-worshipping occultists…
It seems innocent enough: a dinner prepared by a controversial but influential artist whose work has been honored by prominent institutions the world over with large-scale exhibitions, honorary degrees, and more. (Her 2010 mid-career retrospective at MoMA, “The Artist is Present,” was one of the most popular shows the museum has ever mounted.) But members of the alt-right community decided to focus on selective facts about the performance, and in turn make massive “logical” (if that word even applies) jumps…
The ensuing bogus conclusions were inspired in large part by fairly buried documentation of a previously rather unknown 1996 Abramović performance and book of the same name. Unknown, not because Abramović had anything to hide, but because, in the grand scheme of her daring oeuvre, it wasn’t the strongest or by any means the most shocking piece she created. In it, a bespectacled, calm Abramović wrote absurdist phrases that resemble discombobulated, dark self-help mantras on the walls of an entire gallery in pigs blood.
Several of the phrases read:
“Fresh morning urine. Sprinkle over nightmare dreams.”
“With a sharp knife, cut deeply into the middle finger of your left hand. Eat the pain.”
“Mix fresh breast milk with fresh sperm milk. Drink on earthquake nights.”
“Sitting on a copper chair. Comb your hair with a clear quartz crystal brush, until your memory is released.”
Yes, the phrases resemble incantations or recipes for storybook potions. And true, they make little sense. But that’s precisely Abramović’s point. Across her career, she’s tapped into and simultaneously questioned the influence of ritual and religion, highlighting both their potency and, occasionally, their absurdity. Spirit Cooking isn’t a ritual meant to conjure spirits or worship devils—it’s a comment on humanity’s reliance on ritual to organize and legitimize our lives and contain our bodies.

John Podesta Overlaid On Spirit Cooking Instructions

Did He Eat the Pain? 

There’s more upper crust shenanigans Abramovic has been  mixed up in, like the entirely-not-Satanic-at-all mock cannibalism soiree at the Los Angeles Museum of Modern Art in 2011. Punk icon Debbie Harry assisted in butchering a life-size cake replica of herself to serve the A List guests.

Say it Ain’t So Blondie:

Marina Abromovic and Debbie Harry Stab It With their Steely Knives 

Doubts about Abramovic’s infernal intentions have cost her. She has stated despite her denials of serving Lucifer, she fears some nut will do her harm. She even lost a gig with another super-rich creepo, Bill Gates. Microsoft had to pull an ad for her “mixed reality” holographic projection due to her controversial reputation. What a loss. Who wouldn’t want to strap secretive technology onto your head to summon a sinister crone into your presence? It’s like a variation of the plot of Halloween III.

I would never presume to judge the state of someone’s soul. The nature of Abramovic’s beliefs are between her and the Lord. I too am familiar with the often dark places the pursuit of art can lead. It’s something of an occupational hazard for creatives.

However, I can speak plainly on Postmodernism, the destructive deconstructive philosophy had enables cultural institutional support for absurdities and abuses like Abramovic’s body of work. In my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I wrote of the revolting relativism which drives the Postmodern ideology:

Where the Modern age formed a mandate to question everything, the Postmodern age demanded we accept anything. At least that’s what the rhetoric advertises. Like most Postmodern assertions, the claims of impartiality do not stand up to scrutiny; it’s just more camouflage for self-serving attitudes.

The expansion of Western civilization had been nurtured by belief in objective standards, which originated from an underlying order. Whether this order was divine or merely natural was debated, but the acceptance of universal laws was pretty universal. Objectivity meant comprehending reality, which existed beyond our personal preferences. We held these truths to be self-evident.

Postmodernists understand such objective standards are an obstacle to their desire for unaccountable power. Where Modernist skepticism was believed to be a tool to gain deeper understanding, Postmodernists project the notion that all the questioning and differing conclusions means there are no underlying truths.

To the Postmodernist, the cosmos is subjective. There is no reality to know, no morality, no way to gauge effective behavior; there are only opinions. These opinions aren’t even our own, but are determined by whichever group identity we subscribe to. We have no individual responsibility. It’s impossible to judge the quality of anything.

To the Postmodernist, because feelings exist, there can be no such thing as facts.

For people who claim it’s impossible to judge anything, Postmodernists are very judgmental. No culture is better than another, they propose, unless it’s the traditions and accomplishments of Western civilization. The West, which has given rise to the most prosperous and liberated societies in world history, is automatically bad, and needs to be destroyed.

Here the mask comes off. It’s those same old Cultural Marxists at work, lusting after the social control the freedoms of the West denies them.

Postmodernism is a ridiculous conceit. It cannot make anything new, it only creates pale imitations of the achievements of the past. It could only be embraced by pampered people who’ve never really experienced the uncompromising roughness of life. And even then, while advancing this phony philosophy, the Postmodernists have to overlook the glaring hypocrisy of their own behavior versus their words. They are seething with cognitive dissonance.

I have no problem in saying Postmodernism is evil. It’s whole purpose is to switch off the Enlightenment, so the New Aristocracy of the Well Connected can rule over a new dark age. Fortunately, the new force of Remodernism is rising as the spirit of the reconstruction we greatly need.

As far as Marina Abramovic goes, I’ll be praying for her-and for us all, as we endure the chaotic death throes of Postmodernism.

Marina Abramovic

Why Would Anyone Think She Was a Satanist? 

 

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