-Boys Will Be Boys (1)

von am 8. Dezember 2017 um 23:55
Veröffentlicht in: Politics

Donald the Predator

There are two elements here: the dirty talk and the description of assault.
Dirty talk is a common male form of communication, like it or not!
Assaulting women is a criminal act and perpetrators belong behind bars.

The wealthy and the famous cannot accommodate all the female fans that come at them
with one thing in mind.

Why would anyone who has women constantly volunteering to bestow their favors on them try to “impose” themselves on others? The answer is simple. ‘Cause that’s the way they want it. It’s the predatory instinct.

Primitive millionaires and celebrities think that wealth and fame gives them the right to live out their despicable fantasies.

When money is no object, you don’t have to worry about shedding someone you want to shed.

Question: “What did you unload?”
Answer: “I unloaded a wife.”

Paternal Pride

Donald Trump: “My daughter is beautiful, Ivanka.”
Howard Stern: “By the way, your daughter –“
Trump: “She’s beautiful.”
Stern: “Can I say this? A piece of ass.”
Trump: “Yeah!”

The Jack-and-Bill Syndrome

The Jack-and-Bill Syndrome is marriage with a suitable partner – and sex in small dollops with incidental and interchangeable Jills and Janes. This is a fun thing, and the fun is set apart from anything serious.

The Jacks and Bills are not only incapable of concentrating desire on a spouse, they cannot focus on a prolonged affair. That would be a long dollop.

I don’t have anything against the Jack-and-Bill Syndrome. I say that if the Jacks and Bills want to live their lives that way and the Jills and Janes are willing to accommodate them, why shouldn’t they go about what they’re doing the way they’re doing it?

When you’re an adolescent you think that you’d like to hit a few gongs before you settle down, as a matter of fact, you may even think that settling down is something for squares, although for some, that’s a phase you grow out of.

Most men prefer the company of men to that of women – when you think of “company.” Women are fine as sex objects or as marriage partners, but it is men who sit down at tables, smoke, take swigs and play cards. The subject matter in these men’s sessions is sports, cars and women – the latter invariably being on the primitive side.

What counts more than a relationship between a man and a woman is friendship between a man and a man.

That’s more or less, the masculine view – like it or not!

Bill and Arnie Call a Spade a Spade

Bill looked me and a few other people square in the eye, squinting his eyes,
and said: “I want you to listen to me – I’m going to say this again –
I did not have sexual relations with that woman Miss Lewinsky.”

I believed him then and I still do. This is America!
Guys and gals, in this country, sex consists of raising the flag
and hitting the mark where it should be hit. No shilly-shallying around!
The mark is the mark. And hitting it is hitting it.
In America the mouth doesn’t count as a doppelganger,
nor does a cigar!

Here’s Bill again under oath: “When I was alone with Ms. Lewinsky
on certain occasions in early 1996 and once in early 1997,
I engaged in conduct that was wrong.
These encounters did not consist of sexual intercourse.
They did not constitute sexual relations, as I understood that term
to be defined at my January 17th, 1998 deposition.
But they did involve inappropriate intimate contact.” (1)

Arnie the muscle-bound Lothario
came to this country as an Austrian.
Austrians are okay, but they aren’t the real McCoy.
Just as Clark Kent becomes Superman,
Arnie transformed himself into a genuine American.
Arnie knows what’s what.

Arnie provides an “American” definition of extramarital proceedings:
When a friend caught in a compromising situation on a movie set,
Arnie implored, “We won’t tell Maria about it, since it’s only a blowjob
and not real infidelity.” (2)

And here’s Arnie is with a prudent statement:
“The impeachment proceedings and the Lewinsky scandal
was another thing I will never forgive the Republican Party for….
We spent one year wasting time because there was a human failure.
I was ashamed to call myself a Republican during that period.” (3)

Bill’s Second Term

It can be said that Bill blew it;
the same can be said of Monica.

 

 

* * * * * * * * * * * * * *

(1) Videotaped Testimony of William Jefferson Clinton, President of the United States before the Grand Jury Empaneled for Independent Counsel Kenneth Starr, August 17, 1998; released September 21, 1998.
(2) H. Bauernebel, News, Vienna, No. 23, June 2005, p. 182.
(3) Arnold Schwarzenegger, George Magazine, Nov. 1999.

-Head Against the Wall and Violent Art

von am 6. Dezember 2017 um 13:56
Veröffentlicht in: Politics, Text

Head Against the Wall and Violent Art

“The ‘moral-attackers’ look a bit ridiculous as they bang the same heads against the same wall decade after decade …. A crime us not less of a crime because it has been committed by an artist, and it follows that art is not less valid due to the fact that the artist is an offender… It is imperative that in a civilized legal system that the judges must be impartial and independent and that the victims should take it upon themselves to judge the perpetrator.“[1]
– Dr. Rudolf Scholten, former Minister of Art, concerning Otto Mühl. Scholten is member of the Board of Directors of the Austrian Kontroll-Bank, the Board of Trustees of the Museum of Applied Arts and Executive Committee of the Bilderberg-Conference

Otto Mühl Exhibit in the Museum of Applied Arts, Vienna, March 3 – May 31, 2004:
“Otto Mühl: Life/Art/Work Action Utopia Painting 1960 –2004”
(Original title: Life as a Work of Art)
Otto Mühl’s life, with all of its aspects is being touted as a work of art by the advocates of Actionism.

It stood to reason that a man who had publicly copulated while wallowing in excrement and who had whipped a man bloody in the aula of the university[2] was suited to be the guardian of children in a commune. There he reigned for almost two decades while the funding flowed in and praise came from the highest state offices.

“Blasphemy, obscenity, charlatanism, sadistic excesses, orgies, the aesthetics of the cesspool are our moral means.[3] That includes rape and murder.[4] Murder is an integral part of sex. [5] It will soon become an ethical necessity to rob banks and to shoot a random cripple down.” [6]  “Nitsch is a sadist with a mania for approbation, an autistic alcoholic who’s completely narcissistic and a mother’s boy who didn’t get enough attention. Rainer is genuinely violent and a sadist.  Nitsch torments the participants in his actions; they’re constantly freezing. He arranges that intentionally. I’d like to know how many became ill, how many caught pneumonia, how many died.”[7]
– Otto Mühl, Actionist

Bruno Kreisky extols and sanctions Otto Mühl: “…my friend the great painter, perhaps the best we have in Austria.[8] He went through a great and intense development as a human being, and he as a matter of fact, brought new humane qualities to the life of the community.”[9] “From a liberal point of view, we have no choice but to let these young people go their way.[10] We must offer this experiment protection against being attacked by the press, above all by German papers.”[11]

Here is a segment of an article from Der Spiegel of March 1, 2004: “Prior the opening of Mühl-Show in MAK, which they consider to be an attempt to rehabilitate the artist, two young women have come forward to present new accusations. They claim that Mühl not only abused teenagers, as has already been confirmed, but small children as well. In sworn statements, the two victims describe how Mühl forced them to participate in sexual acts when they were small children.

 “One of the women, who is now 29 years old, describes how Mühl forced her to engage in sexual actions with him in front of the leadership of the commune at the age of five. Both women state that at the time of Mühl’s trial, they were forced to remain silent about these occurrences by members of the Commune.”[12]

 The essence of Nitsch: “The intoxication created by the blood and the ripping apart of raw flesh should be satisfying and enjoyable since it relieves man of his suppressed desires…. If possible I would prefer to work with human beings, with dead human beings, with corpses to be specific.”[13] I could well envision that murder could be a component of a work of art; the artist’s accountability would have another status…Thus, art can consist of a crime.”[14] Killing was and is beyond all moral judgments.”[15] “Mühl’s specialty is minors and sex, and my specialty is the agonizing torture of animals.[16]

In the ”Partitur” to his 6-Day Feast and The Conquest of Jerusalem, Nitsch describes the laceration and desecration of women’s and children’s bodies.[17]

An exculpation: “Nitsch remarked that his intent was not to kill the children. He only wants work with material that is already dead.”[18]

Here is a quotation from the Partitur: “A 7-year old boy is nailed to the wall as if crucified. His head is beaten and shattered with rectangular stones, his bloody brains come out. The bloody brain is rinsed and washed with lukewarm sugar-water.”[19]

 A key quotation by Nitsch: “I no longer intend to place a humane corset on my work.”[20]

More from the Partitur:

„Cadavers of two year old children, one year old children and newborn children are brought into the room. Hair is torn from the heads of the cadavers. The lips and the sexual organs are torn apart. The chests of the small corpses are opened. The moist-bloody innards are torn out. pieces of flesh are torn from the dead children. Hands and feet are ripped out of their sockets. body parts of the dead children are hurled around the room.”[21]

On July 30, 1998 a TV interview with Hermann Nitsch was broadcast. On August 4th the following letter to the editor was published in the Kronen Zeitung, Austria’s largest-selling tabloid. The author is Lore Jarosch, biographer of Hans Dichand, the paper’s publisher:

“Dear Herr Chancellor, if your daughter were to be placed on a stage with shaven head and have her sex organ penetrated under the direction of Herr Nitsch, I would like to know whether you would still speak about ’the freedom of art.’”[22]

I would like to note that although Frau Jarosch’s letter was published, the paper did not pursue the matter.

Concerning criticism of Hermann Nitsch “Only those with no knowledge of the significance of ritual and corporeality in art and who have no desire for even a partial understanding can construe the use of religious objects as desecration and the willful violation of religious feelings.[23]  What is now happening is a linguistic Rostock, which is paving the way for a pogrom atmosphere.” [24]
– Dr. Rudolf Scholten, former Austrian Minister of Art, In Rostock in 1992

“I admired Nitsch before it was incontestable for a politician. Now that he has directed for the (State) Opera, implacable condemnation has turned into reverence. Apparently everything changes when one works for a reputed house.”[25]
– Dr. Franz Vranitzky, former Austrian Chancellor

In the winter of 1989, Mühl and his fellow Actionists were honored at their exhibit their exhibition in Kassel, Germany, by Austrian Chancellor Franz Vranitzky who traveled there to open it.

reunification of Germany, neo-Nazis set fire to a building filled with refugees to the applause of bystanders).

“Whether it be Nitsch’s “6-Day Feast,” whether it be the work of the Viennese Group in the Biannual Catalogue that been defamed as child pornography….We guarantee Nitsch the protection of the state for practicing his profession freely.”
– Dr. Peter Wittmann, Austrian State Secretary for Culture. [26]

 “If we don’t prosper, the world will be blown up.”[27]Take your cock out! Exhibitionists to the fore! … We will beat citizens until they become human beings.”[28]
– Peter Weibel, Actionist and Culture Commissar

More Weibel: “I knew a university professor named Stephan Koren. He was cripple and wanted to convince me that he was a man like me. In order to prove this he pressed on in politics to the rank of minister with just one arm…when Koran the cripple raises his left arm during his speeches, it becomes a ghastly monument of his dissipated and mutilated humanity. This scum of the nation fills every healthy Austrian with such dread that the pupils of his eyes would burst at the sight.”[29]

“A bird is tied to a pedestal with a thin cord. I kneel in front of the bird on the pedestal and then I pour scalding wax over it. When I knock the pot of wax over with my head the bird’s head is inundated and my right hand is doused. Then I pour wax on my feet and my left hand. I free my hands by cutting the cord with a knife that I have picked up from the pedestal with my mouth. The pedestal is encircled by nails scattered around the plateau of the pedestal on which the drama of mankind is depicted.“[30]
– Valie Export, Actionist & designer of the anti-fascistic monument in Allentsteig, Lower Austria

 “We thought about killing people as a work of art, or that sort of thing – if that is radical. But it did not happen. Bayer, Achleitner, Rühm and I met for intensive discussions on an almost daily basis for two or three years.”[31]
– Oswald Wiener, author and Actionist

 Shortly before his death in December of 2003 Museum Director Otto Breicha admitted that pedophilia is practiced in artistic circles, and added that divulging information could have dire consequences.

Helmut Butterweck to Herbert Kuhner concerning Nitsch & Co.: “I would never do what you are doing. Modern art is part and parcel of the anti-fascistic movement.”[32]

Anti-humanism cannot be a component of anti-fascism.

Violence for its own sake is the antithesis of anti-fascism.

 “In other words, in the cultural scene one can give vent to Nazi-type barbarity under a Leftist banner.” [33]
– Lutz Dammbeck, director of The Master Game

 It takes true genius to execute inhumanity and brutality with impunity under the cloak of freedom of art.
– Johannes Diethart, author and publisher

 Violence as an art form not only borders on crime, it transcends that border.
– H.K.

 

Life as a Work of Art

MAK: (Museum of Applied Arts): “Otto Mühl: Life as a Work of Art”
Otto Mühl Exhibit in the Museum of Applied Arts, Vienna, March 3 – May 31, 2000:
“Otto Mühl: Life/Art/Work Action Utopia Painting 1960 –2004”
(Original title: Life as a Work of Art)

When members of the commune rebelled, the yellow press helped bring Mühl down. “Progressive” elements either defended him or stayed on the sidelines. As far as the revisionists are concerned, those who attempt to downplay the murder of one-and-a-half million children in the death factories of the Third Reich are not opposed to the abuse of children.)

Andreas Schlothauer concerning proceedings during the trial of Mühl on January 23, 1990: “After the moving descriptions of seven girls who were sexually abused by Mühl, a compilation of videos was shown after the courtroom had been cleared of spectators. In addition to violent actions by Mühl, his wife Claudia was shown forcing minors to engage in oral sex with her in front of an enthusiastic audience. ’I have seen the films, and they cannot be compared to anything I’ve ever viewed,’ said Frau Jelinek, the judge, ‘The boys did not want to do it; they were in tears. They received a permanent shock. One was her son, the son and his stepmother!’ (One of the boys was the son of Otto Mühl and Claudia’s sister).”

“District attorney Rabonog, still under the impression of the testimony of witnesses and the videos, stated in his summation: ‘I have taken part in many major trials, but the fate of the victims has never moved me so much as in this one. Mühl engages in the practice of terror. History has shown us what a concentration camp is. What the girls in the Friedrichshof had to go through was just as horrible. Otto Mühl experimented with people; he manipulated them. He was so sensitive as an artist that he thought that when a girl said “no” she meant “yes.” The children weren’t voluntarily there; he had taken their parents from them, and thus the ability of leaving the commune. They didn’t have a chance.’”[34]

Children are sacrificed on the altar of art. And so be it!

Otto Mühl’s trial in Eisenstadt ended with a conviction and a seven-year sentence for “the sexual abuse of minors, rape and forced abortion.”[35]

Actionist events are geared for public participation. In the “private” events, there are no holds barred.

Georg Hoffmann-Ostenhof, Profil: “Some gentlemen in high places – we have heard – visited Mühl in order to have themselves served by wild women.”[36]

Was it only women that the host served up! And some want what they want accompanied by theatrical trimmings.

According to an article by Manfred Seeh in Die Presse, 17.8 million Austrian Shillings hush money was paid to the parents of underage girls and other members of the commune prior to Otto Mühl’s trial in 1988-9. That is approximately one and a half million dollars.[37]

 Rudolf Scholten to Gerhard Praschak before his suicide: “We are not living in London or New York where performance is decisive. We are in Austria where politics is the determining factor.”[38]
(Praschak had to vacate his bank post to Scholten.)

And after Praschak’s suicide: “I cannot engage in a controversy with someone who is no longer alive.”[39]

 

Head Against the Wall

 

“The ‘moral-attackers’ look a bit ridiculous as they bang the same heads against the same wall decade after decade.”[40]
– Rudolf Scholten

“I did not bang my head. I got it banged. But I don’t feel the least bit ridiculous.”

 

THE GERMAN TRANSLATION IS AVAILABLE HERE/DEUTSCHE ÜBERSETZUNG ZUM HERUNTERLADEN HIER:  GEWALT-RINGELSPIEL-H.KUHNER 2017

 

* * * * * * * * * * *

 

[1] Rudolf Scholten, Profil, No. 11, 8, March 8, 2004, p. 147.
[2] Transparent Spezial, ORF, May 8, 1996, description by Peter Weibel.
[3] Transparent Spezial, ORF (Austrian Radio), May 8, 1996.
[4] Josef Dvorak: “Die Faschisten von heute: Antwort an Hermann Nitsch,“ Neues Forum, No. 246, June 1974, Vienna, p. 44; Otto Mühl, ZOCK, Aspekte einer Totalrevolution 66/71 Munich, 1971; Supervisuel 6, „Otto Mühl will Menschen schlachten,“ Zurich, 1970.
[5] Fritz Rumler:” Ein Problem der Umweltverschmutzung?,“ Der Spiegel, 1968 (exact date illegible), Frankfurt, p. 254
[6] Josef Dvorak: “Amoklauf der Aktionisten,“ Neues Forum, Sept./Oct. 1974, Nos. 249/250, p. 2.
[7] Andreas Schlothauer, Die Diktatur der freien Sexualität p. 122.
[8] Andreas Schlothauer: Die Diktatur der freien Sexualität: AAO, Mühl-Kommune, Friedrichshof, Verlag für Gesellschaftskritik; Vienna, 1992, p. 139.
[9] Andreas Schlothauer: Die Diktatur der freien Sexualität p. 141.
[10] Im Brennpunkt: “Die Tage der Kommune,“ Dokumentation von Elisabeth Scharang, ORF (Austrian TV) Feb. 11, 1998, quotation by Robert Sedlacek, Bruno Kreisky’s secretary from 1980-1983.
[11] Ibid., quotation by Karl Iro.
[12] Jürgen Kremb: „Opfer der Kommine“ Der Spiegel, No. 10, March 1, 2004, p. 156.
[13] Mojca Kumerdej: “Hermann Nitsch o smrti in Zivljenu,” Delo, Ljubljana, Oct. 3, 1992; “Im Blutrausch,” News,, No. 30/95, p. 190; “Sechs Tage blutiges Welttheater,” News, No. 40/96, p. 190, “The Devil In a Grey Beard,” interview with Adrian Searle, The Guardian, Manchester, Nov. 15, 1997, p. 17; News, No. 27, July, 2001, p. 7.
[14] Falter 24-30, 7, No. 30, 1998, p. 18.
[15] Paula Devarney: “Nitsch – Art of Killing,” Caellian, 9. Oct. 1970; Hermann Nitsch: Das rote Tuch – Das Orgien Mysterien Theater – Im Spiegel der Presse 1960-1988, Freibord, Vienna, 1988, p. 106.
[16]Gerhard Jaschke, Ed.: Das Rote Tuch: Der Mensch das unappetitliche Vieh, Edition Freibord, Vienna, 1988, „Wiener Aktionisten kreuzigten in Neapel Lamm – ausgewiesen“, from the Arbeiter-Zeitung, April 13, 1974
[17] Hermann Nitsch: Orgien Mysterien Theater/Orgies Mystery Theater, März Verlag, Darmtadt, 1969; Das Orgien-Mysterien-Theaters in Schloß Prinzendorf, Vols.1-9, Edition Freibord, Vienna, Die Eroberung von Jerusalem, Die Drossel, Berlin, 1977.
[18] www.politik-forum.at Political Discussion Platform for Austria.
[19] Herman Nitsch: Orgien Mysterien Theater/Orgies Mystery Theater, März Verlag, Darmstadt, 1969, p. 297.
[20] Fritz Billeter, Tages-Anzeiger, Zurich, July 12, 1974, Letter to the editor in Neues Forum, Vienna, Sept./Oct. 1974, p. 4.
[21] www.politik-forum.at Political Discussion Platform for Austria.
[22] Letter to the editor by Lore Jarosch, Neue Kronen Zeitung, August 4, 1998, p. 20.
[23] Dr. Rudolf Scholten: Opening Speech, Styrian Autumn, Graz, Oct. 2, 1992.
[24] Dr. Rudolf Scholton, Minister für Culture, Die Presse, Sept. 14, 1992.
[25] “Salut für den Meister,” News, 32/95, Vienna.
[26] “Kultur-Alarm,” News, No. 16, 1999, p. 140.
[27] Josef Dvorak: “Amoklauf der Aktionisten,” Neues Forum, Sept./Oct. 1974, Nos. 249/250, Vienna, p. 2.
[28] Fritz Rumler: “Exhibitionisten an die Front,” Der Spiegrel, No. 17, 21, 1969. p. 194.
[29] Peter Weibel, Valie Export: Wien, Bildkompendium Wiener Aktionismus und Film, Kohlkunst Verlag, Frankfurt, 1970; Speech at the University of Vienna, June, 7, 1968.
[30] performance-art-research.de/AndereTexte.htm; Beschreibung von VALIE EXPORT in: http://www.urban-infill.com/asemie2.htm, 20.02.2004.
[31] Oswald Wiener: „Über Kunst und Automatentheorie: Ein Gespräch mit Stan Lafleur“; Textauszug aus: Eckhard Hammel, Hrsg., Synthetische Welten. Kunst, Künstlichkeit und Kommunikationsmedien, Essen, Verlag der Blaue Eule, 1996, p. 199-213.
[32] Helmut Butterweck of Die Furche, a Catholic weekly in Vienna, to Herbert Kuhner in 2000.
[33] Fritz Dammbeck in the film The Master Game, Germany, 1998.
[34] Andreas Schlothauer: Die Diktatur der freien Sexualität, p 174.
[35] Andreas Schlothauer: Die Diktatur der freien Sexualität, cover blurb.
[36] Georg Hoffmann-Ostenhof: “Ein Echter Österreicher,“ Profil, No. 8, Feb. 16, 1998, p. 102.
[37] Manfred Seeh: Mühl-Kommune: “Rund 18 Millionen Schilling ‚Schweigegeld‘ an Zeugen,“ Die Presse, Vienna, Feb. 10, 1998, p. 10.
[38] Rudolf Scholten, News magazine, No. 18, April 1997, p. 15, quoted from Gerhard Praschak’s suicide note.
[39] Ibid.
[40] Rudolf Scholten, Profil, No. 11, 8, March 8, 2004, p. 147.

 

 

 

 

-Something Like a Junkie

von am 26. November 2017 um 10:53
Veröffentlicht in: Polemics, Text

Something Like a Junkie

Violence is on the upswing. Your chances of avoiding victimization are diminishing. What we need is a palliative for pain that insures a life without physical suffering, and it has come on the market.

I’m something like a junkie. The medicament I take is non-habit-forming, but I can’t get off it. There’s no sensation at all after taking it. You’re not more elated after having your shot than before having it. What it does is simply neutralize you to physical and spiritual pain. Not that it knocks you out or makes you groggy. Your nerves are simply put out of commission. Instead of feeling pain, there’s nothing but a slight tingling. This serves as a warning signal in order to prevent you from being burned while ironing or standing at the stove.

Here’s an example of how the medicament works: take a mugging with a kick in the head! The lights go out and when you wake up you’re minus your dough plus a lump on the noggin. But you don’t feel anything. The lump gradually deflates as it normally does, but it doesn’t ache, not even if you touch it. And you don’t worry about the loss of your money. That’s a mild example. But let’s say you’re garroted, gibbeted, hamstrung, put to the rack, or tied and quartered! Even if you’re pulled to pieces, there’s no sensation, nor does it faze you to see yourself fragmented.

It should be added, however, that the medicament can’t keep you alive. But if you die, it lets you bite the dust without any grinding of teeth. You just drift off with ease, no matter what the situation. And if a member of your family happens to have the bad luck of shuffling off this mortal coil, whether it be grandparents or offspring, your mourning is merely formal. You remain untouched by grief.

Constant crime and terror have made violence a daily occurrence. Maiming and murder are now an integral part of life. When you take the medicament, no matter what catastrophe befalls you or what holocaust swallows you up, you’re not fazed in the least.

It’s like viewing it on the evening news or as a neutral passer-by. You’ve simply become immune to pain.

Being immune to pain has become a necessity these days with beheadings implemented by a pairing knife and the renaissance of the crucifixion.

Unfortunately there’s a fly in the ointment: the medicament works for about ten days. It wears off if you don’t take another dosage. However, soon there’ll be a monthly shot and then an annual shot. And in the not-too-distant future, a dosage administered to an infant will insure a life without pain.

-Herbert Kuhner

 

-VALIE EXPORT Center Linz

von am 24. November 2017 um 6:59
Veröffentlicht in: Text

Herbert Kuhner
from Violence Under the Guise of Art
or Third Reich Recycling

 The Mission

“The mission of VALIE EXPORT Center Linz is to study and reappraise as well as to mediate and contextualize the renowned artist’s pre-mature legacy.

International in its focus, this Research Centre for Media and Performance Arts also strives to promote the artistic and scientific examination of these very areas.“[1]

In 1977 Valie Export was brought to trial for having engaged in cruelty to animals and found guilty of having tied a canary to a perch. However the scalding of the birds with boiling wax, which had been filmed, came under the statute of limitations.[2] This “art object” was on view as part of the Export Exhibition, introduced by Elfriede Jelinek, in the Museum of the Twentieth Century in Vienna in March of 1997.

 On March 17, 1997, in Treffpunkt Kultur, a program devoted to culture on ORF, Austrian State TV, films by Export were broadcast. In one scene Export uses a bloody kitchen knife to slice the neck of a turtle, a mouse and a parrot, but the actual decapitations are deleted by film cutting.[3]

Wishful Thinking

Art critic Kristian Sotriffer refutes: “The birds were of course not ‘preserved’ in wax while they were alive .…The report in the yellow press was fictitious and was designed to cause an uproar among petit bourgeois readers.”[4]

Valie Export “herself”: “A bird is tied to a pedestal with a thin cord. I kneel in front of the bird on the pedestal and then I pour scalding wax over it. When I knock the pot of wax over with my head, the bird’s head is inundated and my right hand is doused. Then I pour wax on my feet and my left hand……..

read more here

-An “Exile-Jew from America“

von am 14. November 2017 um 16:52
Veröffentlicht in: Politics

An “Exile-Jew from America“

As August faded into September, Vorarlberg Freedom Party Chief Bertram Egger has labeled Hanno Loewy, Director of the Jewish Museum in Hohenems, Voralberg, an “Exile-Jew from America … Austrian politics are none of his business.” Herr Loewy had criticized the political posters of the Freedom Party.

“Exile-Jew is not an insult, as far as I’m concerned….We will not tolerate foreign criticism.”
– Heinz-Christian Strache, Freedom Party Chief, ORF Sommergespräche, August 24, 2009

Herr Egger, the courageous patriot: “We will not let the courage of our patriotic commitment for our homeland be diminished.”
– Österreich newspaper, August 26, 2009, p. 9

“There is absolutely no reason to apologize.” stated Herbert Kickl, Austrian Freedom Party Secretary General.
– vorarlberg.orf, August 24, 2009

Hanno Loewy is neither American, nor is he an “exile Jew.” He is a German citizen who is a resident of Austria, and he is a Jew.

I returned to Austria decades ago. “Exile-Jew from America” fits me to a T. I am the genuine article, the real McCoy. Those who did not flee cannot speak. Their lips were sealed forever.

Yes, the song is “Happy Days Are Here Again!” But when were those Happy Days not here?

* * *

Exil-Jude aus Amerika

Am 21. August 2009 Bertram Egger FPÖ-Obmann und Landesrat bezeichnete Hanno Loewy, Direktor des Jüdischen Museums in Hohenems, als „Exiljuden aus Amerika, den die österreichische Innenpolitik nichts angehe“.
– DÖW-Mitteilungen, Okt. 2009, S. 193.

Hanno Loewy hatte die politischen Plakate der FPÖ kritisiert.

Egger nochmals: „Wir lassen uns den Mut, für unsere Heimat einzustehen, nicht nehmen.“
– Österreich-Zeitung, 26. August, 2009, S. 9.

„Es gibt überhaupt keinen Grund dafür, sich zu entschuldigen.“
– Herbert Kickl , FPÖ-Generalsekretär, ORF Vorarlberg, 24. August 2009

„Exiljude ist für mich jedenfalls kein Schimpfwort … Ich stehe dazu, daß man sich Kritik von außerhalb verbietet.“
– Heinz-Christian Strache, FPÖ-Chef, ORF-Sommergespräche, 24. Aug. 2009

Hanno Loewy ist Deutscher. Darf man als deutscher Staatsbürger Österreich nicht kritisieren? Darf man als Jude Osterreich nicht kritisieren?

Ich bin ein „Exil-Jude aus Amerika.“ Ich habe Raub und Vertreibung erfahren. Ich mußte emigrieren, um mein Leben zu retten. Die, die damals geblieben sind, können nicht reden.

Das Lied heißt “Happy Days Are Here Again”. But when were Happy Days not Here?!

-Herbert Kuhner