#1150

Estelle ChrétienLand Operation (2016)

I’m going to present the above largely without comment–except to point out that in the scheme of things political art tends to be garbage. But when I advocate for art as the single venue wherein terrorism is an appropriate means to an end, the above is exactly the sort of brilliantly nuanced and unsettling work I have in mind.

Independent of the current political context Land Operation is prescient; yet when you consider who Drumpf is considering for his cabinet and transition teams, it comes across as terrifyingly prophetic.

I don’t really have much more to say. I’m honestly still reeling. But I did promise to share some of the better stuff I’ve read in the last four days.

David Remnick’s response posted minutes after Drumpf was declared the President-elect is spot the fuck on.

There’s also this excellent piece by Masha Green–who has covered Russian under Putin–Autocracy: Rules for Survival.

And Harry Reid’s statement on Drumpf manages to accomplish what both HRC and Obama failed to do–insisting on accountability while also reasserting a commitment to democracy.

You’re already hearing a plurality of folks saying it’s time to come together, to unite behind a leader who won an election by embodying racism, xenophobia, bigotry and misogyny.

I’m here to tell you, you don’t have to get in line. Stand up, speak out and push back. Drumpf will be president despite losing the popular vote. And he must be held accountable for his hate-filled rhetoric.

Be wary of people who tell you not to protest, not to fight. If you’ll remember: right-wing militias were advocating armed revolution if HRC won. Thus I recommend reminding anyone who fucks with you about being upset regarding this bullshit election, that you inquire why it’s not OK for you to protest peacefully, when entire waves on the right were advocating for taking back control of the government from the candidate they didn’t support by force.

I have two further points. If you voted for Drumpf, please unfollow me. I know you don’t think you’re a racist, but as an erstwhile friend put it:

Saying that you voted for Trump because of his policies (ed: “policies”)
and not because of his bigoted beliefs does not absolve you of the sin
of bigotry. Placing some perceived economic benefit over the well-being
of others is definitively bigoted.

If you voted for Drumpf, whether or not you were or weren’t meaning to be a hateful piece of garbage isn’t something you get to dictate. You sided with hate and now hate is emboldened. (<—every conceivable TW attached to this link; please don’t click on it unless you’re in an OK space because you won’t be after you look at some of this shit.)

Drumpf voters there is blood on your hands and unfortunately, a great deal more is likely to be spilled behind this. This is what you wanted. So either own it or work with the rest of us to change it.

To those of you who are lost and terrified and feel completely hollowed out. I’m here for you. I don’t know what I have to offer or how I can even begin to help. But I’m here for you. This sucks. But we’re going to fight.

I’m weary and cynical and uncertain about just about fucking everything. But I do know that I still believe in the sentiments of this woodcut:

Gustav VigelandKneeling Man Embracing a Standing Woman (1908)

When it comes to sculpture, there’s a steep drop off in my familiarity compared with cinema, painting or photography. I can differentiate between Michelangelo, Bernini & Rodin but that’s about it.

As someone who reads oodles and oodles of Scandinavian crime fiction, I am familiar with the connection between Vigeland and Oslo’s Frogner Park. I’d never (embarrassingly) bothered to look into his work because I am (shamefully) lazy and laziness in combination with depression facilitates a both comfortable and cloyingly complacent apathy.

I’m not exactly enraptured by his work, but this is just fucking devastating.

With the female bodied figure standing over the supplicant male bodied figure, the discrepancy in respective elevation feels like a subversion of the Pietà motif.

Also, there’s an interesting ambiguity w/r/t whether or not the embrace includes a sexual component. Both figures are nude and the male-bodied figure seems to need out of some profound feeling of loss. Whereas, the female bodied figure might be attempting to push his head further from her genitals, closer to them or merely adopting a posture exactly halfway  between bodily acceptance and rejection.

It’s a completely atypical presentation of gender and I adore it for that and the craft is beyond on point–the detail in her braid, his face and texture.