However, I still advise caution about Verzilov who is noted by members of his former art group Voina as a “dexterous deceiver” “occupied with self-promotion”; and is accused of ratting out several members of the group to police, as well as subverting other anarchist-dissident movements. This could easily be a ploy for sympathy or relevance; as much as it could be some kind of Russian intelligence ruse; or even the work of an honest Russian nationalist who doesn’t get that Verzilov is possibly ‘one of their boys’.
I recently critiqued Jim Carrey in the context of his mercury-based vaccine conspiracism which seems connected to 1980’s Soviet propaganda; as well as his positioning relative to the legacy of Hollywood’s Popular Front and right-left conspiracism as I see it as a factor in modern Russian information warfare. Today, I am going to delve specifically into Carrey’s career as an artist since 2011 which I only briefly discussed in the prior essay. I believe the analysis strongly supports my prior observations – but also highlights an interesting recurring theme of Carrey’s presumable mental health related to messianic tendencies (I suggest you do not call him ‘JC’ if you meet him in order to minimize this).
It seems that internet audiences were only recently introduced to Carrey’s art in the context of the short documentary – I Needed Color (which since its release in August 2017 has got over 6 million views at the below Vimeo link). It’s noF for Fake, but it’s worth watching to get a sense for the artistic ‘Passion of the Carrey’.
In the spirit of the ‘easy solve’ for Steve Lazarides as Banksy (I’m sorry, it’s just so obvious), I hadn’t initially watched his interview from 2014 on RT, although I used it as an image in the story. Having watched it now, I think it is very informative for the “Art War“. In fact, the segment itself was literally dangled before commercial break as: “The Art of War – how Britain’s artists are taking politics to the street”.
Come learn from the impoverished historical perspective of Professor Banksy Lazarides (but made much better by a possible Monty Python reference).
‘Power as a political message’ – Steve Lazarides on the street art revolution; Oct 8 2014 – Going Underground – RT (full episode, clip below)
Doing some research lately on Voina and Pussy Riot. Voina literally intends to create an “Art War”. Now-expelled Voina member Pyotr Verzilov (the man in red) — an accused government informer — is married to current Pussy Riot member Nadezhda Tolokonnikova (woman in purple). Both appeared together in a public orgy, which the above image is taken from. Clearly it is my suspicion that some members of these organizations are working as assets of Russia’s non-linear warfare — possibly informed by the contemporaneous post-modern art theories of Vladislav Surkov. Continue reading “But is it Art War?”
Roseanne Barr and Madonna Louise Ciccone (a.k.a. the pop star “Madonna”) have been two outspoken feminist and ‘postfeminist’ figures from the 1980s-present. At first blush, there does not appear to be a great symmetry between the pair – however there is actually a very strong parallel in their social networks and plausibly ‘communistic’ social activism as women artists.
While it is no surprise that feminists will often adopt leftist or Marxist critiques of power which emphasize the disruption of patriarchal gender norms – it is interesting to note that both Roseanne and Madonna have currently adopted post-Soviet narratives regarding politics and the occult which are connected to modern Russian Information Warfare, underpinned by (apparently) past and present ‘communistic’ influences. This may give the social ‘performances’ of Americans Roseanne and Madonna strategic value to Russia parallel to the work of anti-establishment postmodern Russian groups like Voina (War) and Pussy Riot.
Noting a story about counterfeit Modigliani paintings in the news today, I recalled a bit of research I had done on the film F for Fake, which deals with forgery of Modigliani paintings as a superficial subject. It is time to blog it. In my ‘expert’ opinion, this film is a clever piece of Cold War-era, Russian-inspired, anti-fascist propaganda. Ultimately the film serves as a vehicle to launch ‘legal’ (and carefully worded) smears at the characters of Howard Hughes and the ‘art expert’ community at large. Perhaps I feel guilty to say it is a fantastic and entertaining art film. (See the below if you only watch a moment of it.)