An exhibition at the Haifa Museum of Art in Israel displays artworks that insult Jesus Christ, but not the Islamic and Judaic religions.
The museum describes the “Sacred Goods” exhibition, curated by Shaked Shamir, which began on August 4 last year and ends today, as follows:
This exhibition focuses on the responses of contemporary artists to issues of religion and faith in the contemporary global reality, which is dominated by the consumer culture. In recent decades, various cultures and places around the world have witnessed a surprising religious revival. Theorist Boris Groys argues that in a world that has renounced the grand secular ideologies, the return to religion fulfills the need for meaning. Contemporary religions offer answers to the ills of the modern world and the sense of emptiness that pervades this era of extreme individualism and aggressive capitalism…. Consumer culture dictates a superficial interest in religious products and techniques, while ignoring the philosophical and ethical meanings of religion…. In the contemporary context, the artists participating in the exhibition employ religious symbols to criticize the encroachment of the consumer culture on our lives in general, and on the religious sphere in particular. The artists also criticize the way religions use consumer values and practices in order to prosper in the contemporary reality.
The participating artists are identified as Elodie Abergel, Ido Abramsohn, Gabi Ben Avraham, Magnus Gjoen, Vania Heymann, Jani Leinonen, Tony Leone, Ariane Littman, Esther Naor, Karam Natour, Pool & Marianela, and Nick Stern.
The exhibition includes these artworks and images that blaspheme God the Father, Jesus Christ and insults Christianity:
Our Lord Jesus Christ as a Ken doll:
Mocking His Crucifixion:
Mocking His Resurrection:
But no mockery of the Ark of the Covenant that’s celebrated in Judaism, or any other Judaic symbol or figure, nor of Islam:
In addition to insulting Jesus, the art exhibition trashes religion in general, while glorifying globalization:
In a reality wherein globalization aspires for cultural unification, religion offers its followers the illusion of a return to their roots and to distinctive local traditions.
Christian leaders in Israel have singled out Finnish artist Jani Leinonen‘s McJesus sculpture of a crucified Ronald McDonald, while ignoring the other offensive exhibits.
For his part, Leinonen said that last September, he had requested his McJesus sculpture be removed from the museum’s Sacred Goods exhibition, to no avail, and that McJesus is on display against his wishes.
In early January 2019, some four months after the opening of the “Sacred Goods” exhibition, Israel’s culture minister Miri Regev sent museum director Nissim Tal a letter week demanding McJesus’s removal, writing that: “Disrespect of religious symbols sacred to many worshippers in the world as an act of artistic protest is illegitimate and cannot serve as art at a cultural institution supported by state funds.” But the museum refused to remove the sculpture.
On January 14, 2019, hundreds of Christians protested outside the Haifa Museum of Art against McJesus. Violent clashes broke out between Christian protesters who tried to storm their way into the museum and the police, after a molotov cocktail was thrown at the museum the day before.
One of the protesters complained that the Israeli government was slow to respond because McJesus mocks Christianity and not Judaism: “If they put up [a sculpture of] Hitler with a Torah scroll they would immediately respond.” (The Art Newspaper)
The Edible Anus first saw the light of day in 2006 when the London artist, Magnus Irvin, made a range of them in multi-coloured chocolate to present in an exhibition. It was at the ensuing show that he met and formed a partnership with Mr Ritzema, a tall man of Dutch desent. Since then the two of them have worked together to make the range of products available today.
Initially Mr Irvin tried to cast his own anus with messy and disastrous results. Whilst explaining his failure to a chance acquaintance at a bus stop he was gratified to find that his fellow bus passenger was willing to allow him to cast her anus. The job was done in just over half an hour later that afternoon and all subsequent anuses have been based on this casting. It is a matter of interest that the person who kindly donated her service has no idea that her anus has now gone global.
The chocolate, glass and metal anuses have since appeared in other exhibitions and some of the more unusual high street retailers, whilst the chocolate anus has been bought by decerning customers the world over. Rings of succulent chocolate lovingly cast and crafted from the delectable posterior of our stunning butt model. This luxury chocolate is unique and manufactured entirely in the UK. Watch Grandma’s face light up as she unwraps a homely selection of chocolate cracks. The perfect gift for all the family.
A 5-pack “bundle” of chocolate buttholes is on sale for £20 ($25.35), marked down from £25 ($31.69). Alas, it is out of stock.
The people walking in darkness have seen a great light; on those living in the land of deep darkness a light has dawned. – Isaiah 9:2
Let the Son shine into your heart
Solstice is the darkest part of the year in the northern hemisphere. The days become troublingly short, with night falling before afternoon is over. For those with “seasonal affective disorder” it can be a time of dangerous heavy depression.
The Church chose the period near Solstice to replace the pagan bacchanal celebrations with holy gatherings to honor the Nativity of Jesus Christ
In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through him all things were made; without him nothing was made that has been made. In him was life, and that life was the light of all mankind. The light shines in the darkness, and the darkness has not overcome it.
– John 1:1-5
It was suggested that I apologize, and that an apology might help. This wasn’t an assurance, but an idea—if I walked back what I had written, there might be a way forward. I looked around the table at these four women who knew me too well to believe that I would apologize for something I had written. Before each of us sat the full length script on which we’d spent several months collaborating. I’d formed this theater collective precisely to make a play based on a killer idea I’d had, and I’d asked each of these talented, thoughtful, intelligent, creative women to work with me.
We were only in the first few months of what was meant to be a year-long residency in a theater space in downtown Manhattan. What I wanted most of all was to develop this project. By the time it was suggested that I apologize, I knew full well that I wouldn’t, and that the project, the theater company, and the residency were all dead in the water.
At issue was an article I’d written for Quillette, entitled “The Transhumanism Revolution,” about three undercurrents of transhumanism presently circulating beneath Western culture: bio-hacking or grinding, AI, and trans gender ideology….
The lack of heterodoxy in Western universities has been extensively documented … many of the extreme ideas that percolate in universities then boil over into the arts, and, in the arts, dogmatic positions on gender identity are now the norm. Trans ideology has been met with a loving embrace, complete acceptance, and fighting words for any who dares to disagree in public….
In the arts community, as well as in universities, it is assumed that a specific gender, racial, sexual, or community identity determines opinions. It is widely believed that traditionally dominant identities produce opinions and ideas that must be considered suspect (i.e. those of the deplorable white women who voted for Trump), and taken with a tablespoon of salt. This is especially true when those ideas or opinions are interacting with ideas or opinions that are considered the purview of those whose identities have been historically disenfranchised. The higher up the privilege ladder you are perceived to be, the less you should have to say about any group occupying a lower rung. For example, my perceived identity as a cis straight white woman is a clear indicator that I should neither have nor express opinions about trans queer white men.
Women like me aren’t supposed to say that men aren’t women. We’re supposed to believe that some men are women. We’re supposed to believe that these men who really are women really believe that they are women, and that we should believe it too. Women like me are not supposed to speak about female erasure, because trans erasure is more important. Women like me aren’t supposed to express the opinion that womanhood is defined by more than mere appearances or performance. We’re supposed to defer to those men that really are women and respect their perspective of what it means to be a woman more than our own.
“You’re punching down,” my director announced from across the table, our scripts and a selection of snacks between us. She said that she’d been contacted my members of our theater community who had let her know that I had hurt them. These theater people wanted to make sure that she knew about the article I’d written and what people on social media were saying. The director reviewed the thread on my Facebook timeline from July, and determinedfor herself that I had participated in “trans erasure,” and hurt people by equating medical gender transition to rapidly growing trends in AI and body hacking….
“You are cis gender,” she informed me. “You need to educate yourself.”
“I am not cis gender,” I replied.
Note:Cisgender is a term for people whose gender identity matches the sex that they were assigned at birth.
Women like me are supposed to understand that we are privileged to be women in women’s bodies. Did I get that right? Privileged to be females who are perceived to be females? Is that it? Wait, privileged to be women who like being women? Maybe that’s it. We’re supposed to understand that it’s different for those who don’t like being in women’s bodies. Or who don’t like being in men’s bodies. I am supposed to understand this because I am a “cis gendered” woman.
For someone like me,who is identified as (as opposed to identifying as) a cis straight white female, to have ideas or opinions relating to trans ideology that are contrary to the progressive narrative recited by rote is already enough for me to be chastised by my community. I knew this, and I often kept quiet during conversations with others in the arts community when these topics arose. But, by espousing them in public, and then doubling down on social media, I had crossed a line drawn to keep my identity separate from certain contentious subjects.
If anything, it is the knowledge that I don’t identify with those things stereotypically female (high heels, makeup, being quiet while the men are talking) that has led me to believe that what society defines as belonging to the domain of women or the domain of men are not what make women and men what they are. Instead, it is our bodies that have the job of determining male and female, and the mind that is free to do as it pleases no matter the confines of the physical form. Yes, the physical form has its limits, and we ignore those limits at our peril. In college, I knew a PCP user who once uttered this truth: if there’s two of you, you can fly; if there’s one of you, well then you can’t fly. Because ideally one of the two will remember that the body has limits, and no flight capability.
“I don’t want to debate this with you,” my director said.
And that, of course, is the problem. No one wants to debate trans ideology. No one wants to talk about it at all other than to say it’s literally as glorious as unicorns shitting rainbows. I explained that I have no problem with pronouns, or bathrooms, or how people want to live, but that I don’t accept the identifier of “cis gendered,” I don’t think kids should be transitioned, and I don’t believe men can change into women or vice versa. I believe being a femme man doesn’t make you female and that men should be more accepting of their femme brothers. I argued that gender is performative and sex is innate, and that gender is not the soul, living somewhere deep inside us waiting to be realized.
“Don’t judge people,” my director advised, and went on to remark that I’d “really hurt people, you made them hurt, especially in a week where Trump said they didn’t have the right to exist.”
My exploration of the ideas behind transgender ideology was painful for people. But it was only a discussion of ideas. Because I had written about the ideas behind the social movement of individuals chemically and surgically altering their bodies so that they appear to be a member of the opposite sex, I was no longer welcome in the feminist theater company I had founded, and no longer welcome among those I had thought of as friends. Exploring a new idea in a longstanding philosophical debate regarding the interconnected nature of human mind and body was hurtful because it did not uphold the delusion that biological sex is malleable. I had committed apostasy against the new gender religion.
All of us around the table had attended liberal East Coast undergraduate universities, and had four graduate degrees between us, two of them held by a professor and a friend of over 20 years. This was an educated group. Stumbling into any downtown indie arts enclave will land you in the presence of enough degrees to warm the planet right out of existence. In the arts, bachelors degrees are standard, masters degrees are commonplace, and progressive orthodoxies are strictly enforced.
The basis of this enforcement is a kind of groupthink, derived from a politics of compassion, moral relativism, and privilege theory. Divergent opinions are not censored, they are self-censored. Artists who disagree do not speak up. To do so is to risk losing funding in an industry that relies almost entirely on philanthropic donations from organizations that routinely signal their virtue to one another, the artists they supposedly serve, and the progressive milieu at large. Artists who value their careers and industry friendships will not express views that put those things at risk. But I did. I knew what I was doing when I wrote it, although I must admit that I thought more highly of my intimate colleagues’ tolerance for controversy than was exhibited at our last meeting, or since.
Do we really think our era is so fraught and divisive that we must abandon our principles in order to achieve something that we absolutely will not achieve if we abandon our principles? It is neither reasonable nor possible to force everyone to believe a given ideology. People can be forced to espouse it, primarily through punitive measures such as imprisonment, blacklisting, gulags, etc., and social measures such as the denial of funding, denial of camaraderie, and denial of resources. But they can never be forced to believe it. It is to precisely this kind of ideological authoritarianism that my work has been opposed since I began writing.
The other women had been pretty quiet up until now. An old friend spoke up.
“Do you think you’ve done something wrong?” She asked.
From Hollywood Reporter: Alexandria Ocasio-Cortez’s shoes were made for walking over all her New York City congressional district.
Now, the campaign footwear worn by the youngest woman ever elected to Congress will be part of an exhibit chronicling how women use fashion for empowerment in endeavors such as politics and civil rights.
The Cornell Costume and Textile Collection at Cornell University is launching an exhibition titled Women Empowered: Fashions from the Frontline.
Among the exhibit’s other highlights are collars from Supreme Court Justice Ruth Bader Ginsburg, a 1954 Cornell graduate; a labor union cap from a campaign led by Coretta Scott King in 1969; and a skirt suit worn by Janet Reno, a 1960 Cornell grad and the first woman to serve as U.S. Attorney General.
The exhibit opens Dec. 6 and runs through March 31.
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The [Orthodox] Metropolitan, after indeed verifying there were what looked like tears on the face of the Archangel, asked for the icon to be moved from the place it was hanging. They then examined the back side of the icon as well as the wall on which it rested to determine if there was moisture which passed on to the icon.
Having established that this was impossible, the Metropolitan of Rhodes testified that this was in fact a miracle, and he asked that the icon be brought to the Sacred Church of the Dormition of the Theotokos in Ialyssos for public veneration, as well as to see if a change in environment would halt the phenomenon. ‘We will move it to the big church to see how the phenomenon evolves,’ Metropolitan Kyrillos told the faithful who had gathered in the small chapel.”
Since marriage and family have their basis in the created order, confirmed by the explicit Revelation of God, the Church necessarily opposes the adoption of human laws that would abandon or overturn this order, such as is the case with laws that would recognize same-sex or polygamous “marriage.” Human laws and judicial decisions that fail to respect this fundamental and perennial teaching are contrary to God’s law, and are rightly considered unjust.
And yet Pope Francis is praising a children’s book celebrating homosexual parenting and same-sex families.
Rosie Scammel reports for The Guardian, Aug. 28, 2015, that the Italian children’s book is titled Piccolo Uovo (Little Egg), with a cover adorned by cute hippos, kangaroos and penguins. While following the adventures of an egg may seem harmless enough, its discovery of different family types – including same sex – has prompted a backlash by conservatives who accuse Italian author Francesca Pardi of promoting a pro-homosexuality gender theory.
Pardi is a lesbian in a same-sex relationship with her business partner, Maria Silvia Fiengo. The two women traveled to Spain to be legally married and adopted four children in the Netherlands.
In the book, the egg encounters a pair of gay penguins, lesbian rabbits successfully bringing up a family, as well as other family models, including a single parent hippo, a mixed race dog couple, and kangaroos that have adopted polar bear cubs.
The book was met with disapproval by Venice’s new mayor, Luigi Brugnaro, who in June banned Piccolo Uovo and about 50 other titles from schools. The decision led more than 250 Italian authors to demand their own books be removed from the city’s shelves, a move one writer described as a “protest against an appalling gesture of censorship and ignorance”.
Now Pardi has found an unlikely supporter in Pope Francis, who through his staff has written to the author praising her work. Peter B. Wells, a senior official at the Vatican secretariat of state wrote in a July 9 letter to Lo Stampatello, the publisher of Piccolo Uovo, commending the book for spreading “Christian values”:
“His holiness [Pope Francis] is grateful for the thoughtful gesture and for the feelings which it evoked, hoping for an always more fruitful activity in the service of young generations and the spread of genuine human and Christian values.”
Msgr. Peter Brian Wellswas born in Oklahoma, was ordained a Presbyterian minister in 1991, and is now the number 3 man in the Vatican’s Secretariat of State.
Wells’ letter was a response to a parcel of children’s books sent by Pardi to the pontiff in June, all published by Lo Stampatello. In addition to Piccolo Uovo, 7 or 8 books also deal with lesbian, gay, bisexual and transgender issues (LGBT). Pardi accompanied the books with a letter bemoaning the attacks she has come under in recent months:
“Many parishes across the country are in this period sullying our name and telling falsehoods about our work which deeply offends us. We have respect for Catholics … A lot of Catholics give back the same respect, why can’t we have the whole hierarchy of the church behind us?”
Pardi said she had not expected a reply and was surprised to receive the letter at her Milan home.
The Vatican said the closing blessing of the private letter was addressed to Pardi and not in support of teachings which went against church doctrine on ‘gender theory’.
The Vatican deems homosexual relationships “intrinsically disordered” and “contrary to natural law”, preaching that gay people must live a life of chastity in order to be good Catholics. While such a doctrine has effectively excluded people in same-sex relationships from the church, Pope Francis has adopted a more welcoming approach during his papacy. “If someone is gay and he searches for the Lord and has good will, who am I to judge?” he said in 2013. The same year, a gay man in France told his local newspaper he had received a reassuring phone call from the pope – a claim the Vatican denied.
Catholics worldwide have started campaigning against the pope’s openness, with more than half a million signing a petition calling on Francis to reaffirm church teachings on gay people and divorcees. Signatories of the Filial appeal aim to have an impact on the Vatican’s synod on the family in October, when church teachings will be discussed by the world’s leading churchmen. The petition has notably been signed by traditionalist Cardinal Raymond Burke, who was demoted by the pope last year.
As in the United States, attitudes on homosexual marriage in Italy are changing, with recent polls showing the majority of voters are in favor of “gay” marriage and adoption. Italy’s prime minister, Matteo Renzi, has pledged to legislate for same-sex unions this year. He has come under growing pressure to fulfil the promise following a decision by the European court of human rights, which ruled that Italy failed to protect same-sex couples.
There really is a concerted effort to “normalize” pedophilia — to make adults’ sexual predation of children “normal” and acceptable.
Here’s the latest. LifeSiteNews reports, June 8, 2018, that the Gallery of Modern Art in Brisbane, Australia, is hosting an exhibit titled “Curious Affection”.
Among the exhibits is an “art” installation of a naked smiling male humanoid with blade-like hands and feet, embracing a young girl on top of a rumpled bed.
Standing on the bed’s headboard is a large peacock — a symbol of paradise — conferring its approval.
The display’s creator is Patricia Piccinini, 53, who said in a 2015 video interview that children are featured in her work “because it is easier for us to empathize with them” in that “we feel their vulnerability.”
Many of Piccinini’s works are of little children with naked creatures, including:
An installation of a clothed little boy cradling a naked elderly female who appears to be half human, half walrus.
In a Piccinini soft sculpture installation, a boy puts his finger in a creature’s genital-looking mouth.
Piccinini’s film, “The Gathering,” has a little girl lying asleep on the floor, who is approached by an increasing number of furry animals, one of whom rears up and pulls open her human female genitalia.
Part of Piccinini’s exhibit includes a “film program” which showcases films selected by the artist, among which is Guillermo del Toro’s bestialist movie, The Shape of Water, about a woman who has sex with an amphibian humanoid. The movie won this year’s Academy Award for Best Picture. (Del Toro also wrote and directed the loathsome demonic 2006 movie, Pan’s Labyrinth.)
Piccinini clearly intends her artwork as propaganda. She said the “Curious Affection” exhibit shows many kinds of “love”:
“My work is actually about ideas. One of the main ideasin the work — actually it’s in all my work — is the changing definition for us of what we consider natural.”
Bernard Gaynor, a conservative Catholic Australian, criticized Piccinini’s artwork for promoting “deviant practices.” Gaynor points out that the “love is love” slogan used by LGBTs to legitimate same-sex marriage is now being used to justify “every deviant practice that lurks in the shadows.” Contact information for Gallery of Modern Art:
Address: Stanley Place, South Brisbane, Queensland 4101, Australia
Phone: +61 (0)7 3840 7303
Email: firstname.lastname@example.org Online form to send complaints
H/t Kelleigh and FOTM‘s Christy
In 2015, the scientific unit of the police force in Rome, Italy, used reverse aging software to generate the face of what the man in the Shroud of Turin would look like as a 12-year-old boy. (See “The angelic face of Jesus as a 12-year-old boy”)
He is breathtakingly beautiful.
Now, a professor of mechanical and thermal measurements at the University of Padua, Dr. Giulio Fanti, has created a 3D carbon copy of Jesus from meticulous measurements of the Shroud image.
It is of an “extraordinarily beautiful” man, muscular, with “regal” “majestic” features, and nearly 6 feet tall — 7 inches taller than the average man in the Mediterranean region at the time.
Maria Teresa Martinengo reports for La Stampa (Google Translate), March 20, 2018 that Giulio Fanti leads a team of scientists who have studied the Shroud of Turin for years with the most sophisticated technologies available to science.
Based on the scientists’ measurements of the image on the Shroud, the master sculptor Sergio Rodella created a statue in plaster.
Professor Fanti explains:
“Christian tradition believes that the image that is seen on the Shroud is that of the crucified Jesus. And now science is of this opinion too. For years, using the most sophisticated 3D technologies, we have studied the image left by the body on the sheet. And the statue is the final result. This statue is a life-size, three-dimensional representation of the Man of the Shroud, based on the millimetric measurements obtained from the shroud in which the body of Christ was wrapped after the crucifixion. On the Shroud I counted 370 scourge wounds, without taking into consideration the lateral ones, which are not imprinted into the Shroud because it enveloped only the front and back of the body. We can therefore hypothesize Jesus suffered a total of at least 600 scourges. Moreover, the three-dimensional reconstruction has allowed us to reconstruct that at the time of death, the man of the Shroud has slumped to the right because His right shoulder was dislocated in such a severe way as to damage the nerves. According to our studies, Jesus was a man of extraordinary beauty (“bellezza straordinaria”). Long-limbed, but very robust; almost six feet tall, while the average height of the time was around 5′ 5″; with a regal and majestic expression. We therefore believe that we finally have an accurate picture of what Jesus was like on this earth. From now on, it will no longer be possible to portray His image without taking this work into account .”
If the n-word is so hurtful and oppressive then why do rap musicians continue to use it in their lyrics?
From Fox News: A Minnesota school district removed classic novels “To Kill a Mockingbird” and “The Adventures of Huckleberry Finn” from its required reading lists due to the novels’ use of a racial slur. Michael Cary, the director of curriculum and instruction for Duluth School District, announced the two books were removed due to the n-word being used throughout both novels. “We felt that we could still teach the same standards and expectations through other novels that didn’t require students to feel humiliated or marginalized by the use of racial slurs,” Cary told the Duluth News Tribune.
The two books would be available in school libraries if students were interested in reading them on their own, FOX 21 Online reported. Cary said the books were removed in order to be “considerate of all of its students.”
Stephan Witherspoon, the president of NAACP’s local chapter, said he welcomed the decision. He called the novels “hurtful” that “use hurtful language that has oppressed the people for over 200 years.”
“It’s wrong. There are a lot more authors out there with better literature that can do the same thing that does not degrade our people. I’m glad that they’re making the decision and it’s long overdue, like 20 years overdue,” Witherspoon said. “Let’s move forward and work together to make school work for all of our kids, not just some, all of them.” Harper Lee’s Pulitzer Prize-winning novel is listed at No. 21 on the American Library Association’s most “banned or challenged books list in the last decade.” The novel, published in 1960, followed the adventures of a girl and her brother and the racial inequality that existed in their small Alabama town.
Last year, administrators at the Biloxi School District in Mississippi removed the book from the curriculum.
“The Adventures of Huckleberry Finn,” published in 1884 by Mark Twain, follows the adventures of a poor white boy and a slave. The novel also made the list of “most frequently challenged books” in 2015, The Washington Post reported. Both novels use the n-word throughout.
Cary said the school’s administrators and teachers were working on introducing new books to the curriculum. “Thedecision to protect the dignity of our students seemed like a reasonable and easy one to make that didn’t require teacher input. But in terms of making sure that we select excellent novels that serve the same purpose, that definitely needs teacher feedback and their help in making that decision,” Cary said.