By David Yorkshire:
A few months ago, the usual suspects in Hollywood released yet another of their big-budget World War Two films, where we were treated to another instalment in that great mythology, complete with the post-modern pantheon of demons, the Nazis. I finally managed to see the film a few days ago. It is perhaps interesting, as an aside, that Germans never referred to themselves as Nazis and the term was rather an allied invention to make them sound more evil, just as the Viet Minh would later be propagandised as the Viet Cong.
At the beginning, we encounter an evil Nazi called Stahl – ‘Steel’ – whose job it is to steal art from its rightful owners – an incredible amount of whom are Jews, we are told. Repeatedly. A Cezanne, for example, has been hung on the wall of the ‘evil Nazi’s’ house after being stolen from the Rothschild Collection. You read that right: we have to feel sorry for the Rothschilds.
This is where the film’s message comes unstuck. All this artwork is going to be housed in the new Hitler Museum in Linz. In other words, it is going to be on public display, where everyone will be able to view these Gentile masterpieces. Yet our ‘heroes’ (George Clooney, John Goodman, Bill Murray, Matt Damon, Jean Dujardin, Hugh Bonneville, Dimitri Leonidas and Bob Balaban) form a special squad to hunt down these treasures and put them back on private display or in bank vaults. One of the squad, born in Germany and named Epstein, has his own particular sob story: he was never allowed to look at a Rembrandt because he was barred from the art galleries as a Jew.
Of course, what is never looked at is the opposing perspective, the view of how such great Gentile art ended up in private Jewish hands. Certainly, many works were purchased during the 1920s, when ethnic Germans were impoverished via the hyperinflation caused by economic limitations stipulated in the Treaty of Versailles and by financial chicanery by the banks, an inordinate number of which were Jewish owned. Ethnic Germans were forced to sell their possessions at cut price to feed themselves and their families. Some Jews were also affected, but on the whole and as a group, they made hay during this period.
The other interesting theme about this film was how the ethnic Germans were portrayed as ‘philistines’. A philistine today means an uncultured person, yet the Biblical Philistines were a people ethnically cleansed by the Jews. Not only have they been the victims of genocide, but their memory has also been denigrated. The Wehrmacht is seen burning great paintings with flamethrowers rather than allowing them to fall into enemy hands.
Such scenes being shown this summer is particularly ironic, because, in this age of liberty and universal tolerance, no art is destroyed, is it? Well, in Sweden, the most ‘liberal and tolerant’ country in the West, the authorities recently destroyed the works of artist Dan Park, which were on display at the Rönnquist & Rönnquist gallery in Malmö. Not only that, but Park himself was sentenced to six months imprisonment for ‘defamation and inciting hatred against an ethnic group’. The gallery owner, Henrik Rönnquist was fined and received a suspended sentence.
Park’s work highlights the crimes committed against the Swedish population by ethnic minorities. One must remember that until recently, Malmö was the rape capital of Europe, before Rotherham in Britain took its place. In both towns, it has been overwhelmingly the indigenous populations that have been the victims and non-White colonisers that have been the perpetrators of this vile crime. Here again then, the leftist authorities throw in the gulags anyone who dare speak out against this systematic dehumanisation and genocide of the native European population – even artists.
Last year too, the Polish artist Jerzy Szumczyk was arrested by Polish police for putting on public display his sculpture Komm Frau, which was quickly taken down and carted away. The sculpture depicted a Red Army soldier raping a prostrate German woman at gunpoint and stood as a memorial to the hundreds of thousands of women who were raped by Russian soldiers under orders at the end of the Second World War. One should also note the ethnicity of many commissars.
It has never been otherwise. The left has basked in the lie that they are more tolerant and open-minded than the right, yet history proves otherwise. We know full well that artists in the Soviet Union were executed or sent to the gulags en masse. During the Great Purge, over a thousand were executed, the irony being that many were also extreme leftists. The left always devours its own.
What is rarely looked at, though, is what happened to artists with Fascist or National Socialist sympathies at the end of the Second World War. Certainly, it was never mentioned in the piece of hokum, Monuments Men. German composers, artists and writers were forbidden from continuing to practice their respective arts if they were deemed to have been sufficiently affiliated with the NSDAP. Many great works were also destroyed during Allied bombing campaigns. The city of Cologne had no military significance and was a centre of European culture, yet was targeted for saturation bombing.
Not only this, but writers were often summarily executed for having written ‘the wrong thing’. Robert Brasillach, a French fascist who was also a homosexual, the latter now beloved of the left, was tried and executed by firing squad. Paul Morand and arguably the greatest French novelist of the twentieth century, Louis-Ferdinand Céline (it is either him or Marcel Proust), were both sentenced to death, although later reprieved. Céline only escaped because he was in Denmark at the end of the war and Morand’s sentence was eventually commuted to time in prison instead.
The left often tell us that when governments start locking up the artists, it is a sure sign of totalitarianism. Well then the left in Western Europe have been most surely building to a totalitarian society since at least 1945. I am often brought to remember how the 1960s were kicked off with the Lady Chatterley’s Lover trial, which ended in that novel being published in unexpurgated edition for the first time in Britain, a novel which advocates adultery in the strongest terms. It was followed in 1971 by the Oz trial, when the undermining of our way of life was given free reign after the proprietors of Oz magazine were first convicted but then acquitted of obscenity and conspiring to corrupt public morals.
In both trials, the defendants claimed the right to free expression. Where, I wonder, are those people now? The fact is that they were never interested in free speech at all, but in opening the door to their ideas and then closing the door on our ideas, ideas that were once normative. Perhaps I and others involved in the creative arts in this movement will one day too find ourselves in the dock, but I, for one, will not bow down so easily, despite the fortunes of Dan Park and Jerzy Szumczyk. Let us spare a thought for those two men of courage.
By David Yorkshire, Editor, Mjolnir Magazine © 2014
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SerpentSlayer
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I have to say the last two articles have been of a standard I have not yet seen, bravo Mr. Yorkshire. I do hope I can make my contributions to the culture war one day.
PharmaPhil
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I must admit I wondered about why so much art was in Jewish hands or they claim it as theirs.
Maybe they have an eye for art like no other & could snap it all up when it was cheap & ignored or…
PharmaPhil
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It’s hard to think of any right of centre art in the public eye, plenty of stuff that’s left of centre, Nelson Mandela statues & the like.
The South Bank recently had an exhibition which had Hitler in it but he was on his knees looking sorry, so I guess that’s all right.
Shaun
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There are some great novelists who think our way. H Millard’s novels are brilliant, William L Pierce’s novels were brilliant, and Ward Kendell’s seminal novel (Hold Back This Day) is a masterpeice.
Personally, I don’t tend to like the artist types because I see them as leftiest out of touch with the only truth of human existence: STRUGGLE. Also, I don’t know much about the different types of artistic styles; but I would like to see some nationalist artists come through that are of high quality.
Connal
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Life imitates Art , or so the saying goes.
With the capacity to not only invoke the sublime expression of Aryan endeavour but also to connect us with the numinous , art is indeed a very powerful medium.
This has been understood to be so by our ancestors and those who today stand against us in our persuit of tradition against the devouring onslaught of the proponents of the modern world.
Is it by any coincidence therefore , that so many of our public spaces make room for soulless heaps of amorphous junk , which reflect back at us , nothing which we can recognise as a connection to our great heritage and which therefore disconnects us from our destiny.
If life imitates art , why then are we offered up some degenerate sluts unmade bed as opposed to Brekers ‘Psyche’?
It would make no sense to do so lest the intention was to divorce us from our sense of who we are and our vision of what we may achieve.
Shaun
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I make you right there Connal.
Michael Woodbridge
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Shaun is right to be wary of artistic types but possibly for the wrong reasons. As he rightly says, human existence is about struggle, but struggle presupposes a clash of ideas of which Art is at the forefront. It’s through struggle that we evolve as a species. Furthermore, as no individual has a monopoly of the truth it is essential to allow the maximum level of free speech and free expression possible, especially in the Arts, otherwise our evolution becomes suffocated.
Unlike the Jews, who have an aversion to the “graven image” and thereby much of their influence on Art and Architecture is negative and iconoclastic, the ‘Third Reich’ forbore the temptation to destroy degenerate Art but on the contrary put on an exhibition to show degenerate Art in all its debauched glory!
The ‘Neuer Sachlichkeit’ painter, Otto Dix is a case in point. Not an ignoble man, he’d won the ‘Iron Cross’ in the ‘First World War’, his work was nevertheless profoundly disturbing and featured strongly in the famous ‘Degenerate Art Exhibition’ of 1937. Otto Dix continued to paint in Germany and towards the end of ‘The Second World War’ painted a romantic landscape, featuring a Jewish cemetery. Hardly something that would have been tolerated or even possible in National Socialist Germany were we to believe all the horror stories!
In retrospect I believe the ‘Expressionist School’ and those artists associated with that era such as Dix represent a valuable Germanic tradition going back to Grunewald, but that could be worthy of an article in itself.
Shaun
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Michael, I’d love to see a group of artists come through who could change the ”art scene” from within! I’d like to see paintings where the Aryan man and Aryan woman are shown at their fullest potential — I’d like to see beaity, strength and will power potrayed in a way that is unspeakable beyond words. Sure! Who wouldn’t?
The artistic scene, however, is filled with unmade beds, Jews deficating into buckets, and drugies portaying everything that is ugly about the world. I used to be in this scene in my mid twenties because I wanted to be a novelist, but when I realized I’d have to be anti-White to make it I left. The artistic scene in Old England is filled with diseased sell out. Untermench!
You’re right, though. The battle for ideas (that we’re just begining to win) is a metaphysical war! We’ll win this! We’re tradionalists, right? There is only so much nhilism that people can take.Our ideas are based on the essential truths of existence, so, in this vacuum, we have a huge chance of guiding the sheeple into a new way of living. Fundamentally, this starts with us. We shouldn’t ask, can we make the people change? No! That’s pure laziness and degenerate, leftist thinking. We should instead ask, can we become the types of people who embody the world we seek to create?
There is a great Spainish gentleman who writes a blog called Nfilson’s Mind. He speaks about these types of things. I suppose a neo-nationalist artistic movement would be a great contribution — you’re right!
BritishActivism
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A very interesting and insightful piece – thanks, Dave.
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Amongst other things, it does get you wondering to what extent nationalists can create a bit of publicity and societal critique through artwork and sculpture.
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It may not be the street rally or the doomed election drive material which we are all familiar with (or all that macho I suppose) but if it was intelligently and professionally done, maybe more could be made out of ‘culture’ to not only show what is wrong, but what could be put right or encouraged.
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I have noticed in recent years that we are starting to see more novels by nationalist/new right thinkers, and I suppose I include these as being the periphery material from which a cultural perspective and appreciation of our positions can be formed.
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It could certainly put a few cats amongst the proverbial pigeons if one wanted to be confrontational or to be causing a stir – like that sculpture mentioned in the article. Or perhaps it could all be done more subtly where pieces come to surround us much like the ideas and positions of our opponents have come to surround us through their pushing of art into the public sphere.
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I find little to be pleasing in ‘modern art’ (or whatever one is supposed to call it). The bird on a pole, the unmade bed, the abstract paintings that most people wouldn’t know which way up to hang it….. none of that appeals to me really. I would not call myself somebody really interested in art, but perhaps that is because so much of it now doesn’t really strike up much interest.
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Some artists seem to think they are still being radical and edgy, but they are usually just reinforcing the ground that has already been laid. In that way, they are a bit like “comedians” who think they are radical and edgy, but who actually underpin all the views and morals of the day. (Russell Howard, Sacha Baron Cohen, cartoon comedy like Family Guy etc).
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I am a little too ignorant to know of much, or any, ‘nationalist’ themed artwork. It seems not to be something that really exists or is all that prevalent in any galleries or public spaces. Obviously, they would not really show such pieces and the councils would not entertain the idea of financing such displays, but there may be ways and means.
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However, I suppose the less that our public spaces come to depict us and our interests and our heroes, the more it becomes putty that can be shaped to anybody and anything, allowing everybody to “feel at home”, there being no cultural ties of our folk, and thus giving the liberals a comfort blanket surrounding where they feel that they cannot be challenged as their ideas and positions are all-pervasive.
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Although this may not be high on our priority list (given the circumstances), perhaps it should be considered along the way.
PharmaPhil
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I think at least one of the OZ publishers ended up a millionaire.
http://en.wikipedia.org/wiki/Oz_(magazine)
Walter Greenway
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I recall the days when very young male artists often used a mortared wall to display their talents. Those bursting with enthusiasm, as they matured into youth, found using snow a cheap alternative to the rendered wall. Most of which had been inexplicably splashed by copy cat artists in any case. Whereas the a good artist adopts the paint brush as a more useful tool, for his artwork, some folk never learn and think leaving a bed unmade with a chamber pot underneath is progression!
Michael Woodbridge
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In reply to ‘BritishActivism’ ‘s thoughtful comment I would say that we live in the “Age of the Spectacle”.which is encouraging because it means we can beat our enemy at his own game. In other words, the modern world craves sensationalism and what could be more sensational than an exhibition of “Nazi” Art?
Was it George Orwell who said that in an era of universal deceit telling the truth becomes a revolutionary act..?
In 2001 a group of us visited the ‘Henry Moore Institute’ in Leeds to view an exhibition of “Nazi” sculpture. The exhibition was called “Taking Sides” and featured principally the work of Arno Breker. The exhibition lasted from May until August.
Despite the usual rude noises from the journalistic scribblers it was an exhibition they couldn’t prevent because of their appetite for sensation, a kind of love/hate situation.
The moral of this episode is that in order to win the ‘Culture War’ we have to outdo the Tracy Emin’s of this world. But, the good news is that to do so we need only remain fearless and true to our deepest principles.
Images for Vigeland sculpture park oslo
Walter Greenway
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Some friends and I came across the Vigeland sculpture park in Oslo by chance whilst touring Europe as young men. I still keep the photographs ;).
BritishActivism
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I suppose I am of the school of thought where it is felt that, as a movement, people should perhaps think harder about how to re-package the ideas of the past and then present them to the public in a new way without all the tainted ties and imagery to the past.
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I realise that eschewing of such notorious / well known ‘controversial’ imagery (and figures) may grate on some people in the movement, but I think the key to bringing wider people into the fold is to present traditionalism and ‘social nationalism’ as the ‘new way forward’.
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I think it is the ideas/concepts that are the important thing, rather than trying to re-write or re-ignite the past though the mediums and associations which our opponents have had control over for far too long.
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It has become extremely hard work to sell our wares because of their propaganda, but that does not mean that our wares do not potentially have mass appeal. I think that’s what our opponents fear the most about us, because we threaten them and make then feel insecure. On many things we are perhaps more rivals than we are opposites.
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I suspect that you could sell a lot of ‘National Socialism’ policies and principles on the doorstep without the listener even realising what it is they are subscribing to. Not that this is trickery, or that I mean trickery, but I mean that most people would not have the first idea what wider National Socialist positions actually are.
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They may tend to switch to an ‘autopilot rejection’ of the speaker if it comes attached with a ‘smear’ label or ‘association by imagery’, but if the true aspects of social nationalist positions were put forward, on finance, transport, farming, family values, fitness, aspects of media control being in “too few hands”, etc….you may get many more people nodding in agreement than they would if they were confronted or bombarded with all the traits and signals they have been mentally trained to reject.
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The way our opposition seems to have worked, including with art, is to ridicule and criticise traditional society and contemporary society (of their own making!) – always pushing ‘further’ and further towards their “progressive” visions.
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Although time is short (beyond short), maybe this is the game that still has to be played in reverse.
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I.e, Figuring out how to cleverly mock and ridicule the virtues and values of our opposition though art and other public spectacles. Figuring out how to give solemn and intelligent ‘critique’ to what they have built and are still building.
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I wish I had the artistic vision to come up with some suggestions, but alas, I am not very imaginative.
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Perhaps a statue of a broken, confused, cross-dressing child being half fitted in a straitjacket whilst attending a gay wedding….. a statue of bestiality themed marriage being blessed by the liberal church (as an extension of their flexibility)…. big nosed businessmen holding the scalpels of FGM (to link pro-immigration business moguls to the effects they are creating), Europeans / European nations being slowly lowered into a cannibals pot… I really don’t know.
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They may be a little too extreme/blunt/obvious I suppose. Our opposition seem to be a bit more subtle I suppose, but perhaps that is masked by the ‘shift’ they have already succeeded in bringing. I am sure many pieces of ‘soft’ liberal art today would have been utterly shocking and unthinkable 60 to 70 years ago. We do not have the time to play catch up, so perhaps shock and awe is necessary.
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I am not sure if anybody here has ever watched “The Revolution Will Be Televised”…I have only seen some of the first series because I don’t watch much TV – but once again, the liberal-left seem to have the edge and the thunder on propaganda. (Well, I suppose they have the advantage of funding and an ‘open door’ through which they can push their wares!).
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They are ‘comedians’ who both mock the ‘right wing press’, ‘little England’ attitudes as well as the excesses of corporations etc. (One of them is Jolyon Rubinstein, but make of that what you will…).
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I vaguely recall one episode where they walk into an energy company’s massive reception with an armchair, stand light, rug, etc, and sit a ‘grandma’ in the chair saying that as she cannot afford to pay the bills, they are going to leave their grandma there for the winter where it is nice and warm. They set it all up, tuck blankets in etc, whilst the security start to assemble and figure out how to deal with it.
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Accompanying the stunt are statistics on the screen showing the vulture-like ramping of prices and profits, and an “explanation” of what is purported to be going on with bills.
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Another episode has a fake traffic warden sticking fines on the cars of foreign embassy staff, making the point of £75 Million in unpaid parking and congestion charges etc by embassies around the world. It is quite clever, quite funny at times and thus quite likely to appeal to people who are fed up with what’s going on. They are, in a way, making themselves the ‘justice warriors’ when it ought to be our job.
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I think that kind of thing is beyond us at the moment, for it is not really something the nationalist or conservative right has ever been that good at or all that experienced at.
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These liberals have had previous generations to glean from and I think these folks in this case have degrees in performing arts and politics. I fail to name even one notoriously conservative / ‘right wing’ comedian in the public sphere. Filmed stunts of this kind would have to be very well executed and genuinely funny, to a point where it gets a following without mainstream media approval.
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So whilst it is not really our cup of tea, I only mention it as part of ‘thinking differently’ about tools that could potentially be used to get a social message across. It is a bit more sophisticated than storming a mosque, for example, which would get a very mixed reaction in the public to say the least, or even backfire.
Michael Woodbridge
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Just one further point about degenerate Art and that is that it’s parasitical and will eventually devour itself. Sensationalism is ephemeral by nature, it only exits by craving ever more destructive ideas to feed off, as we see in all the detritus alluded to by Shaun and your other correspondents. Once there’s nothing left to feed off and the serpent has truly devoured its own tail our only option will be to return to Truth and Beauty. Hail the new Renaissance!
Manxman
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I always loathed ‘modern art’ not just because I thought it was shit to look at but because I found a snobbery in it’s purveyors, as if they were/ are claiming some sort of intellectual and artistic superiority because they proclaim that they can see ‘art’ where I can only see a pile of shite. It was a great surprise to me when I eventually found out that Hitler also loathed modern art and architecture.
English girl
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I agree! I had started to become racially and economically aware, and had realised for myself that the reason why crap non-art is promoted as the height of genius: to make people mindless. Jewish supremacists run the world with their fake money: a mindless society that doesn’t question this is beneficial to them. So promoting non-art as art confuses people and is one of many things that contributes to making people stupid and immoral. I felt proud that, as a 21 year old, I had worked this out for myself.
Earlier, I had not realised what the fuss was with powerful Jews and wondered why Nationalists were sometimes so preoccupied with them. Out of curiosity, I read Mein Kampf, and was amazed to see that Hitler shared my thoughts on art. I am proud of how intelligent I am, so felt a connection with him and thought that he must be astute. This led me to trusting the rest of his book, and led me into fully awakened Nationalism 🙂
English girl
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With regards to the posts about creating a nationalist art movement, I had the idea of graffitiing. A picture paints a thousand words, and although the decay within our society has ensured that most people are no longer able to find meaning in art, some people might get the message and become educated. I also had the idea of graffitiing nationalist facts, figures, soundbites, and links to websites etc, or simply writing “14/88” everywhere to let other isolated nationalists know they’re not alone.