by Giulio Meotti
Art and morality do not seem to be connected.
A Copenhagen art exhibit planning to portray two of the Brussels suicide bombers and one of the Paris Bataclan attackers as “martyrs” has been reported to police for encouraging terrorism.
A Danish group of artists plans to include brothers Ibrahim and Khalid el-Bakraoui, who detonated bombs in the deadly Brussels attacks on 22 March, and Foued Mohamed-Aggad, who blew himself up at Paris music venue Bataclan on 14 November. Images of the “martyrs”, replicas of their belongings and plaques to explain who they are will adorn the artistic exhibition, which will be on display from May 26 until June 10 in a former abattoir in Copenhagen’s trendy Meatpacking District.
The idea of glorifying suicide bombers “artistically” is not new. An exhibition at Ottawa City Hall, Canada, has recently been accused by Israeli diplomats of “glorifying terrorism”.
And in 2003 Greek artists glorified, in pink lace, an Arab woman, Ayat Al Akra, who blew up Israelis in a Jerusalem supermarket in March 2002. The artist Alexandros Psychoulis said his work, hosted at the A. Antonopoulou Art Gallery of Athens, was a personal tribute to the bomber’s “protest”. Women’s vests with a outside pockets, like the ones worn by Palestinian women in suicide attacks, were displayed.
The Jeu de Paume Museum in Paris, which served as a storage facility for 22,000 works of art confiscated by the Nazis from 200 Jewish collections in France and which was frequently visited by high ranking Nazi officials, including the Reichsmarschall Hermann Göring, hosted an exhibition calling the Palestinian Arab suicide bombers “martyrs”.
The exhibit “Death”, by photographer Ahlam Shibli, features dozens of Palestinian suicide bombers with captions that glorify their deaths. Captions say that these terrorists “died as a result of the Israeli occupation”.
A Stockholm art show also glorified a Palestinian terrorist who murdered 21 Israelis at Haifa’s Maxim restaurant in October 2004. Dubbed “Snow White and the Madness of Truth”, the exhibit showed a tiny sailboat floating on a pool of red water. Attached to the boat was a smiling photo of the female bomber, Hanadi Jaradat. Israel's ambassador Tzvi Mazel was so outraged that he pulled the plug on several of the spotlights and knocked over a light fixture in protest.
This artistic degeneration began immediately after 9/11, when German composer Karlheinz Stockhausen called the attack on the World Trade Center “the greatest work of art that is possible in the whole cosmos”.
During the Second World War, while the Nazis swooped down through Europe’s museums and galleries in search of Jewish paintings to remove, many famous artists took the side of these barbarians.
Today artistic selfish narcissists stand with the Islamist murderers.
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