Im Vorab: der Zusammenhang ist das laute Schweigen über speziesistische Kunst, im Gegensatz zu anderen speziesistischen “Kulturräumen” …
Speciesism and Arts, Nazi-Speciesism, Nazisism* and in Memoriam of Andreas Hochhaus
In advance: the context is the loud silence about speciesist art, in contrast to other speciesist “cultural spaces” …
—
Inseparable in a speciesist system. “The German artist” does it the völkisch way, with all around support, that’s the unsurprisable novum and the logical consequence of an old ongoing problem that we are dealing with here: the greed for might over death and humiliation, for instance…
And it’s all done with narrowing down human hatred and human enmity to their core shame point of access … read of this example:
“Nevertheless, Höller feels no inhibitions about eating the animals – wild birds are among his favorite foods. In order to enjoy the protected species Ortolan – a songbird considered a delicacy in France, where it is first fattened, then drowned in Armagnac and then eaten with a cloth napkin over its head to capture as many flavors as possible – the artist decided to breed the rare bird species at home. But when the chicks were finally born, he couldn’t bring himself to eat them. He only came to his palate when a female fell victim to a male. The brilliant idea for the brutalist manifesto came to Höller, appropriately enough, while eating a bird dish in Ferran Adrià’s legendary “El Bulli” restaurant. There he was served the brain of a woodcock, embedded in its own skull.” Source: https://www.schirn.de/magazin/whats_cooking/vom_atelier_an_den_esstisch_carsten_hoeller/ [accessed 17.08.23]
The artist made arts objectifying Pigs together with the other acclaimed German artist Rosemarie Trockel in one of the annual Kassel documenta arts spectacles.
So what about the German Animal Liberation Movement and/or the German Animal Rights Movement? And yes, how is it where you might live?
The German “Animal Liberation” network die “Tierbefreier e.V.” never showed any interest in the subject of speciesism in art. But they are for “total liberation”, etc. Right. What this is to say is: that we got a huge problem here with speciesism in the arts scene, yet those who act like they express what Animal Liberation is all about just don’t seem to care about ideological and that encompasses aestheticized animal objectification.
Yet at the same time they claim to face, fight and possibly try to dismantle speciesism also on the cultural levels. So what exactly is the arts and culture business. Who’s been reading their Adorno? Who’s been able to contextualize? Or do they try to say that there is no need to … . Whatever, there is no reasonable explanation.
Who knowingly doesn’t fight propaganda is to be seen as being a bystander or an accomplice, either or both. And just placing some Kitsch to create a comfortability zone doesn’t face anything. Or do you always phrase critique that harmlessly? Some academics of the Animal Liberation scene here even cooperate proactively with artists who are known to be overt speciesists, some have been using animal objectifying taxidermic exhibits and are being embraced by the international “Animal Rights movement” (we live in the time of the false flags).
So the Tierbefreier e.V. wrote in an issue where the editorial was dedicated to Art and Animal Liberation, bypassing any naming of the ongoing hyper-dominance of speciesism in art as a big factor amongst the oppressive tools of hegemonial anthropocentrism … :
“art history is taken up by Julia Richter in her article Nonhuman Animals in Man-Made Art. She builds a bridge from ancient cave paintings to modern, vegan alternatives to modern, vegan alternatives to classical artists’ tools such as brushes and paints”
and
“Colin Goldner gives us an insight into the diary of an art philistine. He reports his experiences at art exhibitions and asks the question if art can be used for the liberation of of the animals*.”
and
“Unfortunately, the important topic of music is not addressed in the issue. However, we hope that in the course of 2021 we will be able to add an article on animal liberation music. For now, we hope you enjoy reading and viewing the artwork!”
source: https://www.tierbefreiung.de/pdf/tb110.pdf [accessed 17.08.2022]
… and that in the country which has the biggest and most ideological Nitsch-Fanbase within the left and the right of the political circus.
No critics at all? Far from the truth. But they are not as visible as they should be
Sadly in 2022 the only “broadly accepted activist” here who openly opposed the Nitsch-Scene: Andreas Hochhaus – who later changed his name to Andreas Bender (after a long fight against a German religious sect in his Animal Rights journal “Voice”) passed away. And what is quite embarrassing is that the obituaries by his own scene from the German Animal Liberation and Animal Rights movement didn’t even mention his important targeted activism and protests he used to hold in the late 1990ies against the Nitsch-Establishment in the Rhein-Main-Arts scene. He had also – and everybody back than knew that – covered the Nitsch-Speciesist-Orgies-Hype in his “Voice” magazine at that time. A shame that his activism in this area didn’t get any support.
* Nazisism stands for an allergy toward Nazis btw.
rev. 13.10.23