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Sunday, June 09, 2024

How right-wing media turned racism into a machine that generates billions a year

Thom Hartmann
June 9, 2024 

Photo by Frank Okay on Unsplash

The politically cancerous pattern of using racism for political gain and financial profit dates back to the earliest days of our republic, but now, amplified by Donald Trump, is again increasingly in our faces.

Black workers at a General Mills plant in Georgia are suing over white management allegedly sanctioning a “Good Ole Boys” club that uses Confederate symbols and open racism to intimidate and cow them.

A producer on The Apprentice show is — now that his NDA has expired — telling the story of Trump’s casual and repeated use of the N-word, questioning whether Americans would ever “buy a n— winning” the show’s faux business competition.

The GOP and rightwing hate media have turned racism into both a political weapon and a machine to generate billions in annual profits. Today’s “school choice” movement, racial and anti-immigrant hatred, and the MAGA movement all have the same roots.

America’s media and the GOP try to pretend that the primary animating force of Trump’s MAGA movement isn’t race, but it absolutely is. And it’s been both politically and financially profitable for those willing to join him.

When, in 1954, the then-moderate-dominated Supreme Court reversed their 1898 Plessy v Ferguson “separate but equal” ruling and said that public schools must integrate, the response from the right was swift and certain. By the end of that decade public schools across the South had closed, leaving private school or no school as the only option. It continued into the 60s.

Prince Edward County, Virginia, for example, shut down all their public schools from 1959 to 1963. In Clarendon County, South Carolina, that school district closed the all-Black Summerton High School in 1966 to avoid integration, so white parents sent their children to a newly-built private segregated school instead.

Jerry Falwell opened an all-white “Christian” private school, one of hundreds across the country, and Bob Jones University proudly continued to admit only white students.

That an anti-racist Supreme Court decision also kicked off today’s modern conservative movement. In 1957, William F. Buckley Jr. wrote an infamous editorial for his National Review magazine titled “Why the South Must Prevail” in which he argued that segregation must continue because Black people, he said, are incapable of participating in “civilization.”

“The central question that emerges,” Buckley wrote, “is whether the White community in the South is entitled to take such measures as are necessary to prevail, politically and culturally, in areas in which it does not predominate numerically?

“The sobering answer is Yes — the White community is so entitled because, for the time being, it is the advanced race.

“It is not easy, and it is unpleasant, to adduce statistics evidencing the median cultural superiority of White over Negro: but it is a fact that obtrudes, one that cannot be hidden by ever-so-busy egalitarians and anthropologists. …

“NATIONAL REVIEW believes that the South’s premises are correct. If the [Black] majority wills what is socially atavistic, then to thwart the majority may be, though undemocratic, enlightened. It is more important for any community, anywhere in the world, to affirm and live by [White] civilized standards, than to bow to the demands of the numerical [Black] majority.”

Oil baron Fred Koch, the father of Koch brothers Charles and David, helped fund the 1958 startup of the John Birch Society, whose major project in that era was placing billboards all across American proclaiming that Chief Justice Earl Warren, who wrote the majority opinion in Brown v Board, must be impeached.

As the brilliant new documentary Bad Faith details, in the run-up to the 1980 election of Ronald Reagan the anti-integration movement needed a new non-racial issue to publicly blur their racism while bringing together the nation’s bigots into a “Christian” voting bloc.

Even though Reagan had signed the most liberal abortion law in the nation as California governor, George HW Bush and his wife were both big supporters of Planned Parenthood, and Jerry Falwell and the racist all-white-school evangelical movement had been pro-choice right up until 1978, they collectively picked abortion as the non-racial hook on which to hang their political activism and organizing.

After all, abortion was then most often used by middle-class white women and was thus, they noted, “depriving the nation of large numbers of white babies.”

The so-called Moral Majority movement (and its successor, the Tea Party movement) were heavily funded by oil billionaires (including Fred’s sons) after Reagan, Falwell, et al, committed to broadening their agenda to include deregulation of monopolies and the fossil fuel industry, along with massive tax cuts.

Thus was born the modern-day alliance between the morbidly rich, polluting and monopolistic industries, and white supremacists that has taken over the GOP and calls itself MAGA.

But, as the fascist governments of the 1930s showed in Europe, for a movement to seize control of a government it must not only have rich donors but also requires a powerful media arm.


To accomplish this, President Reagan fast-tracked citizenship for Australian billionaire Rupert Murdoch (the son of media mogul and notorious racist Sir Keith Murdoch) in 1985 so he could legally purchase US media properties; Fox “News” was launched here the following year, as Reagan ordered the FCC to stop enforcing the Fairness Doctrine and Republicans in Congress later gutted the Equal Time Rule.

In this, Reagan knew what he and the GOP were getting; Murdoch had by that time already flipped both Australian and British politics toward the hard right using frequent and lurid stories featuring crime by minorities.

Writing for The Sydney Morning Herald (the Australian equivalent of The New York Times) former Australian Prime Minister Kevin Rudd called Rupert Murdoch and his rightwing news operations “the greatest cancer on the Australian democracy.”

“The uncomfortable truth is,” Rudd wrote, “Australian politics has become vicious, toxic and unstable. The core question is why?”

While Rudd calls out the Australian equivalents of Jim Jordan and Marjorie Taylor Greene, the focus of his article and the damage done within his own nation was the influence of Rupert Murdoch.

Noting that, “Murdoch owns two-thirds of the country’s print media,” Rudd added,

“Murdoch is not just a news organisation. Murdoch operates as a political party, acting in pursuit of clearly defined commercial interests, in addition to his far-right ideological world view.”

Brexit happened in the UK because of the newspapers and media Murdoch owns there, Rudd wrote, and:
“In the United States, Murdoch’s Fox News is the political echo chamber of the far right, which enabled the Tea Party and then the Trump party to stage a hostile takeover of the Republican Party.”

Murdoch’s positions aren’t at all ambiguous, Rudd noted. They’re simply pro-white, pro-billionaire, and pro-oligarchy and thus, by extension, anti-democracy.
“In Australia, as in America,” he wrote, “Murdoch has campaigned for decades in support of tax cuts for the wealthy, killing action on climate change and destroying anything approximating multiculturalism.
“Given Murdoch's impact on the future of our democracy,” Rudd added, “it's time to revisit it.”

Here in America, Fox “News” has had such a powerful influence on American politics that its most recent political creation, President Donald Trump, even ordered government agencies to show it on their in-house TVs.

Fox and Murdoch’s power come, Rudd says, from their ruthlessness.
“Murdoch is also a political bully and a thug,” former Australian Prime Minister Rudd writes, “who for many years has hired bullies as his editors. The message to Australian politicians is clear: either toe the line on what Murdoch wants or he kills you politically.
“This has produced a cowering, fearful political culture across the country. I know dozens of politicians, business leaders, academics and journalists, both left and right, too frightened to take Murdoch on because they fear the repercussions for them personally. They have seen what happens to people who have challenged Murdoch’s interests as Murdoch then sets out to destroy them.”

When Fox and Tucker Carlson set out to rewrite the history of the treasonous January 6th coup attempt at our nation’s Capitol with a three-part special alleging it could have been an inside job by the FBI, two of their top conservative stars, Jonah Goldberg and Stephen Hayes, resigned in protest.

Text messages released by Congresswoman Liz Cheney and the committee that investigated the January 6th attempt to overthrow our government show that the network’s top prime-time hosts were begging Trump to call off his openly racist and murderous mob while at the same time minimizing what happened on the air.

Even worse, revelations from the Dominion lawsuit show that Tucker Carlson, Sean Hannity, and Laura Ingraham all intentionally lied to their viewers for over two years with the encouragement of Rupert Murdoch himself. While they were privately ridiculing Trump and acknowledging he was a “sore loser,” they said the exact opposite to their audience.

Along with their relentless attacks on America’s first Black president, Fox’s support of Trump’s Big Lie helped tear America apart and set up the violence and deaths on January 6th — while also making billions for Murdoch and his family.

Steve Schmidt, a man who’s definitely no liberal (he was a White House advisor to George W. Bush and ran Bush’s 2004 re-election campaign as well as John McCain’s 2008 campaign), has been blunt about the impact of Fox “News”:
“Rupert Murdoch’s lie machine is directly responsible for the deaths of hundreds of thousands of Americans, the poisoning of our democracy and the stoking of a cold civil war. There has never been anything like it and it is beyond terrible for the country. Bar none, Rupert Murdoch is the worst and most dangerous immigrant to ever arrive on American soil. There are no words for the awfulness of his cancerous network.”

While Biden press secretaries Jen Psaki and Karine Jean-Pierre have been humorous in their dealing with Fox’s Peter Doocy’s attempts at gotcha questions in the White House press room, there’s nothing funny about inciting attacks on our country and then openly lying on the air about “antifa” to cover it up, as Media Matters for America has repeatedly documented that Fox did.

That white backlash to the Brown v Board decision is still alive and well in America, and was amplified by the election of Barack Obama as president: it led straight to Trump’s racist birtherism and the flowering of his 2015 candidacy. Fox and rightwing media have exploited that reaction and relentlessly used it to enrich themselves in the modern day.

It’s also the foundation of Donald Trump’s 2024 presidential candidacy, which is being endlessly promoted across the rightwing hate media spectrum. Tucker Carlson and other heirs to William F. Buckley Jr. — along with the MAGA contingent within the GOP — continue to promote his and Sir Keith Murdoch’s message of white superiority, albeit shrouded in more acceptable language for today’s audiences.

This is how Rupert Murdoch succeeded in reinventing American politics in the image of his own paranoid, xenophobic, and arguably racist worldview, just as Rudd documents he did to Australia and the United Kingdom.

Fox “News” led the charge to amplify Trump’s racist “birther” claims against President Obama, positioning him to run in 2016; without their help he never would have become president and done the damage that he has to this country.

“Banishing from polite company” is a phrase from a different era, but it’s time to ask if Fox has grown to such destructive dimensions that our government’s press rooms should stop recognizing them as a legitimate “news” organization and our military should reconsider rightwing media’s impact on our troops.

On average, every cable-connected household in America is paying two dollars a month to Fox “News” via their cable company fees. A growing movement, https://www.nofoxfee.com/ is trying to change this.

To continue with Rudd’s metaphor, if our media and body politic are infected with a cancer — driven by white grievance and an unending thirst for profits, regardless of the damage it does — it’s our responsibility as Americans to call it out and isolate it so it can’t further harm our democracy and, by extension, the other democracies of the world.

Friday, June 07, 2024

UBIQUITOUS ACROSS CANADA

Funeral home company Park Lawn agrees to be taken private, shares surge

Shares of Park Lawn Corp. soared nearly 60 per cent in early trading after the company announced a plan to be taken private in an agreement valued at about $1.2 billion, including debt.

Under the proposal, Viridian Acquisition Inc., an affiliate of Homesteaders Life Co. and Birch Hill Equity Partners Management Inc., will pay $26.50 per share for Park Lawn.

Shares in the funeral home and cemetery company were up $9.57 at $25.92 in early trading on the Toronto Stock Exchange on Tuesday.

The agreement, which has been unanimously recommended by the Park Lawn board of directors, requires approval by a two‐thirds majority vote by shareholders.

John Nies, chair of Park Lawn's special committee which reviewed the proposal, said the transaction is in the best interests of Park Lawn and fair to the company's shareholders. 

Park Lawn owns and operates cemeteries, crematoria, funeral homes, chapels and event centres in Canada and the United States.

This report by The Canadian Press was first published June 4, 2024.

Saturday, April 20, 2024

Venice Biennale titled ‘Foreigners Everywhere’ platforms LGBTQ+, outsider and Indigenous artists


A visitor walks next to the ‘Las Meninas a San Marco’ sculptures part of the installation by the Spanish artist Manolo Valdés, at the San Marco’s Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. The Venice Biennale contemporary art exhibition opens Saturday for its six-month run through Nov. 26. The main show titled ‘Stranieri Ovunque – Foreigners Everywhere’ is curated for the first time by a Latin American, Brazilian Adrian Pedrosa. Pedrosa is putting a focus on underrepresented artists from the global south, along with gay and Indigenous artists. Alongside the main exhibition, 88 national pavilions fan out from the traditional venue in Venice’s Giardini, to the Arsenale and other locations scattered throughout the lagoon city. 


A visitor looks the installation ‘Keepers of the krown’ by artist Lauren Halsey, at the Arsenale, during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. The Venice Biennale contemporary art exhibition opens Saturday for its six-month run through Nov. 26. The main show titled ‘Stranieri Ovunque – Foreigners Everywhere,’ is curated for the first time by a Latin American, Brazilian Adrian Pedrosa. Pedrosa is putting a focus on underrepresented artists from the global south, along with gay and Indigenous artists. Alongside the main exhibition, 88 national pavilions fan out from the traditional venue in Venice’s Giardini, to the Arsenale and other locations scattered throughout the lagoon city. 

Curator Aindrea Emelife watches the installation ‘Monument to the restitution of the mind and soul’ by artist Yinka Shonibare at the Nigerian pavilion at the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024.The Venice Biennale contemporary art exhibition opens Saturday for its six-month run through Nov. 26. The main show titled ‘Stranieri Ovunque – Foreigners Everywhere’ is curated for the first time by a Latin American, Brazilian Adrian Pedrosa. Pedrosa is putting a focus on underrepresented artists from the global south, along with gay and Indigenous artists. Alongside the main exhibition, 88 national pavilions fan out from the traditional venue in Venice’s Giardini, to the Arsenale and other locations scattered throughout the lagoon city. 

A visitor looks the installation ‘I will follow the ship by artist Matthew Attard at the Malta pavilion at the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. The Venice Biennale contemporary art exhibition opens Saturday for its six-month run through Nov. 26. The main show titled ‘Stranieri Ovunque – Foreigners Everywhere’ is curated for the first time by a Latin American, Brazilian Adrian Pedrosa. Pedrosa is putting a focus on underrepresented artists from the global south, along with gay and Indigenous artists. Alongside the main exhibition, 88 national pavilions fan out from the traditional venue in Venice’s Giardini, to the Arsenale and other locations scattered throughout the lagoon city. 

(AP Photos/Luca Bruno)


BY COLLEEN BARRY
April 19, 2024

VENICE, Italy (AP) — Outsider, queer and Indigenous artists are getting an overdue platform at the 60th Venice Biennale contemporary art exhibition that opens Saturday, curated for the first time by a Latin American.

Brazilian curator Adriano Pedrosa’s main show, which accompanies 88 national pavilions for the seven-month run, is strong on figurative painting, with fewer installations than recent editions. A preponderance of artists are from the Global South, long overlooked by the mainstream art world circuits. Many are dead — Frida Kahlo, for example, is making her first appearance at the Venice Biennale. Her 1949 painting “Diego and I” hangs alongside one by her husband and fellow artist, Diego Rivera.

Despite their lower numbers, living artists have “a much stronger physical presence in the exhibition,” Pedrosa said, with each either showing one large-scale work, or a collection of smaller works. The vast majority are making their Venice Biennale debut.

Visitors to the two main venues, the Giardini and the Arsenale, will be greeted by a neon sign by the conceptual art cooperative Claire Fontaine with the exhibition’s title: “Stranieri Ovunque — Foreigners Everywhere.” A total of 60 in different languages hang throughout the venues.


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When taken in the context of global conflicts and hardening borders, the title seems a provocation against intransigent governments — at the very least a prod to consider our shared humanity. Through artists with underrepresented perspectives, the exhibition address themes of migration and the nature of diaspora as well as indigeneity and the role of craft.


“Foreigners everywhere, the expression has many meanings,’’ Pedrosa said. “One could say that wherever you go, wherever you are, you are always surrounded by foreigners. … And then in a more personal, perhaps psychoanalytic subjective dimension, wherever you go, you are also a foreigner, deep down inside.”

“Refugee, the foreigner, the queer, the outsider and the Indigenous, these are the four subjects of interest in the exhibition,’' he said.

Some highlights from the Venice Biennale, which runs through Nov. 26:


GEOPOLITICS AT THE BIENNALE


Facing the threat of protests, the Israel Pavilion stayed closed after the artist and curators refused to open until there is a cease-fire in Gaza and the Israeli hostages taken by Hamas are released.

Ukraine is making its second Biennale art appearance as a country under invasion; soft diplomacy aimed at keeping the world focused on the war. Russia has not appeared at the Biennale since the Ukraine invasion began, but this time its historic 110-year-old building in the Giardini is on loan to Bolivia.

For a short time during this week’s previews, a printed sign hung on the Accademia Bridge labeling Iran a “murderous terrorist regime,” declaring “the Iranian people want freedom & peace.” The venue for the Iranian pavilion was nearby, but there was no sign of activity. The Biennale said it would open Sunday — two days after the departure from Italy of G7 foreign ministers who warned Iran of sanctions for escalating violence against Israel.


LGBTQ+ ARTISTS

As a queer artist born in South Korea and working in Los Angeles, Kang Seung Lee said he identified with Pedrosa’s “invitation to look at our lives as foreigners, but also visitors to this world.”

His installation, “Untitled (Constellations),” which considers the artists who died in the AIDS epidemic through a collection of objects, is in dialogue with spare paper-on-canvas works by the late British artist Romany Eveleigh, who died in 2020. “The works speak to each other, an intergenerational conversation, of course,’’ said Lee, 45, whose works have been shown in international exhibitions, including Documenta 15. This is his first Venice Biennale.

Nearby, transexual Brazilian artist Manauara Clandestina presented her video “Migranta,” which speaks about her family’s story of migration. “It’s so strong, because I can hear my Daddy’s voice,’’ she said. Clandestina, who hails from the Amazon city of Manaus, embraced Pedrosa during a press preview marking her Venice debut. She said she continues to work in Brazil, despite discrimination and violence against transgender people.

NEWER NATIONAL PARTICIPANTS

The Giardini hosts 29 national pavilions representing some of the oldest participating nations, like the United States, Germany, France and Britain. More recent additions show either in the nearby Arsenale, or choose a venue further afield, like Nigeria did this year in Venice’s Dorsoduro district.

The Nigerian Pavilion, in a long-disused building with raw brick walls that exude potential, houses an exhibition that spans mediums — including figurative art, installation, sculpture, sound art, film art and augmented reality — by artists living in the diaspora and in the homeland.

“These different relationships to the country allow for a very unique and different perspectives of Nigeria,’’ said curator Aindrea Emelife. “I think that it’s quite interesting to consider how leaving a space creates a nostalgia for what hasn’t been and allows an artist to imagine an alternative continuation to that. The exhibition is about nostalgia, but it’s also about criticality.”

The eight-artist Biennale exhibition “Nigeria Imaginary” will travel to the Museum of West African Art in Benin City, Nigeria, where Emelife is curator, which will give it “a new context and a new sense of relevancy,’’ she said.


BREAKTHROUGHS


Ghana-born British artist John Akomfrah created eight multimedia film- and sound-based works for the British Pavilion that looks at what it is to be “living as a figure of difference” in Britain. Images of water are a connecting device, representing memory.

“In the main, I’m trying to tease out something about collective memory, the things that have informed a culture, British culture let’s say, over the last 50 years,’’ Akomfrah told The Associated Press. “As you go further in, you realize we’re going further back. We end up going to the 16th century. So it’s an interrogation of 500 years of British life.”

Considering the question of equity in the art world, Akomfrah indicated the adjacent French Pavilion — where French-Caribbean artist Julien Creuzet created an immersive exhibition — and the Canadian Pavilion on the other side, featuring an exhibition examining the historic importance of seed beads by Kapwani Kiwanga, who is in Paris.

“I mean, this feels like a very significant moment for artists of color,’’ said Akomfrah, who participated in the Ghana Pavilion in 2019. “Because I’m in the British Pavilion. Next to me is the French one, with an artist, Julien, who I love a lot, of African origin. And then next to me is a Canadian pavilion that has a biracial artist, again, with African heritage.

“So that’s certainly not happened before, that three major pavilions have artists of color inhabiting, occupied, making work in them. And that feels like a breakthrough,’' he said.

Foreign, national, indigenous: Venice Biennale 2024 grapples with geographic and personal identities

Rebecca Ann Hughes
Fri, 19 April 2024

Foreign, national, indigenous: Venice Biennale 2024 grapples with geographic and personal identities


Entitled ‘Foreigners Everywhere’, the 2024 Venice Biennale has at its core the exploration of identity. The international show is notably - and for some anachronistically - organised into national pavilions.

Prompted by the theme, many countries have chosen to examine ideas of nationhood, belonging and foreignness. Collectively, however, this also raises the question of how valid the Biennale’s division of exhibitors into national showrooms continues to be.
‘You are always, deep down inside, a foreigner’

Roberto Cicutto and curator Adriano Pedrosa photographed together - Credit: Venice Biennale 2024

The 60th edition of the international exhibition, curated by Adriano Pedrosa, takes its title ‘Stranieri Ovunque - Foreigners Everywhere’ from the name of a Turin collective that fought racism and xenophobia in Italy in the early 2000s.


“The expression Stranieri Ovunque has several meanings,” explains Pedrosa. “First of all, that wherever you go and wherever you are you will always encounter foreigners - they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.”

The curator’s exhibition is divided into two sections. The Nucleo Contemporaneo interprets the theme through the etymology of foreigner as ‘strange’.

“The exhibition unfolds and focuses on the production of other related subjects: the queer artist, who has moved within different sexualities and genders, often being persecuted or outlawed; the outsider artist, who is located at the margins of the art world, much like the self-taught artist, the folk artist and the artista popular; the indigenous artist, frequently treated as a foreigner in his or her own land,” says Pedrosa.

The Nucleo Storico, instead, gathers works from 20th-century Latin America, Africa, the Middle East and Asia. “We are all too familiar with the histories of modernism in Euroamerica, yet the modernisms in the Global South remain largely unknown,” says Pedrosa.
Pavilions grapple with the idea of nationhood


Glicéria Tupinambá - Credit: Fundação Bienal de São Paulo

At the heart of several national pavilion exhibitions is the complex and often controversial concept of nationality and belonging. Many deal with the notion of multiple distinct national identities and give a voice to those historically marginalised. The Australia pavilion gives the floor to First Nation artist Archie Moore, whose exhibition will highlight the gulf between Australia’s 254-year history and the 65,000+ year context of his Aboriginal family heritage.

Glicéria Tupinambá will represent Brazil as well as her community of Tupinambá Indigenous people. Her exhibition, titled Ka’a Pûera: nós somos pássaros que andam (Ka’a Pûera: we are walking birds), will showcase the richness of the Tupinambá culture and its story of reclamation and resurgence amid persistent marginalisation.


Photo exhibited at the Danish Pavilion from Storch's series Porcelain Souls - Inuuteq Storch

Denmark’s pavilion will feature Greenlandic artist Inuuteq Storch. His installation titled Rise of the Sunken Sun will juxtapose raw, intimate historical and family photographs with contemporary snapshots of the everyday in order to “tell the Greenlanders’ visual history, not seen through the visitors’ eyes, but through the Greenlanders’ own.”

For France, Julien Creuzet will delve into his own French-Caribbean identity. “His singular work and his gift for oral literature feed on creolisation by bringing together a diversity of materials, stories, shapes and gestures,” according to a press release. “Creuzet was also chosen for the horizons he draws, going beyond the opposition between identity and universality, demonstrating that in the folding of art, the poetic and artistic echoes always trace responses that are as beautiful, joyful and restorative as they are unexpected.”

At Chile’s show, Valeria Montti Colque will instead explore the idea of multi-sited nationhood and connections beyond borders. Born in Stockholm in 1978 after her family was exiled during Chile’s military dictatorship, the artist draws on anthropologist Michel S. Laguerre’s theories of diasporic communities and their relationship with their ancestral lands.
Venice exhibitions interpret the concept of foreignness

Inside the Arsenale exhibition site of the Venice Biennale 2024 - Credit: Rebecca Ann Hughes

Other pavilions have picked up the equally undefinable concept and often perturbing feeling of foreignness instead. Making its debut this year, the United Republic of Tanzania will feature a group exhibition with artists Happy Robert, Naby, Haji Chilonga, and Lute Mwakisopile curated by Enrico Bittoto. It will trace the evolution of the concept of the ‘other’ and consider themes of travel, encounters and re-definition of self.

For Serbia, artist Aleksandar Denić echoes the history of the pavilion building, which has passed between multiple nations, in an installation about residency and transit. He himself is permanently displaced in Germany and prompts the visitor to muse over the meaning of belonging and the sensation of being a foreigner in your own country.

Venice Biennale 2024 announces lineup of 331 artists showcasing Queer and Indigenous art

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In North Macedonia’s pavilion, Slavica Janešlieva invites visitors to experience feeling like a stranger through a multimedia installation using neon signs, mirrors, feathers and other materials.

With so many pavilions dedicated to the question of national identity and its historical and enduring complexities, attention is also drawn to the Biennale’s own rigid division into national pavilions. Perhaps it's time for a different model that is less geared towards national introspection and more towards international connectedness and dialogue.

The 60th Venice Biennale, curated by Adriano Pedrosa, runs from Saturday 20 April to Sunday 24 November.


Venice Biennale: our picks of the shows to see in Venice from John Akomfrah to Ethiopia's first ever pavillion

Elizabeth Gregory
Sat, 20 April 2024 

Listening all Night to the Rain, John Akomfrah at the British Pavilion (Venice Biennale 2024)


The Venice Biennale begins today, thrilling art fans around the world. The seven-month-long, biannual, city-wide exhibition, will present astonishing and illuminating works of hundreds of artists from around the world.

For those planning to head to Italy’s glorious floating city, there’s more than a lot of material to get through: 331 artists will show work in the central exhibition, Foreigners Everywhere, which has been curated by Brazilian art director Adriano Pedrosa.

There are also 88 countries with National Pavilions, 30 official Collateral Events and many, many other concurrent exhibitions running throughout the city.

So with so much to do and so little time, here are some of our top recommendations.
The Pavilions

Listening all Night to the Rain, John Akomfrah at the British Pavilion (Venice Biennale 2024)

Australia: kith and kin, Archie Moore

Archie Moore is exploring genealogy and commemoration of Indigenous lives in Australia’s pavillion. Wholly in shades of black and white, the space’s walls are filled with a hand-drawing of Moore’s family tree. His heritage is Aboriginal, so the tree extends back some 65,000 years, a figure which looms large, both literally and metaphorically, over the 254 years of modern Australia’s existence. Moore has said the site is for “quiet reflection and remembrance.”
Britain: Listening all Night to the Rain, John Akomfrah

The pioneering British filmmaker, who founded the Black Audio Film Collective in 1982, has built a reputation for creating extraordinary, thought-provoking films. His pavilion piece, an exploration of post-colonialism and environmental devastation, runs across six connecting video installations. One paper called it “unhinging, sorrowful and utterly captivating”; another called it “a jumble of gibberish”.

For those who can’t make Venice, the British Council-commissioned work will tour the UK in 2025, with confirmed stops at Cardiff’s National Museum and Dundee Contemporary Arts.

Croatia: By the Means at Hand, Vlatka Horvat

Visual artist Vlatka Horvat’s piece at the Croatian Pavilion is a dialogue between artists. She has invited some of her friends from around the world to contribute pieces that deal with experiences of living away from home. The twist here is that the works won’t be sent via postal services, but will be brought by friends, colleagues and acquaintances travelling to Venice. The result, as the pieces slowly arrive, will be a continually changing exhibition, a meditation on friendship, community and trust.
Ethiopia: Prejudice and belonging, Tesfaye Urgessa

With 2024 marking Ethiopia’s first National Pavilion, it’s no great surprise that the work of its chosen artist, celebrated Ethiopian painter Tesfaye Urgessa, promises to be a standout. Urgessa’s distorted human figures, often depicted in surreal, domestic settings, seem to ask questions about the human psyche, intimacy, memory and identity.

Foreigners Everywhere



Yinka Shonibare in Foreigners Everywhere, photo by Marco Zorzanello (Venice Biennale 2024)

This year’s central exhibition, which has been curated by Pedrosa, is set to be a real humdinger. The first-ever Latin American curator is shining a light on artists from the global majority – many of whom are relatively unknown in the West, and have typically enjoyed less exposure at Venice.

“In the last decade or so it has become unthinkable that you might do a Eurocentric biennale of contemporary art,” he said to the FT. “We haven’t seen the same rules applied to historical shows, so I wanted to look at Modernism in South America, Africa, Asia, and how Modernism travelled in the 20th century.”

The exhibition, which boasts 331 artists, will also include the work of Lebanese-American poet Etel Adnan, trailblazing modernist painter Judith Lauand, and the celebrated Yinka Shonibare, whose work is also being shown in the Nigerian Pavilion.


Other
William Kentridge: Self-Portrait as a Coffee-Pot


South African artist William Kentridge (AFP via Getty Images)

South African artist William Kentridge, now 68, has spent his career exploring social injustice, conflict and political oppression in a variety of media including tapestries, prints and drawings, sculptures and animated films. In Self-Portrait as a Coffee-Pot, a new nine-episode video series, he collaborates with friend and curator Carolyn Christov-Bakargiev and muses on living in the digital age.

“I love his work,” says Jenny Waldman, the director of Art Fund. “This is a series he did during lockdown, so it’ll be very interesting to have a look at what he’s up to at the moment.”

Arsenale Institute for Politics of Representation, to November 24; arsenale.com
Crip Arte Spazio: The DAM in Venice

The first-ever major international exhibition of the UK Disability Arts Movement (DAM) is not one to miss: it’s set to be a joyous and high-spirited affair, bringing together artists including Terence Birch, Tony Heaton, Jameisha Prescod, Ker Wallwork, Tanya Raabe-Webber, Jason Wilsher-Mills and Abi Palmer. Palmer’s 2023 Artangel [the London-based arts organisation] commission, Abi Palmer Invents the Weather, will be included in the exhibition.

CREA, Venice; shapearts.org.uk
Non-contemporary
Carpaccio at the Schiavoni

“If you've had enough of the contemporary art as you go around, the museums and churches in Venice are just incredible,” says Waldman, who recommends taking some time to see the canvases painted by Vittore Carpaccio (1465-1526) which hang in the Scuola di San Giorgio degli Schiavoni – particularly the 516-year-old St George and the Dragon.

“It's one of the most spectacular pieces,” she says. “It's in a lovely room with Carpaccio paintings around four walls. You can have a quiet afternoon sitting there.”
Jenny Waldman’s insider tips for doing Venice right

Jenny Waldman

The Biennale veteran and director says that Venice is “a shared journey of discovery, a little bit like an Olympic marathon” – the hours of traversing the city are part of the fun.
Download the Bloomberg Connects app

The Bloomberg Connects app, says Waldman, is the best way to get around. Download it onto your mobile for seamless navigation of the city-wide exhibition. Not only does it have the pavilions, Collateral Events and central exhibition all marked on a map of Venice, but it includes artist and exhibition descriptions that can be searched through QR codes or numbers that are dotted around the city.
Buy a battery pack

But of course, the app will only work if the phone is actually turned on, and as Waldman hints at, phones will be getting a lot of use. So make sure to fully charge your mobile before you leave the house, and bring an extra (charged) battery pack for good measure.
A sturdy pair of shoes

It seems simple enough, but with Venice inspiring you to put on your finest, it’s important to remember the step count you’re about to tot up over the coming days – exhibitions really do stretch from one side of the city to the other. But fear not – you don’t have to abandon all sartorial considerations; loafers will do.

Venice Biennale, April 20 - November 24; labiennale.org




‘No death in Venice’: Israel-Gaza tensions infiltrate biennale

Charlotte Higgins in Venice
Fri, 19 April 2024 

Come, Let Me Heal Your Wounds. Let Me Mend Your Broken Bones by the Palestinian artist Dana Awartani. Photograph: David Levene/The Guardian


Billionaires’ yachts and protests; cocktail parties and culture wars; bellinis and boycotts. The Venice Biennale’s opening preview days are always a place of odd clashes and juxtapositions, as artists, curators, critics and wealthy collectors descend on the city to take in often politically radical art.

But this year’s edition vibrates with particular uncertainty and tension – even, perhaps, an end-of-days atmosphere. The biennale, which this year stages exhibitions from 88 national pavilions, has been touched by political currents that originate far beyond the lapping waters of the Venetian lagoon.

Police equipped with riot shields are not an ordinary sight in Venice’s Giardini, one of the main venues for the biennale. But this Wednesday, they were there – as were protesters, shouting “Viva Palestina” and handing out leaflets with the text “No death in Venice”. Under the banner of Anga – short for “art not genocide alliance” – a collective of artists and creatives were calling for a boycott of the Israel pavilion, in the light of the escalating conflict in Gaza. “We demand the boycott of the Israeli pavilion. We demand the biennale shut it down,” read the leaflets. A flashmob descended not only on the Israel pavilion, but also the pavilions of the US, UK, France and Germany.

The biennale did not shut it down. And, by then, the official Israeli artist, Ruth Patir, had made the decision not to open her exhibition, leaving the national pavilion presided over by Italian military. A poster fixed to the window stated it would remain closed until “a ceasefire and hostage release agreement is reached”.

Related: Insider art: Vatican sets up Biennale pavilion at Venice women’s jail

Yael Bartana, another prominent Israeli artist, who has never represented her homeland in the biennale but in 2011 represented Poland and this year has a work in the German pavilion, lamented what she saw as a narrowing gap for subtle expression in an increasingly polarised environment. “Unfortunately, at the moment there is no space for manoeuvre and ambiguity. I’m always questioning the idea of nation states, belonging, my own identity,” said the artist, who is based in Berlin and Amsterdam.

Her film for the German pavilion uses sci-fi tropes to create an end-of-days story of humanity leaving Earth – perhaps to start afresh away from the traumas created by modern nation states – in a spacecraft whose design is based on the kabbalistic tree of life. “Everyone I know wants a ceasefire and the hostages released. The artist and curators [of the Israel pavilion] have my respect for taking what must have been a very tough decision,” she said.

There is Palestinian work present at the biennale. In the main, centrally curated exhibition, organised by the Brazilian curator Adriano Pedrosa, is a delicate but large-scale sculptural textile work by Dana Awartani, made from strips of silk which she rips – representing bomb damage in Gaza – before painstakingly darning the tears. Come, Let Me Heal Your Wounds. Let Me Mend Your Broken Bones, is its title.

Healing and resilience is also a leitmotif of an official “collateral” event, South West Bank, featuring work by Palestinian artists. “Using art to heal is what we have always done,” said one of them, Dima Srouji. “Now the art can speak for itself for the first time as everyone is finally listening.” Her work, made with Jasbir Puar, an academic, is called Untitled (Onion Masks). It consists of a reproduction of a photograph from 1940 showing Australian soldiers in Gaza wearing gas masks while peeling onions, combined with delicate blown-glass sculptures. The work refers to the practice of modern Palestinian protesters of incorporating onions into improvised masks to protect them from teargas.

Elsewhere in the biennale, other conflicts come into focus. Ukraine’s pavilion shows, among other works, an hour-long film of shaky civilian-shot phone footage of terrifying events unfolding on Ukrainian streets, put together from thousands of clips by the artists Daniil Revkovskyi and Andrii Rachynskyi. The Ukrainian team are also responsible for the posters cropping up around the city showing maps of the nearest bomb shelter, just in case. (It turns out that Venice has one, “permanently closed” as the map declares, very near to the Ukrainian pavilion in the city’s Arsenale.)

Even when war is not the subject, themes of decolonisation, migration, and dispossession seem omnipresent, from John Akomfrah’s beautiful but unsettling epic video work for the UK pavilion, to Archie Moore’s meditation on Aboriginal erasure and colonial injustice in the Australian pavilion. These ideas chime with the title of the biennale, Stranieri Ovunque – Foreigners Everywhere, in which Pedrosa has created a central exhibition teeming with work from the global south, focusing on queer and Indigenous artists in particular.

Some see this as a culmination of sorts. In two years’ time, the next curator will have been appointed by the new president of the Venice Biennale, the provocative rightwing intellectual Pietrangelo Buttafuoco – himself nominated by Giorgia Meloni’s government. Whatever political or social change is on its way, the biennale, as ever, is likely to reflect it – or even predict it.

The Venice Biennale runs from 20 April to 24 November.


Canada's entry at Venice Biennale shows how glass beads shaped the modern world
CBC
Sat, 20 April 2024 

An outside view of Kapwani Kiwanga's exhibition Trinket at the Canada pavilion at the Venice Biennale. (Valentina Mori - image credit)


Over the years, 60 Canadian artists have won the honour of showing their work in a small, angular, wood-and-glass pavilion that sits on the end of the Venice lagoon.

But this is the first time an artist has draped the pavilion in luscious strings of cobalt-blue beads that shift and soften the outline of the building.

The beads provide the opening glance of Trinket by Hamilton-born, Paris-based artist Kapwani Kiwanga, Canada's representative at this year's Venice Biennale, the world's most prestigious art show.

In her exhibit, Kiwanga literally and metaphorically connects the dots — glass bead by glass bead — of trade that radiated out around the globe from Venice, once one of Europe's most important ports, and the impact that had.

For centuries, the beads, called conterie, were produced on the nearby glassmaking island of Murano and used as currency and for barter, taking off in the 16th century as European traders and explorers expanded their global reach.

Transfer III (Metal, wood, beads), 2024, made of wood, Pernambuco pigment, copper and glass beads.

Transfer III (Metal, wood, beads), 2024, made of wood, Pernambuco pigment, copper and glass beads, by Kapwani Kiwanga. (Valentina Mori)

"These little, tiny, miniscule units of glass shaped our modern and postmodern world," said Kiwanga from her studio in Rome before the opening of the Venice Biennale on April 20.

"I'm interested in how materials can be documents themselves of human, social and political interaction."

As chance would have it, the very same year she was selected to represent Canada in the Biennale, commissioned by the National Gallery of Canada, she's been living in Italy as an artist-in-residence at the beautiful Villa Medici, part of the French Academy, near the top of the Spanish Steps in Rome.

Interest in power imbalances

The conterie, from the Portuguese word "to count," were exchanged for everything from tropical wood to gold that was brought to Europe and used to construct and adorn everything from chairs in homes to soaring cathedrals.

In the South American and African communities the beads were traded, though, they disrupted local economies and social cohesion, says Kiwanga, whose work is concerned primarily with power imbalances, from the geopolitical to the institutional.

Inside the pavilion, the walls are adorned with more conterie, these ones inlaid with different raw materials that were once exchanged for them — Pernambuco redwood from Brazil, gold leaf and metal. Four sculptures of the same material inlaid with beadwork form physical and narrative points of contact.

Transfer II (Metal, breath, beads) and Transfer IV (Metal, wood, breath, beads) , 2024 bronze, blown glass, glass beads ; bronze, palladium leaf, wood, blown glass, glass beads

Transfer II (Metal, breath, beads) and Transfer IV (Metal, wood, breath, beads), 2024, made of bronze, blown glass, glass beads and bronze, palladium leaf, wood, blown glass, glass beads, by Kapwani Kiwanga. (Valentina Mori)

Kiwanga, who is now in her mid-40s, grew up in downtown Hamilton in a working-class family with roots in Zimbabwe. Her mother was the one who exposed her to art — from the mosaics at Hamilton City Hall and paintings and sculpture at the Art Gallery of Ontario to museums when they travelled — while her family encouraged her to value personal expression over the pursuit of wealth.

"I've never had this pressure of financial success, and that defined for me quite early what freedom meant: being able to choose what I wanted to do," she said. "It was a great gift."

Early schooling

The idea to become an artist didn't come until her mid-20s, after she studied anthropology and comparative religion at McGill University in Montreal and worked for a few years as a documentary filmmaker in Scotland.


Raised in Hamilton, Kapwani Kiwanga is Canada’s representative at the 2024 Venice Biennale.

Raised in Hamilton, Kapwani Kiwanga is Canada’s representative at the 2024 Venice Biennale. (Angela Scamarcio)

"I found it a bit too limiting for me," she said of film, and the idea of not being able to have a full say in the final cut. "But I didn't really know what art was, so it was really just this open question: could this be a space, and what could I make of it?"

Kiwanga won a small scholarship to attend the Beaux Arts de Paris for two years, followed by another two-year postgraduate program in the north of France. Those four years "of exploring," as she calls them, convinced her to make a go of it as an artist.

The choice has paid off, both in terms of freedom and recognition. Kiwanga has exhibited at top galleries around the world and won international prizes, including France's prestigiousPrix Marcel Duchamp, which came with 35,000 euros for her installation Flowers for Africa at the Centre Pompidou in Paris, Canada's Sobey Art Award and the U.S.-based Frieze Artist Award.

Before becoming an artist, she was tempted to become a scholar, but wanted a wider audience for her work. Still, the drive to go deep is core to her art.

"I just ask myself a question and then I say, 'Well, who's thought about this as well?' and then read people who have dedicated decades to research an area, and then ask more specific questions," she said.

What emerges from those questions, and the creative shaping that follows, are spacious, abstract works that elegantly synthesize complex histories and ideas.

They take the form of everything from wafting, diaphanous, desert-coloured sheets and gleaming sculptures to pairing colours used by industrial designers to create moods or control movement in offices, psychiatric wards and prisons.

In Trinket, as well as inan exhibit that was part of a group show at the last Venice Biennale, Kiwanga often hones in on a particular aspect or material related to colonial and mercantile economies. That could be containers, sisal, sand and glass, as well as floral arrangements she recreated from diplomatic dinners that were part of African nations' bid for independence.

In other exhibits, she's explored racialized surveillance, featuringpolice floodlights melted down into tiny beads to form a massive metallic veil, inspired by the writing of American scholarSimone Browne.

'There are many layers of my person'

While race is at times part of her work, it's one of many aspects related to power imbalance that she explores. She says being the first Black female artist to show at the Canadian pavilion in Venice doesn't hold much meaning for her.

"If it's important for other people to [use] these labels and be interested in the firsts, then that's fine, it's their narrative," she said. "Just doing one's work and existing is what I'm interested in. There are many layers of my person and it's sometimes hard to see it essentialized or simplified."

An outside view of Kapwani Kiwanga's exhibit Trinket at the 2024 Venice Biennale.

An outside view of Kapwani Kiwanga's exhibit Trinket at the 2024 Venice Biennale. (Valentina Mori)

Despite her international success, she says she gives little thought to strategy in an art world that has largely ignored female talent and, until recently, all but shut out Black artists. She says her family's emphasis on freedom — that as long as you can pay the rent, do what you love — still shapes her life choices.

"I just really go with what I desire, my love of things, my interest, my curiosity," she said.

"I have very little expectations, but I have a lot of ambition in terms of the work. After that, the rest is kind of noise. It's other people's game."

This is Hesse's last and greatest work, a triumph of imagination which won for him the. Nobel Prize for Literature. Described as "sublime" by Thomas Mann, ...

Wednesday, April 03, 2024

 

Killing Humanitarians: Israel’s War on Aid Workers in Gaza


Eulogies should rarely be taken at face value.  Plaster saints take the place of complex individuals; faults transmute into golden virtues.  But there was little in the way of fault regarding Lalzawmi “Zomi” Frankcom’s messianic purpose, whose tireless work for the charity, World Central Kitchen (WCK) in northern Gaza had not gone unnoticed.  Sadly, the Australian national, along with six other members of WCK, were noticed by the Israeli Defense Forces (IDF) around midnight of April 1 and 2 and targeted in a strike that killed all of them.

Other members of the slain crew included Polish citizen Damian Sobol, three British nationals whose names are yet to be released, a US-Canadian dual citizen, and the driver and translator Saif Abu Taha.

The charity workers had been unloading food supplies from Cyprus that had been sent via sea in a designated “deconflicted” area.  All three vehicles, two armoured and one “soft skin”, sported the WCK logo.  Even more galling for the charity was the fact that coordinating efforts between WCK and the IDF had taken place as it left the Deir al-Balah warehouse, where the individuals had been responsible for uploading over 100 tonnes of humanitarian food aid.

On April 2, Haaretz reported that three missiles had been fired in rapid succession at the convoy by a Hermes 450 UAV on direction of a unit guarding the aid transport route.  The troops in question claimed to have spotted what they thought was an armed figure riding a truck that had entered one of the aid storage areas with three WCK vehicles.  The armed figure, presumed to be a Hamas militant, never left the warehouse in the company of the vehicles.

In a public relations war Israel is increasingly losing, various statements of variable quality and sincerity could only confirm that fact.  IDF spokesman Rear Adm. Daniel Hagari stated that he had spoken to WCK founder Chef José Andrés “and expressed the deepest condolences of the Israel Defense Forces to the families and the entire World Central Kitchen family.”

Hagari went on to add the IDF’s expression of “sincere sorrow to our allied nations who have been doing and continue to do so much to assist those in need.”  This was a bit rich given the programmatic efforts of the IDF and Israeli officials to stifle and strangulate the provision of aid into the Gaza Strip, from the logistical side of keeping land crossings closed and delaying access to existing ones, to aggressive efforts to defund the United Nations Relief and Works Agency (UNRWA).

As for the operation itself, Hagari announced that “the highest levels” of military officialdom had been “reviewing the incident” to comprehend the circumstances that led to the deaths.  “We will get to the bottom of this and we will share our findings transparently.”  Again exalting the prowess of his organisation in investigating such matters, he promised that the army’s General Staff Fact-Finding Assessment Mechanism – yet another independent body designed to give the impression of thoroughness and impartiality – would look into this “serious incident” to “reduce the risk of such an event from occurring again.”

Israeli Prime Minister Benjamin Netanyahu gave a better barometric reading of the mood, and it was certainly not one of grieving or feeling aggrieved.  The killings had merely been “a tragic instance of our forces unintentionally harming innocent people in the Gaza Strip.  It happens in war.”  Israel would “investigate it” and had been “in contact with the governments and we will do everything we can so that it doesn’t happen again.”

This is mightily optimistic given the butcher’s toll of 173 aid workers from UNRWA alone, with 196 humanitarians said to have died as of March 20, 2024 since October 7 last year.  Aid workers have been killed in IDF strikes despite the regular provision of coordinates on their locations.  Be it through reckless indifference, conscious intent, or a lack of competence, the morgues continue to be filled with humanitarian workers.

A bristling CEO of WCK, Erin Gore, proved blunter about the implications of the strike.  “This is not only an attack against WCK, this is an attack on humanitarian organisations showing up in the most dire of situations where food is being used as a weapon of war.”

Project HOPE’s Executive Vice President, Chris Skopec, drew attention to the obvious, yet repeatedly neglected fact in the Gaza conflict that aid workers are protected by international humanitarian law.  Gaza had become “one of the most dangerous places in the world to be a humanitarian worker.  This is unacceptable and demands accountability through the International Criminal Court.”

Responsibility for the killings is unlikely to translate into accountability, let alone any public outing of the individuals involved.  This is not to say that such exercises are impossible, even with Israel not being a member of the International Criminal Court.  The pageantry of guilt can still be pursued.

When Malaysian Airlines MH17 was downed over Ukraine in July 2014 by a Buk missile, killing all 298 on board, international efforts of terrier-like ferocity were initiated against those responsible for the deadly feat.  The MH17 Joint Investigation Team (JIT), comprising the Netherlands, Australia, Malaysia, Belgium and Ukraine, identified the missile as having come from the 53rd Anti-Aircraft Missile Brigade of the Russian armed forces from Kursk.  Four suspects were identified.  Of the four, one was acquitted, with the district Court of The Hague handing down three life sentences in November 2022 along with an order to pay over €16 million in compensation to the victims.  The individuals remain at large, and the Kremlin largely unmoved, but the point was made.

In this case, any hope for seeking an external accounting for the event is likely to be kept in-house.  Excuses of error and misidentification are already filling press releases and conferences.  Doing so will enable the IDF to continue its program of quashing the Palestinian cause while pursuing an undisclosed war against those it considers, publicly or otherwise, to be its ameliorating collaborators.  With an announcement by various humanitarian groups, including WCK, Anera and Project Hope, that their operations will be suspended following the killings, starvation, as a policy in Gaza, can receive its official blessing.


The Baltimore Bridge Collapse: Conspiracy as Mother’s Milk


The human mind is often incapable of tolerating the limitless nature of a universe, the absence of a divine architect, or appreciate that intended designs may be absent when it comes to events awful, ghastly and catastrophic.  A disaster with some human agency is bound to have arisen because of a constructed plan, a template to harm, a scheme to injure.

The collapse of the Francis Scott Key Bridge in Baltimore was another event to befuddle those searching for the plan.  The Singaporean-flagged MV Dali container ship lost power on March 26 and collided with the bridge in the early morning, causing the dramatic destruction of the bridge and the deaths of six construction workers who fell into the Patapsco River.

The authorities were quick to scotch notions of foul play. FBI Baltimore stated that there was “no specific and credible information to suggest any ties to terrorism at this time.  The investigation is ongoing.”  President Joe Biden, while betraying confusion about whether he ever travelled by train over the bridge or not – an impressive feat if so, given that the bridge never had train lines – described it as “a terrible accident.  At this time, we have no other indication – no other reason to believe there was any intentional act here.”

The Kraken of conspiracy had, however, been unleashed.  Andrew Tate, the Count of Online Misogyny, was quick to the digital podium in suggesting a cyberattack.  In a post of breathless excitement, he notes how the “Lights go off and it deliberately steers towards the bridge supports.”  For the influencer facing charges of human trafficking, forming an organised crime group, and sexual assault in Romania, this was the work of “Foreign agents of the USA”.  With apocalyptic flavour, he declared that a “Black Swan event” was imminent.

With tearing speed, former security advisors and current political representatives made their offerings of conspiratorial theory.  Former US national security advisor Michael Flynn, who pleaded guilty to lying to the FBI about meetings with Russia’s ambassador to the United States leading up to Donald Trump’s inauguration in January 2017, added his own agreement with Tate.  “Black swans normally come out of the world of finance (not military) … There are harbor masters for every single one of these transit ports in America that are in charge of assuring the safety of navigation … start there.”  How exciting.

Former Florida state congressman Anthony Sabatini preferred a vaguer, more intangible culprit, identifying the enemy ideologically.  It all came down to a policy of diversity, equity and inclusion, with the insinuation that the swarthy types were responsible.  “DEI,” he stated with certainty, “did this.”  Rep. Marjorie Taylor Greene (R-GA) worried whether this was “an intentional attack or an accident” and demanded an investigation, the very thing happening even as she bloviated on the subject.

Almost on cue, culturally charged theories began to froth and bubble.  Matt Wallace, yet another cerebrally overheated influencer with 1.6 million followers, drew a comparison (and connection) between the collapse of the bridge and the Obama produced Netflix film Leave the World Behind, which featured a cargo shipping losing power and running aground on the coast of Long Island.

In the film, the ship’s destination is Sri Lanka.  The country’s national flag sports a lion.  The MV Dali’s destination?  Sri Lanka.  The name of the cargo vessel in the film?  White Lion.  Celluloid could be effortlessly married to harmful plot and wicked design, or what another overly exercised social media user drunk on Christ and premonition liked to call “predictive programming”.

On CNN, Transportation Secretary Pete Buttigieg was trying to calm matters.  “We’re in the business of dealing with roads and bridges and sometimes ships and trains.  So we are not in the habit as a Department of Transportation, of being in the business of dealing with conspiracies, or conspiracy theories or that kind of wild thinking.  But unfortunately, it is a fact of life in America today.”  This, at best, is an airy reading of history.

The lifespan of the US Republic has been one of numbing conspiracy.  In the land of Hope and Glory, with Freedom’s wash, conspiracy is mother’s milk.  The Salem witch trials in Massachusetts pointed to Satan’s industrious work; the fledgling republic feared the clandestine seizure of power from within by well organised European elites.  In the 1800 presidential race, rumours were sown by the Federalist Party that the wily Thomas Jefferson, a Democratic-Republican, was a closeted atheist keen on handing over the new state to France on his election.  Jefferson won, and far from surrendering territory to France, doubled the size of the US with the purchase, from France, of 828,000 square miles.

At its creation during the Cold War, the John Birch Society, after ventilating about global communist conspiracy and home-grown threats, redirected its focus to the fanciful conspiracy that the United Nations was keen on world government and trimming US sovereignty.  This was much too flattering: the UN is rarely united and more akin to a collection of fractious tribes in permanent disagreement.

The problem with conspiratorial overheating is that the residual ash in the incineration can provide clues to something distantly plausible.  This is helped by the fact that governments and state institutions have not been shy in breaching the social contract with the citizenry.  The deep state notion, for instance, is laughed off by the very people who represent such interests and regard it as a crank’s viewpoint.

Fundamentally, there is no need for conspiracy when there is a consensus, an understanding of agreed-upon facts and agreed-upon hierarchies of power.  But as for such calamities as befell the Francis Scott Key Bridge, never let human imbecility, incompetence and error off the hook.  To misjudge is to be human.


Kategate: From Conspiracy to Contrition Extraction


Cancer is a stomping bugger of a disease.  It seeks the worm-ridden end, a thief finding its way into your body unasked and willingly helping itself.  This cellular mass army will, in a most tribal way, make off with your remains chance permitting. So, it’s understandable that people speak about it.  Blog, discuss, worry, grieve and gather in the digital house square.  But not all grief and its content are ever the same.

The recent obsession with Catherine, the Princess of Wales, who many still see as Kate Middleton, is a fitful reminder that no one’s business is seemingly everybody’s, especially when it comes to the royals.  When she had abdominal surgery in mid-January, her absence from public life prompted a feverish, fitful obsession, something described with a certain deliciousness by Helen Lewis as “QAnon for White Moms”.

Social media wags and fanatics, evidently finding this royal retreat into silence infuriating, brainstormed their way to the most drearily absurd notions.  If true, virtually none would have made the slightest difference in the war ravaged, climate distempered world.  Had Catherine received a Brazilian butt lift?  Had Prince William made a dash from his marital vows to shack up with the Marchioness of Cholmondeley?

Some of this was aided by an overly keen interest in the release of a photo on March 11 by Kensington Palace for Mother’s Day.  Featuring the princess and her three children, the photo seemed to show signs of tampering, evidenced by blurring and misalignment.  News outlets and wire services, including the Associated Press, retracted the image.  “At closer inspection, it appears that the source has manipulated the image,” came the grave advisory from AP.  “No replacement photo will be sent.”

All this fuss, despite tech behemoths openly encouraging the mendacious sprucing up of family shots.  With a keen, digitally tampering eye, a child’s scowl and scorn can be airbrushed, leaving portraits of family bliss.  The manipulation became yet another opportunity for the fanning of online flames.  As for the princess, she conceded that, “Like many amateur photographers, I do occasionally experiment with editing.”

At the Spectator, Brendan O’Neill stated the obvious point that both plot and proportion had been lost in the entire Kate Middleton saga.  “There’s a war in Europe and the Middle East, an energy crisis, a lame-duck government waddling to defeat and people waiting five days in A&E to see a nurse, and you’re still yapping about a princess slightly misaligning her daughter’s sleeve while editing a family photo?”

With a purplish spike in conspiracy theories about what the princess was up to, British academics and wonks detected signs of foreign interference, with customary finger pointing at Russian groups.  Here was something everyone could earn their crust from, and Martin Inness of Cardiff University was not going to let it pass, claiming he and his team had identified no fewer than 45 accounts posting about the princess linked to a Russian disinformation operation called Doppelgänger.  “It’s about destabilisation. It’s about undermining trust in institutions: government, monarchy, media – everything.”

With “Kategate” now a raging social media fire, feeding much lazy journalism and the attention-seeking blogosphere, it fell upon Catherine to seize the day and reorient the interest.  The silence, she revealed on March 22, had been occasioned not merely by convalescence but her cancer diagnosis and pursuing a course of “preventative chemotherapy”: “As you can imagine, it has taken me time to recover from major surgery in order to start my treatment.  But most importantly, it has taken us time to explain everything to George, Charlotte and Louis in a way that is appropriate for them.”

The compass rapidly turned.  Naming, shaming and excessive contrition became the order of the day.  The Palace was blamed for its fumbles.  The princess was defended for having suffered silently while being forced into revealing her diagnosis.  “As someone who speculated on this without considering it could be a serious health condition,” political pundit and author Owen Jones effused, “I’m very ashamed to be honest, and all the very best to her.”

There was precedent for such an attitudinal shift.  It resembled, at least in echo, the Diana phenomenon.  The death of the Princess of Wales in August 1997 in a car crash turned her into saintly untouchability, all prior blemishes erased.  Only a few days prior to her demise in Paris with the tawdry playboy Dodi, son of Harrods owner Mohamed Al-Fayed, she had been mocked for her fickleness and shallowness.  With her death, the lachrymose glands were heavily exercised.  Competitive grieving was the order of the day, and those not partaking were tarred and feathered.

The difference now is that Catherine had been canny in democratising her condition – a mother, and a young one at that, suffering cancer.  Despite having access to medical care and resources the common citizenry could only dream of, many could relate.  She became the topic of serious, sometimes ludicrous discussion on such light end television programs as Channel 4’s The Last Leg, with all three hosts seeking to milk the tear ducts.  The anchor, Australian comedian Adam Hills, spoke of the day as having been “strange … for all of us” before reflecting on the dying days of his father.

It would have been particularly strange for Hills, as only one week prior, he had begun the show sitting beside a book titled Photoshop for Dummies.  “I’ve never seen our office WhatsApp group get as excited this week by this story.”  He proceeded to bore his audience for a good quarter hour with the usual inanities about “the case of the missing princess”.

In the wash up, Catherine, if not her advisors, should have recounted the words of the late novelist Hilary Mantel, whose “Royal Bodies” (2013) in the London Review of Books said with brutal honesty what royals, especially of a certain type, are good for.  From “a shop-window mannequin, with no personality of her own, entirely defined by what she wore,” Kate Middleton had become “a mother-to-be, and draped in another set of threadbare attributions.”  In time, she would be deemed radiant, the press finding “that this young woman’s life until now was nothing, her only point and purpose being to give birth.”  To that can now be added another limb: a contrition extractor, farmer of sympathy and tears.


Starvation in Gaza: The World Court’s Latest Intervention

Rarely has the International Court of Justice been so constantly exercised by one topic during a short span of time.  On January 26, the World Court, considering a filing made the previous December by South Africa, accepted Pretoria’s argument that the Convention on the Prevention and Punishment of the Crime of Genocide was applicable to the conflict in so far as Israel was bound to observe it in its military operations against Hamas in Gaza.  (The judges will determine, in due course, whether Israel’s actions in Gaza meet the genocidal threshold.)  By 15-2, the judges noted that “the catastrophic humanitarian situation in the Gaza Strip is at serious risk of deteriorating further before the Court renders its final judgment.”

At that point 26,000 Palestinians had perished, much of Gaza pummelled into oblivion, and 85% of its 2.3 million residents expelled from their homes.  Measures were therefore required to prevent “real and imminent risk that irreparable prejudice will be caused to the rights found by the Court to be plausible, before it gives its final decision.”

Israel was duly ordered to take all possible measures to prevent the commission of acts under Article II of the Genocide Convention; prevent and punish “the direct and public incitement to genocide” against the Gaza populace; permit basic services and humanitarian assistance to the Gaza Strip; ensure the preservation of, and prevent destruction of, evidence related to acts committed against Gaza’s Palestinians within Articles II and III of the Convention; and report to the ICJ on how Israel was abiding by such provisional measures within a month.  The balance sheet on that score has been uneven at best.

Since then, the slaughter has continued, with the Palestinian death toll now standing at 32,300.  The Israelis have refused to open more land crossings into Gaza, and continue to hamper aid going into the strip, even as they accuse aid agencies and providers of being tardy and dishonest.  Their surly defiance of the United States has seen air drops of uneven, negligible success (the use of air to deliver aid has always been a perilous exercise).  When executed, these have even been lethal to the unsuspecting recipients, with reported cases of parachutes failing to open.

On March 25, the UN Security Council, after three previous failed attempts, passed Resolution 2728, thereby calling for an immediate ceasefire for the month of Ramadan “leading to a lasting sustainable” halt to hostilities, the “immediate and unconditional release of all hostages”, “ensuring humanitarian access to address their medical and other humanitarian needs” and “demands that the parties comply with their obligations under international law in relation to all persons they detain”.

Emphasis was also placed on “the urgent need to expand the flow of humanitarian assistance to and reinforce the protection of civilians in the entire Gaza Strip”.  The resolution further demands that all barriers regarding the provision of humanitarian assistance, in accordance with international humanitarian law, be lifted.

Since January, South Africa has been relentless in its efforts to curb Israel’s Gaza enterprise in The Hague.  It called upon the ICJ on February 14, referring to “the developing circumstances in Rafah”, to urgently exercise powers under Article 75 of the Rules of Court.  Israel responded on February 15.  The next day, the ICJ’s Registrar transmitted to the parties the view of the Court that the “perilous situation” in the Gaza Strip, but notably in Rafah, “demands immediate and effective implementation of the provisional measures indicated by the Court in its Order of 26 January 2024”.

Throughout the following month, more legal jostling and communication took place, with Pretoria requesting on March 6 that the ICJ “indicate further provisional measures and/or to modify” those ordered on January 26.  The application was prompted by the “horrific deaths from starvation of Palestinian children, including babies, brought about by Israel’s deliberate acts and omissions … including Israel’s concerted attempts since 26 January 2024 to ensure the defunding of [the United Nations Relief and Works Agency (UNRWA) and Israel’s attacks on starving Palestinians seeking to access what extremely limited humanitarian assistance Israel permits into Northern Gaza, in particular”.

Israel responded on March 15 to the South African communication, rejecting the claims of starvation arising from deliberate acts and omissions “in the strongest terms”.  The logic of the sketchy rebuttal from Israel was that matters had not materially altered since January 26 to warrant a reconsideration: “the difficult and tragic situation in the Gaza Strip in the last weeks could not be said to materially change the considerations upon which the Court based its original decision concerning provisional measures.”

On March 28, the Court issued a unanimous order modifying the January interim order.  Combing through the ghoulish evidence, the judges noted an updated report from March 18 on food insecurity from the Integrated Food Security Phase Classification Global Initiative (IPC Global Initiative) stating that “conditions necessary to prevent Famine have not been met and the latest evidence confirms that Famine is imminent in the northern governorates and projected to occur anytime between mid-March and May 2024.”  The UN Children’s Fund had also reported that 31 per cent of children under 2 years of age in the northern Gaza Strip were enduring conditions of “acute malnutrition”.

In the face of this Himalaya of devastation, the Court could only observe “that Palestinians in Gaza are no longer facing a risk of famine, as noted in the Order of 26 January 2024, but that famine is setting in, with at least 31 people, including 27 children, having already died of malnutrition and dehydration”.  There were “unprecedented levels of food insecurity experienced by Palestinians in the Gaza strip over recent weeks, as well as the increasing risks of epidemics.”

Such “grave” conditions granted the Court jurisdiction to modify the January 26 order which no longer fully addressed “the consequences arising from the changes in the situation”.  In view of the “worsening conditions of life faced by Palestinians in Gaza, in particular the spread of famine and starvation”, Israel should take “all necessary and effective measures to ensure, without delay, in full cooperation with the United Nations, the unhindered provision at scale by all concerned of urgently needed basic services and humanitarian assistance”.

The list of what is needed is also enumerated: food, water, electricity, fuel, shelter, clothing, hygiene, sanitation requirements, and “medical supplies and medical care to Palestinians throughout Gaza, including by increasing the capacity and number of land crossing points and maintaining them open for as long as necessary”.

A less reported aspect of the March 28 order, passed by fifteen votes to one, was that Israel’s military refrain from committing “acts which constitute a violation of any rights of the Palestinians in Gaza as a protected group” under the Genocide Convention “including by preventing, through any action, the delivery of urgently needed humanitarian assistance.”

In this, the Court points to the possible, and increasingly plausible nexus, between starvation, famine and deprivation of necessaries as state policies with the intent to injure and kill members of a protected group.  It is no doubt something that will weigh heavily on the minds of the judges as they continue mulling over the nature of the war in Gaza, which South Africa continues to insist is genocidal in scope and nature.



Binoy Kampmark was a Commonwealth Scholar at Selwyn College, Cambridge. He lectures at RMIT University, Melbourne. Email: bkampmark@gmail.comRead other articles by Binoy.