Support art, anti-censorship and Hermann Nitsch's action at Dark Mofo.
This petition had 196 supporters
Let there be art. Let there be conversation.
Hermann Nitsch is scheduled to perform for the first time in Australia. Backlash and conservatism (cloaked in censorship) is growing.
This is merely a petition in support of art, conversation, open-mindedness, anti-censorship, and mainly conservative views and fear.
“The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize."
[Modernism's Patriarch (Time Magazine, June 10, 1996)]”
― Robert Hughes
“Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact. ”
― William S. Burroughs
“I don't believe in art. I believe in artists.”
― Marcel Duchamp
“Censorship is to art as lynching is to justice.”
― Henry Louis Gates Jr.
“What is freedom of expression? Without the freedom to offend, it ceases to exist.”
― Salman Rushdie
“Once a government is committed to the principle of silencing the voice of opposition, it has only one way to go, and that is down the path of increasingly repressive measures, until it becomes a source of terror to all its citizens and creates a country where everyone lives in fear."
[Special Message to the Congress on the Internal Security of the United States, August 8, 1950]”
― Harry Truman
Finally, the following is cited from:
Dr. Eva Hager offers her unequivocal support to Nitsch, and describes the Viennese Actionist as “one of Austria’s most important contemporary artists.”
“A number of critiques mention the alleged blasphemous nature of [Nitsch’s] works and the abuse of animals,” she writes. “Killing animals has been, and still is, an integral aspect of human life. However, animals have the right to be respected as sentient beings, and the act of killing them must be done without inflicting suffering, and thoroughly supporting and abiding by the current animal protection laws. It could be considered that the industrial slaughter of animals to be consumed contradicts this very principle. In Nitsch’s oeuvre, ritual and sacrifice represent concepts deeply ingrained in the human consciousness. They relate to a time in which animals were perceived and respected as living beings.”
Hager argues that Nitsch’s work, in fact, criticizes the lack of respect towards animals prevalent in contemporary society: “Nitsch’s oeuvre critiques precisely the industrial use of animals for public consumption, as well as the attitude of a society that considers animal products as disposable.”
Crucially, Hager goes on to highlight that Nitsch only employs animal parts sourced from butcher shops, and not specifically killed for his actions. She points out that the last real sacrifice that Nitsch staged took place in 1998, and was carried out by a professional butcher with the supervision of a veterinary.
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