Diseased Jewess Denies that her Art Project is Fiction [Jews are not normal people!]

April 18, 2008 on 6:31 pm | Friedrich Braun | Art & Design , Jewish Diaspora , Kooks, Marxism & Culture War , National Bolshevism, Oh Tempora, Oh Mores , The Greatest Man in History, The Jewish Question, The Third Reich | | Email This Post | Print this Post

What did Hitler think of jewish “art,” again? Can someone please point out where Hitler was wrong about the jews?

Fucked up Jewess (Jews, like women, tend to be masochistic and neurotic…now, imagine a what a Jewess must be like) has spoken to the Yale Daily News and is denying claims from her own University that her self-induced miscarriages as an art piece is an elaborate prank.

Here are some of the LOWlights from her rebuttal:

- Shvarts stood by her project, calling the University’s statement “ultimately inaccurate.”

- But Shvarts reiterated Thursday that she repeatedly used a needleless syringe to insert semen into herself. At the end of her menstrual cycle, she took abortifacient herbs to induce bleeding, she said. She said she does not know whether or not she was ever pregnant.

- “No one can say with 100-percent certainty that anything in the piece did or did not happen,” Shvarts said, “because the nature of the piece is that it did not consist of certainties.”

- Shvarts showed the News footage from tapes she plans to play at the exhibit. The tapes depict Shvarts — sometimes naked, sometimes clothed — alone in a shower stall bleeding into a cup.

Source.

“For the past year, I performed repeated self-induced miscarriages. I created a group of fabricators from volunteers who submitted to periodic STD screenings and agreed to their complete and permanent anonymity. From the 9th to the 15th day of my menstrual cycle, the fabricators would provide me with sperm samples, which I used to privately self-inseminate. Using a needleless syringe, I would inject the sperm near my cervix within 30 minutes of its collection, so as to insure the possibility of fertilization. On the 28th day of my cycle, I would ingest an abortifacient, after which I would experience cramps and heavy bleeding.

To protect myself and others, only I know the number of fabricators who participated, the frequency and accuracy with which I inseminated and the specific abortifacient I used. Because of these measures of privacy, the piece exists only in its telling. This telling can take textual, visual, spatial, temporal and performative forms — copies of copies of which there is no original.

This piece — in its textual and sculptural forms — is meant to call into question the relationship between form and function as they converge on the body. The artwork exists as the verbal narrative you see above, as an installation that will take place in Green Hall, as a time-based performance, as a independent concept, as a myth and as a public discourse.

It creates an ambiguity that isolates the locus of ontology to an act of readership. An intentional ambiguity pervades both the act and the objects I produced in relation to it. The performance exists only as I chose to represent it. For me, the most poignant aspect of this representation — the part most meaningful in terms of its political agenda (and, incidentally, the aspect that has not been discussed thus far) — is the impossibility of accurately identifying the resulting blood. Because the miscarriages coincide with the expected date of menstruation (the 28th day of my cycle), it remains ambiguous whether the there was ever a fertilized ovum or not. The reality of the pregnancy, both for myself and for the audience, is a matter of reading.

This ambivalence makes obvious how the act of identification or naming — the act of ascribing a word to something physical — is at its heart an ideological act, an act that literally has the power to construct bodies. In a sense, the act of conception occurs when the viewer assigns the term “miscarriage” or “period” to that blood.

In some sense, neither term is exactly accurate or inaccurate; the ambiguity is not merely a matter of context, but is embodied in the physicality of the object. This central ambiguity defies a clear definition of the act. The reality of miscarriage is very much a linguistic and political reality, an act of reading constructed by an act of naming — an authorial act.

It is the intention of this piece to destabilize the locus of that authorial act, and in doing so, reclaim it from the heteronormative structures that seek to naturalize it.

As an intervention into our normative understanding of “the real” and its accompanying politics of convention, this performance piece has numerous conceptual goals. The first is to assert that often, normative understandings of biological function are a mythology imposed on form. It is this mythology that creates the sexist, racist, ableist, nationalist and homophobic perspective, distinguishing what body parts are “meant” to do from their physical capability. The myth that a certain set of functions are “natural” (while all the other potential functions are “unnatural”) undermines that sense of capability, confining lifestyle choices to the bounds of normatively defined narratives.

Just as it is a myth that women are “meant” to be feminine and men masculine, that penises and vaginas are “meant” for penetrative heterosexual sex (or that mouths, anuses, breasts, feet or leather, silicone, vinyl, rubber, or metal implements are not “meant” for sex at all), it is a myth that ovaries and a uterus are “meant” to birth a child.

When considering my own bodily form, I recognize its potential as extending beyond its ability to participate in a normative function. While my organs are capable of engaging with the narrative of reproduction — the time-based linkage of discrete events from conception to birth — the realm of capability extends beyond the bounds of that specific narrative chain. These organs can do other things, can have other purposes, and it is the prerogative of every individual to acknowledge and explore this wide realm of capability.”

Source and source.

14 Comments »

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  1. It’s true that this particular form of degenerateness is typically Jewish. Jews are only three percent of the population in the U.S., yet virtually every time you see some truly el-sicko sexually perverted sickness of this variety it’s a Jew doing it (and another Jew promoting it or sympathetically giving it the publicity without which it would mercifully go unnoticed). Jews most definitely have their own particular group psychosexual pathology and this article provides a most typical example of it.

    Comment by Fred Scrooby — April 18, 2008 #

  2. What about that typical Aryan sickness, Scrooby, on display in the entry below this one, where they always manage to find something positive to say about Muslims, despite Muslims being non-white and providing an inexhaustible supply of non-whites who wish to live in white lands? What about that sickness, Scroob, you pathetic sicko?

    Comment by silver — April 18, 2008 #

  3. Makes me accept the age old charges of jewish blood libel. If people can accept aborting their own children for entertainment, how much more readily would they kill other children for religous pupposes (passover)?
    Isn’t it an odd coincidence that jewish artist Shvarts is displaying dead fetuses during jewish passover? Wasn’t passover the period during which christian infants and children were allegedly ritually killed by jews? If people use and accept dead fetuses as art, what would they accept in the name of religion?

    Comment by James — April 19, 2008 #

  4. I wish my groupies wouldn’t follow me around.

    Comment by Fred Scrooby — April 19, 2008 #

  5. Well, Scroob, I wish your disgusting filth didn’t appear everywhere. Because that’s what it is, disgusting filth. You’re entirely useless, you understand that, don’t you? Do you understand how entirley useless you are? Probably not, because if you did I suppose you’d stop being so entirely useless. But you can’t. You’re everything you imagine the Jew to be: a one-track mind who cannot help but wreak havoc.

    “Hey Jew, I like you, you know, and I don’t want to kill you, but I want to make sure that every word out of my mouth encourages those who do wish to harm you, and naturally, should you take steps to safeguard your life in the only way you, in your state of panic, can, then I’ll be sure to consider that further evidence of your nefarious malfeasance.” That’s the essence of the “wisdom” that Fred Scrooby finds it imperative to plaster everywhere.

    Comment by silver — April 19, 2008 #

  6. Who are you, silver? Are you a Jew? I’m just trying to find where you’re coming from and why you have such hostility towards Scrooby.

    Comment by Friedrich Braun — April 19, 2008 #

  7. Everything i’ve read in these posts about this foul jewish artist is 100% true.
    If people are concerned about so called; anti-semitism; why not try to stop the disgusting jewish behavours? Making murdered human infants into ‘art’ is hidous and deserves every condemnation. Where is the jewish condemnation to this? Why isn’t silver condemning the horrific jewish behavour that created this thread? How can one not conclude that this is a manifestation of the ancient blood libel used in jewish rituals? It’s being displayed on passover; a coincidence?

    Comment by Dean — April 20, 2008 #

  8. You’ve got a screw loose, Silver. Furthermore, you’re a race-replacement advocate. Now go away and don’t stalk me.

    Comment by Fred Scrooby — April 20, 2008 #

  9. Definition of anti-semitism: Stating factual information about jews.

    Comment by Jack — April 21, 2008 #

  10. Of course truth exposes the Jews to hatred and contempt. Hence, the anti-freedom of speech laws promulgated at the behest of international Jewry. The Jews have no greater enemy than the truth. And they know it.

    Comment by Friedrich Braun — April 21, 2008 #

  11. According to “silver” a person who doesn’t consider abortion as fine art is “filth.” I thought sniffing glue had gone out of fashion. Apparently not. Or maybe he/she/it’s just another product of Jewish inbreeding. Either way, what a “winner” you are, sliver.

    ROTFLMAO!

    Comment by Mike — April 21, 2008 #

  12. Who are you, silver? Are you a Jew? I’m just trying to find where you’re coming from and why you have such hostility towards Scrooby.

    My hostility towards Scroob stems from the fact that I am sympathetic to your movement, would like to see it succeed, and would like to secure similar “rights to racial life” for my own people (and/or assimilable groups, or groups to which I could be assimilated) and I consider Scrooby’s (and yours) approach entirely unnecessary and, worse, incredibly counterproductive. He is clearly no idiot; he speaks French and, I gather, German; he could be doing excellent work, but he wastes his time ranting about negroes being a different species and Jews, Jews, Jews. He is not one to learn a damn thing from past failures, that is for sure.

    In Scrooby’s case, having lived around Jews, he claims to actually like them and doesn’t wish to harm them, which is why I find it rather bizarre that he goes to such great lengths to provoke them and corner them in a way that leaves them little choice but to respond in precisely the way he wishes they wouldn’t. In your case, well, you give every indication that you do wish to harm Jews; that there is not now and has never been anything they might have done differently that would have allowed them to escape your wrath.

    Mike, of course the “art” in question is filthy. What roils me is the copious attention paid to Jewish minutia and fawning adoration of and encouragement given to Palestinians and Muslims in general, not because they are in any way likeable, but because they simply hate Jews. Palestinians are a tragic, dispossessed people in one sense, yet a vile, insufferable lot in every other, whose cultural traits frustrate every genuine Israeli peace effort — these are simply not folks who any modernized, western-thinking people(as are secular Israelis) could possibly happily co-exist alongside.

    I have considerable differences of opinion with Larry Auster, but he is quite right that antisemites believe they hold the one key which leads to all understanding; a philosophical sledgehammer which brooks no distinction between nails, stakes, concrete slabs, nor anything else.

    Comment by silver — April 21, 2008 #

  13. “In your case, well, you give every indication that you do wish to harm Jews; that there is not now and has never been anything they might have done differently that would have allowed them to escape your wrath.”

    I don’t wish to “harm” Jews physically, unless you view a desire to see their (largely) baneful influence in White societies eliminated as “harmful” to them. I’ll admit, however, a natural and profound dislike of Jews and of the Jewish character.

    “What roils me is the copious attention paid to Jewish minutia and fawning adoration of and encouragement given to Palestinians and Muslims in general, not because they are in any way likeable, but because they simply hate Jews. Palestinians are a tragic, dispossessed people in one sense, yet a vile, insufferable lot in every other, whose cultural traits frustrate every genuine Israeli peace effort — these are simply not folks who any modernized, western-thinking people(as are secular Israelis) could possibly happily co-exist alongside.”

    Self-serving nonsense. What “genuine Israeli peace effort”, silver? Please be specific. I’ve actually spent some time studying the Israeli-Palestinian conflict and what you’ve just stated above is an out-and-out lie. Israelis have demonstrated time and time again that they don’t want peace.

    Comment by Friedrich Braun — April 22, 2008 #

  14. “Israelis want peace the same way vultures want vegetarianism”.

    Comment by Al Ross — April 23, 2008 #

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