The American Left as Performance Art
The Potemkin Villages aren't a retirement community outside Orlando.
Several years ago, Milo Moiré, a Swiss conceptual artist captured the world’s attention with a unique art installation.
In 2014, Moiré (who is also a degreed psychologist), stood naked outside an art museum in Cologne, Germany painting a white sheet red with paint-filled eggs expelled from her vagina in a performance piece titled “Plop Egg #1”. Later in 2014, she rode a bus naked (painted with names of clothing items where the articles of clothing would normally be worn) during Art Basel in Switzerland in 2016, she paid homage to Valie Export's 1960s nudist work and asked people in London, Düsseldorf, and Amsterdam to touch her breasts and vagina, which were concealed in a large, mirrored box with a hole in the middle.
Her latest “performance” is called “DILDOMobile”, in which she rides around Dusseldorf for over an hour while experiencing orgasms on a bicycle fitted with a large red dildo on the seat post where a seat normally would be.
Milo is a rather attractive woman, is magna cum laude smart but apparently enjoys being naked in public, drawing attention to herself to “empower women”. As such, her “art” is intensely sexualized and walks a very narrow line between art and pornography.
It depends on your perception.
Over the last few days, I have been mentally searching for a way to explain the actions of the contemporary left in the aftermath of a couple of Supreme Court decisions (Bruen and Dobbs) that didn’t go their way. Keeping with the ANTIFA/BLM script following the death of George Floyd, a drug addled career felon, at the hand of police and his subsequent gold casket funeral, the American left chose to exhibit their “rage” in public.
I thought back to other examples in the pre-Floyd times, and there was Ferguson of course, the LA riots after the Rodney King beating by the LA cops and one that particularly sticks out in my mind as disgusting – the 2002 funeral of Senator Paul Wellstone, where Democrats, instead of honoring the progressive Senator who died in a plane crash, chose to use a televised funeral in a 20,00 seat sports arena as a vehicle to spew blatantly partisan vitriol at their opposition (who attended in respect for Wellstone).
Vin Weber, a former House member from Minnesota, told the Minneapolis Star Tribune that the Democratic party "clearly intends to exploit Wellstone's memory totally, completely, and shamelessly for political gain. To them, Wellstone's death, apparently, was just another campaign event."
That is when my mind made the connection between the American left’s (represented by the Democrat Party) caterwauling after SCOTUS overturned Roe and Casey via Dobbs and Milo Moiré and her performance art.
No, I’m not saying the Democrats are going to ride a dildo bicycle around DC (geez, Louise – I don’t want to give anyone a brain aneurysm thinking about Jerry Nadler naked and riding a bike), but their actions always bear the same shock value and symbolism as Moiré’s “art”.
Everything the left says or does is, of course, both highly Pavlovian and performative, triggered by some event or issue, their response is autonomic, knee-jerk anger and rage – but it always seems always skin deep because their prior actions often exhibit a significant amount of intellectual inconsistency.
They always launch into some sort of public performance, allegedly to call attention to the issue du jour, but always, as in the Wellstone funeral, calling attention to themselves.
Know what a Potemkin Village is?
To normal people, a Potemkin Village is any impressive façade or show designed to hide an undesirable fact or condition. To Democrats, it is an upscale housing development in central Florida, complete with a Homeowner’s Association that only they can run.
In a way, when Prince Grigoriy Potemkin ordered fake villages to be put up quickly alongside the route of Catherine the Great’s journey to Crimea in 1787, he was just engaging in performance art. Potemkin’s freshly erected shiny buildings with newly painted facades, inhabited by happy peasants (brought in from Central Russian villages) were designed to conceal the real state of events – poverty and ruin.
I have noted that progressivism is an ideology entirely constructed on contradiction.
Biden’s counterintuitive and counterfactual pronouncements about literally everything indicate he owns a nice four-bedroom midcentury modern home on a quiet cul-de-sac in the senior assisted living section of Potemkin Villages.
The same people who are now saying NOBODY can tell a woman what to do with their bodies:
A few months ago, couldn’t say what a woman is, and
Are the same ones who were leading the charge to force pregnant women to take a vaccine with unknown long-term consequence for them or their baby or else lose their jobs and rights as a citizen, and
Are STILL trying to force little schoolgirls to take the jab.
So, if you are cowering in fear of a virus and a lefty, you CAN tell a woman what to do with her body.
They are the ones who say nine appointed judges telling women what to do with their body is unconstitutional and undemocratic, but also oppose the constitutional and democratic action of people in the states casting their votes on the issue of abortion.
In true John Kerry fashion, they were for democracy before they were against it.
In Milo Moiré fashion, they perform exhibitionistic acts that are seductive and pornographic at the same time, mixing beauty with depravity to allegedly “empower”. Through propaganda and agitprop, they titillate and confuse you to use you.
You can't believe anything they say, and you certainly can't believe their anger. If you believe either are real, you are simply a fool. The Democrats are just using you, keeping you so mired in cognitive dissonance and on the edge of madness, you are beyond your own control.
Democrats and their supporters have been hypocrites for so long, anything they do is just performance art.
They are demanding you take a ride on the DILDOMobile with them.
Something to keep in mind as the Potemkin Biden administration Rickrolls on and we quickly approach the 2022 midterm elections.
The American Left as Performance Art
She’s simply an exhibitionist. Her plopping ‘bloody’ eggs from her vagina is not art. Calling everything art just because the person claims to be an artist demeans art.