Douglas Mercer
January 29 2024
Up in the North of England is the home of the common bloke, the fly over country of Britain; it broadly corresponds to the former borders of Anglian Northumbria, the Anglo Scandinavian Kingdom of Jorvik, and the Bythontic Celtic Hen Ogledd kingdoms. As such it is the home of the real England, not the degraded international race chaos city of London which is the colon of the world through which all its shit flows. It’s the place that the Tories tipped the scales on a few years back promising a return to a simulacrum of normalcy but sold out their new voters faster than a trader sold a nigger down the Mississippi. These common men in North England are looked on by the cultured despisers and swells of the metropolis as rubes and hayseeds and the former would as soon cut the latter as look at them. And just as the creek rises and the gods are sometimes unwilling some Jews crawled up into those White precincts and, of all things, set up a big museum. There goes the neighborhood as has been said.
“The Huddersfield-based Holocaust Center North is encouraging visitors to think differently about its exhibits through a new audio guide to its permanent collection. Whereas conventional gallery guides focus on objects on display, the center’s version reflects on the losses felt by Shoah survivors. Titled Encountering Survival, it features interviews with survivors and their families, exploring memories of former homes and possessions — and even familiar smells — connecting to the center’s displays recounting persecution, forced migration and trauma.”
They say that this permanent exhibit gives space to the intangible; they tout the smell of a grandfather’s beard or the texture of a lost teddy bear and of course the always suitably ominous and melodramatic pounding of the footsteps of the Gestapo. These of course are the evanescent wisps of a long dead reality but like straws the Jews will clutch at them and curate them and put them on display behind glass or on screens or in written narratives. They want to spook the populace with maudlin images to give a stern warning to us Whites: never again must you have your pride or seek to look after your own: those days are done. To effect this arbitrary rule they will concoct teary images and stick them in the face of the public so they weep like women over dead Jews. But here is the thing about dead Jews: as melancholy as they try to make us no one ever died because of them.
“The Holocaust North center, which explores Holocaust remembrance through artistic practice, has commissioned four new artists as part of its Memorial Gestures residency. In its second year, the residency asks artists to create new work inspired by the center’s collection of 120 local stories and materials from Shoah survivors who went to live in the north of England. Over the next nine months, Maud Haya-Baviera, Irina Razumovskaya, Ariane Schick and Matt Smith, will immerse themselves in the center’s collections. The center is based at the University of Huddersfield. The selected artists work in a variety of mediums, including ceramics, video, installations, writing and sound. They will respond to artefacts and accounts and cover themes of discrimination, displacement, trauma, migration, loss, memory and hope. Holocaust Center North Director Alessandro Bucci said these aspects of history cannot be consigned to archives.”
These four certainly hit the big bonanza. Weak artists all they are now have hit the big time and are ensconced in that most rarefied of protected spaces: the Holocaust hack. To call what they are doing a “residency” is flummery of the highest order, they are being jumped up to the creative stratosphere when what they are really doing is a paint by number snow job on the paying public who is not paying attention. According to them to be one of these nonentities is to dwell among the Shoah memorabilia and the Holocaust knick knacks, to contemplatively “immerse” themselves in the suffering of the Jews and “respond” to the vibrations that emanate from those most hallowed precincts. That it’s just a racket perpetrated by the powerful flies straight over the heads of most, they have been conditioned to respect and honor such; indeed you get this kind of title on your CV and the whole world of the arts opens up before you, hell, you’ve flacked and shamelessly shilled for the Jews and sold your soul for a few miserable shekels so you must be up there with Pablo Picasso who it occurs to me could not paint a lick but which fact did not stop him from becoming a multi-millionaire.
“Bucci believes that artistic responses to our growing collection can illuminate the history and memory of the Holocaust for future generations, highlight its contemporary relevance, and offer representation to what has been lost, stolen, destroyed or doesn’t take material form. Bucci said this innovative approach transcends the mere recounting of history; it is an active reimagining of remembrance for the contemporary era.”
Here we have the Freudian slip of the word “reimagining” which of course means the imagined it in the first place and now, as the payoff grows slimmer by the day, they are forced to go once more unto the breach of the truth and imagine it again, to up the ante on the fibs, fabrications, fairy tale and fables in order to keep the gulls on the line. Indeed it is not just reimagining but active reimagining, indeed one can imagine that it is strenuous reimagining, as they go ballistic on the make believe as the more outlandish and the more unlikely still becomes part and parcel of what they deem the sacred truth. And you can be sure the collection is growing just as the thin veneer of illusion that the Jews weave around their history began to evaporate in the harsh light of the truth.
“Curator Paula Kolar said: Working with memories from the last of the first-generation survivors and turning traumatic histories into artworks with contemporary relevance in engaging, thought-provoking and ethical ways is an incredibly challenging and daunting task. One of the artists, Irina Razumovskaya is a London-based Russian-lsraeli artist and sculptor. She said: As a Jewish artist that has grown up in a world where the Holocaust was becoming like an increasingly distant memory, the more I learn about it more immediate the context becomes. I am grateful to be selected for this residency, which gives me the opportunity to both explore my own personal heritage, and engage with the worrying parallels that the UK and Europe are facing a century after the Holocaust.”
Always those worrying parallels, right? This is canned or boilerplate language and it is the only tip off you need. The Jews know as well as anyone that the whole enterprise rests on a rotten and falling edifice but their concerns are not actually what they seem; it’s not about those so called long dead Jews, not at all. What it’s about is the fate of the Jews at present and whether or not they can keep up the façade about the past so they can keep themselves ideologically solvent in the future, a thing which is always in question as they do nothing if not always skate on the thinnest of ice. That is this is full on philosophical preening and is totally political with the mind to their future, not about those evanescent wisps of ashes they claim rained down once upon a time (her the sad music plays). The Jews seem bold and confident in their assertions and seem to accept it as sacrosanct but the fact that they proliferate these museums and such like pest mushrooms is a bit like that lady who protests too much: an unerring tell of sheepishness and lies.
“The Memorial Gestures residency, funded by the Ernest Hecht Charitable Trust, was launched by the centre last year and enlists new and emerging artists to create work inspired by its archives and collections. The centre, which is based at the University of Huddersfield, works to tell the story of the Holocaust through local stories and materials from survivors who fled to the north of England. It aims to use the residency to overcome the challenges it faces in memorializing survivors of the Holocaust during a time when antisemitism is on the rise and fewer first-hand accounts are available. The centre's director, Alessandro Bucci, said: We are steadfast in our belief that artistic responses to our growing collection can illuminate the history and memory of the Holocaust for future generations.”
This Ernest Hecht was no doubt one miserable creature, he is ballyhooed as one of the last great publishers to have done what they consider derring-do: he escaped from the Nazis. That means he is one big fat Jew and as the Jews like to wash each other’s back his legacy organization is larding and ladling up the cold hard cash to squeeze out another round of ideological skimming and propaganda value. And the stories with the help of this largess, well, the stories will come tumbling out of the wizened geezers and the artists will sit with them for a while and then launder them in pottery or poetry or song or on canvas or in syrupy “haunting” narratives, and the trumped up will become even more trumped up and will enter the area of the hazy glow where HOLOCAUST is printed on it and, as such, they think it can brook no opposition. For who has the heart after to say that six million Jews are wrong? They are of course but you are not supposed to say it.
“Own words Ariane Schick, who also resides in London, explores perception and memory through writing, sculpture and sound. Lastly, Smith is a British artist and curator who holds a PhD in queer craft. In partnership with the center’s staff, the artists will find information by speaking to families of the survivors, as well as archivists and historians. This aligns with the organization’s commitment to placing the narratives of the survivors at the center of the art. The hope is that the artists will use these materials to illustrate themes like discrimination and displacement to the wider public.
The very fact that they give PhDs in something called Queer Craft really tells you all you need to know. Indeed the fact that the phrase Queer Craft even exists, that someone somewhere first put queer and craft together and got people to believe against all empirical evidence that it meant something, and that anyone in the academy would deign to put the letter PhD anywhere need it is in itself a decent summation of the last seventy five years of human history, alongside the fact that someone with the purely English name of Smith would partake. So degraded have we become, such a mass of sub mental morons, that they can decorate this alleged discipline with words like “fluid” and “postmodern” and deconstructive” but they are not gilding the lily because it aint no lily—they are taking the meaningless and making it more meaningless still. And really in the end what the Holocaust holy sites are all about is that---allowing the Jews to have the alleged moral high ground so they can survive for a while and continue to burn to the ground what for some odd reason has yet to be burnt under their maleficent tutelage. Form Auschwitz to race mixing and gender confusion is after all but a step and was their plan all along.
