art

Fragments for Venus. (2025)

| Henna Timanttimetsä

A short film of 20 minutes on Mubi from 2025 by Alice Diop called Fragments for Venus. 5 star bitch is a song someone is jamming to on the film and it looked like the most fun someone is having on an afternoon. She is what we might call overweight and looking very happy about it. Fat is celebration. Reference to Venus of Willendorf is interesting since when Willendorf was carved all people probably were dark skinned 30 000 years ago https://en.wikipedia.org/wiki/Venus_of_Willendorf. Another black fat lady is an observer and walks around the neighborhood. She gets painted by a young black girl while sitting in a park, Venus of New York. All black women are all the Venuses in this film, as it is to say they are beautiful, representing the original beauty, fertility and love and the shape of a woman.

Venus was a Roman goddess of beauty and love and shines the brightest of the planets. Aphrodite for the Greeks. Beyonce and Jay-Z did a music video (2018) at the Louvre about this same topic as this film black people in white art space, called Apeshit in which they say, they can’t believe they made it. Making it is having wealth and being in white spaces like the admired statues and large paintings. https://youtu.be/kbMqWXnpXcA?is=oszs2G_4SOuYlG29 kind of decolonising. Art belongs to all now, but how about places of art? The film hints, the streets are where the disadvantaged see art and do art. Via this film I understand being black woman is a position of disadvantage and Beyonce and Jay-Z are not believing they can make a music video at the Louvre.

In the US the wound done by slavery and racism is not healing. It is living, an organism and the history is not far away. It is very close like the black woman watching closely the paintings in the film and seeing her colour in service next to plump white people. Marble is white, but the statues were painted. Black and white are having a fight. The fight is about conquering and winning, owning, which doesn’t sound like reconciliation. No peace. No.

Centred in Europe art is powerful, mythology and European art are very influential, beauty being the highest virtue. Posing is big part of art. Europeans painted themselves owning the world being at the centre of all, on top. Others were exotic and an addition. It is a known fact that European artists took influence from art of the indigenous people, Modernism especially. We admired Asian religions and art and African as well for their energy, creativity, novelty, naivety, purity and used it: exploitation is still part of art. Some call it inspiration. European concept of art now is that art is thinking and of ideas. Ideas matter and lead to innovations and new thinking and making, to a new world. We are still waiting. Art supposedly leads the way. To be productive and make beautiful things, be useful and prosperous and show it. Art is to be free to create. What gets valued as art, is one matter.

European state of mind was to be superior, but it dosn’t mean those others didn’t think so of themselves. The demand  now has been to decolonise European art, which means put the black people in the places of white people. To think there is white art and black art together as there are such things could be problematic? Art is just art, isn’t it? Still there is the divide. We see skin as separating. What changes in thinking so, should be the question. Colours, perspectives, materials, stories. Need to be seen and heard is a living thing need.

To equalize art and via art the world somehow doesn’t work. Art is on a pedestal, it has value when it is placed there by experts. Equality is not where excellence comes from. Via art people look for certain things especially in Fine Art, they seek for prestige, ability and recognision. That is part of the rich white people’s history and legacy. European art in general was to worship God, depict mythology, the Bible and aristocracy. For the poor illiterate people images in the churches had the function of picturing the Bible and its message. Art is about power and wealth still today, so trading places doesn’t change much. European art is art of white people and invading it doesn’t change it. The function of art has changed to commodity completely. Worth is in money, recognition and places of show. In that picture change and activism fade to yesterday’s news.

In history people had slaves and people sold others regardless the colour. We are all the same in that regard: greedy, vain, evil, envious, cruel and violent etc. Black people had and have mythologies and art of their own. Slaves of their own. There are no white people in black art. The Brits ended slavery and thought it inhumane and anti-Christian. Black and white is a battle of good and evil like a mythology. To recognize human nature is to understand our will to rule and have power over others. All colours share this. The noble savage doesn’t exist, but it is a beautiful thought. Noble human was a rich human. Virtuous person is a complex thought and a deed, an act, way of existing, almost impossible to achieve because of the idea of the original sin. One has to be stripped of everything earthly to be virtuos.

Naked white woman on the other hand  is a common theme in European historical art. Is she adored or just a sexual thing? She is not without sin. She is part of mythologies thousands of years old. Problem may be she looks very white. Thinking all important people were white may be the issue, but that is how Europeans thought. White skin and blond hair seem to be a luxury even today, as are big butts and breasts, curves, very Rubensian or Vicrorian.

Black woman walks in a grand old museum looking at old European art reading the titles such as Fragment from a statuette of a black dancing girl,  Statuette which once supported an unguent vase, Statuette of a black slave girl, right half of body and head missing, you get the point. Beginning is black image, black background and the text is white. Language is French. She speaks French. Is it Malevich influence?

Looking at and for black women in history of western art and on the streets of New York. I understand the anger, I see it on the stern unmoving face, today anger is still about racism and slavery. Finding slavery and racism in old art is to look at human history. They are there depicting the world from the point of view of white rich people who had servants and slaves. To have a black toy was a luxury item, black boy or a girl. They are in movies also of the aristocracy. Black skin must have been weird, an oddity. Slavery has been common in the world definitely not only by white people and Europeans and still exists, as does hunting of witches.

Simplistic still as a continueing unchanging hatered which isn’t contructive nor healthy to anyone white versus black is a bit tiring. Art has been at the centre of social movements. Now art activism trending may test the cause and causes and become just a wash and virtue-signaling. How black people got portrait in paintings hundreds of years ago and what should we think and do about it now? Do we still paint Venuses? Does Venus matter in this day and age? Venus of Willendorf and Venus of New York, Venus Williams, first two are overweight women, voluptious and neither born a Venus, I suspect. There is the tennis player Venus Williams. She’s black. So what’s up with Venus, other than in paintings she is white? And what’s up with black vs. white? Doesn’t seem to be settling down but heating up. Yes, we are different in looks, culturally, mentally and in attitude, in opportunities and take from each other, influence. What is the mental state of black culture in the United States and why does it involve and harass the rest of the world with its anger and hate?

Now trending is the Black badketball player who said she hates white people. She assaulted a white player, black woman wearing blond hair being this angry. What is that? What is this short film on Mubi where a black woman walks in a museum looking at old paintings and finding black women as slaves? Are you slaves and oppressed still?

You want to be portrait as queens with long blond hair naked? I think you are obsessed and can’t get over it.

Which animal? wood and paint, 75•75cm, 2011 Henna Timanttimetsä

The Hunt (2020)

| Henna Timanttimetsä

Pencil on paper, 2015-2020


The Hunt (2020) is a sharp satirical horror-thriller that captures the raw tensions of a deeply polarized society. At its core, the film follows a group of wealthy, self-proclaimed progressive elites who orchestrate the abduction and hunting of ordinary Americans they deem irredeemable deplorables. These targets are stereotyped as gun-clinging rednecks, racists, bigots, homophobes, and conspiracy theorists—people judged not only for their views but for their class, education, looks and backgrounds. The hunters, led by a polished CEO played by Hilary Swank, convince themselves that they stand on the right side of history, making their actions not only justifiable but morally necessary. What begins as an exclusive game and a joke among the privileged quickly spirals into chaos when the prey prove far more capable than expected.

Central to the story is Crystal, a resilient woman portrayed by Betty Gilpin, whose life fits almost too neatly into the elites’ caricature of white trash. With parents lost to drugs and a history that includes military service in Afghanistan, she appears at first glance to be exactly the kind of person the hunters believe deserves elimination. Yet Crystal’s toughness, resourcefulness, and refusal to be easily categorized drive the narrative forward, exposing the fragility of the assumptions that fuel the hunt. The film excels at showing how quickly judgments are passed in today’s world, where online posts, accents, or political leanings can mark someone as beyond repair and therefore fair game. The need to hurt and feel contempt for lower classes and people who act undesirably and destructively is centuries old. Justification is the dying planet. Profiling plays an interesting part as does George Orwell’s Animal Farm. Little pig is yet more valuable than humans in this game. Pig is humanized by dressing it in a shirt, people dehumanized to pieces of meat that explode, get blown up, shot at. For the pig dying they feel sad.

What makes The Hunt particularly effective is its willingness to satirize the dehumanizing language and thinking that has become commonplace on both sides of the cultural divide. The elites casually refer to their victims with terms like tooth-deprived bigots or academically challenged racists, all while maintaining an unshakable belief in their own moral and intellectual superiority. This mirrors real-world rhetoric in which people on the “correct” side feel entitled to degrade, cancel, or even fantasize about violence against those they oppose. Kill terfs and Nazis is commonplace language. The CEO’s dismissive “It was just a joke” line when the operation leaks captures the casual gaslighting that often follows such excesses. The movie does not preach or take a simplistic partisan stance; instead, it reveals how both camps can fall into the same trap of viewing the other as less than fully human, justifying cruelty through ideology, wealth, or perceived enlightenment.

Beneath the gore and dark humor lies an uncomfortable truth about contemporary life. Society feels increasingly fractured along lines of class, politics, and culture, with hasty condemnations replacing empathy or dialogue. The film’s power comes from exaggerating these trends into grotesque horror while inviting viewers to laugh at the absurdity, even as the violence feels disturbingly plausible. In an era when podcasters discuss elite predation and conspiracy theories circulate about powerful people treating ordinary citizens as prey, The Hunt serves as both entertainment and a distorted mirror. It reminds us how easy it is to slide into the belief that certain people, once properly labeled, deserve whatever fate befalls them.

Ultimately, the movie succeeds because it trusts the audience to recognize the satire without needing heavy-handed moralizing. It portrays a world where trust is scarce and appearances deceive, where the protagonist’s hard-earned capabilities upend the expectations of her sophisticated pursuers. For anyone who has watched modern discourse descend into tribal contempt, The Hunt offers cathartic laughter alongside a sobering reflection on how divided we have truly become.

Aspect of the impoverished part of the nation, the thoughts they are expected to have or that they are uneducated, ignorate hillbillies, is what one doesn’t maybe expect educated people on the left to have, but yet again does. Crystal analysing Animal Farm to the CEO when they have their last fight: why am I Snowball, asked Crystal. Snowball is the idealist and wants a better world, you should be Snowball, says Crystal. CEO understands, she had made a mistake by thinking Crystal was unintelligeable expendable loser, who is a specimen, a representative of a lowlife without means and knows nothing of art and culture. Crystal flying private jet home eating caviar with the air hostess is a fine end note. She did have real life use for combat training.

 

 

Putin on tyranni! Femenin tarina elokuvassa Oxana (2024).

| Henna Timanttimetsä

Fuck Putin kirjoitettuna paljaaseen ylävartaloon on naiselta todella rohkea teko Ukrainassa, Valko-Venäjällä, Venäjällä ja ihan missä vaan, koska KGB on kaikkialla ja naisen rooli on joko olla vaimo tai prostituoitu; paljaat rinnat ovat ehkä parasta protestimateriaalia koskaan. Venäjällä tällaisesta suorasta toiminnasta saa vähintään 20 vuotta linnaa syytteenä terrorismi. Lisäksi Oksana saa syytteen Putinin ja patriarkka Kirilin murhayrityksen suunnittelusta, joten pakeneminen on ainoa vaihtoehto. Oksanan istuessa putkassa, vartija sanoo hänelle: nämä kaksi viikkoa eivät ole mitään verrattuna tulevaisuuteesi.

Todella vaikeuksiin mielenosoittamisesta puolialasti Putinia, korruptiota, vallan väärinkäyttöä ja naisen asemaa vastaan Femen joutuu Valko-Venäjällä, jossa Femenin jäsenet vietiin metsään piestäviksi ja päälle kustaviksi. Heitä uhkaillaan, haukutaan ukrainalaishuoriksi ja lopulta jätetään metsään paleltumaan. 

Femen sai alkunsa Ukrainan maineesta seksiturismikohteena 2008, mistä slogan Ukraina ei ole bordelli ja on nykyään Ranskassa toimiva radikaali feministinen protestiryhmä ja aktiivinen edelleen. Viimeisin aktio oli Louvren pihalla naistenpäivänä 8.3.2026 Pariisissa liittyen Epstein-skandaaliin. Sianpäänaamioihin pukeutuneet yläosattomat naiset osoittivat mieltä Epsteinin suhteista eliittiin esille tuoden tekogenitaalit, rahan ja kaulukset, hyvin kuvauksellista ja paheksuttavaa, mikä luo myös kiinnostusta. Genitaalit ovat valokuvaajien kiinnostuksen kohde. Niillä saa huomiota. Nainen on monessa kulttuurissa huoran osassa, joten miksi paljas pinta herättää niin paljon inhoa ja asiat, joita vastaan Femen protestoi, ovat normaalistikin paheksuttavia? Huoran osa on otollinen aihe yhä vaan ja nainen, joka ottaa omakseen huoruutensa olemalla alasti, on uhka. Femen sanookin, Fuck your morals!

https://www.facebook.com/story.php?story_fbid=1530790655722377&id=100063743713691

Femen 13 vuotta sitten Louvressa https://www.theguardian.com/world/video/2012/oct/03/femen-topless-protest-tunisian-woman-video?CMP=Share_iOSApp_Other

Elokuvassa tuodaan esille, kuinka liikkeelle käy maailmalle lähdön jälkeen. Ranska on pakopaikka, josta femeniläiset saivat turvapaikan, mutta alkuperäisjäseniä ei miellyttänyt liikkeen sirkusmainen uusi suunta. Oxana kertookin perustajajäsen taiteilija Oxanan tarinan. Ukrainassa hän on köyhä, Pariisissa hän on köyhä ja häpeissään, sanoo hän murheissaan. Aktio vie voimat ja itsekunnioituksen. Femenistä irtautuminen on kivuliasta, kuin kadottaisi itsensä, vaikka Femenin tarkoitus on olla kaikille avoin ja tukea naisia, kenties käy samoin kuin feminismillekin, esillä oleminen ja poseeraus syövät jotakin oleellista pois. Jokainen voi olla Femen, sanoo Oksana. Kuinka huomio muuttaa Femeniä ja femeniläisiä jää arvailujen varaan. Kaikki muutos on kai kestettävä ja käytävä läpi, kuinka suhtautua ylösalaiseen maailmaan, väkivaltaan itseä kohtaan, joka vyöryy päälle ja ihmisiin, jos aikoo jatkaa toimintaa ja selvitä. Ryhtyminen rajuun muutosta vaativaan toimintaan vie voimat. Oksana itse teki itsemurhan 2018. Tavallaan näin radikaali toiminta on entisen Neuvostoliiton maissa kuin kuolemantuomio, itsemurha. Ihmiset haluavat tappaa sellaiset naiset. Se on niin totaalinen yritys muutokseen ja oman naiseutensa omistamiseen, ettei ympäröivä yhteiskunta voi vastata muuten kuin väkivallalla, se ei osaa muuta, hartaasta uskonnollisuudesta joko huolimatta tai sen johdosta. Mikä on kiinnostavaa myös Pussy Riotin suhteen, jonka Punk rukous Kristus Vapahtajan katedraalissa Moskovassa 2012 sinkautti ryhmän Putinin mustalle listalle ja usean jäsenen vankilaan. He ovat myös jatkaneet toimintaansa kansainvälisen kiinnostuksen saattelemina. Viimeisimpänä protesti kohteena on Venetsian biennaali, johon Venäjä osallistuu. Oman henkensä ja maineensa peliin laittaminen on niin iso asia, ettei sitä tee kevyin perustein. Korruptoituneissa ja kovin ottein johdetuissa maissa uhkat ovat todellisia. On huomionarvoista, että juuri naiset ovat kokeneet, ettei ole muuta vaihtoehtoa kuin taistella, vaikka mahdollisuudet muutokselle ovat pienet. Pelko on voimakas ihmisen toimintaa muokkaava tunne ja pelolla johtaminen on tehokasta. Alastomuus aseena on myös asia, jolla saa huomion ja jolla asettaa itsensä kohteeksi. Nainen paljaana on epäuskonnollinen ja sääntöjä pilkkaava protesti, jota pidetään groteskina itsensäpaljasteluna ja häpeällisenä. Nainen menettää maineensa ollessaan katsottavana. Mitä on maine, jos olet muutenkin huora, kakkosluokan kansalainen, tyhmempi kuin mies, ylenkatsottavissa, huonosti koheltavissa, nussittava ja hakattava lelu?

Voimakkaimpia ovat silti sanat, Fuck Putin. Naisen asema Ukrainan sodan aikana on vain huonontunut, myös Venäjällä. Feminismillä on vielä tehtävää ja tämä on oikea tapa tehdä feminismiä.

Tienvarsi

| Henna Timanttimetsä

vesiväri, 29•42cm, 2025

Hotel Existence

| Henna Timanttimetsä

gouache, 56•76cm, 2025

Omakuvia

| Henna Timanttimetsä

1995-

Killers and dogs

| Henna Timanttimetsä

Pencil and acrylic, 2015-

Hmm, not enough dogs and too many killers.

Kesän 2024 maisemasaldo, jonka nimesin Kaaoksen kestäväksi mantraksi.

| Henna Timanttimetsä

vesiväri, 2024

Kaaoksen kestävä mantra välillä Siivikkala-Lentävänniemi.

Olen valinnut materiaaliksi vesivärin paperille sen herkkyyden takia ja kuinka vesivärillä sen oletetussa yksinkertaisuudessa voi ilmaista jotakin nykyajasta vai puuttuuko kuvasta jotakin nykyaikaista kuten vaikka kylmäasema. Maisemamaalaus yhdistettynä ajatuksiin jumaluuksista mytologioissa ja kuinka se resonoi nykymaailman kanssa tai mitä pidetään jumaluutena. Mikä on lähellä ja ei näe, mitä nyt kuvittelemme luonnosta ja millaisia muotoja luonnonmuodostelmat ovat silmillemme, näemme niissä itsessään eläviä olentoja, kuten saari järvessä voi näyttää ketulta. Mitä pidämme tärkeänä ja mitä emme, kuten esimerkiksi taiteessa, kuinka kuvallisuus, kädenjälki ja kuvantekeminen resonoivat ja ovat ajanmuutoksessa, kuvantekemisen muutoksessa ja mikä muuttuu, kuinka taiteilijuus muuttuu. Kuinka symmetrisyys maisemassa on meistä kaunista, harmonia edelleen vai ymmärrämmekö harmoniankin jo uudella tavalla vai onko se vain tylsää. Pyrimme luomaan kuvia nettiin, joissa asiat ovat sopusuhdassa ja kauneus on hyvin keskiössä, tietynlainen kauneus, hyvin puunattu ja käsitelty. Itseäni kiinnostaa, mikä luo disharmoniaa muu kuin sää (miten huono sää kuvaa maailmantilannetta, odotusta jostakin pahasta) ja kuinka maisemakuva, on isossa osassa Instassa, paikoissa, joissa on käyty tyyppisesti, esitetään meille ja toistanko maalatessa itse jotakin netin kautta luotua kuvantekemisen tapaa vai vanhoja maneereita siitä, millainen vesivärimaalauksen on oltava.

Mytologiat ovat hyvin visuaalinen, sotkuinen verkko ja vanha kuvasto. Suomen maisemat taas ovat selkeitä ja siistejä. Puhtaus on mikä Suomen luontoon liitetään. Kliinisyyden lisääntyessä ja (oletan) visuaalisuuden yksipuolistuessa (diversiteetin kaventuessa), vaikka elämme hyvin visuaalisessa maailmassa, kenties kaipaamme myyttisiä hahmoja ja kuvittelua, jossa voimme itse olla myyttisiä. Puhuuko kukaan enää puunjumalista? Tv-sarjoissa toki yhdistellään varsin runsaasti luontomyyttisiä tarinoita ja hahmoja todelliseen. Lady of the Lake on yksi kiinnostava nimi, joka jäi mieleeni, että järvessä asuu joku sinne uponnut (upotettu) tai muuten ikiaikainen olento.

Meillä on hyvin rikas luontouskomusten ja myyttien historia. Nykyihmisen ristiriitainen luontosuhde on kiinnostukseni kohde. Luontoa puolustetaan, mutta luonto on kaukana ja erillään meistä varsin tiukasti. Luonnon tärkeys ihmiselle on hyvin välineellinen, luonto on käytettävissä brutaalisti ja tehokkaasti, on edelleen ristiriitaista, kuinka paljon myymme luonnon hyvää tekevällä voimalla kaikkea mahdollista, mutta mitä muutakaan ihminen voi kuin ottaa luonnosta ja hyväksikäyttää sitä. Ilman luontoa ei ole meitä. Ryhdyin miettimään asiaa uutisista: millainen jumalakäsitys meillä on, jokaisella omansa ja joku on itse jumalatar eli hyvin narsistinen pyrkimys, että jokainen kuin omaa jumalallisia piirteitä ja pyrkii luomaan ikuisen ja kestävän kuvan itsestään ja pystyy kuin jumala muuntumaan toiseksi. Luonto on juuri se jumaluus, jota kohtelemme huonosti, aivan kuten Ganges on hinduille elävä jumalatar pullollaan saastaa ja ruumiita, koska se puhdistaa saastasta ja kuolemasta, sen voi täyttää saastalla, näin uskotaan, luonto tosin uusiutuu, mutta silti, ristiriitaista ja toksista. Jumaluuksien kauhistuttavuus on meistä kiehtovaa, jumalat ovat kuvitteellisia ja kaukana, entä ihmisen jumalallinen laatu? Meille uskotellaan monenlaista ja mieli on vahva kuvitteleva elin. Monituhatvuotinen myyttihistoria ja luonto ovat ehkä huonosti käsitettävissä nopeassa teknologisessa muutoksessa muuten kuin viihteellistettynä ja nyt on käynnissä melkoinen kulttuurien, uuden ja vanhan mash-up, sotkuiselta näyttää jumalien ja jumalattarien taisto ja todellisuuden yhdistäminen ja toisaalta kiinnostavalta. Ehkä saamme vain vanhan raamit ja olemme muuten tyhjää täynnä. Uuden luomisen kannalta kiinnostava tilanne. Kuinka uusi on mahdollista ja mikä on uutta?

Ehkä luovuus ja uudistuminen tulee tuhon kautta, jotkut menetykset voivat olla lopullisia. Miten vähän nykyihminen tietää, mihin olemme menossa, mutta kuvittelee tietävänsä hyvin paljon. Ennustettavuus on käynyt vaikeaksi, kun emme enää tunne vihollista, kuten Venäjä on osoittanut.

Luonnontila on akuutti aihe, metsät, vesistöt ja lajikato. Eräässä hindukertomuksessa askeetti menee metsään elämään, elettyään leveästi tuhat vuotta. Hän seisoo yhdellä jalalla, juo vettä ja syö ilmaa seitsemän vuotta. Mitä voimme ajatella mytologiasta nykyihmisen kannalta? Kuinka tehokasta luopuminen on tai syyllisyys? Ehkä tuollainen käytös oli outoa myös tuhansia vuosia sitten. Hinduismissa mikään ei katoa kuollessaan, kaikki energia on olemassa ja kiertää kehää. Hinduille universumi on suljettu muna. Jumalatar puhdistaa kaiken lian ja päästää pahasta tuhon ja luopumisen kautta. Ihminen ei pysty samaan kuin jumaluudet, vaikka kova on yritys. Haluamme voittaa biologian. Hän on täysin luonnon ja vallankäyttäjien (ja ehkä jumalten) armoilla.

Luonto mielellään valjastetaan ihmisen elinvoiman kuvaksi. Usko on kova, silti luonto mielellään ja helponoloisesti tuhotaan pikavoittojen takia. Tuhoaminen on helppoa, sanoi kolmipäinen jumala. Mitä saamme lopulta ja pelastaako luonto meidät? Aliarvioimme luonnonvoimat ja yliarvioimme itsemme?

Freedom which we yearn, what should it be like and what’s it like?

| Henna Timanttimetsä
Opening
Opening
Opening
Opening

HOW MANY FREEDOMS DO WE ALLOW OURSELVES TO HAVE? COULD IT BE CALLED INDULGING NONSTOP what we collectively do AND WAY TOO MUCH, BUT FOR HUMANS NOTHING IS TOO MUCH until it hurts? Going all the way to the deep end full speed is a fun way of looking at what we have ended up doing. Talk about freedoms is an interesting one. How about your fellow man and woman, are you accepting and non-judgmental to their endeavors, wishes and needs? Social norms may seem more accepting than they really are, even here in the open and free Nordic countries, which flow of refugees/immigrants is in part changing, we do say other than what we do and others have more freedoms than some. Muslims can have many issues especially what comes to how women dress and behave and how they think, Islam should take place here and be respected, which freedom and respect is too often much to ask. Respect doesn’t just fall on you anywhere. Freedom here too is such, that we can disrespect religions and make fun of them, all of them, that means critique them out loud and question. It is quite new a thing as blasphemy laws allow even art to disrespect the Holy or do they? Not so sure, since art is a religion kind of and ever so careful these days since Islamophobia is a thing. Islam cannot be critiqued at all. I don’t think so.

Art likes to support Muslims and Islam weirdly enough, so art is a safe space for the poor Muslims looking for peace and harmony. I just don’t know how much human rights you’ll find in the good old contemporary art and are their values Muslim proof? Maybe daylight is needed since even leftist ideals don’t really function there, so in that sense Muslim faith might be a right thing for the contemporary art scene to begin to see itself or the rest of us, otherwise religion is a far away world among perverts, abusers, bullshitters and opportunists, or hold on, maybe not. Jesus Christ!! To rebuild bombed cities would be a responsible thing to go and do, since responsibility is what freedom requires, right? That is what the left cries for, responsibility.

Female behavior is heavily monitored no matter how open and free we think we are, like look what she is wearing, she is too old over thirty. Women do think about the consequences and some what other people think, but boundaries must be pushed for thinking to evolve, just as religious feelings and sentiments must be challenged. Coming to the Northern Europe and think this wouldn’t be the case and we absorb Islam just because you say so and that is multiculturalism? Challenging Fine Art is just as dangerous as challenging religion, lots at stake like benefits and faces. They will destroy you, just try and poke some established power user. Female nipple being one interesting tender spot, get freaked out please. It is what catches the eye, isn’t it, but sexism is hard to do anything about. Enough is when someone says so, depending on who that person is, what is his/her authority, legality issues taken into consideration, right? What kind of legitimized victim position Muslims have and why, is a mystery to me. Freedom is what we want it to be, called our fundamental right and here it is very different in comparison to lots of other places. I don’t know how we see oppression having lived in such wealth, even lockdown is oppressive. We do not have freedom to destroy, but the so-called left thinks, it is fine since feelings are valid, important and all defining as are positions. Art the eternal and well-chosen on the side of the good supporting our mental well-being solving the biggest problems of humankind inside the white cube. Somebody throw a rock.

How much do we want to be free, let others be free the same way and is it an utopia, since we do dream about freedom quite much and fantasize freedom is something fantastic and up lifting and as it happens is easily taken away from us. What do we want from freedom is all the good and it is given, granted. Constructive or destructive freedom must be the question as we are also afraid of freedom. You can’t just go and do whatever.. You have the right to become an artist but.. but what, what but, I ask? There is no but. Men and women are definitely in different situation when freedoms are at play. How free art is I am still exploring and find it stuck to the old stuck-up. It is true women are in a hazardous place what comes to freedom and are hazardous themselves disturbing the peace and again hurting dear sacred feelings. Shouting my choice my body essentially is problematic and abortion is used as contraception, sadly, but. How much your choice impacts others must be asked and how much chosen pronouns must be in use by others and respected? Dictating is what narcissists do. Do whatever is what egoists do. Self-love and freedom somehow joined in with loathing.

It sounds the bestest thing, but we can’t handle freedom, freedom of others it seems, and it goes without saying we need many restrictions set for ourselves and for others to be safe and do the rational thing. Humans need to work with themselves and work in their lives to have stability and continuity and purpose. Life of an artist, the freedom illusion, which isn’t that free after all, is a perfect position to explore freedoms and what to do with little or nothing. Sex of mine makes it even more so. Safety being the weird contemporary bubble and demand for many people a necessity. No need to panic by flow of refugees/immigrants, by climate change, by war but be on guard. Is there somebody to catch you? Women have to think about safety all the time and plan for the catastrophe, which is just right round the corner. Allowing those who think differently and are different do and say freely, is oh so hard for the so-called left. Why do you like your circles so much? Are you afraid of something? Different can be dangerous just like in any middle class circle where shouting too loudly drunkenly is humiliating (look now she is drunk, we can harass her freely, is what freedom can also mean). There are too many freedoms, which is dangerous for democracy some think, for peaceful society and safety of those who like their bubbles. How can we handle the ultimate catastrophe when it hits?

Does social media threaten democracy since there are lots of people who are forbidden from using their platforms to speak on grounds they are themselves a threat and do hate speech? To speak hatefully is to say biology matters, sex is real and female body is very different to male body. The left fails, Trump wins. But even creativity needs strict rules and frames to evolve and grow and for us to be productive, how is it with free speech? I don’t need art system to control me. I feel they are the same thing, creativity finds its way as does free speech. It wouldn’t be creativity if it didn’t. Just don’t get discouraged by control freaks and people who can’t handle your opinions. Art and speak are restricted quite much in our free society. Somehow it looks like we don’t want freedom and don’t want to be free, only look like we are. Being able to travel I suppose, is the ultimate freedom experience for the contemporary human. Routines and everyday life kill freedom? Those who feel free to offend, because it opens up a flow of something, a battle, bring out the truth in stuck up places and poke fun and are absolutely necessary. Social media and its noise has made something to the speed and ways how we react, interact. Innovation there on micro level would be interesting to study and how societies get fractured and constructed again via internet and connection online, uniting people who wouldn’t have otherwise known of each other. Social media itself is democratizing. Activism today isn’t so much. It despises democracy and free speech.

Freedom the ultimate question, who is free and how should we define freedom we can accept and live with, more over who is the authority, who defines freedom of speech and how we speak, what is the right thing to say and why. What other can it mean than person is free to speak his/her mind everywhere if he/she wants without fear? To be able to say and do, express, we have to use consideration, supposedly we have lots of freedoms in Europe until we don’t. I don’t see it freedom to be monitored and be policed, that is restricting personal space and creating fear. Restricting freedoms has come to show in full through social media and pandemic, which entity SOME practices American idea of freedom, which we here in Europe need to consider as much as we can, but we are under the power of these massive companies. What does it mean and do we want to live by American ideals, movements and laws? Imperialism which big business is, not globalism to my mind, entertainment, intersectional feminism, neoliberalism, BLM, trans-ideology, penis is a female organ too accepted as such everywhere without criticism, because critics are silenced and everybody is afraid of losing everything. This culture is open to freedom to exploit, manipulate and rip of/ we are ready to be exploited, manipulated and get ripped of as a kind of constant and who is doing what in the end to the big issues we face. The user is left puzzled and without much means to influence on how one is used. Social media has opened up how addicted we can get and how easily manipulated we are. Freedom to think for yourself and weigh in on options gets easily lost, us silenced and banned. It is, you think you are doing the thinking, you think you are finding the best you. Social norms are slightly open in most of Europe, but people are freaked out by Poland and Hungary. Rise of the far-right happens when countries close their borders to immigrants from the Middle East? People also struggle to label things correctly and Nazis are everywhere now. Trump and white supremacy as well. Labelling Nazi a Nazi is to label a Holocaust denier, rightly so, who to my surprise continue spreading this horrible nonsense. How do falsehoods serve, we will see. Distributing disinformation, lies and simple falsehoods: freedom of speech is dangerous. Transphobic Nazi is pretty much anybody who objects to the lunacy of trans fanatics. We have to know better and totalitarianism didn’t only happen by Nazis. Polarization is stark and confusion about lots of things obvious. When talking about conservatives how many on the left wing think there are shades to the right? Media doesn’t favor such views. Defending women’s rights puts you easily to the conservative side and you will be shut out from social media and work, which could be almost a relief. Freedom is out there. Nazis give me the creeps, but they do make entertaining movies.. I mean, WW2 is the mother of all topics and one center piece of how post-modern Europe got made, changing clothes and stuff.