“Here’s a stumper: if the definition of irony is typically something like “that which goes against expectations,” then how could an Avant-Garde artist—one who is expected to test the boundaries of our expectations—ever satisfy popular, mainstream, garden-variety tastes in irony? At some point, the Avant-Garde artist will, according to his nature, go against the expected means by which the unexpected is supposed to be realized; he will offer us a new unexpectedness.
And a new unexpectedness is direly needed. For about a century now, ever since, say, Duchamp’s 1917 “Fountain”—a men’s urinal intended as a piece of ready-made statuary—so-called Avant-Garde artists have reveled in ironically overturning, at every turn, concepts of beauty, decency, and of art itself. Thus “shock art,” this militancy against the status quo in Western culture has paradoxically become the status quo and has rendered itself increasingly tame, passé, and hardly shocking at all. It is as the late Jonathan Bowden has said: “Revolutionary art becomes liberal wallpaper.” Thus whether it is Rick Gibson’s “Human Earrings” (earrings made from human fetuses), or a tin of “Artist’s Shit” by Piero Manzoni, or Tracy Emin’s “My Bed” (unmade with soiled sheets and menstrual-stained undies), or . . . well you get the idea. The point is that a little of this goes a long way. Soon being “edgy” looses its edge as the masses become ever-more desensitized. Soon irony devours itself.”
Article continues with a nice piece on White Rabbit Radio and AntiRacist Hitler.
Horus the Avenger is a master of counter-propaganda. Like Ramzpaul, he takes anti-White liberalism’s own talking points, adds just a little bit of pressure or the slightest twist, and allows the whole dogmatic edifice to collapse in on itself. This strategy is hilariously epitomized in the video that he made with his White Rabbit Radio crew entitled “Anti-Racist Hitler.”
The premise of the video is that Hitler returns to public life in the present day. Under a hail of boos he emerges from an anti-gravity Die Glocke (!). But he quickly wins people’s hearts by claiming to be a “changed man” and promising to “crush racism once and for all!”
The “demonic” Hitler we have come to expect has been transformed before our eyes. He is now the epitome of the open-borders liberal peacenik. This is of course trivially ironic, but Horus does not stop there.
Hitler finds himself in Tel Aviv, which he thinks is a “great city” except for one small detail: “Too many Jews here! Vee need more diversity!” His multiculturalist organization, “The Children of the Rainbow,” will set things aright!
But when some Jews resist anti-racist Hitler’s plan to make Israel more “vibrant,” he unleashes upon them all of the liberal multiculturalist talking points that are usually directed against White Nationalists. When turned upon the Jews, these typically anti-white slogans prove strangely and hilariously apt. “So you believe you are God’s chosen people? Some kind of ‘Master Race?’” He turns to one yarmulke-topped Jewish skeptic and tells him: “Take off your tinfoil hat.” Indeed, many of Hitler’s “anti-racist” slogans are lifted and retrofitted from real-life Jewish multiculturalists who are actively promoting diversity in Europe, particularly from Barbara Lerner Spectre, the founding director of Paideia, the European Institute for Jewish Studies. For instance, her slogan “Europe has not yet learned to be multicultural” in anti-racist Hitler’s mouth becomes “Israel has not yet learned to be multicultural.”
Hitler’s ideological transformation is coded into his demeanor and dress. No longer in the garb of a military dictator, he becomes “cool,” decked out in Hawaiian shirts.” Thus the demon Hitler is rendered ironically warm and friendly and domesticated. He starts a “Rainbow Dating Organization” to further his goals. “Zese days I am all about zee LOVE!” He even plays ridiculous peacenik music, in the vein of USA for Africa’s “We are the World,” to the vibrant hordes: “Vee heal zee world / Vee are zee Children of the Rainbow!”
Yet, in the end, it is precisely by being such an “anti racist” in modern terms that he ultimately becomes just as much of a genocidal maniac as multiculturalist liberals would like to think he was historically—only this time, in the most profound of ironies, he succeeds. Yes, this pro-diversity Hitler manages to achieve what the historical Hitler allegedly tried and failed to achieve: the genocide of the Jews. Liberalism’s own “anti-racism,” proves to be more deadly than any “gas chamber” was ever imagined to be.
“Anti-Racist Hitler” succeeds as art because of its sophisticated tapestry of interwoven ironies. It doesn’t just dunk a liberal Jewish talking head, like Jon Stewart or Bill Maher or Rachel Maddow into a vat of piss, as wonderful as that might be to conceptualize. Rather, it uses the actual ideologies, the very words of liberal multiculturalist Jews to promote, and then enact, their own annihilation.
It is no secret that Western media and governmental power structures have long used H&HH as an ideological weapon, a gag order to keep us choking on the regurgitated propaganda of yesteryear, to stifle all debate and discussion. H&HH are scarlet letters to shame whites into being uncomfortable in their own skin.
Thus, to mock this relentless, terrorizing injection of nightmarish boogiemen into our living spaces and work places, the New Right Avant-Garde is exploding irony into new dimensions, discovering new terrains beyond the tired, expected, passé, and ham-fisted, “shocking” conflation of binaries.
Thus we domesticate the demon.
With Hitler hoovers we sweep clean our household. With Hitler hand soap we lave our children, inoculating them from all future poisons.
Hitler as croquet mallet. Hitler as lace doily.
I demand my “anti-racist Hitler” thermos and my “Easy Bake Anne” lunchbox to go with my “Hitler Teapot.”
THUS WE DECLARE A NEW TENDENCY IN ART.