This has been written about in a couple other places (here and here), but it only just came to my attention (thank you to Steve), and I think its worthy of posting about. Indeed I would appreciate if folks can share this far and wide.
Recently a mural was commissioned and painted underneath the Eiffel Tower.
This is an image of the mural from above (same image different medium).
The Mural itself is rather ambiguous at first, but when you look closely it is revealed to have six white figures holding hands and dancing, six black figures holding hands and dancing, and a black (male) figure and white (female) figure in the middle, wrapped in romantic embrace. The title of the artwork is ‘The Endless Sleep’.
When it debuted, many people were outraged, and suggested the image and its title were celebrating the end of native Europeans as a result of mass-immigration and intermarriage with non-Europeans.
This could be dismissed as an over-interpretation.. however, let’s look a little more closely at its creator.
Peterson, it turns out, is a former heroin addict and three-time felon who has since become a renowned and successful artist. Now, I have absolutely nothing against former drug addicts- half our generation has been addicted to heroin and opiates. However, since getting clean and becoming an artist, Peterson’s entire career has been based off the ongoing creation of very specific drawings, all stylistically similar, all portraying horrific violence and degeneracy. It also turns out that all that violence involves black figures murdering, torturing, and raping white figures.
Peterson has in fact become HIGHLY successful with this artwork.
The African-American pop star Usher commissioned him to create five works portaying slave revolts.
Recently Peterson also tweeted his thanks at the chance to get to work with several of the Rothschilds, who apparently commissioned him to create a picture of anti-white violence for use on one of their racing yachts (for real).
Here is another picture:
This is the man who was chosen to paint the first ever mural under the Eiffel Tower.
Now, some might ask, aren’t you being a typical boorish conservative and not understanding the ambiguity inherent in modern art? Can’t you see that such images are meant to be merely provocative and thought-provoking? Why are you such a reactionary, conformist, bourgeois jerk?
Let’s examine the evidence though, which can easily be found by reading interviews with Mr. Peterson online.
Here is an excerpt from one, from juxtapoz.com, which gives a first glimpse at his politics:
In terms of these historical roles that people see in your art, do people automatically think America? Do they think classical warfare? Do they think futurism? I always tend to believe that people see violent, dystopian work and think, “This is the future,” instead of considering the now.
I intentionally keep it generalized because I don’t want it to be pinned down to any specific events or histories. The narratives are universal, and if you really analyze them, these moments are totally current. I think that people tend to push dystopia into the future because they can’t bear to take an honest look at the world we currently live in: a world of Big Brother, Soma, racism and genocide. There’s also the idea of the apocalypse that is always in the future that humans have been obsessed with since the beginning of time. I think global warming is our newest apocalypse story, but this time, instead of being a zealot’s premonition, it’s a scientific premonition.
Here is another one:
While spiritually taxing, this mess is unsurprising to many of us at this point. Likewise, to Peterson, it’s all cause and effect. “I don’t agree with radical Islamic terrorism, but I can see how that’s developed, because I can see how people want to have a voice in the world today,” Peterson tells me, referring to a sculpture he showed in Belgium last year of a beheading by an executioner—but he might as well be talking about the violence erupting here in the States. “And if you disenfranchise people, and you say that their lives are meaningless, that’s a disempowering and bad position for parts of our population to be in.”
You’re obviously not an advocate for violence—that’s a given. But you told Paradigm Magazine, in relation to ‘The Judgement’ at PLUS ONE Gallery in Belgium, which included a sculpture of a beheading, “I think that the world and people’s motives are exceedingly complex and what seems heroic and just on one side is often the opposite on the other.” This could be read as you trying to empathize with, say, Daesh, for instance. Is there empathy towards violence and those who perform violence in your work?
I think I have empathy towards people that are generally disenfranchised. Just because I’ve been through life situations where I’ve been “the other” or “deviant” or not part of society. That’s a comfortable place for me to live in. I don’t mind being in that world. But I think that you look at immigrants that are coming to Europe or the United States, and how they’re always going to have a really tough time integrating, and also financially, the status they can hold in ‘our world.’ So it totally seems rational to me that there would be a reaction to that and an anger, and I think that through an empathizing with the situation that these people are in, maybe that could be a solution in the future.
I’ve always felt that too. We’re not in positions of power, but the more we ignore it, then people who are in positions of power are going to continue to disenfranchise people, and it’s going to get worse, until that anger or violence happens.
I just watched the OJ documentary on ESPN. It’s fucking amazing. And it’s not about OJ, it’s about the race situation in the United States, which is a subject that’s totally neglected and not confronted at all. We do things on a surface level. We have Martin Luther King Day. But racism today has become systemic and deeply rooted within economics and politics and housing developments and the jail system. There’s so many layers of unfairness, and you see how shit boils up.
And that about sums it up….
Take your medicine, evil whites. There are no horrors that can be perpetrated against you too great. If you don’t like Europe becoming Muslim, your daughters being raped, terrorists beheading you, and art celebrating it paid for with your tax dollars, you’re obviously an evil racist.
I’ll finish this article by posting more examples of the artwork below. If you can share this article please do so. These sick, disgusting criminals are getting outright brazen, and things such as this will (hopefully) serve to wake more people up. Some won’t of course- some would gladly sacrifice the lives of their own children to this sick religion they are a part of. But other’s are bound to, and will come round to our side as reality intrudes upon them.
Europe is under siege, not just by the vast numbers of immigrants, many of whom commit acts of violence just as horrific as those in these paintings, but by the sick ruling class- the 1%, the Podesta’s and Soros’s and their ilk- who are commissioning religious-fundamentalist/ethnomasochist fools like Peterson to engage in such artwork, openly celebrating the death of Europe they are effecting.
If you are a liberal and have stumbled upon this by accident, and you don’t believe that scenes like those in Peterson’s artwork REALLY DO OCCUR in Europe every day, please read the following resources: