Who’d Pay for This Garbage?

A government supported artist, Robert Heinlein wrote, is an incompetent whore. He might have added, an abusive one. Of course, there are some weirdos who pay a great deal of money to be abused by whores, but for most people, handing over money to beggars only to be returned a torrent of abuse tends to stick in their craw.

But beggars and whores are shining paragons of virtue in comparison to the government-funded Arts industry.

80s rock group This Is Serious Mum once issued a press release, offering to take suburban taxpayers on a bus tour of the (government-funded, of course) St. Kilda Fringe Festival. A highlight of the tour would be a walk along St. Kilda Esplanade, where hundreds of “Arts” types would line up to jeer and abuse them for being boorish Philistines — while stealing their wallets.

To which we can now add, pissing on the graves of their ancestors.

Curators of this year’s Biennale of Sydney described Gallipoli as a failed “anti-jihad preventive campaign, orchestrated from London” in a vision statement for the festival’s flagship art event, before the company revised the statement after concerns were raised.

The Australian can also reveal that the Biennale, which starts next week, is about $300,000 short of its funding target.

Which you can bet your grandfather’s war grave the taxpayer will be forced to hand over, courtesy of whatever fat, embittered lesbian is currently slouching in the chair of the Arts Nobbling Council.

Now, we’ve seen all manner of insults heaped on the Anzacs in recent years by people who aren’t fit to kiss their boots, but from which orifice could they possibly have pulled this ludicrous piece of revisionism?

The statement, published on the Biennale’s website for the festival’s Ten Thousand Suns exhibition, said the 24th incarnation of the event “goes deeper into different connected threads”.

“(One) thread follows a lineage of largely repressed or misconstrued moments that have been crucial in the history of Australia and have involved relations with the Muslim world …” the vision statement said. “(These include) the formation of an Australian nat­ional identity as a consequence to the loss at Gallipoli in the First World War, orchestrated from London as an anti-jihad preventive campaign.”

In other words, it’s yet another eructation of that mental flatulence so peculiar to the Western left-elite, Islamophilia. Which has gone into overdrive, in Sydney especially, as the left rushes to “stand with” the Muslim mobs bellowing, “Gas the Jews!”

NSW Liberal leader Mark Speakman, commenting on the Gallipoli comparison, asked for an explanation and apology.

“The state government needs to urgently explain why taxpayer funds are supporting such nonsense on the Biennale website,” he said.

“It diminishes the selfless sacrifice by the Anzacs, and as we prepare to mark Anzac Day the Biennale organisers need to apologise to the community.”

Both the federal and state governments are major partners of the Biennale.

So you just know they’re going to get their funding, no matter how awful they are.

But does the claim have even a shred of historical veracity? Of course not.

Libertarian Party NSW MP John Ruddick criticised the comparison, calling it factually in­accurate. “World War I was the greatest catastrophe in history,” he said, noting that by 1914 the Turkish Ottomans “were secular, and certainly not jihadis”.

Yes, but you have to remember: we’re dealing with people so detached from reality that they actually believe there was ever an independent state called “Palestine”, and that it is inhabited by saintly victims of oppression, not murderous, low-IQ savages.

The current statement calls the exhibition a “rebirth of history”.

The Australian

In other words, making bullshit up out of nothing.

It’s what the left does, after all.