A government-supported artist is an incompetent whore! – Robert Heinlein.
If the coalition win the forthcoming election, Tasmanian senator Claire Chandler, as arts minister, will be especially tasked with weeding out anti-Semitic luvvies on the government tit. She’ll have quite the Herculean task ahead of her.
Just for starters, there’s the roster of lefty-luvvies who promulgated the ‘Jew List’ doxxing Jewish-Australian creatives. Say goodbye to those tens of thousands of dollars of taxpayer’s money Clammy Ford and your odious little friends. Then there’s the Sydney Theatre Company, already reeling from the fallout from an on-stage keffiyeh-wearing protest by witless actors: have fun making do without the $25 million you’ve trousered in government money.
Even without a change of government, a healthy dose of comeuppance is already hitting some terror-supporting pallywanker luvvies like a Mossad airstrike.
Looks like our deep dive into the questionable early oeuvre of Sydney artist Khaled Sabsabi has ended his selection as Australia’s representative to the Venice Biennale in 2026.
Bogged down in crisis talks on Thursday, the Creative Australia board emerged with a late-night statement confirming that Sabsabi had been withdrawn following a “unanimous decision not to proceed with the artistic team” chosen for the Venice Biennale.
Which is quite the turnaround from those wranglers of taxpayer money at Creative Australia. They were singing a very different song before Sabsabi’s questionable ‘art’ was exposed.
Khaled Sabsabi was announced as Australia’s artistic representative to the Venice Biennale last week, a prestigious event that sees dozens of nations dispatch their top talent to the waterlogged city for exhibitions of their work.
In announcing this selection, Creative Australia chair Robert Morgan and CEO Adrian Collette feted Sabsabi for reflecting the “diversity and plurality of Australia’s rich culture” and said his art would “spark meaningful conversations with audiences around the world”.
Presumably, on the best methods of killing Jews. Or perhaps who to kill next: the gays or the Christians?
Hassan Nasrallah, the dead Hezbollah leader […] has appeared at least twice in Sabsabi’s early oeuvre. In one prominent work, archived by the Museum of Contemporary Art, the late Hezbollah chief featured as the centrepiece of an elaborate video installation.
Maybe next a performance piece of Sabsabi reading selected passages from The Protocols of the Elders of Zion while holding a severed head in one hand and a bloody scimitar in the other?
In the blurb on its website, the MCA wrote-up Sabsabi’s video installation by first describing Hezbollah as a “paramilitary and political organisation”, without mentioning that its military wing was proscribed as a terrorist organisation in 2003, or that the Australian government upgraded that listing in 2021 to proscribe it entirely.
The MCA then describes Sabsabi’s use of Nasrallah’s face and the “beams of light that shine from his eyes and mouth, suggestive of a divine illumination”, or what could be construed as reverence (Nasrallah as deity, etc) and which is all a universe apart from how Australian leaders spoke of Nasrallah following his death by 2000-pound bomb in September.
In fact, it was only a month or two ago that police were threatening to arrest – and in one astonishing case, actually having the guts to do it! – Muslims for proudly brandishing banned material feting Nasrallah and Hezbollah.
Oh, but this is ‘art’, donchaknow!
Lest anyone doubt where Sabsabi’s sympathies lie:
He was one of several artists who boycotted the 2022 Sydney Festival after its organisers committed the grievous sin of accepting $20,000 in funding from the Israeli Embassy to pay for a production put on by an invited Israeli choreographer.
One prominent supporter of Sabsabi’s boycott decision was Michael Dagostino, director of the University of Sydney’s Chau Chak Wing Museum. Dagostino was jointly chosen with Sabsabi to attend the Venice Biennale as an “artistic team” and was similarly feted by Morgan and Collette in their press announcement.
Then the folks who pay the taxes to these incompetent whores began to notice that their money was being showered on terrorist-lauding anti-Semites. Suddenly, the yartz bureaucrats are scurrying for cover.
Terribly embarrassing isn’t it? Just last week chair Robert Morgan and CEO Adrian Collette were speaking so glowingly of Sabsabi’s work, and here they are voting unanimously to turf him. What was their line about Sabsabi again? They said his art reflects “the diversity and plurality of Australia’s rich culture”. Who knew Nasrallah was so integral to that?
Happy to throw kerosene for once was Foreign Minister Penny Wong, who told parliament that “any glorification of the Hezbollah leader” was inappropriate. About time, frankly. Liberal Senator Claire Chandler helpfully noted that Sabsabi’s work included a series of 9/11 images, of planes knifing into New York’s Twin Towers. The title of that work? It was called, Thank You Very Much.
One imagines Morgan and Collette were right across all this while feting Sabsabi for his contributions.
And then they got caught out.
Presumably it’s too much to hope that they’ll be asked to repay every cent of our taxes they showered on this filth.
