Acting-Out Politics

Weblog opens discussion about the psychology of Bushmerican style of behavior.

Prosperous Daily Life Full of Freedoms, Consumerism and Entertainment Until… the Sudden Intervention of the Revolting Pandemic – Covid-19 and the Humiliation – the Necessity of Having to Wear Masks Against Other People’s Unbearable Exhaling the Viruses…

People lived, drank beer, had an ice cream, exchanged everyday stupidities or wisdoms, jumped at the coffee shops or restaurants, were exhaling and inhaling breath until step by step they discovered that more and more people become either semi or very sick. At first, they started to ignore the monstrous Covid-19, soon they started to hate it and try to suffocate it with extra-alcohol and strong exciters, but as it progressed many of us getting really sick and others unfortunately were dying. Happily but very slowly the vaccine has started to gradually juice through.

Some people accept and surrender to the necessity of having to use masks as recommended by physicians, but for many it unexpectedly become a “morally” difficult issue. Scientists and physicians insist that masks are for now the surest way to prevent the spread of the virus, including social distancing, but more and more people have started to… resist – for them a masked-up life has quickly been transformed into what they consider as an infringement on their freedoms, rights and independence – principle of stubbornness quickly becoming their anti-mask motivation. People started to hold childish beliefs in their ability to conquer the disease with their human organism – the power of human vitality as such. More, it has become a matter of greatness or weakness of a particular person – the ability to resist and then fight the virus without any masks! People transformed themselves into a kind of a per-adolescent rebels, a kind of maniacs of self-aggrandizement.

People who’re addicted to the influence of Donald Trump and have a tendency to follow him like poppy – the dog-mother insist that they don’t need to wear masks even when it’s required by law. They follow Trump’s authority not to submit to wearing masks. Of course, Trump’s main reason is political – Trump started to contradict the “mask point” of the American scientists, democrats and physicians who follow the scientific findings and model of thinking. Of course, scientists and humanistic scholars in US and Europe started to wear masks and Trump took it as Democrats’ insistence on masks, and this made him angry but furious. Numerous Trump supporters loudly joined their pompous leader. The whole country quickly cracked into two camps. Of course, Democratic governors and mayors of cities insisted on masks and social distancing but conservative governors and mayors as a rule did not. And, of course, the conservative majority of the American population (with the help of right wing talk shows) are prone to look with animosity at people who follow the rules and wear masks. It’s rather difficult to get information on how many people wearing masks are saved from the virus in comparison with the mask-less – how the presence or absence of wearing masks reflects the death statistics of Covid-19. As it’s possible to imagine – the absence of masks is fatal for survival.

In the wake of the horrifying Wednesday January 6th, when Trump’s mob stimulated by their leader – stormed into Capitol Building breaking, vandalizing, stealing (computers, important papers and valuable relics), the hooligans forced the four of the congresswomen, who were pushed and locked up in a small dense room with many “mask-less” people – all four got the Covid-19 virus. Where were their masks – you can ask. The answer, probably is – under the feet of the attackers.

The most extreme followers of the top conservative leader have souls of those without any humanistic education – they move only by commands, demands and toughness. What will happen to our country, to the American dream, to freedom and thinking, to compassion and love for our fellow Americans and care about all Americans? What will happen to the human body which is transformed into machine-guns?

Trump and his disciples are not just against wearing masks, of course – they don’t believe in the existence of Covid-19 virus in general. They think that the very virus Americans are dying by hundreds per day – is not real, that if some people are dying – it is not because of the virus, but because they had some other underlying health conditions, that the whole Covid-19 virus is invented by democrats (in order to… destroy American economy!) Finally, Trump and his cohort don’t believe in vaccine against the virus. Just imagine – half of the population in US are people informed by science, while the other half are – believers in prejudices and superstitions. Of course, a large number of anti-science people are… dying from Covid-19 and related illnesses without understanding it.

Frankly, Trump’s followers unconsciously feel that they’re able to “conquer death” – that they’re exceptionally courageous and healthy, that they are extraordinary people and that, let say, even if they are not completely – immortal they at least will be able to resist what the “miserable democrats” have invented and have suggested to the weak-minded people who have surrendered to science (and its quack doctors). Yes, it is a kind of megalomania, but Trump is very serious about it – it’s all his success with people is standing on it. Trump calls it his personal exceptionalism.

Trump is a very cruel and misanthropic – he can tolerate only obedient people. He believes in his own genius, that he is a genuine genius, as Stalin thought about himself. He is cruel, morbidly vengeful if somebody dares to sincerely disagree with him (he takes it as a betrayal). He is so sure, that not even he himself, but his hand or foot or liver (as people like to joke) is always right, even prophetic. We have to protect the young generation, until it is not too late.

It was really difficult to imagine that the fat-cat smile is so irresistible, but looking through numerous photographs of the fat-cat presiding over the overexcited crowds I had to correct my impression. People like Trump are able to conquer the realm of artistic fakery.

Hundreds of photos of his admiring crowds and in the center – Himself – the fat-cat shares his smile and with his appealing gaze enlightens the horizon. The sublime intercourse of mutual admiration between Trump-cat and his appealing to his audience emotional tone is as stable as a mountain for his followers to rely on. When Trump-cat talks to them, he is, as if, always sharing his deep feelings with them which creates a mental embrace between them, an embrace like that of an internal sobbing. And people trust him and want to jumps up to kiss him and are ready to die for him.

Something very particular about American philistines – people who live in pseudo-prosperity and are entertained with their poppies – they are touched by these creatures as their pets as parts of their bodies. They love these almost human creatures. They are like to be pet owners, and caress and kiss them. They share with them their prosperity or poorness. But they are like to have them because they hate people of otherness (who are not like themselves or their pets). Of course, there is no anything shameful or disrespectful in keeping and loving pets. And nothing shameful about being loyal to other people who are like them. But it is an unconditional blindness of loyalty, stupidity of your feelings’ sentimentality as the obstacles to become real – mature adults. It is the very ties to the wrong (aggressive, insulting, hateful and murderous) people as buddies the problem – a vice of the choosing the rude and disrespectful to others “partners” for hate is the reason for psychological underdevelopment.

It is a mixture between superficial goodness and the essential evil, between confidence and arrogance, when the people cannot differentiate between love and hate as principles of living.

Irresistible Seduction on Part of Trump’s Seeming Sincerity

Trump-cat masterfully connects with his followers sharing the universal human desire to always be sincere and open to them his dilemmas – to show that he and they are equal, on the same leg.

By using pop-humor and sweet wit Trump puts himself in a position of everybody and, in flatteringly it means – in his own position, as if, his following audience consists of his advisers – is – not more-not less, his presidential advisers.

Now, Trump is, as if, sharing with his “friends” his complicated ideas about his triumphant victory over “the always wrong and ridiculous Democrats”

And the final artistic success of Trump’s mastery before the crowds in love with him – he mocks and denounces always laughable and always awkward Democratic politicians while pointing finger at their misery and proneness to betray people’s happiness!

What happened on January 6, was a violent street crime that resulted in five fatalities, property smashed and damaged, and many assaults by those who broke into the Capitol… Nobody knows what Trump will try to do on his way out.
Ralph Nader

Trump advances

Like the pathological cult of Stalin/Dzhugashvili in Soviet Union a not less extreme cult of Trump in USA has managed to transform the brains of some Americans into aromatic chewing gum. These people stopped to be patriots – and instead they have become worshippers of their top-pop leader Donald Trump.

The person with a bulging eyes we see in this photograph is among the mob rushing to achieve a goal their beloved leader put in front of them – to vandalize and loot the Capitol building of American Congress.

Here, we see one of Trump’s loyalists in the apotheosis of his glory and feeling himself too comfortable in the office of the Speaker of the House Nancy Pelosi. He is, perhaps, planning to sleep there for the night with dreaming about self-admiring physiognomy and bravado words of his “master”.

The situation here is even more “celebrative”. The hoodlum has undressed to his underwear right in the Chamber of the House where members of Congress usually debate and legislate Laws. More, he is proudly displaying his muscles.

Here we see a cheerful vandalism of breaking into the Capitol – destroying furniture and shattering windows to emphasize that the congressmen and senators are vulnerable to the power of Trump’s supporters.

What a lucky day for the brazen thieves – to steal from United States government building – papers, computers and precious relics so they can brag in drunk laughter with their buddies.

The readers are invited to decipher what is written on this bandit’s t-shirt.

Democracy is stronger than Trump and his followers. After Wednesday, 6th 2021 we, contrary to what the photo claims, can proudly say that Trump has not won. Democratic life is difficult but Democracy is still alive.

“Four billion years of evolution, two thousand years of historical time, the subduing landscapes of industry. Cells know everything, all the way up to the stars. Either the head has never experienced anything of this sort, or it has forgotten it altogether”

Like a giant industrial tarantula the space observatory on Earth opens its jaw to investigate distant cosmic space. Why to open ourselves to the skies – out of curiosity, greed for future natural resources to feed our earthy industries, while for some people it’s an obsessive love for new impressions while for some it has – playful intentions (cosmic reality for them will be something like electronic-space games, etc.), and still for some others it’s material for new weapon systems. In short, people on the planet Earth need matters to bring back from outer space what we can for our growing prosperity.

Here we see an earthly professional investigating the observatory’s capacity to learn about cosmic materials.

What a mighty powerful investigative technological tool we already have at our disposal here on Earth! Humans are already for years playing with stars. But soon it will be even more interesting and more serious. Don’t you think that our technology is more and more similar with our human bodies! How great it would be to become a telescope or a rocket! To become a ballistic missile! Or become an interplanetary spaceship! No, no, I don’t mean just to go inside one but to be physically, bodily inter-stars ship… myself!

Look again and enjoy! There will be a time when we will technologically be stronger and stronger and savvier! Then other planets will share their precious resources and technology with us!

This is one of the castles the inhabitants of another planets live in! As you see – the architectural style reminds us, if to use earthy analogies – fascist architecture. Look how strong and protective it looks – like a fortress. We certainly have what to learn from our future acquaintances.

This is a creature from some another world. Some people insist that it’s a “woman” from another planet. How do we know? We have our own investigations of the cosmos. Look at her eyes like magnifying lenses. She doesn’t look like us. But she is very cosmic, a certainly extraterrestrial type. We have to prepare ourselves to deal with creatures like this.

Here is another beauty! Some people say that this types are among those who are trying to kidnap human beings. If to look attentively we will feel that such creatures are alien women hunting for us, the irresistible Earthy men! But we are preparing ourselves for this. We have learned a lot from our earthy life!

Here we are! Finally, we see a male creature from another planet – he is very dangerous (see the reddish color around his planet). His planet is red colored – sign of… war. But as you understand we are well ready! We have had to deal with our own reds for decades! We can even send our own reds to their red world!

Alexander Kluge’s “Strongman Ferdinand” (1977) – When Today’s “Rich-Men Ferdinands” Were Occupied With Direct Power/Control Over the Population

“Strongman Ferdinand” (1977) by Alexander Kluge

Life of Artist as a Human Being

P. Picasso, “The Three Ages of Man”, 1942

One of the most horrifying wars in the history of humankind awakens Picasso to the problem of human essence in an artist more than the ordeals he was observing in life. For Picasso brooding over the question of what is an artist as a human being regardless of artist’s inspirational and professional dedications came to be entwined with the question of resistance to Nazi occupation. Being exceptional on the one hand and on the other – a common human being, simultaneously extra and basic, everybody and unique – made Picasso-the artist develop a heightened awareness of “The ages of an artist” – in the midst of war and mass hunger.

Picasso depicts three ages of a human being-the artist as co-present within the same interior opened to wide windows – one window a naturalistic and opened to the air (used by the soft-bodied adolescent-the future artist), and the other – a symbolic one – the canvas: a window to an internal world used by the artist in his middle-age (grown from the kid he was once siting on the window), and unexpectedly by the artist-as an old man lying nude on the floor with close eyes (the same person as his two previous incarnations but already appearing quite different though as eccentric).

We see a fresh preadolescent anonymously sharing his energy with the world through the anarchic sounds of his instrument, something like a mini-trumpet or rather a baby-flute. To sit right on the very window it’s simultaneously to cover and to expose himself, cover with flute’s sick but anarchic sounds and expose to the light wind his free and romantically meaningless cheer. In this case the baby-flute not as a musical instrument at all, but as an impulsive musical body, and the energetic hands of the future artist are as effective as his freedom. Blue-white color version of the three incarnations of the artist, which we see here is representation of what the three figures of the same person have found themselves naturally satisfied by – three happy and lucky ghosts of the artist himself – three human beings enjoying creative living.

The middle age artist is not only a man of talent and a humanist (look at his sharp and sad gaze penetrating the horizon – his bodylines, as if, have become equalized with the perspective of life). He opens his body as love opens itself to loving. Taking off the mask of Minotaur from his face means that even a creature with such a legendary stubbornness and ferociousness is not supposed to be sacrificed. Minotaur’s mask-face shows suffering. But the artist’s face is direct indicator of his intense spiritual and erotic life. A preciously significant detail is his giant brush instead of spur. Serious artist will focus on his creativity much more than on a comfortable interior. Picasso himself completely ignored living a wealthy life and preferred sun and simple clothes. Observing the studio of the artist in this painting we don’t get the impression of a wide perspective. The old artist sleeps nude on the floor.

Let’s look at him lying on the modest fabric with an expression of satisfaction. Instead of enjoying luxurious arrangement he, probably, remembers his life of – ideas, feelings, incredible inspirations and what he learned and understood about life and gave to other people, to the world, to the universe. Man with three or possibly even more ages – the artist, philosopher, lover of women, lover of life and sun, lover of creativity and living and hater of injustice, of war and financial greed. Long ago he was a boy with a small horn. He was a lover and a creator. And he is happy by his peaceful satisfaction of being old and waiting for his happy last hours.

The readers are reminded to pay attention to the sublime feminine statuette near the easel.

There are two kinds of portraits – external and internal, one is – oriented on facial features and the other in contrast is oriented on representation of the personal soul (on the inner world) of the model. The first type of portraits are dedicated to the analysis of external or the surface features of the face, while the other type is portrait of personal soul or that of the inner world. The first type are “realistic” portraits. And the second are surrealistic or expressionistic or other kinds of – “mystic” portraits.

Amedeo Modigliani, Portrait of Jean Cocteau, 1917

Already in this sketch of Cocteau Modigliani structures his face inside depth – emphasizing the head even more than face but accents not just the “architectural” bones of his head but the protrusion of Cocteau’s face which is, as if, oriented on seeing the world as far and as deep as possible. His “geometrical” forehead, as if, opens up a space for thinking, while the wrinkles marking the bridge of his nose organize his over- concentrated attentive eyes filled with sadness instead of curiosity.

Cocteau’s narrow cheeks are apparently not for smiling or eating but are rather positioned for saying something encouraging, for kissing or, more exactly for consoling a lonely soul. His lips are chaste. They’re retreating from communication, verbal or sensual. They’re an accompaniment to Cocteau’s visual field, sight – they’re, as if, part of what he sees, what has caught his attention and is of importance.

In a way, Cocteau’s face in Modigliani’s sketch is not only gentle but that of a “cautiously introvert”. It is not proclaiming or “shouting himself” into the world. It is expressing itself delicately, as if, in “silent coloration”. Cocteau’s image by Modigliani, as if, only starts to be noticed in the world. In a way, Cocteau’s face here is like that of a newborn. Its potentials are not completely discernable, but the sketch makes it deep and substantial. The difficult part here is that Cocteau – like Modigliani is an artist. And to depict the face of another artist means to try to show not only the surface, not only artist’s moods and character but their mutual encounter with the world as both artists feel and understand it. This means that the painter’s world is not just encounter with that of another painter’s, but a recognition and acceptance of a mutuality between one another and a mutual participation in their reciprocal creativity.

Amedeo Modigliani, Portrait of Jean Cocteau, 1917

In Modigliani’s stylized painting of Cocteau the enriching representation of his face in earthy tones is something like “tormentingly” dark color – we see how the coloration insists on joining the surface of Cocteau’s dark-sad face with a touch of dirtied despair. Look closely at the ambiguous shades under his cheekbones and above his eyebrows.

The question of the model’s eyes is universally demonstrable. But Modigliani being the real champion of emptying the eyes of his models – of showing their eyes without pupils. How can it be? Why should the viewers at the museums see Modigliani’s paintings of models without eyes (that could see the world and for that matter the viewers!) The really fascinating issue here is how important is the absence of pupils for the mass-cultural perception of art. The audience doesn’t want to see the “blind ugliness” of the models, see crippled people on the museum walls. They don’t want to look at a beautiful women with – irresistible bodies that are crippled. I can perfectly understand their frustration – depriving them of seeing visual perfection. But, for god’s sake, can you try to control your consumerist reflexes?! The absence of pupils is only symbolic conventionality. It’s a metaphoric (indirect) depiction of imaginary representation of artistic versatility – it’s not registration of human deprivation. The artistic point here is to emphasize that Modigliani’s models without pupils show to public that their interest is not in seeing who is looking at them! Their business is to be observed, not searched! Can you give them this one privilege? Empty gaze of Modigliani’s models doesn’t mean being empty. It means to allow the models to be present and seen, to be observable, to try to give public visual satisfaction, not to satisfy themselves visually. In other words, Modigliani’s models simply don’t need to look and to see. They exists to be looked at and seen, period. They enjoy to be looked at and being seen.

In short, Modigliani’s models without pupils or Picasso’s models’ distorted faces and bodies are not hospitals for the crippled and doomed, but a chance for art viewer-audience to… enjoy the aesthetic paradox of beauty and happiness of the human physical, mental and spiritual potential in new light. Where you see cripple-ness you have to see the beauty of human flesh and concentration of the human spirit. For example, you have to feel and “crack” the irresistibility of Modigliani’s models exactly where you see the absence of habitual – naturalistically flat beauty or you have to overcome the “deficits” of Picasso’s faces by completing their magic in your own imagination. To get artistic pleasure you have to… discover beauty, not to consume it like chicken or turkey leg. There is a kind of beauty which is created by the taste and power of god. We admire god’s craft and his generosity by sharing it with us human beings. But god is much more generous than we expect from him – god also shares some degree of his own supernatural capacities with us. He created talented and gifted artists. People like Modigliani, Picasso, Cocteau are among them. Is it possible to say that human beings like them are carriers of god’s gifts to us? Are they mediating between god-the-creator and those of us who yearning to receive and invest in these gifts?

Modigliani’s and Cocteau’s friendship was not so much a personal alliance as it was an impressive relationship of creative mutuality. Modigliani was born five years earlier than Cocteau and died in 1920 at the age of 34. Cocteau lived until 1963 and died at the age of 74. Modigliani made many portraits and sketches of Cocteau while Cocteau couldn’t reciprocate Modigliani’s attention perhaps due to Amedeo’s early tragic death. At Amedeo’s gravesite Cocteau said – “With His death France lost its elegancy”.

It’s difficult to stop looking at Cocteau’s sketches, preparations for the paintings and his own impressions of Modigliani’s work and his thoughts. Reading and trying to understand not only Cocteau’s character and his life at different periods but his creative style and stance vis-à-vis the world we see how people like him lived in their creative dedication. Why Cocteau suffers so intensely? Because of his homosexual involvements and tormenting aspects of their realization? Or is it because in periods of agony he surrendered to drug addiction which seduced him into moments of happiness while leaving him with a deadly emptiness? Or because of the uncertainties connected with his creative inspirations and his deadly doubt about his talent that almost every creative person endures? Or the monstrous feeling that the public somehow doesn’t understand his creativity?

The greater and the more talented an artist is the more problems torments him – today’s American artists suffer much less because they very quickly give themselves to conformist entertainment, money-making and the necessity to “survive by any price”. Modigliani’s tragic poverty during his short life was very well known. Psychological power and spiritual generosity of artists like Modigliani and Cocteau irradiate in their creativity. Look again at Cocteau’s face polarized between timidity and modesty on the one hand and on the other – the power of self-sustaining and internal strength – the bone structure of his face as an equivalent of an athlete’s muscles.

Cocteau’s endless photos and portraits are in drastic contrast with these two representations of Cocteau offered by Modigliani. These people are God’s agents, friends of human beings.

Momo’s Milieu – People Who Contributed to Momo’s Childhood With Their Souls

Momo was abandoned from very early on by his mother-prostitute and father-petti thief. Here, we see Madame Rosa counting the remnants of money which parents paid for their children in her care. Often some parents disappear for months or just showed up when they could afford to pay something.

Dr. Katz, the physician of the poor people living in Parisian Pigalle – a district full of brothels and drug dens, tried hard to persuade Momo not to hustle. Together with Madame Rosa Dr. Katz try again and again to explain to the boy the importance of purity of the soul in a life which contradicts human decency.

Mr. Amir Momo’s tutor and a carpet seller – is another person in Momo’s life who tried to explain to him how to live without feeling shame and how not to try to learn tricks from the poor or the rich.

Nadine has connections with people who work with helping children that need help, met Momo by chance and got the idea to invite him to introduce him to her children.

The prostitute who often stands in the corner of the building where Momo lives, offered him material help, but it didn’t go anywhere.

When Madame Rosa’s health became worse the neighbor who has lived in the same building for years tries to encourage them both. She was once a boxer and survived through doing odd petty jobs.

Madame Rosa’s health becomes worse and worse, and Dr. Katz spends time trying to console and encourage Momo. He looks worried himself – you can read it on his face. He being even older than Madame Rosa.

When Madame Rosa’s condition kept getting worse than worse she herself started to worry about Momo. She understood that her time is running out and the inevitable is near, but what to do with him, how to help him… being left all alone?

Dr. Katz noticing Momo’s tears was barely able to keep his posture as an experienced elder man. He mumbled trying to reassure him that everything with Mm Rosa will be OK. Will Momo be able to survive alone? He is young and good looking. “The life in front of you”. Work is not enough. Friends are not enough. Luck is not enough. Only human soul, your own soul is real. Madame Rosa taught him exactly this. Soul is the world. The soul is everything. Your soul is the universe! And More!

This ferocious drawing – “The Murder” is executed in a traumatic period of Picasso’s life. The two figures in the drawing are meant to represent – Marie-Therese Walter (the victim) and Olga Khokhlova (the assailant).

Pablo Picasso’s Drawing “The Murder/Le Meurtre” (1934)

Violence touches or impregnates numerous spheres of human life. It can be direct or indirect, obvious or veiled, impulsive or artificial – squeezed through consciousness, spontaneous or calculative. It can be physical, emotional, intellectualized, in the present or in future tense – menacing or condemning. It can belong to the spheres of international, social and personal relations. It can be vengefully hot or indifferently masked – “polished” by justice and law. It can be made matter-of-factly through red flowers of war. For human beings to become violent is as natural as to sweat or to spit.

Picasso is dedicated to the analysis of human violence (not because of “love” for it, for sure, but because of his horror and disgust) – either as an actual reality or its determinants and consequences. He depicted it in record number of paintings, sculptures and drawings. But “The Murder” is one of his most horrifying works among his impressive number of “violent art” creations. Does his exceptional visual analytic abilities of bringing together raw violence with stylistic “laces” around make his representation of violence in his art less violent? Or does it make them even more violent – when depiction of open violence challenges the viewers’ perception with endless elaborations as it is the case in “The Murder”?

Look at the murderer’s head-face, this ugly ripened fruit of hatred. Here, as in many of Picasso’s works we have a stylistic “fight” between profiles vs. frontal view of the protagonist’s face (given in the act of murdering). Are we seeing the face of the assailant in profile or fully frontal? It’s actually… both. Why does Picasso do it? Probably, to emphasize the intensity of hate he is depicting, hate that feeds and sustains the act of murdering. Hateful emotion psychologically distorts not only the soul of the hater but her face and body. We see the impossible – that the murderer’s right profile jumps to her left profile and this monstrous combination creates – an artificial – combined side of the murderer’s full or frontal face! We are looking at the twisted configuration of a clash between two profiles creating a pseudo-frontal view of a face made up of two profiles. It is, as if, the intensity of hatred so overwhelming that the right profile (together with the left one) creates a monstrous – predatory face ready to swallow the victim. Picasso here creates a monstrous mixture of facial expressions of the murderer.

At first, the right (unseen to us) profile of the murderess violently “attacking” the left profile of her own face – her right eye on her head-face “jumping at her left profile side” follow the outburst of her violent energy instigating her right arm-hand to strike at her victim with a giant blade-knife. The murderess’ right eye and right nostril following the inhuman intensity of her destructive passion now all appear on the left side of her profile. Murderously intense hate creates fragmentation in both – the soul and the body of the hater – here, the disproportionally enlarged right arm with a giant knife. It is, as if, the right and left profile create a monstrous artificial pseudo-frontal face with two eyes and two incredible jaw bones. The right nostril of the murderess has seized a spot on the left side of her nose, near the left nostril, while her right – her furious eye have pressed down her left eye which has lost all vitality. By this aggressive transformation the left profile is transformed into… frontal view of the face where the nose and the jaw are now transformed into two jaws with an exaggeratedly opened mouth filled with enlarged predatory teeth along with a protruding tongue – the face of a monstrous creature is more horrifying than “physiognomy” of a tyrannosaurus. This seeming instantaneous transformation of a human being into a monstrous predator as a murder-machine is, it seems, Picasso’s point about the inevitability of the face and body of a murderer being distorted and violated by her belligerency.

What can be the semantic justification for the artist to produce all these “miraculous” and horrifying transformations when his aesthetic intuitive “reasoning” go together with his dedication to a psychological truth? – He makes his visual images communicate it: the tongue in a position of vomiting became a metaphor of a predatory posture not just as a victory over the enemy but as a destructive consumption. Picasso forcing us the viewers to look at violent feelings and behavior not just as a transfiguration of human being but as the anthropological perversion. Picasso emphasizes that domination and manipulation of the world is the criminal destruction and consumption of the world and life. We enslave other people and the world in order to appropriate and survive on it – this is the basic problem and not the fact that we want and need to survive. Greed and destructive over-consumption is just the beginning of our attack on the world personified by the assailant in “The Murder”.

According to Picasso, the act of vomiting out our hate on the victim and the vomiting of the victim from belonging to humanity is the very basis of violence as a crime. Vomiting another human beings out of life for the sake of our egoistical goals seems to be the main focus of Picasso’s drawing, its basic metaphor. Reducing any object into a means for achieving our plans and needs is a primordial violence against human beings – that’s what we learn from the face of the murderess in Picasso’s “The Murder”.

It seems like the attack is taking place in a bedroom or a bathroom where the victim was resting in bed or washing in the bathtub. We see the assailant’s left arm is grasping and keeping behind on her back what looks like one of Picasso’s paintings which she, probably, just stole from her victim or painter himself.

Picasso’s ambition to depict the intensity of the predatory (consumptive) nature of human hate creating the fragmentation of human body is astoundingly shocking. In a way, his “The Murder/Le Meurtre” is an incredible and a daring experiment, a kind of brainstorming. And Picasso’s unbelievable achievement here suggests that human talent as such is ahead of our everyday misery of choosing obedience over freedom. Human creativity is much ahead of the human calculations of cowardly and predatory survival.

Pablo Picasso, “The Murder”, 1934

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