Jew World Order

The jewish anti-White mania can assume many bizarre and perverted forms. According to the jews, we are supposed to have persecuted g*d’s chosen people by allowing them to control our financial, educational, media, and governmental institutions. The rootless merchants want us to believe that we are somehow discriminating against them, even though a gigantic menorah blocks the view of the White House each winter and our “elected” officials routinely make groveling obeisance to the Israeli prime minister. The rat-faced men tell us that race doesn’t exist, but that Whites are evil and should miscegenate away their future existence with the most primitively alien and incompatible branches of mankind. We hear from the jews that the absolute worst thing a White person can do is to love his race, culture, history, and traditions; but that it is commendable to defile yourself with sexual deviancy, prostitute your children, and commit racial suicide for the aggrandizement of the kosher con-men. We’re told by the lying kosher hucksters that the disastrous jewish century brought about unprecedented “prosperity,” and never mind that our formerly safe White homelands have been brought to a terminal state of financial, moral, and spiritual bankruptcy.

As the existence of Weimerica as a meaningful nation-state becomes ever more tenuous, the jewish lies about The Right Thing To DoTM are starkly exposed for the ridiculous frauds that they always have been. In a desperate effort to keep the goyim from recovering their common sense and a vigorous survival instinct, the men in the strange little hats are frantically experimenting with new and innovative brainwashing schemes to keep the White race hobbled with chains of undeserved guilt. For a group that arrogantly boasts about its high IQ and harbors a belief that it can actually trick its detestable “g*d,” the chosenites often concoct some of the worst, most overwrought, and ham-fisted propaganda. Just when the Mestizo invasion of California didn’t seem like it could get much uglier, we now face the latest ploy to brow-beat the goy: the Aztexican jew. Is it here to commit the Ponzi schemes that Americans just won’t do? Or to run the central bank for the emerging La Raza state of Aztlan? Will the next generation of sanctimonious bleating about victimhood combine the nasally jewish whine with a sonorous Spanish accent? Of course not! Instead, the jews are pressing Mestizo mural art into service to make even more inane holohoax pabulum.

Yishai Jusidman won’t run from a challenge. The Mexican painter of Jewish heritage toiled for six years on a series of paintings called “Prussian Blue,” now at the Yerba Buena Center for the Arts in San Francisco, because it was supposed to be impossible to paint the Holocaust.”

The chosenites assume the most convenient countenance that will assist them in their nation-wrecking, though they all bear the same recognizable Hebraic hideousness of narrow-set predatory eyes, and fleshy, protruding lips resembling a snout stretched obsessively into an insincere grin. The miscegenated jews find a natural ally in the Mestizos, the other racial group that is a product of race-mixing degeneracy and dysgenics. It was previously thought to be impossible to paint the holohoax, not only because it is such a far-fetched fantasy, but because anyone who attempted it (other than a jewish Aztexican) would likely have been mercilessly attacked by the ADL, SPLC, and other jewish supremacist groups who make a tidy profit from the holohoax fraud. The paintings are titled after a treatment for radiation poisoning, which viewers will probably need if they have the misfortune of seeing these visual biohazards in person.

If the Holocaust can’t be represented,” [Jusidman] asks, “then why bother dealing with it?”

Duplicity and false dialectics come as naturally to the jew as breathing. The murine Mestizo chosenite starts with a premise that is a blatant lie: if the holohoax can’t be represented, why are there 6 million movies, pictures, holohoax indoctrination museums, comic books, poems, and kosher-approved history books about it? Why bother dealing with the holohoax in the USSA, a country that is more correctly referred to as the American Golem, populated by a brainwashed people who abase themselves before the jew either through a slavish veneration of Israel, the worship of jewsus, or the misguided acceptance of jewish institutional control? The answer is simple: the continued empowerment of the jews, at the expense and eventual extermination of the White race.

[Jusidman’s 32 paintings] are based on photographs of gas chamber sites…His way in was through the pigment Prussian blue. Not only was it one of the first lab-produced pigments, discovered at the start of the 18th century and once the uniform color of the Prussian army, but it was also responsible for blue stains on the walls of some gas chambers through a reaction with poisonous gas Zyklon B. “For me, this became evident that if painting has anything to do with the Holocaust, it’s through this pigment,” he says.”

Small wonder that it was thought impossible to “paint the holohoax,” since strictly speaking, it never happened. The 32 propaganda pieces are based on photographs of movie-set mock-ups and sound stages constructed by the jewish-controlled Soviet Union. The semitic Mestizo found a “way in” (meaning the Sanhedrin gave him permission to make holohoax propaganda) by finding an obscure aspect of German history and culture that had not yet been defamed and vilified by the jews. From the unhinged mind of the rabidly anti-White jews comes the new delusion that the holohoax must have started back in the 18th century, because the Prussian army uniforms were the same color as some incompetently-made Soviet concrete structures built in Yiddish-occupied Poland circa 1949. In Weimerica today, “hate” has a new color and it’s Prussian blue!

Jusidman used the blue exclusively, combined only with “flesh tone” paints and diatomaceous earth similar to the pumice-like carrier for Zyklon B. Balancing the poignancy of the pigment itself, Jusidman based his paintings on photographs as a way to avoid both metaphor and clichés and “neutralize subjectivity.” “The paintings were not about my feeling on the subject,” he notes.”

As is to be expected from a two-faced, double-talking mischling Mestizo, to avoid metaphor and clichés he uses metaphor and clichés. If the jews are going to peddle this type of insipid trash as propaganda, can they at least put a little effort into it? Coming soon in the new propaganda genre of holohoax paintings: paints made with the tears of holohoax survivors, brushes from the curly, negroid locks of jewish hair, and canvases repurposed from the infamous “not-see” bedroom sets. The jews know that the holohoax is a massive, long-running fraud, so clearly these fantasy paintings don’t reflect their feelings on the subject.

The beauty of the pieces trips you up,” says Lucía Sanromán, director of visual arts at the Yerba Buena Center for the Arts, who first saw “Prussian Blue” at Jusidman’s Los Angeles studio. “It’s a very serious work,” she intones. “At the same time, it’s an astonishingly beautiful work.”

The jewish propensity to boast about their subversion by hiding a grain of truth in plain sight is exemplified here by another international Aztexican serving g*d’s chosen people. There is, of course, absolutely nothing beautiful about (((Jusidman’s))) soulless and inhuman paintings. They are devoid of any expression of attractiveness or serenity. They are nothing more than a cynical attempt to perpetuate the myth of jewish victimhood through the holohoax scam. When a shabboz-Aztexican says that these hideous paintings are “astonishingly beautiful,” she is referring to their value as propaganda to support jewish power, and their contribution to the precipitous decline of modern art into meaningless drivel.

The holohoax is the Donation of Constantine of the modern era: a fraud that has a seemingly endless payoff, and is on course to swindle multiple generations of ignorant Whites. The holohoax is the lynchpin in jews’ longstanding “the meek shall inherit the earth” strategy of exploiting, and then eradicating, the naturally gracious and altruistic White race. No matter how shallow, repetitive, or seemingly tangential, the jews exert an endless amount of energy to filling every possible channel of communication (using every type of media) with propaganda that serves their anti-White agenda, and preserves their status as the most powerful and domineering victims in recorded history. We must be constantly vigilant against new attempts by the jews to attack us, no matter how trite and sophomoric they may seem. Every piece of jewish-authored anti-White propaganda is carefully crafted to vilify Whites, often times through conflating or intentionally falsifying history. The sheer volume of jewish propaganda feeds on itself, with newer propaganda lies (like the Prussian Blue paintings) using older fictions as if they were facts (such as the fraudulent, disproven claims about Zyklon B and gas chambers). After generations of these propaganda feedback loops, protected from scrutiny and debate by hate speech hysteria and hate crime laws, the White populations targeted by this onslaught become thoroughly cowed and brainwashed. We must expose the jews for the petty, hateful, parasites that they are. We must not allow ourselves to be browbeaten into submission by ludicrous propaganda, peddled by the rat-faced men who want our race to meekly consign itself to degeneracy, dysgenics, and death. We must stop the jewish-orchestrated White genocide.

Source article: https://www.jweekly.com/2017/12/06/s-f-exhibit-mexican-artist-tackles-problem-painting-holocaust/