Why is the Western public sphere so shocked that Tehran is hosting a vast collection of Western art? – A weekly grind-

The issue is very simple. During the last years of the Pahlavi dynasty, the then-Queen Farah Diba used her resources and privileges to procure a major collection of modern and contemporary art in her country that included some masterpieces of European and American art. They built a museum for this collection, but soon the revolution happened and the ruling regime changed.  The Pahlavis did not take this collection with them when they left, because it did not belong to them. The new regime did not destroy this collection when they came, because it did not belong to them. The collection was, and remains, the collective treasure of a nation. Regimes come, regimes change, the nation remains constant.

The above is an exerpt from a published article in Al Jazeera.com that ended up in my mailbox. I suggest you read it. https://www.aljazeera.com/opinions/2021/4/29/what-is-our-art-doing-in-their-capitals.

Westerners are baffled by the idea that some of their heritage is hung up a wall in some faraway dusty land. Mostly know for it’s contribution to terror and religious commodities that used to be played out by the former rulers of our world. I’m beyond and we’ll passed the arrival of ET and his buddies, even Qanon+ on Telegram already started a poll to find out if their imminent arrival would surprise you or not. To quote Hillary Clinton: “what difference does it make at this point”? It’s painstakingly clear that the pre programming has done its work and the results are mere numbers to add to the quotation. Things are beyond most people until they are placed in front of them. Art works the same way. It either takes you forever or leaves you with nothing. Eyes that don’t see, heart that doesn’t feel.

Museums are a rich man’s game. Collections like the one in Thyssen Bornemisa in Madrid for instance are a testimony of savage wars, looting over centuries and shady deals to provide a living standard for botox heirs with fake titles. Not to mention the fakes hanging on the wall for insurrance purposes. These places are public bank vaults. All in the name of Art. And your wallet. When I first visited this collection I was surprised about the chronological presentation. Christian Icon Art to Salvador Dali’s tiger and a massive Liechtenstein Pop Art favourite. Looting has been going on since the discovery of fire and its still burning.

In Iran happened the following. The collection was amassed in the 1970s by Farah Diba, the second wife of the last Shah of Iran, Mohammed Reza Pahlavi. Her intention was to supplement the ambitious nationalist programme begun by her husband a decade earlier through establishing a Museum for Contemporary Art in Tehran, to which end she dispatched a cadre of art specialists and practised negotiators across Europe and the United States for bargains. In the often murky field of Cold War-era cultural diplomacy, it remains an impressive achievement, not least because of the Empress’s insistence on the importance of contemporary Iranian art to a collection that included Jackson Pollock’s Mural on Indian Red Ground and works by Bacon, Warhol and Monet.

A princess and her museum

In the light of how symbolism can rule our subconscious mind I tried asking for examples by suggesting people to send me an image of symbolic nature that sparkles their minds and formulate why it does. That was a lot to ask, I got zero. Subsequently I placed the following image to wish everybody a happy Easter, day later. Over 600 people responded to it, they showed their reaction towards it. Some symbolism always works. Reading attentively is not one of humans fine traits, hence why contracts are full if fine prints probably. Our masters are truly masters. But what does this has to do with “Our Art” hanging on foreign walls?

Eggs shells disguised as a dick.

People don’t care if the whole Egyptian section of the national gallery in London is looted. They are shameful of suggesting an image that holds their gaze for eternity and all of that can be proven by a funny bunch of eggshells. The same shells that international press articles use to fine print the higher understanding of men’s mind and the control of it. Its a dirty one and deserves to be taken for all its worth. Our false history is displayed in an orderly fashion, bites, never to be questioned about their coming from or even how. Its a contest between rich people of who can wee the furthest. And you’re paying for it.

When one openly suggest interest in reading the looted sumerian tablets, taken from the Iraqi National museum between the 11th and 16th of April 2006 during “Desert Storm part 2” by UN troops headed by German superior officers, you are outcast. I even tied it up nicely in my first book the Sumerian Contract. These tablets will never see the light of day ever again. In case you missed it, these few dozen or so were related to the Ziggarat of Ur and the portal Sadam Hoessein custodied at Uruk at the time. This area in our world is riddled with things like that. Yet, you get to believe its about weapons of mass destruction. Art can do that to.

The world as we know it is under reconstruction, those who ruled once will rule no more and will be punished for their bad behaviour. Let Nuremberg 2.0 start with a bang as many are hopefully suggesting. Entire Pharmaceutical boardrooms, busloads of politicians and corrupt policy handlers will be sentenced to death for crimes against humanity. I would like to make a bolt suggestion to add the hundreds of scientist and historians who for a paycheck have invented a storyline none or only a few will be able to catch up with.

I hope dearly that in the future my child can enjoy a visit to a museum of any standard looking at the truth of things with curiosity instead of judgement and a prefabricated narrative. I remember now a picture of the Rijksmuseum in Amsterdam of a forthcoming exhibition. During the many protests my fellow countrymen on the square held in front of it I noticed a banner.

“Slavery” is currently exposed and it proves my point that museums are just as responsible for indoctrination to serve a few as TV is for that matter. The Dutch colonial heritage is not one to be proud of nor should children be taught more awareness on the subject of slavery as the director of the museum suggests, they should be reminded of how freedom is obtained and secured instead of clinging onto something that still echoes on the same lawn in front of this museum. This is no criticism, it’s reality.

The banner in question.

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