A Pizza-Related Handkerchief

Re: A Pizza-Related Handkerchief

Postby admin » Wed Dec 28, 2016 2:44 am

#PizzaGate the Documentary, Pedophilia involving Podesta Emails, Clinton, Obama, David Brock, DNC
by Titus Frost
November 20, 2016

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Re: A Pizza-Related Handkerchief

Postby admin » Wed Dec 28, 2016 5:56 am

https://wikileaks.org/dnc-emails/emailid/2077

RE: Host for POTUS in Miami

From:bobby_schmuck@who.eop.gov
To: ReedA@dnc.org, SnowdenK@dnc.org, MARSHALL@dnc.org, ReynoldsL@dnc.org, DaceyA@dnc.org
Date: 2016-05-12 19:53
Subject: RE: Host for POTUS in Miami

Agree - no hosting, fine to attend

-----Original Message-----
From: Alan Reed [mailto:ReedA@dnc.org]
Sent: Thursday, May 12, 2016 12:00 PM
To: Kevin Snowden <SnowdenK@dnc.org>; Schmuck, Bobby E. EOP/WHO <bobby_schmuck@who.eop.gov>; Brad Marshall <MARSHALL@dnc.org>; Lindsey Reynolds <ReynoldsL@dnc.org>; Dacey, Amy <DaceyA@dnc.org>
Cc: Rivard, Chadwick <RivardC@dnc.org>; Marquez, Karina <MarquezK@dnc.org>; Kaplan, Jordan <KaplanJ@dnc.org>; Cox, Clayton <CoxC@dnc.org>
Subject: RE: Host for POTUS in Miami

I lean no to hosting but could be ok with attending. He was vetted and passed to host an event on Feb. but I think that was for the event that were cancelled. Coincidentally, it was the same day the article came out. Bobby, Brad?

From: Kevin Snowden
Sent: Thursday, May 12, 2016 11:50 AM
To: Bobby_Schmuck@who.eop.gov; Alan Reed; Brad Marshall; Lindsey Reynolds; Dacey, Amy
Cc: Rivard, Chadwick; Marquez, Karina; Kaplan, Jordan; Cox, Clayton
Subject: FW: Host for POTUS in Miami

Hello everyone,

We were also asked to vet the following for POTUS hosting. The only issue is Roy Black. New issues have come up since his last vet in February 2016.

Thanks,

Kevin

Roy Black- NEW 2016: Black defended Jeffrey Epstein, who was prosecuted this year for multiple charges of sexual abuse against at least 34 underage girls between 1999 and 2007. 2015: Represent Justin Bieber after his 2014 DUI charge; Wild reputation, has defended unsavory characters (Rush Limbaugh, Girls Gone Wild founder Joe Francis), parties with flagged celebrities, accused of ethical violations by former US Attorney; Represented Alex Rodriguez in 2013 steroid case; unable to locate why he was let go by A-Rod

832 S Greenway Drive
Coral Gables, FL 33134
DOB: 2/1945
EMPLOYER/OCCUPATION: Self/Attorney

NOTES: Co-hosted a February 2007 Obama fundraiser at his home with wife Lea Black.

* See Below

NGP VET HISTORY:

* 2/12/2016; Passed 6OK; POTUS host

* 5/14/2015; Passed 6OK; Revisiting for POTUS

* 5/14/2015; Issue 6OK; ok per WH

* 1/15/2014 - Issue 6OK; revisit for POTUS

* 2/13/2012 - Issue 6OK; OK per VC for FL045, revisit for POTUS

* 2/13/2012 - Issue 6OK; Bad News

* 10/20/2008 - Pass 3OK

CONTRIBUTIONS: Yes

FREDERICA S. WILSON FOR CONGRESS

6/10/2011

$250

FRIENDS OF PATRICK MURPHY

3/31/2011

$2,500

KENDRICK MEEK FOR FLORIDA INC

10/6/2010

$1,000

KENDRICK MEEK FOR FLORIDA INC

3/17/2009

$2,300

JOE GARCIA FOR CONGRESS

9/29/2008

$1,000

JOHN MCCAIN 2008 INC.

8/12/2008

$1,000

UDALL FOR US ALL

4/1/2008

$500

TADDEO FOR CONGRESS

3/31/2008

$500

JOE GARCIA FOR CONGRESS

3/25/2008

$1,000

CONYERS FOR CONGRESS

11/29/2007

$450

BIDEN FOR PRESIDENT, INC.

9/17/2007

$500

JOHN EDWARDS FOR PRESIDENT

6/22/2007

$500

LAUTENBERG FOR SENATE

5/2/2007

$250

OBAMA FOR AMERICA

4/25/2007

$2,300

RICHARDSON FOR PRESIDENT INC.

1/23/2007

$500

EVENTS: None

LOBBYIST/DOJ FARA: None

EARMARKS/TARP/ARRA: None

LIENS: None

JUDGMENTS: None

BANKRUPTCIES: None

CRIMINAL RECORDS: None

LEXIS-NEXIS/INTERNET SEARCH: Yes

NEW 2016:

* Fred Grimm: Billionaire sex offender from Palm Beach enjoys a special kind of justice. Prosecutors meted out a special kind of justice for Jeffrey Epstein, larded with fawning obsequiousness, secret dealings and an astoundingly lenient sentence. After all, billionaires -- even billionaire sex abusers -- aren't like you and me.

Investigators documented that at least 34 underage girls, some as young as 13, were repeatedly exploited by Epstein and his buddies for their carnal amusement at his Palm Beach mansion from 1999 to 2007. According to court documents, the girls were required to administer "topless or nude massage while Mr. Epstein masturbated himself." Occasionally, "the conduct escalated to full sexual intercourse."

State and federal prosecutors happily reduced what amounted to hundreds of federal and state sex crimes to two state charges -- soliciting prostitution and procuring a person younger than 18 for prostitution. Meanwhile, the feds not only promised not to ring him up on federal charges, they granted immunity to his various co-conspirators.

The federal prosecutors -- who seemed cowed by Epstein's high powered attorneys, including Roy Black, Kenneth Starr and Alan Dershowitz -- worked out the secret plea deal without bothering to inform victims that their abuser would be spared federal charges.

The failure to notify the victims has been at the crux of a federal lawsuit filed in West Palm Beach against the U.S. attorney's office in 2008 by two of the young women, identified as Jane Doe No. 1 and Jane Doe No. 2. On Wednesday, their attorneys filed a 57-page motion demanding a summary judgment in their favor.

Whether or not, U.S. District Judge Kenneth Marra grants the motion, the document (along with the scores of attachments containing nearly apologetic emails and letters from prosecutors to Epstein's legal team) sure as hell prove that billionaires are treated with special deference in the U.S. justice system.

The correspondence shows prosecutors trying mightily to contrive a sweet plea deal that could be finalized before the victims or the media got wind of it. One exchange suggested that he plead guilty in Miami, "which would hopefully cut the press coverage significantly."

No wonder. Epstein received a piddling 18-month sentence for a crime that got less exalted sex offenders in Florida 10 or 15 years hard time. His less-than-hard-time amounted to 13 months in the Palm Beach County stockade. Except he was allowed to spend 12 hours a day, six days a week at his nicely appointed office as part of a work-release program. He then served the balance of his sentence under house arrest -- quite an imposition for someone with a luxury mansion on the barrier island.

Consider that this occurred at a time when low-rent sex offenders were forced to live like apocalyptic trolls beneath Miami's Julia Tuttle Causeway without water, toilets, electricity.

Of course, super rich Epstein, 62, managed to avoid such indignities. Nowadays, the convict is occasionally featured in tabloid photos, snapped as he flits about New York in the company of young, beautiful women. Justice -- the special justice for billionaires -- has been served. [The Miami Herald Feb 12, 2016]

2015:

* Justin Bieber Hires High-Powered Lawyer Roy Black in DUI Case: Justin Bieber is bringing in the big guns in a bid to beat his DUI charge.

The singer, who was arrested in Miami early Thursday morning for DUI and drag-racing, has hired high-powered lawyer Roy Black to represent him.

Black, who is married to Real Housewives of Miami star Lea Black, is a civil and criminal defense trail attorney best known for getting Kennedy family member William Kennedy Smith acquitted of charges of rape in 1991.

He has also represented Kelsey Grammer, race car driver Helio Castroneves, Girls Gone Wild creator Joe Francis and conservative radio commentator Rush Limbaugh.

The 19-year-old pop star, who is Canadian, is being charged with DUI, driving without a valid driver's license out of the state of Georgia and resisting arrest without violence.

The police say Bieber admitted that he had consumed alcohol, had been smoking marijuana and had taken prescription medication. [People; Jan 23, 2015]

* JEFFREY EPSTEIN ATTORNEY ROY BLACK DENIES ALLEGATIONS IN LETTER BY EX-U.S. ATTORNEY ALEXANDER ACOSTA

Attorney Roy Black is disputing claims that he, and other attorneys representing Jeffrey Epstein, pried into federal prosecutors' personal lives in attempting to disqualify them from investigating the billionaire sex offender.

Black also denies Epstein's attorneys "negotiated in bad faith," while attempting to reach an agreement with federal prosecutors.

In a written response Tuesday to the Palm Beach Daily News, Black disputes claims made against Epstein's defense team by former U.S. Attorney Alexander Acosta. Those and other allegations by Acosta were contained in a three-page letter printed Friday in the online publication The Daily Beast.

Acosta was the U.S. attorney for the Southern District of Florida at the time Epstein was being investigated on federal charges related to multiple sex crimes with minor girls. Black, the Miami attorney who successfully defended William Kennedy Smith against rape charges, was part of Epstein's legal dream team.

Epstein was never charged with a federal crime. He and his attorneys struck a deal with federal prosecutors, which was outlined in a non-prosecution agreement. According to the agreement, Epstein had to plead guilty to two state charges, register as a lifelong sex offender and serve 18 months in jail. If he successfully completed those terms and served one-year of probation, then Epstein would not be prosecuted on federal charges as they related to approximately 30 to 40 victims.

In a written response to the Daily News, Black said, "We did present argument after argument why a proposed federal prosecution against Mr. Epstein was unsupported by the evidence. We detailed the so-called evidence during many meetings with prosecutors and agents.

"We were quite candid in disclosing all the evidence we had gathered in our investigation and I believe we made a convincing case why charges were not appropriate. I still believe that today."

According to Acosta, now dean of the Florida International University College of Law, federal prosecutors and agents met with Black in the summer of 2007. The prosecutors presented Epstein a choice: plead guilty to state felony charges resulting in two years imprisonment, registration as a sex offender and restitution for the victims or prepare for a federal felony trial.

What followed, Acosta said, was that Epstein's defense team launched "a yearlong assault on the prosecution and the prosecutors.

"I use the word assault intentionally, as the defense in this case was more aggressive than any which I, or the prosecutors in my office, had previously encountered," Acosta said in his letter.

Among the "legal superstars" on Epstein's defense team: Harvard professor Alan Dershowitz, Kenneth Starr, Jay Lefkowitz and several others, including prosecutors who had formally worked in the U.S. Attorney's Office and in the Child Exploitation and Obscenity Section of the Justice Department.

Acosta said that one member of the defense team warned him "the office's excess zeal in forcing a good man to serve time in jail might be the subject of a book if we continued to proceed with this matter."

Black said he's never heard anyone mention writing a book about the Epstein case. "Mr. Acosta claims we negotiated in bad faith by appealing to the Department of Justice in Washington," Black said. "Any person under investigation by a United States attorney, meaning any of the 94 such offices in the country, has the right to seek review by the Department of Justice and it is so provided for in their manual. Thus I cannot imagine invoking this right could be construed as bad faith.

"In our system of justice, people are given the right of appeal and there should be no implication of wrong doing by exercising it.

"Finally Mr. Acosta mentions we looked for personal peccadilloes of prosecutors," Black said. "I am not sure what he refers to but this never happened. We did point out misconduct and over-reaching by certain people involved in the investigation. Not only is there nothing wrong with this but it is a necessary part of the process. There will always be people who abuse the great power of the government and we can not stand by silently when it occurs."

The non-prosecution agreement was sealed in Epstein's state felony file until victims' attorneys successfully argued to make the document public in September 2009.

[Palm Beach Daily News-March 30, 2011]

* A-Rod escalates war with Yankees; team responds with a challenge: "Embattled Yankee Alex Rodriguez escalated his war with team higher-ups via comments from his new New York lawyer suggesting the team purposely mistreated him medically, and Yankees president Randy Levine responded Saturday afternoon with a strong challenge for Rodriguez.

Levine offered to release all the team's medical records while simultaneously asking A-Rod to release his records of treatment with Anthony Galea, the disgraced sports doctor who treated Rodriguez and was convicted of smuggling HGH...

Tacopina, showing no signs of shutting up, came out blasting after he was recently hired by Rodriguez as the latest in a long string of prominent Rodriguez legal people. Rodriguez and noted Miami defense lawyer Roy Black parted ways, but A-Rod is believed to retain sports attorney David Cornwell, plus labor law firm Cohen, Weiss and Simon, plus Jay Z's legal group at Reed Smith. Tacopina's comments came a day after 60 Minutes reported that members of the A-Rod camp leaked Biogenesis documents linking Ryan Braun and teammate Francisco Cervelli to Biogenesis, the now-defunct "wellness" clinic that provided PEDs to baseball players and is at the center of MLB's PED case..." (>http://www.cbssports.com/mlb/writer/jon-heyman/23196126/arod-escalates-war-with-yankees-team-responds-with-a-challenge<)

Reputation:

* RUSH LIMBAUGH'S DEFENSE ATTORNEY, ROY BLACK, HOSTS FUNDRAISER FOR PATRICK MURPHY

"Memo to Patrick Murphy: If you want to win street cred with the 99 percent, don't have Rush Limbaugh's lawyer host your fundraiser.

Murphy, the Democratic congressional candidate hoping to unseat U.S. Rep. Allen West, has opened himself up to a lot of bad jokes with the fundraiser slated for tomorrow night in Coral Gables.

The event is being held at the home of Roy Black, the famed criminal attorney who defended Rush Limbaugh when Palm Beach prosecutors accused him of "doctor-shopping" for pain pills. Black is currently representing John Goodman, the Wellington polo mogul accused of driving drunk and causing a car accident that killed a 23-year-old last year.

Guests at Black's home will shell out $500 to $5,000 for the soiree. They'll also get to rub shoulders with a genuine celebrity: Black's wife, Lea, who has been a cast member on The Real Housewives of Miami.

Just to recap: Republican Allen West defends tax breaks for the wealthy, and Democrat Patrick Murphy holds a fundraiser at the home of a famous criminal lawyer and a reality-TV star. Ain't politics grand?

[Broward/Palm Beach New Times-December 6th , 2011 >http://blogs.browardpalmbeach.com/pulp/2011/12/rush_limbaugh_attorney_roy_black_fundraiser_patrick_murphy.php<]

* LET'S GET DRUNK: ROY BLACK, POLO BOSS JOHN GOODMAN'S LAWYER; HOSTS YEARLY SHINDIG

"International Polo Club Palm Beach founder John Goodman, whose alleged killing of a 23-year-old man in a car crash last month is still under investigation, was nowhere to be found among those who paid homage to high-profile South Florida attorney Roy Black.

Funny thing, because when it comes to celebrities attending The Blacks' Annual Gala in Miami Beach Saturday night, Black and his wife Lea can always count on those he extracted from the criminal justice system. And yes, there may be some of future clients of Black's there, too.

Girls Gone Wild's Joe Francis was one of them. He once had tax and public morals problems, but Black made it all better. So he came to the Fontainebleau Miami Beach for the big party.

"He wins every case," Francis said. "His approach is different from other lawyers, partly because he never worked for the government as a prosecutor. He believes in your case 100 percent, and I don't know any other who does that."

Three-time Indianapolis and Dancing With The Stars winner Helio Castroneves showed up. Black got him out of his little tax evasion issue last year.

Yet John Goodman, who could soon be facing DUI and manslaughter accusations but hasn't been charged, was MIA.

And who could blame him?

Roy Black, after all, kicked off the open bar, three-course fiesta with this announcement to the 1,000-plus guests who'd paid up to $1,000 each: "If you guys don't get drunk and dance on the tables, then this party has failed!"

The Blacks party, which could rival most Palm Beach shindigs in the wealth and notoriety of participants, has long been a staple of Miami's social life. And it raises millions for educational charities.

It gathers usually well-known figures from all facets of life.

The legal community, for example, was represented with the likes of Harvard prof Alan Dershowitz, who represented Palm Beach millionaire perv Jeffrey Epstein with Black; O.J. Simpson prosecutor Marcia Clark, unrecognizable after years of plastic surgery; and Jim Ferrara, a successful local litigation attorney.

Also there: rapper Rick Ross; shoe designer Lisa Pliner; TV chefs Ron Duprat and Bobby Flay; The Real Housewives of Atlanta's Kim Zolciak; poker star Noah Schwartz; Bob Seger saxophonist Alto Reed; Gov. Charlie Crist and his lovely bride, Carole Crist; singers Natalie Cole, Paulina Rubio and Gloria Estefan; boxer Lennox Lewis; former Miami Heat star Alonzo Mourning; Girls Gone Wild's Joe Francis; and others. (See them all by clicking here or on the photos)

Gov. Charlie Crist, who's running for U.S. Senate, was received like a rock star. Despite the polls showing he's behind Marco Rubio among Republicans, Crist pressed the flesh with a vengeance and showed he's still popular among the beautiful people.

And despite stories saying that his wife of a little more than a year is nowhere to be found, the First Lady was glued to her husband.

"He's a brilliant attorney who has extraordinary admiration of a lot of people," the governor said of Black. "He's a hard worker, and those usually get lucky."

Well, there was one failure that night: the Blacks couldn't auction off a Bugatti Veyron, the world's most expensive car. But then, who in this economy could get someone to bid $2.75 million on anything?

[March 1, 2010-->http://www.page2live.com/2010/03/01/lets-get-drunk-roy-black-polo-boss-john-goodmans-lawyer-hosts-yearly-shindig/<]

NOTES:

RE: Vet Committee: Roy Black

Schmuck, Bobby Bobby_Schmuck@who.eop.gov <mailto:Bobby_Schmuck@who.eop.gov>

Seems fine.

From: Alan Reed [mailto:ReedA@dnc.org]

Sent: Thursday, May 14, 2015 10:43 AM

To: Schmuck, Bobby; Brad Marshall; Dacey, Amy; Lindsey Reynolds

Cc: Hoffman, Alex; Cox, Clayton; Vet_D; Kaplan, Jordan

Subject: Vet Committee: Roy Black

All,

Finance would like approval for Roy Black to attend/photo/donate for one of the POTUS events in Miami. His wife Leah passes vet. I'm ok with him but defer to Bobby and others if there are objections.

___________

8550564 2/13/2012 From: Julianna Smoot [mailto:JSmoot@barackobama.com]

Sent: Monday, February 13, 2012 3:20 PM

To: Rufus Gifford

Cc: Alan Reed; Ben LaBolt; Brad Woodhouse; Ann Marie Habershaw; Hildy Kuryk; Brad MARSHALL; Elizabeth Jarvis-Shean; Jon Bosscher; Laura Lopez

Subject: Re: Vet Com 2: Roy Black, FW: Please vet for potential meetings with Jim Messina

I'm fine for just meetings with Messina.

On Feb 13, 2012, at 3:03 PM, "Rufus Gifford" RGifford@barackobama.com <mailto:RGifford@barackobama.com> wrote:

The second two issues aren't a concern and the first one seems to be largely hearsay and unsubstantiated. I would say ok.

From: Alan Reed [mailto:ReedA@dnc.org]

Sent: Monday, February 13, 2012 1:58 PM

To: Ben LaBolt; Julianna Smoot; Rufus Gifford; WoodhouseB; Ann Marie Habershaw; Hildy Kuryk; Brad Marshall; Elizabeth Jarvis-Shean

Cc: Jon Bosscher; Laura Lopez

Subject: Vet Com 2: Roy Black, FW: Please vet for potential meetings with Jim Messina

Hello everyone,

Teal asked that I send this to VC2 for your input. Let us know what you think. Thanks.

From: Teal Baker [mailto:tbaker@barackobama.com]

Sent: Monday, February 13, 2012 2:02 PM

To: Brad MARSHALL; Laura Lopez; Ann Marie Habershaw

Cc: Jessica Clark; Michael Hoffman; Alan Reed; Kevin Snowden; Jon Bosscher

Subject: RE: Please vet for potential meetings with Jim Messina

I say no, but think it's a question for Vet2.

From: Brad MARSHALL [mailto:MARSHALL@dnc.org]

Sent: Monday, February 13, 2012 12:54 PM

To: Laura Lopez; Ann Marie Habershaw; Teal Baker

Cc: Jessica Clark; Michael Hoffman; Alan Reed; Kevin Snowden; Jon Bosscher

Subject: RE: Please vet for potential meetings with Jim Messina

I am ok

From: Laura Lopez

Sent: Monday, February 13, 2012 1:44 PM

To: Ann Marie Habershaw; Brad MARSHALL; Teal Baker

Cc: Jessica Clark; Michael Hoffman; Alan Reed; Kevin Snowden; jbosscher@barackobama.com <mailto:jbosscher@barackobama.com>

Subject: RE: Please vet for potential meetings with Jim Messina

All,

Roy Black has been submitted to potentially attend meetings with Messina - there isn't an event code yet. He and his wife co-hosted a fundraiser for POTUS in 2007, all the stories are new since then.

Thanks

From: Marquez, Karina
Sent: Thursday, May 12, 2016 11:05 AM
To: Vet_D
Cc: Cox, Clayton
Subject: RE: Host for POTUS in Miami

One more addition:

Lea Black - 95398880
Roy Black - 72082869

From: Marquez, Karina
Sent: Thursday, May 12, 2016 11:03 AM
To: Vet_D
Cc: Cox, Clayton
Subject: Host for POTUS in Miami

Hi there,

Can we vet the following folks to host POTUS in Miami please.

Robert Rubenstein - 100621684
(no spouse)

Hala Mnaymneh - 55343632
Sami Mnaymneh - 99673956

Jane Toll - 100762168

Robert Toll - 99817408

Thank you!

Karina Marquez

Deputy Regional Finance Director
South, Mid-Atlantic and Midwest
Democratic National Committee
202.488.5018 <tel:202.488.5018> | marquezk@dnc.org <mailto:marquezk@dnc.org>
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Site Admin
 
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Re: A Pizza-Related Handkerchief

Postby admin » Wed Dec 28, 2016 6:01 am

Flight logs show Bill Clinton flew on sex offender's jet much more than previously known
by Malia Zimmerman
FoxNews.com
May 13, 2016

Image
Epstein, (inset left), and Clinton flew together at least 26 times on the disgraced financier's "Lolita Express." (John Coates, airport-data.com)

Former President Bill Clinton was a much more frequent flyer on a registered sex offender’s infamous jet than previously reported, with flight logs showing the former president taking at least 26 trips aboard the “Lolita Express” -- even apparently ditching his Secret Service detail for at least five of the flights, according to records obtained by FoxNews.com.

Clinton’s presence aboard Jeffrey Epstein’s Boeing 727 on 11 occasions has been reported, but flight logs show the number is more than double that, and trips between 2001 and 2003 included extended junkets around the world with Epstein and fellow passengers identified on manifests by their initials or first names, including “Tatiana.” The tricked-out jet earned its Nabakov-inspired nickname because it was reportedly outfitted with a bed where passengers had group sex with young girls.

“Bill Clinton … associated with a man like Jeffrey Epstein, who everyone in New York, certainly within his inner circles, knew was a pedophile,” said Conchita Sarnoff, of the Washington, D.C. based non-profit Alliance to Rescue Victims of Trafficking, and author of a book on the Epstein case called "TrafficKing." “Why would a former president associate with a man like that?”

Image
Epstein owns the entire 72-acre island. (Google Earth)

Epstein, who counts among his pals royal figures, heads of state, celebrities and fellow billionaires, spent 13 months in prison and home detention for solicitation and procurement of minors for prostitution. He allegedly had a team of traffickers who procured girls as young as 12 to service his friends on “Orgy Island,” an estate on Epstein's 72-acre island, called Little St. James, in the U.S. Virgin Islands.

Virginia Roberts, 32, who claims she was pimped out by Epstein at age 15, has previously claimed she saw Clinton at Epstein’s getaway in 2002, but logs do not show Clinton aboard any flights to St. Thomas, the nearest airport capable of accommodating Epstein's plane. They do show Clinton flying aboard Epstein’s plane to such destinations as Hong Kong, Japan, Singapore, China, Brunei, London, New York, the Azores, Belgium, Norway, Russia and Africa.

Among those regularly traveling with Clinton were Epstein’s associates, New York socialite Ghislaine Maxwell and Epstein’s assistant, Sarah Kellen, both of whom were investigated by the FBI and Palm Beach Police for recruiting girls for Epstein and his friends.

Image
The flight logs are required to be filed with the Federal Aviation Administration.

Official flight logs filed with the Federal Aviation Administration show Clinton traveled on some of the trips with as many as 10 U.S. Secret Service agents. However, on a five-leg Asia trip between May 22 and May 25, 2002, not a single Secret Service agent is listed. The U.S. Secret Service has declined to answer multiple Freedom of Information Act requests filed by FoxNews.com seeking information on these trips. Clinton would have been required to file a form to dismiss the agent detail, a former Secret Service agent told FoxNews.com.

In response to a separate FOIA request from FoxNews.com, the U.S. Secret Service said it has no records showing agents were ever on the island with Clinton.

A Clinton spokesperson did not return emails requesting comment about the former president’s relationship and travels with Epstein. The Clinton Library said it had no relevant information and does not keep track of Clinton’s travel records.

Martin Weinberg, Epstein’s current attorney, did not respond to multiple inquiries. Epstein said in a court filing said that he and his associates “have been the subject of the most outlandish and offensive attacks, allegations, and plain inventions.”

Image
Epstein's Boeing 727 was known as the "Lolita Express." (John Coates, airport-data.com)

However, hundreds of pages of court records, including reports from police and FBI agents, reviewed by FoxNews.com, show Epstein was under law enforcement scrutiny for more than a year.

Police in Palm Beach, Fla., launched a year-long investigation in 2005 into Epstein after parents of a 14-year-old girl said their daughter was sexually abused by him. Police interviewed dozens of witnesses, confiscated his trash, performed surveillance and searched his Palm Beach mansion, ultimately identifying 20 girls between the ages of 14 and 17 who they said were sexually abused by Epstein.

In 2006, at the request of Palm Beach Police, the FBI launched a federal probe into allegations that Epstein and his personal assistants had “used facilities of interstate commerce to induce girls between the ages of 14 and 17 to engage in illegal sexual activities.”

According to court documents, police investigators found a “clear indication that Epstein’s staff was frequently working to schedule multiple young girls between the ages of 12 and 16 years old literally every day, often two or three times per day.”

One victim, in sworn deposition testimony, said Epstein began sexually assaulting her when she was 13 years old and molested her on more than 50 occasions over the next three years. The girls testified they were lured to Epstein’s home after being promised hundreds of dollars to be his model or masseuse, but when they arrived, he ordered them to take off their clothes and massage his naked body while he masturbated and used sex toys on them.

The U.S. Attorney for the Southern District of Florida prepared charging documents that accused Epstein of child sex abuse, witness tampering and money laundering, but Epstein took a plea deal before an indictment could be handed up.

On Sept. 24, 2007, in a deal shrouded in secrecy that left alleged victims shocked at its leniency, Epstein agreed to a 30-month sentence, including 18 months of jail time and 12 months of house arrest and the agreement to pay dozens of young girls under a federal statute providing for compensation to victims of child sexual abuse.

In exchange, the U.S. Attorney’s Office promised not to pursue any federal charges against Epstein or his co-conspirators.

Florida attorney Brad Edwards, who represented some of Epstein’s alleged victims, is suing the federal government over the secret non-prosecution agreement in hopes of having it overturned. Edwards claimed in court records that the government and Epstein concealed the deal from the victims “to prevent them from voicing any objection, and to avoid the firestorm of controversy that would have arisen if it had become known that the Government was immunizing a politically-connected billionaire and all of his co-conspirators from prosecution of hundreds of federal sex crimes against minor girls.”

The U.S. Attorney for the Southern District of Florida did not respond to a request for comment about the deal.

Other politicians, celebrities and businessmen, including presidential candidate Donald Trump, have been accused of fraternizing with Epstein. Trump lawyer Alan Garten told FoxNews.com in a statement Trump and Epstein are not pals.

“There was no relationship between Jeffrey Epstein and Donald Trump,” he said. “They were not friends and they did not socialize together.”
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Re: A Pizza-Related Handkerchief

Postby admin » Tue Aug 28, 2018 10:17 pm

The Rachel Chandler Connection (pizzagate)
by [deleted]
July, 2017

Hey /Pizzagate,

I became aware of the Pizzagate theory several weeks ago, not long before the election. I'll admit I didn't pay a ton of attention to the controversy at the outset. I was pretty shocked when, a few days ago, a friend e-mailed me a photo of Rachel Chandler posing with Bill Clinton that was being circulated by Pizzagate theorists. The photo I'm talking about is this one:

Image

I know Rachel IRL and have some information that I think ya'll might find interesting.

WWD

Warls Ahluwalla Commisioned for Clinton Foundation Anniversary

The designer created a pendant for the gala dinner and live auction celebrating the 10th Anniversary of the Clinton Foundation and Bill Clinton's 65th birthday.

CLINTON STYLE: Waris Ahluwalia, the actor and designer behind jewelry line House of Waris, was commissioned to design a pendant for the William J. Clinton Foundation's gala dinner and live auction tonight at the Hollywood Palladium in Los Angeles. The event will celebrate the 10th Anniversary of the Clinton Foundation as well as Bill Clinton's 65th birthday.

Image
Rachel Chandler &Waris Ahluwalia

Image
Waris Ahluwalia & Marina Abramovic

Image
Waris Ahluwalia: The designer's first encounter with our 42nd President was in his college years, when he worked with the Secret Service (another surprise career for Mr. Ahluwalia!)

Image
Rachel Chandler Guinness, Heidi Bivens, Waris Ahluwalia

Event Title: ASMALLWORLD Relaunch Preview Dinner, hosted by CEO Sabine Heller, with Waris Ahluwalia and Tali Lennox

Location: Haven's Kitchen, NYC


Rachel graduated in June 2005 from Brentwood School, a pretty elite prep school on the Westside of LA. I attended the school with her. There were/are a lot of kids from prominent Hollywood/media families in attendance there. Jordan McGraw, Dr. Phil's son, was also Class of '05. Jimmy Iovine's son was Class of '06 (Jimmy is the founder of Interscope Records, hebrought Eminem and 50 Cent to prominence and is the brains behind the Beats headphones empire that Dr. Dre is the public face of). Arnold Schwarzenegger's kids were there too (can't remember which year, they were several years younger than Rachel). Andrew Breitbart, the now-deceased founder of the Breitbart news site, was a graduate (not sure when ... 80s? 90s? way before my time).

Rachel herself comes from a very prominent, elite family. She's one of many descendants of the Chandler family, which owned the Los Angeles Times for decades. Look up Otis Chandler on Wikipedia. The family is divested of the paper today and not as powerful/prominent in LA high society today as they used to be, but up through the 80s they were super powerful.

So, Rachel is definitely a part of the LA-based Hollywood/media elite. She's not some runaway or kidnapped kid or anything like that like some have theorized. She's probably the most powerful scion of one of the most powerful families in Southern California.

Let me start off by saying that I know absolutely nothing about the photo with Bill Clinton. It seems like Gawker posted that photo way back in 2006 (http://gawker.com/166540/air-burkle-som ... in-the-air)) but I saw it for the first time yesterday.

However, some of you have found photos of her with P. Diddy and Paris Hilton. I know more about those. Rachel has been a friend of Paris Hilton for a LONG time. I think they've been friends since Rachel was about 13 or 14. When we were all high-school aged, Rachel was known for frequently going clubbing with Paris, hitting up movie/TV "industry parties", going to fashion events, and presented herself as an aspiring model. I have no idea what was going on during those events, but people alternatively admired/resented her for frequently partying with famous celebrities and rolling everywhere with Paris and Nicky Hilton. She was rumored to be a big drinker/drug user and struggled academically. During high school (2001-2005), there was an incident where Paris Hilton's phone was hacked and her contacts were posted online. It was one of the first major "celebrity hackings" that I remember ever becoming a big news story. Rachel was, I dunno, 15 or 16 at the time (?), and her phone number was one of the ones that was leaked because she was in Paris's contacts list. I have no idea if all the crazy stuff you guys are pegging her (being a "child handler") with has any validity, but I can tell you that during her teenage years she knew A LOT of celebrities, media industry insiders, and was going to a lot of parties that most kids at her school and in our social circles (who were pretty well-connected and very wealthy themselves) could never gain access to. She's definitely someone who "matured quickly", if you will. I know that at age 18 she had a boyfriend who was considerably older than her (late 20s or early 30s, I believe) but, to be fair, she was 18 by then.

There's a tangential Rothschilds connection here, by the way, because Nicky Hilton ended up marrying James Rothschild and Rachel used to party with all of them.

One thing you guys have missed is that she has a much deeper connection to the occult artist Marina Abramovic than I've seen documented so far.

Some links you might find interesting:

Rachel is the primary photographer for an artist named Terence Koh, who frequently collaborates with Abramovic. Here, he's in a death pose on a piece of hers: http://purple.fr/diary/terence-kohon-a- ... ouse-east/ Another photo of the same set: http://purple.fr/diary/terence-kohon-a- ... ouse-east/

A video from a MoMA party: https://www.youtube.com/watch?v=zPPKj99ZV60YouTube List of attendees: "Those in attendance included Madonna, Mary-Kate Olsen, Yoko Ono, James Franco, Lou Reed, Patti Smith, Chloe Sevigny, Penn Badgely, Padma Lakshmi, Rose Byrne, Kim Cattrall, Lucy Liu, Marina Abramovic, Daphne Guinness, Terence Koh, Andrej Pejic, Leelee Sobieski, Cindy Sherman, Agnes Gund, Katharina Sieverding, Rachel Chandler, Michelle Harper, David Rockefeller, Jr., MoMA's Director Glenn Lowry, Volkswagen's Martin Winterkorn, and Director of MoMA PS1 and MoMA's Chief Curator at Large Klaus Biesenbach."

Rachel was a photographer/attendee at Marina Abramovic's 2010 "The Artist is Present" performance at the MoMA http://www.patrickmcmullan.com/site/eve ... ?eid=32454 (look for her name on the left-hand list of Featured People and use the filter function)

This is the one I think you might find the most interesting, and I'm surprised this hasn't been delved into before. Abramovic gave a very controversial performance at the LA MoCA that involved a kind of pseudo/ritualized cannibalism of a female body, and Rachel was present as well. https://www.artforum.com/diary/id=29517

Image
Collector Dasha Zukhova with photographer Rachel Chandler.

The prospect of this “grotesque spectacle,” the outraged Rainer wrote, reminded her not of Abramović’s The Artist Is Present, the performance empress’s three-month-long sit at the Museum of Modern Art last year, or of her Nude with Skeleton from 2002, but of Pier Paolo Pasolini’s 1975 film Salò, where fascist sadists sexually abuse beautiful youths. “Subjecting her performers to public humiliation at the hands of a bunch of frolicking donors is yet another example of the Museum’s callousness and greed, and Ms Abramović’s obliviousness to differences in context and to some of the implications of transposing her own powerful performances to the bodies of others,” Rainer wrote, suggesting that MoCA rename itself “MODFR, or the Museum of Degenerate Fund Raising.”

Inside, all thought of exploitation quickly faded, as the 769 guests, who included California governor Jerry Brown and Los Angeles mayor Antonio Villaraigosa as well as Beecroft, took their seats before the rotating heads and nudes-with-skeletons and dug into their food unfazed. (It was delicious.) Some people did hold the gaze of the heads; others winked and elicited forbidden giggles.

John Baldessari and Meg Cranston seemed pleased to be seated ringside, where half-naked and very buff pallbearers periodically mounted the catwalk-like stage carrying** a shrouded body **on a bier. After her final number, two more shrouded bodies were brought onstage. Under them was dessert: two eerily lifelike cakes fashioned to look like Abramović and Harry by LA’s Rosebud Cakes and Raphael Castoriano’s Kreëmart organization. Wielding lethal-looking knives, Abramović joined Harry to cut out the hearts of each of their cakes to a shouting, astonished crowd.

Chaos followed, as guests fought over pieces cut by the bare-chested pallbearers. “I want the breast! Give me the vagina!” they screamed, hardly noticing that Tilda Swinton had arrived for photo ops, looking very much like David Bowie in his Thin White Duke phase. When it was all over, the cut-up cakes resembled mutilated bodies that made for a ghoulish sight.

A man I didn’t know accosted me. “Is it me or was this all about violence against women?” he asked. “It’s you,” I said. “Look at that cake!” he exclaimed. “It’s a horribly mutilated woman with knives in her chest. Doesn’t that bother you?” “It’s a cake,” I said. “It represents all the indignities women have suffered at the hands of men. It is women telling their own history.” Apparently, the point was lost on him. “It’s disgusting,” he replied. I asked his name, which he declined to give. “I’m in the social register!” he growled, brushing past me to let Deitch know that this violence against women would result in the withdrawal of funding from the museum.

-- Abramovic cutting the fake female dead body: https://www.artforum.com/uploads/upload ... e07.jpgJPG -- A Black woman's head lying in front of dinner eaters: https://www.artforum.com/uploads/upload ... e08.jpgJPG -- A body being eaten: https://www.artforum.com/uploads/upload ... e16.jpgJPG -- Body after many parts being eaten: https://www.artforum.com/uploads/upload ... e05.jpgJPG

JPG · 600 x 260 Open
-- Rachel Chandler posing at the party with Dasha Zhukova, who is the wife of Russian oligarch Roman Abramovich: https://www.artforum.com/uploads/upload ... e13.jpgJPG

There's a lot more of a connection between these two (Chandler and Abramovic) but that's all I could find with Google. I wouldn't be surprised if there are more photos of her with celebs while she was a teenager, cause she used to circulate in those celeb circles a lot. Also, I think that photo with Clinton is not from Jeffrey Epstein's Lolita Express but rather from Ron Burkle's private jet. You may want to look into the connections between the Chandler family and Burkle. At one point, Burkle and the Chandlers were in competition to buy out the Tribune Media Co. that owned the Times: http://www.editorandpublisher.com/news/ ... ibune-bid/ http://www.washingtonpost.com/wp-dyn/co ... 84_pf.html
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Re: A Pizza-Related Handkerchief

Postby admin » Tue Aug 28, 2018 11:58 pm

Marina Abramović
by Wikipedia
Accessed: 8/28/18

Image
Marina Abramović
Marina Abramović during the 2012 Vienna International Film Festival
Born November 30, 1946 (age 71)
Belgrade, PR Serbia, FPR Yugoslavia
Education Academy of Fine Arts, Belgrade
Academy of Fine Arts, Zagreb
Known for Performance Art, Body Art
Notable work Rhythm Series (1973–1974)
Works with Ulay (1976–1988)
Balkan Baroque (1997)
The Artist is Present (2010)
Movement Conceptual art
Website http://www.marinaabramovic.com

Marina Abramović (Serbian Cyrillic: Марина Абрамовић, pronounced [marǐːna abrǎːmoʋitɕ]; born November 30, 1946) is a Serbian performance artist.[1] Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. Being active for over four decades, Abramović refers to herself as the "grandmother of performance art."[2] She pioneered a new notion of identity by bringing in the participation of observers, focusing on "confronting pain, blood, and physical limits of the body."[3]

Early life, education and teaching

Image
At the Museum of Modern Art, New York, 2010

Abramović was born in Belgrade, Yugoslavia on November 30, 1946. In an interview, Abramović described her family as having been "Red bourgeoisie."[4] Her great-uncle was Varnava, Serbian Patriarch of the Serbian Orthodox Church.[5] Both of her parents, Danica Rosić and Vojin Abramović[4] were Yugoslav Partisans[6] during the Second World War. After the war, Abramović's parents became "national heroes" and were given positions in the post-war Yugoslavian government.[4]

Until she was six years old, Abramović was raised by her grandparents.[7] Her grandmother was deeply religious and Abramović "spent [her] childhood in a church following [her] grandmother's rituals – candles in the morning, the priest coming for different occasions."[7] At age six, when Abramović's brother was born, she began living with her parents and took piano, French, and English lessons.[7] While she did not take art lessons, she took an early interest in art[7] and enjoyed painting as a child.[4]

Life in Abramović's parental home under her mother’s strict supervision was difficult and cold.[8] When Abramović was a child, her mother beat her for "supposedly showing off".[4] In an interview published in 1998, Abramović described how her "mother took complete military-style control of me and my brother. I was not allowed to leave the house after 10 o'clock at night until I was 29 years old. ... [A]ll the performances in Yugoslavia I did before 10 o'clock in the evening because I had to be home then. It's completely insane, but all of my cutting myself, whipping myself, burning myself, almost losing my life in 'The Firestar' - everything was done before 10 in the evening."[9]

In an interview published in 2013, Abramović said, "My mother and father had a terrible marriage."[10] Describing an incident when her father smashed 12 champagne glasses and left the house, she said, "It was the most horrible moment of my childhood."[10]

She was a student at the Academy of Fine Arts in Belgrade from 1965 to 1970. She completed her post-graduate studies at the Academy of Fine Arts in Zagreb, Croatia in 1972. From 1973 to 1975, she taught at the Academy of Fine Arts at Novi Sad, while implementing her first solo performances.

After Abramović was married to Neša Paripović between 1971 to 1976, in 1976, she went to Amsterdam to perform a piece (later claiming on the day of her birthday)[11] then decided to move there permanently.

From 1990–1995 Abramović was a visiting professor at the Académie des Beaux-Arts in Paris and at the Berlin University of the Arts. From 1992–1996 she was a visiting professor at the Hochschule für bildende Künste Hamburg and from 1997–2004 she was a professor for performance-art at the Hochschule für bildende Künste Braunschweig.[12][13] Some of her best known students are Sebastian Bieniek[14] and Chiharu Shiota.[15]

Career

Rhythm 10, 1973


In her first performance in Edinburgh in 1973,[16] Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game, in which rhythmic knife jabs are aimed between the splayed fingers of one's hand. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation. After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing; the double sounds from the history and the replication. With this piece, Abramović began to consider the state of consciousness of the performer. "Once you enter into the performance state you can push your body to do things you absolutely could never normally do."[17]

Rhythm 5, 1974

In this performance, Abramović sought to re-evoke the energy of extreme bodily pain, using a large petroleum-drenched star, which the artist lit on fire at the start of the performance. Standing outside the star, Abramović cut her nails, toenails, and hair. When finished with each, she threw the clippings into the flames, creating a burst of light each time. Burning the communist five-pointed star represented a physical and mental purification, while also addressing the political traditions of her past. In the final act of purification, Abramović leapt across the flames, propelling herself into the center of the large star. Due to the light and smoke given off by the fire, the observing audience did not realize that, once inside the star, the artist had lost consciousness from lack of oxygen. Some members of the audience realized what had occurred only when the flames came very near to her body and she remained inert. A doctor and several members of the audience intervened and extricated her from the star.

Abramović later commented upon this experience: "I was very angry because I understood there is a physical limit. When you lose consciousness you can't be present, you can't perform."[18]

Rhythm 2, 1974

Prompted by her loss of consciousness during Rhythm 5, Abramović devised the two-part Rhythm 2 to incorporate a state of unconsciousness in a performance. She performed the work at the Gallery of Contemporary Art in Zagreb, in 1974. In Part I, which had a duration of 50 minutes, she ingested a medication she describes as 'given to patients who suffer from catatonia, to force them to change the positions of their bodies.' The medication caused her muscles to contract violently, and she lost complete control over her body while remaining aware of what was going on. After a ten-minute break, she took a second medication 'given to schizophrenic patients with violent behavior disorders to calm them down.' The performance ended after five hours when the medication wore off.[19][20][21]

Rhythm 4, 1974

In this piece, Abramović kneeled alone and naked in a room with a high-power industrial fan. She approached the fan slowly, attempting to breathe in as much air as possible to push the limits of her lungs. Soon after she lost consciousness.[22]

Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her. Abramović placed on a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, olive oil, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions. This tested how vulnerable and aggressive the human subject could be when hidden from social consequences.[3] By the end of the performance, her body was stripped, attacked, and devalued into an image that Abramović described as the "Madonna, mother, and whore."[3] Additionally, markings of aggression were apparent on the artist's body. There were cuts on her neck made by audience members, and her clothes were cut off her body.

In her works, Abramović affirms her identity through the perspective of others, however, more importantly by changing the roles of each player, the identity and nature of humanity at large is unraveled and showcased. By doing so, the individual experience morphs into a collective one and creates a powerful message.[3] Abramović's art also represents the objectification of the female body, as she remains motionless and allows the spectators to do as they please with her body, pushing the limits of what one would consider acceptable. This type of representation also reflects key political issues such as BDSM, which complicates and questions the relation between art versus sexuality and public discourse.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained passive) people began to act more aggressively. As Abramović described it later: "What I learned was that ... if you leave it up to the audience, they can kill you. ... I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation."[23]

Cleaning the Mirror, 1995

Cleaning the Mirror consisted of five monitors playing footage in which Abramović scrubs a grimy human skeleton in her lap. She vigorously brushes the different parts of the skeleton with soapy water. Each monitor is dedicated to one part of the skeleton: the head, the pelvis, the ribs, the hands, and the feet. Each video is filmed with its own sound, creating an overlap. As the skeleton becomes cleaner, Abramović becomes covered in the grayish dirt that was once covering the skeleton. This three-hour performance is filled with metaphors of the Tibetan death rites that prepare disciples to become one with their own mortality. The piece consists of a three-piece series. Cleaning the Mirror #1 was performed at the Museum of Modern Art, consisting of three hours. Cleaning the Mirror #2 consists of 90 minutes performed at Oxford University. Cleaning the Mirror #3 was performed at Pitt Rivers Museum for five hours.[24]

Spirit Cooking, 1996

Abramović worked with Jacob Samuel to produce a cookbook of "aphrodisiac recipes" called Spirit Cooking in 1996. These "recipes" were meant to be "evocative instructions for actions or for thoughts."[25] For example, one of the recipes calls for "13,000 grams of jealousy," while another says to "mix fresh breast milk with fresh sperm milk."[26] The work was inspired by the popular belief that ghosts feed off intangible things like light, sound, and emotions.[27]

In 1997, Abramović created a multimedia Spirit Cooking installation. This was originally installed in the Zerynthia Associazione per l'Arte Contemporanea in Rome, Italy and included white gallery walls with "enigmatically violent recipe instructions" painted in pig's blood.[28] According to Alexxa Gotthardt, the work is "a comment on humanity's reliance on ritual to organize and legitimize our lives and contain our bodies."[29]

Abramovic also published a Spirit Cooking cookbook, containing comico-mystical, self-help instructions that are meant to be just poetry. Spirit Cooking later evolved into a form of dinner party entertainment that Abramovic occasionally lays on for collectors, donors, and friends.[30]

Works with Ulay (Uwe Laysiepen)

In 1976, after moving to Amsterdam, Abramović met the West German performance artist Uwe Laysiepen, who went by the single name Ulay. They began living and performing together that year. When Abramović and Ulay began their collaboration,[11] the main concepts they explored were the ego and artistic identity. They created "relation works" characterized by constant movement, change, process and "art vital."[31] This was the beginning of a decade of influential collaborative work. Each performer was interested in the traditions of their cultural heritage and the individual's desire for ritual. Consequently, they decided to form a collective being called "The Other," and spoke of themselves as parts of a "two-headed body."[32] They dressed and behaved like twins and created a relationship of complete trust. As they defined this phantom identity, their individual identities became less accessible. In an analysis of phantom artistic identities, Charles Green has noted that this allowed a deeper understanding of the artist as performer, for it revealed a way of "having the artistic self-made available for self-scrutiny."[33]

The work of Abramović and Ulay tested the physical limits of the body and explored male and female principles, psychic energy, transcendental meditation and nonverbal communication.[31] While some critics have explored the idea of a hermaphroditic state of being as a feminist statement, Abramović herself denies considering this as a conscious concept. Her body studies, she insists, have always been concerned primarily with the body as the unit of an individual, a tendency she traces to her parents' military pasts. Rather than concerning themselves with gender ideologies, Abramović/Ulay explored extreme states of consciousness and their relationship to architectural space. They devised a series of works in which their bodies created additional spaces for audience interaction. In discussing this phase of her performance history, she has said: "The main problem in this relationship was what to do with the two artists' egos. I had to find out how to put my ego down, as did he, to create something like a hermaphroditic state of being that we called the death self."[34]

• In Relation in Space (1976) they ran into each other repeatedly for an hour – mixing male and female energy into the third component called "that self."[11]
• Relation in Movement (1977) had the pair driving their car inside of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a year. (After 365 laps the idea was that they entered the New Millennium.)
• In Relation in Time (1977) they sat back to back, tied together by their ponytails for sixteen hours. They then allowed the public to enter the room to see if they could use the energy of the public to push their limits even further.[35]
• To create Breathing In/Breathing Out the two artists devised a piece in which they connected their mouths and took in each other's exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual's ability to absorb the life of another person, exchanging and destroying it.
• In Imponderabilia (1977, reenacted in 2010) two performers, both completely nude, stand in a doorway. The public must squeeze between them in order to pass, and in doing so choose which one of them to face.[11]
• In AAA-AAA (1978) the two artists stood opposite each other and made long sounds with their mouths open. They gradually moved closer and closer, until they were eventually yelling directly into each other's mouths.[35]This piece demonstrated their interest in endurance and duration.[35]
• In 1980, they performed Rest Energy, in an art exhibition in Dublin, where both balanced each other on opposite sides of a drawn bow and arrow, with the arrow pointed at Abramović's heart.[11][36]

Between 1981 and 1987, the pair performed Nightsea Crossing in twenty-two performances. They sat silently across from each other in chairs for seven hours a day.[35]

In 1988, after several years of tense relations, Abramović and Ulay decided to make a spiritual journey which would end their relationship. They each walked the Great Wall of China, in a piece called Lovers, starting from the two opposite ends and meeting in the middle. As Abramović described it: "That walk became a complete personal drama. Ulay started from the Gobi Desert and I from the Yellow Sea. After each of us walked 2500 km, we met in the middle and said good-bye."[37] She has said that she conceived this walk in a dream, and it provided what she thought was an appropriate, romantic ending to a relationship full of mysticism, energy, and attraction. She later described the process: "We needed a certain form of ending, after this huge distance walking towards each other. It is very human. It is in a way more dramatic, more like a film ending ... Because in the end, you are really alone, whatever you do."[37] She reported that during her walk she was reinterpreting her connection to the physical world and to nature. She felt that the metals in the ground influenced her mood and state of being; she also pondered the Chinese myths in which the Great Wall has been described as a "dragon of energy." It took the couple eight years to acquire permission from the Chinese government to perform the work, by the time of which their relationship had completely dissolved.

At her 2010 MoMA retrospective, Abramović performed The Artist Is Present, in which she shared a period of silence with each stranger who sat in front of her. Although "they met and talked the morning of the opening,"[38] Abramović had a deeply emotional reaction to Ulay when he arrived at her performance, reaching out to him across the table between them; the video of the event went viral.[39]

In November 2015, Ulay took Abramović to court, claiming she had paid him insufficient royalties according to the terms of a 1999 contract covering sales of their joint works.[40][41] In September 2016, a Dutch court ordered Abramović to pay €250,000 to former co-creator and lover Ulay as his share of sales of artistic collaborations over their joint works. In its ruling, the court in Amsterdam found that Ulay was entitled to royalties of 20% net on the sales of their works, as specified in the original 1999 contract, and ordered Abramović to backdate royalties of more than €250,000, as well as more than €23,000 in legal costs.[42] Additionally, she was ordered to provide full accreditation to joint works listed as by “Ulay/Abramović” covering the period from 1976 to 1980, and “Abramović/Ulay” for those from 1981 to 1988.

Seven Easy Pieces, 2005

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Abramović performing Bruce Nauman's Body Pressure, Guggenheim Museum, 2005

Beginning on November 9, 2005, Abramović presented Seven Easy Pieces at the Guggenheim Museum in New York City. On seven consecutive nights for seven hours she recreated the works of five artists first performed in the '60s and '70s, in addition to re-performing her own Lips of Thomas and introducing a new performance on the last night. The performances were arduous, requiring both the physical and the mental concentration of the artist. Included in Abramović's performances were recreations of Gina Pane's Self-Portraits, which required lying on a bed frame suspended over a grid of lit candles, and of Vito Acconci's 1972 performance in which the artist masturbated under the floorboards of a gallery as visitors walked overhead. It is argued that Abramović re-performed these works as a series of homages to the past, though many of the performances were altered from their originals.[43]

Here is a full list of the works performed:

• Bruce Nauman's Body Pressure (1974)
• Vito Acconci's Seedbed (1972)
• Valie Export's Action Pants: Genital Panic (1969)
• Gina Pane's The Conditioning (1973)
• Joseph Beuys's How to Explain Pictures to a Dead Hare (1965)
• Abramović's own Thomas Lips (1975)
• Abramović's own Entering the Other Side (2005)

The Artist Is Present: March – May 2010

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Abramović performing The Artist Is Present, Museum of Modern Art, March 2010

From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history, curated by Klaus Biesenbach.[44] Biesenbach also provided the title for the performance, which referred to the fact that during the entire performance "the artist would be right there in the gallery or the museum."[45]

During the run of the exhibition, Abramović performed The Artist Is Present[46], a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium while spectators were invited to take turns sitting opposite her.[47] Ulay made a surprise appearance at the opening night of the show.[48]

Abramović sat in a rectangle drawn with tape in the floor of the second floor atrium of the MoMA; theater lights shone on her sitting in a chair and a chair opposite her.[49] Visitors waiting in line were invited to sit individually across from the artist while she maintained eye contact with them. Visitors began crowding the atrium within days of the show opening, some gathering before the exhibit opened each morning to rush for a more preferable place in the line to sit with Abramović. Most visitors sat with the artist for five minutes or less and the line attracted no attention from museum security except for the last day of the exhibition when a visitor vomited in line and another began to disrobe. Tensions among visitors in line could have arisen from an understanding that for every minute each person in line spent with Abramović, there would be that many fewer minutes in the day for those further back in line to spend with the artist. Due to the strenuous nature of sitting for hours at a time, art-enthusiasts have speculated as to whether Abramović wore an adult diaper to eliminate the need to move to urinate. Others have highlighted the movements she made in between sitters as a focus of analysis, as the only variations in the artist between sitters were when she would cry if a sitter cried and her moment of physical contact with Ulay, one of the earliest visitors to the exhibition. Abramović sat across from 1,545 sitters, including Klaus Biesenbach, James Franco, Lou Reed, Alan Rickman, Jemima Kirke, Jennifer Carpenter and Bjork; sitters were asked not to touch or speak to the artist. By the end of the exhibit, hundreds of visitors were lining up outside the museum overnight to secure a spot in line the next morning. Abramović concluded the performance by slipping from the chair where she was seated and rising to a cheering crowd more than ten people deep.

A support group for the "sitters," "Sitting with Marina," was established on Facebook,[50] as was the blog "Marina Abramović made me cry."[51] The Italian photographer Marco Anelli took portraits of every person who sat opposite Abramović, which were published on Flickr,[52] compiled in a book[53] and featured in an exhibition at the Danziger Gallery in New York.[54]

Abramović said the show changed her life "completely – every possible element, every physical emotion," and that Lady Gaga saw it helped boost her popularity: "So the kids from 12 and 14 years old to about 18, the public who normally don't go to the museum, who don't give a shit about performance art or don't even know what it is, started coming because of Lady Gaga. And they saw the show and then they started coming back. And that's how I get a whole new audience."[55] In September 2011, a video game version of Abramović's performance was released by Pippin Barr.[56]

Other

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Marina Abramović at the 72nd Annual Peabody Awards

In 2009, Abramović was featured in Chiara Clemente's documentary Our City Dreams and a book of the same name. The five featured artists – also including Swoon, Ghada Amer, Kiki Smith, and Nancy Spero – "each possess a passion for making work that is inseparable from their devotion to New York," according to the publisher.[57] Abramović is also the subject of an independent feature documentary movie entitled Marina Abramović: The Artist Is Present, which is based on her life and performance at her retrospective "The Artist Is Present" at the Museum of Modern Art in 2010. The film was broadcast in the United States on HBO[58] and won a Peabody Award in 2012.[59] In January 2011, Abramović was on the cover of Serbian ELLE, photographed by Dušan Reljin. Kim Stanley Robinson's science fiction novel 2312 mentions a style of performance art pieces known as "abramovics."

A world premiere installation by Abramović was featured at Toronto's Trinity Bellwoods Park as part of the Luminato Festival in June 2013. Abramović is also co-creator, along with Robert Wilson of the theatrical production The Life and Death of Marina Abramović, which had its North American premiere at the festival,[citation needed] and at the Park Avenue Armory in December.[60]

Abramović attempted to create the Marina Abramović Institute (MAI), a nonprofit foundation for performance art, in a 33,000 square-foot space in Hudson, New York.[61] She also founded a performance institute in San Francisco.[31] She is a patron of the London-based Live Art Development Agency.[62]

In June 2014 she presented a new piece at London's Serpentine Gallery called 512 Hours.[63] In the Sean Kelly Gallery-hosted "Generator," (December 6, 2014)[64] participants are blindfolded and wear sound-cancelling headphones in an exploration of nothingness.

In March 2015, Abramović presented her TED talk titled, "An art made of trust, vulnerability and connection."[65]

Marina Abramović is also a recurring character in the underground comic book "The Serbian Life".

Refused proposals

Abramović had proposed some solo performances during her career that never were performed. One proposal was titled "Come to Wash with Me." This performance would take place in a gallery space that was to be transformed into a laundry with sinks placed all around the walls of the gallery. The public would enter the space and be asked to take off all of their clothes and give them to Abramović. The individuals would then wait around as she would wash, dry and iron their clothes for them, and once she was done, she would give them back their clothing, and they could get dressed and then leave. She proposed this in 1969 for the Galerija Doma Omladine in Belgrade. The proposal was refused.
In 1970 she proposed a similar idea to the same gallery that was also refused. The piece was untitled. Abramović would stand in front of the public dressed in her regular clothing. Present on the side of the stage was a clothes rack adorned with clothing that her mother wanted her to wear. She would take the clothing one by one and change into them, then stand to face the public for a while. "From the right pocket of my skirt I take a gun. From the left pocket of my skirt I take a bullet. I put the bullet into the chamber and turn it. I place the gun to my temple. I pull the trigger." The performance had two possible outcomes.[66]
The list of Mother's clothes included:

1. Heavy brown pin for the hair.
2. White cotton blouse with red dots.
3. Light pink bra 2 sizes too big.
4. Heavy flannel slip. Dark pink. Three sizes too big.
5. Dark blue skirt. Mid-calf.
6. Heavy synthetic stockings. Skin colour.
7. Heavy orthopaedic shoes. With laces.

Collaborations

Abramović maintains a friendship with actor James Franco, who interviewed her for the Wall Street Journal in 2009.[67] Franco visited Abramović during The Artist Is Present in 2010.[68] The two also attended the 2012 Metropolitan Costume Institute Gala together.[69]

In July 2013, Abramović worked with pop singer Lady Gaga on the singer's third album Artpop. Gaga's work with Abramović, as well as artists Jeff Koons and Robert Wilson, was displayed at an event titled "ArtRave" on November 10.[70] Furthermore, both have collaborated on projects supporting the Marina Abramović Institute, including Gaga's participation in an 'Abramović Method' video and a non-stop reading of Stanisław Lem's sci-fi novel, Solaris.[71]

Also in July 2013, Jay-Z showcased an Abramović inspired piece at Pace Gallery in New York City. He performed his art inspired track "Picasso Baby" for six straight hours.[72] During the performance, Abramović and several figures in the art world were invited to dance with him standing face to face.[73] The footage was later turned into a music video. She allowed Jay-Z to adapt "The Artist Is Present" under the condition that he would donate to the Marina Abramović Institute. Abramović claimed that Jay-Z didn't live up to his end of the deal, describing the performance as a "one-way transaction."[74] However, two years later in 2015, Abramović publicly issued an apology stating she was never informed of Jay-Z's sizable donation.[75]

Controversy

Abramović sparked controversy in August 2016 when passages from an early draft of her memoir were released, in which—based on notes from her 1979 initial encounter with Australian Aborigines—she compared them to dinosaurs and observed that "they have big torsos (just one bad result of their encounter with Western civilisation is a high sugar diet that bloats their bodies) and sticklike legs." She responded to the controversy on Facebook, saying she had "the greatest respect for the Aborigine people, to whom [she] owed everything".[76]

Among a tranche of emails stolen from John Podesta and published by WikiLeaks in the run-up to the 2016 US presidential election was a message from Abramović to Podesta's brother discussing an invitation to a spirit cooking. This was interpreted by conspiracy theorist Alex Jones as an invitation to a satanic ritual, and presented by Jones and others as proof that Democratic candidate Hilary Clinton had links with the occult.[77]

Films

Abramović directed a segment Balkan Erotic Epic in Destricted, a compilation of erotic films made in 2006.[78] In 2008 she directed a segment Dangerous Games in another film compilation Stories on Human Rights.[79] She also acted in a five-minute short film Antony and the Johnsons: Cut the World.[80]



Awards

• Golden Lion, XLVII Venice Biennale, 1997[81]
• Niedersächsischer Kunstpreis, 2002[82]
• New York Dance and Performance Awards (The Bessies), 2002[82]
• International Association of Art Critics, Best Show in a Commercial Gallery Award, 2003
• Austrian Decoration for Science and Art (2008)[83]
• Honorary Doctorate of Arts, University of Plymouth UK, September 25, 2009[84]
• Cultural Leadership Award, American Federation of Arts, October 26, 2011[citation needed]
• Honorary Doctorate of Arts, Instituto Superior de Arte, Cuba, May 14, 2012[citation needed]
• 'July 13' Lifetime Achievement Awards, Podgorica, Montenegro, October 1, 2012[citation needed]
• Berliner Bear (2012; not to be confused with the Silver and Golden Bear at the Berlin Film Festival; a cultural award of the German tabloid BZ)
• Peabody Award, 2012

Bibliography

Books by Abramović and collaborators


• Cleaning the House, artist Abramović, author Abramović (Wiley, 1995) ISBN 978-1-85490-399-0
• Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, Jan Avgikos, Thomas Wulffen, Velimir Abramović; English ed. (Charta, 1998) ISBN 978-88-8158-175-7.
• The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-7.
• Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
• Public Body: Installations and Objects 1965–2001, artist Abramović, authors Celant, Germano, Abramović (Charta, 2001) ISBN 978-88-8158-295-2.
• Marina Abramović, fifteen artists, Fondazione Ratti; co-authors Abramović, Anna Daneri, Giacinto Di Pietrantonio, Lóránd Hegyi, Societas Raffaello Sanzio, Angela Vettese (Charta, 2002) ISBN 978-88-8158-365-2.
• Student Body, artist Abramović, vari; authors Abramović, Miguel Fernandez-Cid, students; (Charta, 2002) ISBN 978-88-8158-449-9.
• The House with the Ocean View, artist Abramović; authors Abramović, Sean Kelly, Thomas McEvilley, Cindy Carr, Chrissie Iles, RosaLee Goldberg, Peggy Phelan (Charta, 2004) ISBN 978-88-8158-436-9; the 2002 piece of the same name, in which Abramović lived on three open platforms in a gallery with only water for 12 days, was reenacted in Sex and the City in the HBO series' sixth season.[85]
• Marina Abramović: The Biography of Biographies, artist Abramović; co-authors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-6.
• Balkan Epic, (Skira, 2006).
• Seven Easy Pieces, artist, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.
• Marina Abramović, artist Abramović; authors Kristine Stiles, Klaus Biesenbach, Chrissie Iles, Abramović; (Phaidon, 2008). ISBN 978-0-7148-4802-0.
• When Marina Abramović Dies: A Biography. Author James Westcott. (MIT, 2010). ISBN 978-0-262-23262-3.
• Walk Through Walls: A Memoir, author Abramović (Crown Archetype, 2016). ISBN 978-1-101-90504-3.

Films by Abramović and collaborators

• Balkan Baroque, (Pierre Coulibeuf, 1999)
• Balkan Erotic Epic, as producer and director, Destricted (Offhollywood Digital, 2006)

Marina Abramović Institute

The Marina Abramović Institute (MAI) was a performance art organization with a focus on durational works and the use of the "Abramovic Method." It was a proposed multi-functional museum space in Hudson, New York.[86]

Abramović purchased the site for the institute in 2007.[87] Located in Hudson, New York, the building was built in 1933 and has been used as a theatre and community tennis center.[88] The building was to be renovated according to a design by Rem Koolhaas and Shohei Shigematsu of OMA.[89]

The early design phase of this project was funded by a Kickstarter campaign.[90] The campaign was funded by more than 4,000 contributors, including Lady Gaga and Jay-Z.[91][92][93][94]
The project was cancelled in October 2017 due to its high anticipated cost.[95]

Criticism

The Marina Abramović Institute was criticized for its use of unpaid "volunteers" for positions that require advanced skills, such as "proficiency in Microsoft Office, Adobe Creative Suite and basic HTML / CSS coding, familiarity with the non-profit administration."[96]

See also

• Luminosity, a 1997 work by Abramović at the Sean Kelly Gallery in New York
• Avant-garde
• Experimental theatre
• Fluxus
• Richard Foreman
• Happening
• Dick Higgins
• Intermedia
• Allan Kaprow
• Elizabeth LeCompte
• Ontological-Hysteric Theater
• Richard Schechner
• Speculations: An Essay on the Theater
• The Flea Theater
• The Wooster Group
• Mac Wellman

References

1. "РТС :: Марина Абрамовић: Ја сам номадска екс-Југословенка!" (in Serbian). Rts.rs. July 27, 2016. Retrieved 2017-03-10.
2. Christiane., Weidemann, (2008). 50 women artists you should know. Larass, Petra., Klier, Melanie, 1970-. Munich: Prestel. ISBN 9783791339566. OCLC 195744889.
3. Demaria, Cristina (August 2004). "The Performative Body of Marina Abramovic". European Journal of Women's Studies. 11 (3): 295.
4. O'Hagan, Sean (October 2, 2010). "Interview: Marina Abramović". The Guardian. ISSN 0261-3077. Retrieved 2016-04-19.
5. Judith Thurman, Profiles, "Walking Through Walls," The New Yorker, March 8, 2010, p. 24.
6. "Marina Abramović". Lacan.com. Archived from the original on September 17, 2013. Retrieved December 11,2013.
7. "Marina Abramović: The grandmother of performance art on her 'brand',". The Independent. Retrieved 2016-04-19.
8. "Biography of Marina Abramović – Moderna Museet i Stockholm". Moderna Museet i Stockholm. Retrieved 2018-05-02.
9. Quoted in Thomas McEvilley, "Stages of Energy: Performance Art Ground Zero?" in Abramović, Artist Body, [Charta, 1998].
10. Ouzounian, Richard (May 31, 2013). "Famous for The Artist Is Present, Abramovic will share The Life and Death of Marina Abramovic and more with Toronto June 14 to 23". The Toronto Star. ISSN 0319-0781. Retrieved 2016-04-19.
11. "Archived copy". Archived from the original on February 21, 2015. Retrieved 2015-02-06.
12. "Biografie von Marina Abramović – Marina Abramović auf artnet". http://www.artnet.de. Retrieved 2016-11-28.
13. "Marina Abramović CV | Artists | Lisson Gallery". http://www.lissongallery.com. Retrieved 2016-11-28.
14. "Sebastian Bieniek". http://www.bieniek.at. Retrieved 2016-11-28.
15. KG, ARNDT Contemporary Art GmbH & Co. Betriebs. "ARNDT - CHIHARU SHIOTA". http://www.arndtfineart.com. Retrieved 2016-11-28.
16. "Media Art Net - Abramovic, Marina: Rhythm 10".
17. Kaplan, 9
18. Daneri, 29
19. Dezeuze, Anna; Ward, Frazer (2012). "Marina Abramovic: Approaching zero". The "Do-It-Yourself" Artwork: Participation from Fluxus to New Media. Manchester: Manchester University Press. pp. 132–144. ISBN 978-0-7190-8747-9.
20. Pejic, Bojana; Abramovic, Marina; McEvilley, Thomas; Stoos, Toni (July 2, 1998). Marina Abramovic: Artist Body. Milano: Charta. ISBN 978-88-8158-175-7.
21. Danto, Arthur; Iles, Chrissie; Abramovic, Marina (April 30, 2010). Marina Abramovic: The Artist is Present. Klaus Biesenbach (ed.) (Second Printing ed.). New York: The Museum of Modern Art, New York. ISBN 978-0-87070-747-6.
22. "Rhythm Series – Marina Abramović". Blogs.uoregon.edu. February 10, 2015. Retrieved 2017-03-10.
23. Daneri, 29; and 30
24. Abramovic, M., & von Drathen, D. (2002). Marina Abramovic. Fondazione Antonio Ratti.
25. "Marina Abramović. Spirit Cooking. 1996". The Museum of Modern Art. Retrieved December 16, 2016.
26. Ohlheiser (November 4, 2016). "No, John Podesta didn't drink bodily fluids at a secret Satanist dinner". Washington Post. Retrieved December 16, 2016.
27. Sels, Nadia (2011). "From theatre to time capsule: art at Jan Fabre's Troubleyn/Laboratory" (PDF). ISEL Magazine. pp. 77–83.
28. Lacis, Indra K. (May 2014). "Fame, Celebrity and Performance: Marina Abramović—Contemporary Art Star". Case Western Reserve University. pp. 117–8. Retrieved December 16, 2016.
29. Gotthardt, Alexxa (December 22, 2016). "The Story behind the Marina Abramović Performance That Contributed to Pizzagate". Artsy. Retrieved December 23, 2016.
30. ^ Marina Abramovic’s Spirit Cooking -- by MIT Press
31. Stiles, Kristine (2012). Theories and Documents of Contemporary Art, 2nd ed. University of California Press. pp. 808–809.
32. Quoted in Green, 37
33. Green, 41
34. Kaplan, 14
35. "Ulay/Abramović – Marina Abramović". Blogs.uoregon.edu. February 12, 2015. Retrieved 2017-03-10.
36. "Documenting the performance art of Marina Abramović in pictures | Art | Agenda". Phaidon. Retrieved 2017-03-10.
37. "Lovers Abramović & Ulay Walk the Length of the Great Wall of China from opposite ends, Meet in the Middle and BreakUp - Kickass Trips". January 14, 2015. Retrieved 2016-09-29.
38. [1]
39. "Video of Marina Abramović and Ulay at MoMA retrospective". Youtube.com. December 15, 2012. Retrieved December 11, 2013.
40. Esther Addley and Noah Charney. "Marina Abramović sued by former lover and collaborator Ulay | Art and design". The Guardian. Retrieved 2017-03-10.
41. Noah Charney. "Ulay v Marina: how art's power couple went to war | Art and design". The Guardian. Retrieved 2017-03-10.
42. Noah Ben Quinn. "Marina Abramović ex-partner Ulay claims victory in case of joint work | Art and design". The Guardian. Retrieved 2017-03-29.
43. Marina Abramović, BLOUINARTINFO, November 9, 2005, retrieved April 23, 2008
44. Kino, Carol (March 10, 2010). "A Rebel Form Gains Favor. Fights Ensue.", The New York Times. Retrieved April 16, 2010.
45. Abramović, Marina (2016). Walk Through Walls. New York: Crown Archetype. p. 298. ISBN 978-1-101-90504-3.
46. Abramović, Marina (2016). Walk Through Walls. New York: Crown Archetype. pp. 298–299. ISBN 978-1-101-90504-3.
47. Arboleda, Yazmany (May 28, 2010). "Bringing Marina Flowers". The Huffington Post. Archived from the original on January 24, 2011. Retrieved June 16, 2010.
48. "Klaus Biesenbach on the AbramovicUlay Reunion". Blouinartinfo. Retrieved March 16, 2010.
49. Marcus, S. (2015). "Celebrity 2.0: The Case of Marina Abramovi". Public Culture. 27 (1 75): 21–52. doi:10.1215/08992363-2798331. ISSN 0899-2363.
50. Elmhurst, Sophie (July 16, 2014). "Marina Abramovic: The Power of One". Harpers Bazaar UK. Retrieved 2018-08-14.
51. "Marina Abramović Made Me Cry".
52. "Marina Abramović: The Artist Is Present—Portraits". Flickr.
53. "Marco Anelli: Portraits in the Presence of Marina Abramovic: Marina Abramovic, Klaus Biesenbach, Chrissie Iles, Marco Anelli: 9788862082495: Amazon.com: Books". Amazon.com. Retrieved 2017-03-10.
54. "Marco Anelli - Exhibitions". Danziger Gallery. October 27, 2012. Retrieved 2017-03-10.
55. "I've Always Been A Soldier", The Talks. Retrieved January 16, 2013.
56. Gray, Rosie (September 16, 2011). "Pippin Barr, Man Behind the Marina Abramovic Video Game, Weighs in on His Creation. Archived May 30, 2015, at the Wayback Machine.", The Village Voice'. Retrieved September 19, 2011.
57. Clemente, Chiara, and Dodie Kazanjian, Our City Dreams, Charta webpage. Retrieved April 26, 2011.
58. Marina Abramović to be the subject of a movie, "MARINA" the film, 2010, archived from the original on 2010-02-09
59. 72nd Annual Peabody Awards, May 2013.
60. "'The Life and Death of Marina Abramovic' Opera Arrives At Armory In December". Huffington Post. February 19, 2013. Retrieved December 11, 2013.
61. Lyall, Sarah (October 19, 2013). "For Her Next Piece, a Performance Artist Will Build an Institute". The New York Times.
62. [2] Archived October 3, 2011, at the Wayback Machine.
63. Mark Savage (June 11, 2014). "Marina Abramovic: Audience in tears at 'empty space' show". BBC News. Retrieved June 12, 2014.
64. "Generator Exhibition". Sean Kelly Gallery. Archived from the original on January 27, 2016.
65. "Marina Abramović: An art made of trust, vulnerability and connection | TED Talk". TED.com. Retrieved 2017-03-10.
66. Abramovic, Marina (1998). Marina Abramovic Artist Body. Milano: Charta. pp. 54–55. ISBN 8881581752.
67. "James Franco, Marina Abramović Talk Performance Art, Eating Gold, And Dessert". Huffington Post. May 11, 2010. Retrieved December 11, 2013.
68. "James Franco Meets Marina Abramović At MoMA". Huffington Post. May 10, 2010. Retrieved December 11, 2013.
69. Busacca, Larry (May 7, 2012). "The Met Costume Institute Gala 2012". Omg.yahoo.com. Retrieved December 11,2013.
70. "ARTPOP". Lady Gaga. Retrieved December 11, 2013.
71. "Lady Gaga Gets Completely Naked to Support the Marina Abramovic Institute". E! Online UK. August 7, 2013. Retrieved December 11, 2013.
72. Minsker, Evan. "Marina Abramovic Says "Cruel" Jay Z "Completely Used" Her for "Picasso Baby" Stunt | Pitchfork". pitchfork.com. Retrieved 2016-10-27.
73. Steinhauer, Jillian (July 10, 2013). "Jay-Z Raps at Marina Abramović, or the Day Performance Art Died". Hyperallergic. Retrieved 2016-10-27.
74. "Marina Abramovic says Jay Z "just completely used" her". FACT Magazine: Music News, New Music. Retrieved 2016-10-27.
75. Muller, Marissa. "Marina Abramović Has Issued An Apology To Jay Z". The FADER. Retrieved 2016-10-27.
76. Gabriella Paiella (August 15, 2016). "Marina Abramovic Made Some Pretty Racist Statements in Her Memoir". New York. Retrieved August 16, 2016.
77. Lee, Benjamin (2016-11-04). "Marina Abramović mention in Podesta emails sparks accusations of satanism". The Guardian. Retrieved 2018-08-19.
78. "Destricted". IMDB.
79. "Stories on Human Rights". IMDB.
80. "Antony and the Johnsons : Cut the World". IMDB.
81. "La Biennale di Venezia - Awards since 1986". http://www.labiennale.org. Retrieved 2016-03-05.
82. Phelan, Peggy. "Marina Abramovic: Witnessing Shadows". Theatre Journal. Vol. 56, Number 4. December 2004
83. "Reply to a parliamentary question" (PDF) (in German). p. 1879. Retrieved November 29, 2012.
84. "University of Plymouth unveils 2009 Honorary Degree Awards". My Science. September 8, 2009. Retrieved March 5, 2016.
85. "Gatecrasher" (staff writer), "Kim Cattrall and performance artist Marina Abramovic are unlikely 'Sex and the City' buddies", New York Daily News, April 18, 2011. Retrieved April 26, 2011.
86. Ryzik, Melena. "Special Chairs and Lots of Time: Marina Abramovic Plans Her New Center". The New York Times. Retrieved October 18, 2013.
87. "marina abramović launches kickstarter campaign for the marina abramović institute by OMA". designboom.
88. Genocchio, Benjamin (April 6, 2008). "Seeking to Create a Timeless Space". The New York Times. Retrieved August 15, 2014.
89. Ebony, David. "Marina Abramovic's New Hudson River School". Retrieved October 18, 2013.
90. Sulcas, Roslyn. "Marina Abramovic Kickstarter Campaign Passes Goal". Retrieved October 18, 2013.
91. Gibsone, Harriet. "Lady Gaga and Jay-Z help Marina Abramovic reach Kickstarter goal". The Guardian. Retrieved October 18, 2013.
92. Cutter, Kimberly. "Marina Abramović Saves The World". Harper's Bazaar. Retrieved October 18, 2013.
93. Farokhmanesh, Megan. "Digital Marina Abramovic Institute provides a virtual tour". Retrieved February 1, 2014.
94. Johnson, Jason. "Pippin Barr wants you to feel the pain for a longer Duration". Archived from the original on January 17, 2014. Retrieved February 1, 2014.
95. Rogers, Pat (October 8, 2017). "Marina Abramovic Cancels Plan for Hudson Performance Place". Hamptons Art Hub. Retrieved October 9, 2017.
96. Steinhauer, Jillian. "Marina Abramović Institute Seeks So Much Unpaid Work". Retrieved August 1, 2014.

External links

• Marina Abramović: The Artist Is Present at MoMA
• Marina Abramović: 512 Hours at the Serpentine Galleries
• Marina Abramović: Advice to Young Artists Video by Louisiana Channel
• Marina Abramović & Ulay: Living Doors of the Museum Video by Louisiana Channel
• The Story of Marina Abramović and Ulay Video by Louisiana Channel
• 47-minute in-depth interview – Marina Abramović: Electricity Passing Through Video by Louisiana Channel
• Abramovic SKNY Sean Kelly Gallery
• Marina Abramović at Art:21
https://news.artnet.com/art-world/marin ... on-1102277
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Re: A Pizza-Related Handkerchief

Postby admin » Wed Aug 29, 2018 4:21 am

Part 1 of 2

Destricted
written, directed and produced by Marina Abramovic
©  2005 Marina Abramovic



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Since ancient times, the male and female organs, like phalluses, vagina, breasts, have been used as tools against the sicknesses and evil forces of nature, etcetera, etcetera.

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If the horse or the bull could not pull the heavy weight, it was believed they would be cured completely from their weakness if the man opened his trousers and rubbed with his right hand his genitals, and then touch the horse or the bull.

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If the woman would like her lover or her husband to love her in Balkan, she will take a small fish and insert it into her vagina and leave it there over night. When the fish dies, in the morning, she will take the fish out, then she will make a powder out of it, and mix it with the coffee, and give to her husband or her lover in the morning. It was believed that if he drank this coffee, he will never leave her.

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In the Balkans, during a difficult child delivery, the husband will kneel next to his wife, and take his phallus out, and with him will make a cross between her breasts. It was believed that this will make it much more easy for her to have easy child delivery.

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The maiden was sitting by the cold grave stone,

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Mourning for her darling, crying, all alone.

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Then she heard his calling from the tomb's green grass,

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Who's there, crying, weeping, calling me?

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It is I, my darling, your wife to be,

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Here are my two pillows, take them, don't you see?

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On the pillows, flowers for you young I bring,

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Look, my dear, together we sowed them last spring.

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I can't take your pillows, I can't take them dear.

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My white arms are rotten, young I'm lying here.

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Go home, my dear maiden, put them on your bed,

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Kiss the cross and remember me

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To make the crops grow, the man will masturbate into the earth.

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To destroy the enemy on the battlefield during the battle, the Balkan woman will undress herself and start making obscene movements to destroy him.

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To save her child from the evil eye, the Balkan woman, before the child leaves the house, will lift her skirt, put her hand under the skirt, and massage her vagina, and then she will gently rub the face of the child and then let him go.

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In 19th Century Balkan, if a child was ill, it was believed he could be cured if the beekeeper would take him, and put his trousers down, and with his naked ass touch all the beehives.
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Re: A Pizza-Related Handkerchief

Postby admin » Wed Aug 29, 2018 4:32 am

Part 2 of 2

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For protection of the crop, especially the cabbage, the destruction of the larvae, the man will take one larvae very early in the morning before the sun rise, and tie it to the black strap around the phallus of the young child until the larvae dies. It is believed that that action will protect fields, and all the cabbage for the whole summer.

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On the wedding day, to protect himself from impotence, the groom will go to the bridge and make three holes. Then he will take his phallus out and penetrate this bridge in each hole while saying, "In the same way, I penetrate the holes of the bridge, the same way I will penetrate my wife. It was absolutely believed that this would save any man from impotence.

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O Lord, save Thy People
Blessed is Thy name
Forgive us, Lord, our sins
Committed on the earth
Look upon us suffering
in the world Slavic souls
Nobody understand us
Remember the times of glory
In Thy name to wars we went
The war is our eternal cross
Our life is of a true faith
Long live our Slavic faith
The war is our eternal cross

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Long live our true Slavic faith

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Written and directed by Marina Abramovic

Produced by Marina Abramovic Destricted

Co-produced by Bas Celik, Jelena Mitrovic, Igor Kecman

Director of Photography: Aleksandar Illic

Still Photography: Alessia Bulgari, Dakov Milan

Editor: Christopher Volk-Zimmerman

Animation: Joseph Mauriello, Christopher Volk-Zimmerman

Singers: Olivera Katarina, Svetlana Spajic

Cast: Ana Vukovic, Natasa Vukovic, Natasa Milenkovic, Igor Kamberovic, Aleksander Lazarevic, Bransilava Petrovic, Jovana Stokic, Jelena Obradovic, Vojkam Stankovic, Dino Dinoni, Aleksandra Rankovic, Danka Nikolic, Bosiljka Krkovic, Goce Galkovic, Fikrija Filipovic, Nenad Stevanovic, Tihomir Grbic, Jelena Novakovic, Bosiljka Gemajevic, Dragan Simeunovic, Ana Humiljan Colic, Electra Woodbridge, Aleksandar Gemaljevic, Goran Delic, Durica Stankov, Zivorad Dordevic, Zoran Brklja, Goran Brklja, Goran Miloevic, Milan Miloevic, Anjelka Vujinovic, Mima Dukanovic, Dusan Jeflovic

Unit Production Manager: Milan Stojanovic

Sound: Goran Stifanic

Props: Dejan Vidic

Costume: Olga Markovic

Makeup: Tamara Spasojevic, Mirjana Zaric

Special Effects: Ljubomir Simic

Translation of the Songs into English: Vasa D. Mihailovic, Professor of Slavic Languages, University of North Carolina, Chapel Hill (USA)

Color Correciton: HBO Studios

Very special thanks: Paolo Canevari, Richard Haber, Marija Dukic, Srdan Golubovic, Declan Rooney, Fredrik Carlstrom

Filmed on location in Belgrade Serbia and Montenegro 2005

Copyright 2005 Marina Abramovic
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