Superfluous Art-Bishop of Innsbruck

Art in Innsbruck Cathedral: The comparative form of "I" is "Me".

(Vienna) Innsbruck's Bishop Hermann Glettler is one of theChurch  representatives who obviously attaches great importance to making himself superfluous. He does not stand out as a "stumbling block" in the world, but through oddities and a kind of provocation, as they know the world. He seeks attention by leaving the sacred space to artists. The latest Glettler activities in Innsbruck.

An Austrian bishop who challenges the self-satisfaction and hopelessness of the world by seriously proclaiming the truths of faith? No. Shepherds who congratulate or offer themselves with ever new ideas of the world? Full program.

Currently, a carved body of Jesus Christ can be "admired" in the old hospital church of the Tyrolean capital, which is suspended by the feet, dangling from the organ loft. The installation is called the "Christ Clock." An upside down cross or corpus of the Crucified has always been understood as an antichristian symbol. What drives satanists and enemies of the Church, with Hermann Glettler, for the first time and publicly, drives a bishop. [Schönborn hosts similar displays.] Does this, in a world of decades of taboo breaking and crossing the border into tastelessness, insults and blasphemy, still cause surprise or indignation? The killing of the true, the good and the beautiful is well advanced. Bishop Glettler seems to be one of those who are convinced that they can not change the factual, because they themselves no longer believe in the changing power of the Gospel, which is why they subject themselves to fact by approximation.

Light-footed Bishop Hermann Glettler

In the Innsbruck Bishop's church, therefore, the increasing number of tourists and the diminishing number of believers can "enjoy" a neon installation that at best proves bad taste, at worst blasphemous.

To dispel any doubt of any kind of christological or theocentric interpretation of the "work of art", the same message is simply "me,” which in German is “mich”. The English variant of the German personal pronoun in the accusative should certainly have been used only because the pronunciation of the common Bavarian "mi" for corresponds to “mich.” Guaranteed! A rogue who wants to see in it a form of increase of the egoistical “I” of the human being.

A small, religious brushstroke then has to be, which is why the two installations are put on display specifically for Lent. Which should be clear that they should prepare for Easter. Look at one. As a viewer, you would never have thought of it. Honestly not.

Both artistic operas are by Manfred Erjautz. The order for the  was given by Bishop Glettler personally. However, he does not bear the costs. Erjautz and Glettler have been working together for at least 15 years. The "plastic chasuble" is part of this obviously "fruitful" cooperation. The artist


brings money, the bishop opportunities for self-expression. Broader circles were reminded of the PVC chasuble (Priest in Bat Look) in 2018 because it portrayed the Admont Benedictine monastery as a dubious advertising medium for its exhibitions and museums.

"The installations of contemporary art in sacred spaces promoted by the Bishop of Innsbruck are part of a precise strategy that one sees in art, even the blasphemous, that does not matter, a modern instrument of evangelization," said Lupo Gori.

In mid-March Glettler was invited to the Catholic Private University of Linz, one of the most superfluous ecclesiastical institutions in Austria, to give a lecture on the relationship between culture and the Church, where he affirmed his "strategy.” The host of the private university is Bishop Manfred Scheuer of Linz, who was Glettler's predecessor as Bishop of Innsbruck. They know each other. And they support each other. There is no lack of similarities. Both are first-rate miscreants that bring their dioceses losing years in the best of all cases. Both are eagerly awaiting the removal of priestly celibacy in order to conceal with married priests the shortcomings of their co-perpetrated decline - at least temporarily.

Body of the Crucified, suspended upside down

According to Glettler, the Church must adopt the "spirit" of the Second Vatican Council. I am aware of the spirit of the Council that its rotten fruits are visible to everyone. What I still do not realize is the Council's alleged "blessings", which are constantly invoked as if the recognition of a superfluous council were the conditio sine qua non, not the truth of faith. No, it can easily be doubted, thinned, distorted and denied, but the Council is not. No, the council is not. Anyone who casts doubt on the Council seems to be threatened with immediate legal execution - one might say so. A strange paradox.

Plastic Chasuble - Art Bishop - Art Bishop - Plastic Bishop? (1)

According to Glettler, the "spirit" of the Council is a paradigm shift that transforms the Church from a rigid place of preservation to an open, flowing place of innovation, open to the other and the different.

The blasphemous installation of Christ in the old hospital church is ambiguously called: "My own personal Jesus". Everyone can worry about the connection between Jesus Christ's perversion and this title. The artist and bishop will vigorously contradict one another, as was the case with the blasphemous work of art. The body and a severed arm serve as pointers to indicate the time of day.

Where dubious trivialities take center stage, there must be a lack of substance.

Lupo Gori's summary of the new Glettler activities:

"In this sense, in the Jacob's Cathedral, the bishop's church of the land, with the head hanging down," Christ Clock "indicates the dramatic hour that has struck in the Catholic Church and for the Catholic Church, for a Church that is daily insulted and turned upside down by their own shepherds. "

Through shepherds who make themselves superfluous and poison the salt of the earth.

Text: Martha Burger

Image: Youtube / CR / dibk.at (Screenshots)

Trans: Tancred vekron99@hotmail.com

AMDG

________________________________________

(1) When the picture of Erjautz-Glettler-Art was made, Msgr. Glettler was not yet a bishop.

Homo-Provocation Before the Altars of Ancient Roman Churches --- Arrogance of the Church's Enemies

(Rome) Peddlers of homosexuality and women in gowns  plop  in front of the most beautiful and oldest Roman altars. This is not a tasteless joke, but the latest provocative and heretical work of "artists" Gonzalo Orquin and Mauro Maugliani.Together with Luis Serrano they are showing from the 25th September, the exhibition Trialogo in the Galleria l'Opera in Rome.

With the issuance of a new exhibition  by the gallery of contemporary art the space is opened by Andrea Iezzi . He is supposed to provide space "unconditionally for all the new trends in contemporary art". As is apparent from the invitations to the exhibition opening, "the three artists were invited by journalist and art critic Edoardo Sassi,  to present faithful works to design non-conventional issues to non-conventional types: religious women, weddings, interiors are the accents of the strange community exhibition. The "creative" artists responded to the invitation with "paintings, sculptures, places, videos (cemeteries, sung rosaries), speaking sofas, kissing  with the reek of heresy, at the foot of the altars of some of the most important and ancient basilicas of Rome."

The 32 year old Spanish photographer Orquin from Seville addressed the issue of "marriage" and "marriage" from a "double perspective", as stated in the invitation. On the one hand by showing a young "bourgeois"  couple. And another that is supposed to be from "utopian" perspective, a "universal message of love, through the collective action against the backdrop of historic churches in Rome." The people in the pictures are friends of the Spanish photographer who arrived there in the early morning hours, just after opening the churches for their strange "project".

The painter Mauro Maugliani shows in the exhibition, however, his "personal journey through the world of nuns." The result was a "large portrait, which plays with the ambiguity of gender and identity." So he shows "a young religious woman wearing a priest robe." A sculpture made of sugar reminds the world of its saints and relics. Another installation shows a video of an old knee stool, but this is in a pop setting.

The exhibition of Trialogo  is a striking example of the fact that a certain part of contemporary art can think of nothing better than to offend the sensibilities of the faithful. Art is confused with mockery and desecration and profanation of the sacred space by obscene acts which are expressly condemned by the Catholic doctrine, a show of arrogance and contempt for the opinions and feelings of others, which is frightening. There is complete silence about the insult and disrespect to God. The exhibition in Rome represents another unacceptable provocation by the enemies of the Church. It is hoped that a voice rises sharply from the Church hierarchy in defense of the sacred and lodges a protest.

Text: CR / Giuseppe Nardi 
Image: Corrispondenza Romana

The Former Cathedral of Wurzburg is Now a Provincial Art Gallery!

Left: Picture of what was onceWurzburg Cathedral
Rechts: Der verwüstete Dom.
© POW, Pressebilder Bistum Würzburg

The Abomination of Desolation

Satan reigns:  The Wurzburg Cathedral has become refashioned as a horrifying tomb of the Catholic Faith.

(kreuz.net, Würzburg)  On the first Advent Sunday a Wurzburg Cathedral made desolate by 3.1 million Euro will be reopened.

This was reported by the Diocese of Wurzburg in a press release.  The destructive work on the Cathedral lasted sixteen months.

12,000 Cubic Meters of Dead White

The colorful decoration on 12,000 cubic meters of wall and ceiling have been erased.

How much??

Fifteen painters painted the interior space bare white.

A Cathedral as a Galerie for Pseudo-Art

The place on the former high alter -- where once the tabernacle stood -- was ripped out by the Bishop to nail in his throne.

The brushed white Cathedral is now arranged like a provincial museum.  There have been 26 so-called art works displayed.

Some of the installations are made of smeared colors or from unrecognizable portrayals of Christ.



Old Figures Artistically Butchered

So Ecumaniacal!

In the Cathedral some of the neighboring rooms were made, which have been designated as "chapels".

In the new crypt there stands -- like an exhibit piece - a beautiful Marian figure from the 16th century is on a metal rod.

Otherwise there is a Pieta- representation inviting to prayer.  Unfortunately it will be slapped against a giant gold wall in the back ground.

One of the 26 figures removed

A sculpture -- which bears the title "The Victim" -- is going to be missing as it makes the rounds for journalists on the 13th November.

The figure shows an oppressed naked torso -- which clearly doesn't represent Christ.

It doesn't have any authorization from the Cathedral Chapter -- explains the Diocesan speaker its absence.

The prepared niche is still empty.  The Diocese is now seeking a suitable place for the naked figure.

Link to kreuz.net...for more "art" photos...

Blair Witch Monastery in Collegeville

“We sit by and watch the Barbarian, we tolerate him; in the long stretches of peace we are not afraid. We are tickled by his irreverence, his comic inversion of our old certitudes and our fixed creeds refreshes us; we laugh. But as we laugh we are watched by large and awful faces from beyond: and on these faces there is no smile.” — Hilaire Belloc, This That and the Other (1912)

Edit:  The whole thing has an air of the Gnostic, legends of porcine craftsmen constructing dwellings, and of the lairs of fallen men who serve ancient and malevolent powers they fear but don't understand.  It's a tendency in public art to avoid representing anything, no battle, no spiritual triumph or even a mere scientific one, just a couple of disconnected inanimate objects whose purpose is to confuse you at best, at worst, lower your spiritual aspirations down to a purely material plane.

What do these rather amorphous and primitive structures have to do with Benedictine worship?   Perhaps a word from Catholic World Report's John Buescher can throw some light on these bizarre constructions, which reveal to our mind the gnostic associations of puritanism:

Nevertheless, there is a harder-edged answer to the question of the puppets’ purpose: If it is “Puritan,” why this explosion of celebratory paraphernalia in the puppets and costumes? It derives from the “apophatic” meaning of the puppets: as instruments in deconstructing traditional forms that stand between the individual and God. “Forms,” like “dogmas,” are, to the modern mind, idols, and must be taken down. The traditional form of the liturgy, thus, is the enemy of faith, and the puppets invade its sanctum, as agents of iconoclasm. In short, the puppets are intended as mockeries, speaking (mutely) truth to power (Silence = Death!), meant to pull down the temple in the name of the people, acting in the liberty of the free spirit. They are meant to unmask hypocrisy—regarded as the ancient tradition in its entirety.

Here's the article where it appeared from the above photo at 1240AM Radio:

COLLEGEVILLE – An unusual structure is going up this week at the entrance to St. John’s University.  Artist Patrick Dougherty is leading a project to build a series of five chapels made out of sticks, inspired by the campus.

He says he wants his artwork to be accessible to everyone.

Dougherty is spending a three week residency at the St. John’s Arboretum.  He says there are 10-15 people working on the sculpture each day.

Once it’s done, it will stand for about two years.

Dougherty works on about 10 of these types of projects each year all around the world

Surely, they're nuts at AM1240...

Seattle's Jesuit Perversity Chapel

Edit: we cited an abstract creche earlier, which was on "display" in Los Angeles recently thanks to the Archdiocese there. [Reported on AQ as ‘Haute Sphere’ Nativity artwork debuts at Cathedral ] Although we got a new ordinary, it seems as though Cardinal Mahony never left.

Deacon Candy says it looks like a family portrait of the Jettsons. Well, it can be anything you want, and that's the principle of abstract art. It's a solvent to true culture, to family and religion. It actually makes a mockery of the real spiritual aspirations which possess true artists to design beautiful things. Here's another thing. It's a perversity chapel.

It's been built by one of the most evil and corrupt Jesuit Provinces in the Western World, and that's saying something.

The definition of perverse from Merriam Webster: obstinate in opposing what is right, reasonable, or accepted : wrongheaded.

Despite the fact that non-Catholics were more inspired by Catholic art and literature before church officials attempted to undermine Catholicism, this architect is being paid good money to basically put his own personal agnosticism into stone as an official representation of Catholic art with the blessing of a supposedly Catholic organization.

Father Cobb: Non-Catholics might be consoled to know that in 1995 we asked Steven Holl to design a chapel that would be “engaging for people of all faiths or no faith or faith-under-crisis.” The poet Rilke once advised that when people disappoint you, you should turn to nature because nature will not disappoint you, and I feel something similar about the Catholic Church. When it disappoints you, which is likely to be every day, you can turn to places such as the chapel where God’s saving presence seems tangible and life-giving.

Link to Seattle's new "Catholic" Diversity Chapel.... It's so bad that even Mark Shea gets it.