When Trump comes to Australia, let’s hope protesters get more creative than the baby blimp



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Trump Baby flies over Parliament Square in July during President Trump’s visit to the UK.
Andy Rain/EPA

Felicity Fenner, UNSW

Trump Baby is President Donald Trump’s highest-profile troll. During his recent UK visit, the airborne infant protested alongside tens of thousands of marchers against current US policies. While Trump’s itinerary was carefully choreographed to avoid protesters, his nappy-clad inflatable caricature was embraced by crowds on the streets and watching from afar. Now there is speculation that the baby blimp will come to Australia for Trump’s expected visit here later this year.

Trump Baby critiques the president not from a political or moral standpoint, but at the level of ego. It is designed to embarrass and humiliate him. Baby’s makers believe such an insult has a better chance of hitting its target than political arguments, which Trump is seemingly impervious to. Indeed Trump complained that the balloon made him feel “unwelcome”. Bullseye!

Trump Baby quickly went viral, demonstrating that while art cannot necessarily change the world, it can harness to great effect the zeitgeist of cultural sentiment. Yet in these times of political uncertainty, creative people need to step up to the challenge of not simply mirroring the issues and concerns of the day, but of providing new ways of thinking about the world and its problems. This opportunity was largely missed with the Trump blimp.

While grotesque, giant inflatables have a place in social protest – the trade union movement has deployed them to great effect – there is an opportunity here to elevate creative responses beyond the well-trodden path of cheap shot street theatre.

The long history of visual protest

Picasso’s Guernica protested the violence arising from the Spanish civil war.
Artribune/Wikimedia Commons, CC BY-SA

Social change and uprisings have been marked by image-led protests throughout history. Picasso’s Guernica (1937) was made in response to the suffering and violence inflicted by the Spanish civil war, and 80 years later remains a universal symbol of anti-war protest.

Artists responded with murals and multiple-edition prints to the 1968 uprisings in Europe, the beginning of the end of the Soviet empire in 1989, and as part of the global Occupy movement from 2011 onward. In the last two years, the preponderance of Trump protest art has almost become a genre of its own.




Read more:
May 1968: the posters that inspired a movement


Trump Baby was welcomed by London Mayor Sadiq Khan.
CrowdSpark

The process of staging any interventionist art project is fraught with obstacles. These range from prohibitive public safety regulations and sceptical bureaucrats to cost blowouts and unpredictable weather. Yet in Britain last month the protest gods (and indeed, Mayor Sadiq Khan) were on the side of Trump Baby, eagerly rolling out the red carpet in a spirit of geniality that was not extended by the public to Trump the man.

In the Don’s home country, the state has assumed a more cautious, sometimes censorial approach. Last year, a proposal for another balloon artwork opposing Trump was scuttled by Chicago authorities. The plan was to fly four, nine-metre wide, pig-shaped helium balloons from a section of the Chicago River that fronts Trump Tower. The bloated, golden swine would obscure the giant letters that spell out the proprietor’s name.

Designed to protest falsehoods in the current political environment, the project invoked a range of cultural references. The pigs referred variously to the four central pig characters of George Orwell’s Animal Farm, Trump’s controversial “Miss Piggy” comments about a former Miss Universe, and the garish gold interiors of the Trump penthouse. In a blow to the creators, Chicago authorities blamed the potential for river traffic congestion in ruling that, for now, the pigs can’t fly.




Read more:
Going for gold: Trump, Louis XIV and interior design


Don the Chicken makes an appearance at the Tax March in San Francisco in 2017.
Pax Ahimsa Gethen/Wikimedia Commons, CC BY-SA

Trump Baby, like much Trump protest art, provides some much needed levity in the depressing news cycle of world politics. It was preceded in 2017 by Don the Chicken, an inflatable fowl that temporarily landed on the lawn behind the White House. Don’s grotesque features also mocked Trump’s inflated ego and narcissistic preoccupation with appearance.

The motivation behind these inflatables and other Trump protest art is mostly uniform and blatantly obvious. The UK designers of Baby Trump have stated on numerous occasions that the current US administration is not representative of the kind of politics that people in the UK believe in. The creators behind the Chicago proposal have similarly explained that they are not activists. Instead they are proud Americans creating visual commentary on the current political environment.

Speaking to the converted

The visual aspect of the commentary is key to the concept of Trump Baby, Don the Chicken and the (currently grounded) flying pigs. Historically, visual imagery in the public sphere was mainly found in places of worship. Renaissance scholar Leon Battista Alberti wrote in the 15th century that images were essential to help people understand the message being conveyed.

Inside the churches and cathedrals of Europe, artists’ murals, paintings and sculptures reinforced the word spoken from the pulpit. Like Baby Trump, in its day religious imagery was speaking to the converted. However unlike art of the Renaissance, the baby blimp eschews the possibility of subtle inference and nuanced interpretation in favour of delivering a bland message designed for mass appeal.

This is the crucial difference between art and caricature: Baby Trump is a towering gasbag that sucks up all the intellectual oxygen in the room.

A Michelin Man poster from 1898.
Wikimedia Commons

Religious art of the Renaissance was also commissioned as eye candy with an essentially didactic purpose. However, that imagery is imbued with a narrative-based layering that continues to command interest and acclaim from historians and tourists of all faiths 500 years later. The baby blimp, in contrast, is the brainchild of graphic designers who excel in creating witty one-liners.

This is not to say that serious art cannot play a role in protest movements. However, because inflatables have been commandeered by advertising since the 19th century birth of the Michelin Man, artist-led balloon projects need to disassociate themselves from the visual vocabulary of the marketing industry.

Australian artists have proven this is possible: in Brook Andrew’s Jumping Castle War Memorial created for the 2010 Biennale of Sydney and Patricia Piccinini’s Skywhale commissioned for the 2013 centenary of Canberra, each artist drew on their own unique repositories of image and form to present unexpected and engagingly complex juxtapositions of politics, history and fun.

Brook Andrew discusses his Jumping Castle War Memorial, displayed on the forecourt on Cockatoo Island during the 17th Biennale of Sydney. The Castle acted as a memorial for forgotten peoples who have been the victims of genocide internationally.

The crude rendering of Trump Baby, in contrast, reflects its simplistic concept: Trump is like a baby – immature, noisy and self-centred. In an image-driven 21st century threatened by divisive politics, this blimp exemplifies the brash and infantile folly that it purports to critique.

The ConversationIf Trump’s troll travels here later this year, it throws open a challenge for Australian artists to greet the man and his Baby with thoughtful, artistically sophisticated responses that provoke considered debate rather than superficially regurgitating popular opinion.

Felicity Fenner, Associate Professor at UNSW Art & Design, UNSW

This article was originally published on The Conversation. Read the original article.

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Egyptian army accused of pushing country toward civil war after ‘massacre’ of protesters


Islamic Mob Burns Down Church in Egypt


‘Kill all the Christians,’ local imam tells villagers.

CAIRO, March 8 (CDN) — A Muslim mob in a village south of Cairo last weekend attacked a church building and burned it down, almost killing the parish priest after an imam issued a call to “Kill all the Christians,”  according to local sources.

The attack started on Friday evening (March 4) in the village of Sool, located in the city of Helwan 35 kilometers (22 miles) from Cairo, and lasted through most of Saturday. A local imam, Sheik Ahmed Abu Al-Dahab, issued the call during Friday afternoon prayers, telling area Muslims to kill the Christians because they had “no right” to live in the village. The attack started several hours later.

The Rev. Hoshea Abd Al-Missieh, a parish priest who narrowly escaped death in the fire, said the clamor of the church being torn apart sounded like “hatred.”

“I was in the attack, but I can’t describe it,” he said. “The sound of the church being destroyed that I heard – I can’t describe it, how horrible it was.”

According to villagers, the mob broke into the Church of the Two Martyrs St. George and St. Mina, and as they chanted “Allahu Akbar [God is greater],” looted it, demolished the walls with sledgehammers and set a fire that burned itself out the next morning. Looters removed anything valuable, including several containers holding the remains of venerated Copts – most of whom were killed in other waves of persecution – then stomped and kicked the containers like soccer balls, witnesses said.

After the fire went out, the mob tore down what little remained of the church structure. The group of Muslims then held prayers at the site and began collecting money to build a mosque where the church building once stood, said the assistant bishop of Giza the Rev. Balamoun Youaqeem.

“They destroyed the church completely,” he said. “All that was left is a few columns and things like that. As a building, it’s all gone.”

During the fire, Al-Missieh was trapped in a house near the church building that was filling up with smoke. He faced a difficult dilemma – choke or burn to death in the house, or face an angry mob of thousands screaming for blood.

“When the smoke was too much, I told myself, ‘I am dying anyway,’ so I decided I would go out and whatever happened, happened,” Al-Missieh said.

When he went outside, a man with a rifle told the priest to follow him. At first Al-Missieh was reluctant, he said, but the man fired off two rounds from the rifle and told the crowd to step away.

“No one will touch this man, he is with me,” the priest remembered the man yelling at the mob. Al-Missieh was taken to a house where he met three other workers who were at the church when it was attacked. The men all relayed stories similar to the priest’s.

Friday’s attack was another in a long list of disproportionate responses in Egypt to a rumor of an affair between a Muslim and a Copt. Earlier this month, Sool villagers accused a Muslim woman in her 30s and a Coptic man in his 40s, both of them married, of being involved with each other. On Wednesday (March 2) a village council of Coptic and Muslim leaders convened and agreed that the man should leave the village in order to avoid sectarian violence.

The next day, the woman’s cousin killed the woman’s father in a fight about the honor of the family. The same day, the cousin died of wounds he sustained in the fight. By Friday, Al-Dahab, the local imam, had blamed the entire incident on Christians in the village and called on all Muslims in Sool to kill them.

Because of the attack, Copts in Sool fled to adjacent villages. The women who remained in the village are now being sexually assaulted, according to Youaqeem, who added that he is receiving phone calls from women in the village begging for help. Those reports have not yet been independently confirmed.

“Everybody tried to find a way to get out,” Youaqeem said.

Groups of Muslims have set up blockades around Sool, declaring they intend to turn it into an “Islamic village,” Youaqeem said.

On Sunday (March 6), roughly 2,000 people gathered outside the Radio and Television Building in Cairo to protest the attack and what Copts see as a long-standing government refusal to address or even acknowledge the persecution of Christians in Egypt. Protestors also accused the government of not sending enough troops to the village to control the situation. Holding up crosses and signs, the protestors shouted the name of Jesus and chanted, “We need our church.”

Soldiers armed with AK-47s with fixed-sheathed bayonets held the crowd back from the building as several priests took turns addressing the crowd. When the Giza parish priest, Bishop Anba Theodosius, said the army had pledged to rebuild the church but would not give a written guarantee of the promise, the crowd became enraged and pushed through the line of soldiers.

No one was injured in the push. More protests about the attack continued Tuesday in Cairo.

Youaqeem said the attack has devastated and enraged the Coptic community, but he sees hope.

“As they say – ‘All things work to the good of those who love the Lord,’” he said.

Report from Compass Direct News

RISING TIDE PROTEST IN NEWCASTLE: COAL INDUSTRY THE TARGET


Climate change activists under the ‘Rising Tide’ banner conducted what was called on the day the ‘People’s Protest’ in Newcastle yesterday. The protest was an attempt to shut down the Port of Newcastle in Australia, which is the largest exporter of coal in the world.

Despite the protesters claim that they had successfully blockaded the harbour, the authorities had previously arranged for there to be no shipping movements on the day in the interests of safety. The protesters used kayaks and various home-made ‘boats’ to form the blockade near Horseshoe Beach. About 500 people took part in the protest.

A police presence was very active during the protest to ensure safety and to prevent any form of crime.

Rising Tide is preaching a message of anti-coal and pro-renewable energy for our future.

NSW Greens MP Lee Rhiannon took part in the protest.

The protesters block the harbour entrance

The protesters block the harbour entrance

 

The police maintained an active presence

The police maintained an active presence

The police maintained an active presence

The police maintained an active presence