Artists cash in on orchestrated climate 'crisis'

When bankers get together for dinner, they discuss Art. When artists get together for dinner, they discuss Money. – Oscar Wilde

Artists of all types competed for a chance to illustrate the 2015 United Nations Climate Change Conference (COP21) in venues across Paris and even as far away as Tokyo. It's the annual attempt to attain global governance via the Chicken Little approach because even the Pope claims, "The sky is falling!"

Actually the pontiff and U.N. head Ban Ki Moon were slightly less theatrical, although neither are even close to believable. Pope Francis called for a "bold cultural revolution" to save the elements, warning that humanity will otherwise spiral into self-destruction.

"Like he said"' Ban Ki Moon added – or was it the other way around? Actually Ban said something just as preposterous, insisting we are "the last generation that can fight climate change." Which may be true if employees of the U.N. and their wealthy supporters actually found something relevant to do.

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"Earth Crisis:" hanging from Eiffel Tower / Shepard Fairey

Artists made sculptures, films and installations to promote works of hysterical meteorological doom for the 21st year of these meetings. Some of them may even believe in the message. At any rate, they sounded so sincere in a letter signed by 337 members of various art communities and professions.

Published on Julie's Bicycle website, they pled with U.N. officials to quickly come to "an ambitious and inspiring international agreement." Mind you, the goal of these climate conventions have always been spectacularly ambitious but only inspire certain types of persons: The objective is to create a legally binding, universal and very restrictive agreement on climate, which includes every nation on earth. No one has been this ambitious since Napoleon, which may be part of the appeal in France.

Describing themselves as the "art community," they include representatives of "design, advertising, broadcasting, publishing, film, gaming, fashion, literature, music, the performing and visual arts, galleries and museums." Signatories pledged their solidarity and future efforts fighting whatever the U.N. designates as the enemy. The strident tone against a vague foe is militant and nauseating, with undertones of righteousness and implied humanity to make it more palatable.

A sample from the artists' letter of support for global climate frenzy: "In combining our collective strengths the creative community will amplify your [U.N.] commitments to positive change and strengthen the implementation of good policy decisions you make now." Signatories to this grave-sounding letter seem to be offering their souls and unlimited allegiance to the industrial-political complex kings of the world.

In a bid to be taken on as part of the permanent team, artists remind attendees of their common values, their ability to "generate wealth," and, most importantly, to move the masses. "We shape and express cultural values" by influencing emotions, and can "prompt, and reinforce, positive and sustainable change." This is a little creepy, considering that this entire effort is a huge global power-grab. First feed the lions, then the rest of the predators can fight over little scraps of carrion.

Visual artists from Europe or elsewhere are not highly represented in the document, for which I congratulate them. Instead it leans heavy in music, video production, administration, art-related business and fashion design for some reason. There are a few celebrities such as Bjork, Ian Anderson (Jethro Tull), Margaret Atwood, David Bowie, Emma Thompson, Yoko Ono and Colin Firth. The majority though, are not household names by any means.

Reality is, there is a lot of money to be made in the environmental racket, as their patron, Saint Carbon Gore, has so well proved. Money is still the big demand, as Hollande insists there must be at least $100 billion raked in now, to continue "helping developing states," etc. I should think they were more than "helped" by taking in so many terrorists and budding possibilities. Now European cities, art and churches are available to burn while the places they've left will remain in the pristine, depopulated, non-industrialized state in which they left them.

Physical art in loco for COP21 was sponsored by various institutions, galleries, the Republic of France and of course the U.N. itself. A few pieces are interesting for various reasons.

Shepard Fairey, chief propagandist for Obama's first term, was given the lower reaches of the Eiffel Tower to play with from November 20-26. Suspending a giant globe (8-meter diameter and 2.3 tons), the edifice is intended to stir reflection on "the future of our planet and the threats to its sustainability" Fairey claims. Covered with mandala-like ornamentation, they are environmentally themed messages when viewed closer.

"EXIT," a CO21 installation of data "maps."

Most ambitious of all art related projects is "EXIT," hosted by the Foundation Cartier and sponsored by innumerable corporations. Set to coincide with COP21 in venues around the world, it is admittedly an attempt to make data and political rhetoric more palatable and attractive. Or, better "than pie charts," as they put it.

"EXIT" is a series of animated video "maps" in a 360° projection originally created in 2008 by urbanist Paul Virilio. UNESCO is one of the official collaborators, as well as American artists/architects Diller Scofidio + Renfro. It uses data to show how droughts, wars and other issues drive people from their homes. At least they touch on war, which is really the only factor causing forced migration in the 21st century.

Olafur Eliasson is practically a U.N. employee by now, being paid to stage his "Ice Watch" with them in various places. This consists of dredging up 80 tons of ice from a Greenland fjord and setting them in a clock-like circle outdoors. This is to simulate melting icebergs in the poles and was done with the aid of geologist Minik Rosing. News of the world's demise through water may be premature though, as reliable science from 2010 measures the annual sea level creep as "the diameter of a human hair."

Laurent Fabius, French minister of foreign affairs and president of COP21, adds this brilliant commentary on Eliasson's installation. "From my visit to the Arctic last year, I have a very lively memory of the horrifying noise and sight of huge ice blocks cracking and breaking away from the pack." Raised in Iceland, Eliasson is probably not terrified by H₂O reaching a liquid state and most likely aware it happens every summer. Place du Panthéon is the place to be if you enjoy watching ice melt, from December 3 to 13.

Underwriters for "EXIT" and COP21 itself have deep pockets. Foundation Cartier, originally began by the luxury jewel company, runs a museum, art projects, charities and global unification efforts. It's the smaller French version of the Ford Foundation in the U.S. – funder of mass leftist projects.

"Ice Watch" (exactly as it sounds), by Olafur Eliasson

Following the money trail, GDF-SUEZ, the world's largest independent utility company, is a COP21 sponsor, as well as Google, airlines and pharmaceutical companies. Fully 20% of the meeting's costs are borne by mega-corporations such as BNP Paribas (ranked as the third-largest bank and 18th largest corporation in the world).

In fact, this could be a European banking move by itself. Marie-Anne Barbat-Layani, chief executive officer of the French Banking Federation, informs us that "French banks are fully engaged in the fight against global warming." What are the odds that the wealthiest corporations, banks and agencies on earth sponsored COP21 only to commit economic suicide by it?

In contrast, Andrew Jackson gave us the traditional American attitude about such a situation when he said "I have always been afraid of banks."

Climate change panic appears to be a rallying call to come and get your share of the world while the U.N. is carving it up. Thanks to the pope for the spiritual touch and rationale. Contributing artists know what side their truffle-sprinkled croissants are buttered on, as well.

Sycophancy of artists looking for connections to the multi-trillion dollar "climate change" industry contrasts poorly with Diego Rivera's open and honest admiration for industrialist Henry Ford in 1932. Rivera admitted in his autobiography that because Ford was a capitalist and "one of the richest men on earth," he couldn't openly praise him as a "true poet and artist, one of the greatest in the world." Such an admission before his Marxist friends would lead to "suspicion of sycophancy, of flattering the rich." Rivera followed through on his ideals at least. He rejected extravagant gifts from Ford, such as a new Lincoln car (complete with chauffeur).

Would this happen now? Sure, and all the environmentally-obsessed representatives and artists floated to Paris on rubber rafts and are living under trees in the Champs-Élysées.

Sources

• United Nations Conference on Climate Change
• Fortune Global 500 list
• Julie's Bicycle
• May 2010 Geophysical Research Letters Journal
• Blood And Gore: Making A Killing On Anti-Carbon Investment Hype
• My Art, My Life: An Autobiography. Diego Rivera. Courier Corporation, 1960