They did this to a Piccaso in Melbourne, less than a week ago. Thank fuck the thing is "protected" (inadequately, admittedly) by perspex...
They won't be charged with anything. But it's not a cult. Oh no, it couldn't possibly be a cult. And the "powers that be" couldn't possibly be the ones backing these freaks. Nah, of course not. Who would believe that?! A conspiracy theorist??! /s
I suppose, however, that one "net positive" from all this shit is that it pisses "sophisticated" urbanites off, and turns them off/against the group...
It's easy for those people to feel smug and superior when these idiots are just out blocking rural coal trains and ports (or even "better" - climbing and defacing old, defunct coal power station cooling towers), or stopping log trucks - much "harder" to get sympathy, when they are fucking with "shared cultural heritage" like this, right in the heart of the elite city (see also: 20 years ago, when they graffitied the fucking Opera House sails)...
I've seen that painting (when it was in Basel, and then in Paris, no less). This is, in effect, an attack on all famous European art.
Ironically, when it was in Basel, I was told off by the security guard for getting "too close", in order to read the small writing on the tag thing (you know, whatever the "description" they put up next to an artwork is called, technically) - which frankly just proves that it's one rule for us lot, and another, entirely, for freaks like this...
At least in leftist cities, anyway. Basel is definitely one of those. As is (largely) London, where this is, as is Paris, as is Melbourne...
I know heaps of these people. They massively congregate to cities like this (and capitals, naturally), and constantly do nefarious, disruptive, but also entirely ineffective for their cause shit like this.
I know heaps of these people. They massively congregate to cities like this (and capitals, naturally), and constantly do nefarious, disruptive, but also entirely ineffective for their cause shit like this.
Sensing a pattern, yet? Lol...
Pattern, no. But I'm starting to wonder if maybe we have made inadequate use of Oppenheimer and Teller's greatest works.
This is the second time in a week...
They did this to a Piccaso in Melbourne, less than a week ago. Thank fuck the thing is "protected" (inadequately, admittedly) by perspex...
They won't be charged with anything. But it's not a cult. Oh no, it couldn't possibly be a cult. And the "powers that be" couldn't possibly be the ones backing these freaks. Nah, of course not. Who would believe that?! A conspiracy theorist??! /s
I suppose, however, that one "net positive" from all this shit is that it pisses "sophisticated" urbanites off, and turns them off/against the group...
It's easy for those people to feel smug and superior when these idiots are just out blocking rural coal trains and ports (or even "better" - climbing and defacing old, defunct coal power station cooling towers), or stopping log trucks - much "harder" to get sympathy, when they are fucking with "shared cultural heritage" like this, right in the heart of the elite city (see also: 20 years ago, when they graffitied the fucking Opera House sails)...
I've seen that painting (when it was in Basel, and then in Paris, no less). This is, in effect, an attack on all famous European art.
Ironically, when it was in Basel, I was told off by the security guard for getting "too close", in order to read the small writing on the tag thing (you know, whatever the "description" they put up next to an artwork is called, technically) - which frankly just proves that it's one rule for us lot, and another, entirely, for freaks like this...
At least in leftist cities, anyway. Basel is definitely one of those. As is (largely) London, where this is, as is Paris, as is Melbourne...
I know heaps of these people. They massively congregate to cities like this (and capitals, naturally), and constantly do nefarious, disruptive, but also entirely ineffective for their cause shit like this.
Sensing a pattern, yet? Lol...
Pattern, no. But I'm starting to wonder if maybe we have made inadequate use of Oppenheimer and Teller's greatest works.