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duchamp

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This article, “Marcel Duchamp: the biggest fraud in the history of art” by Miles Mathis, argues that Marcel Duchamp was a manufactured “genius” of 20th-century art who, rather than creating genuine works, aimed to destroy the history of art and replace it. The author attributes Duchamp’s success to his privileged background as a rich Jewish family member who allegedly pretended to be Catholic and later changed sex, while secretly being a crypto-Jew with Phoenician ties. The article claims Duchamp was related to Queen of England through the Morse line, and that his family, including his mother Nicolle, had connections to Arthur Villeneuve Nicolle of Jersey and the Crichton-Stuart family. Duchamp’s wives, Sattler and Sarazin-Lavassor, are also presented as having Jewish noble lineage. The author links symbols on an artwork to the Phoenician goddess Tanit and the Hebrew letter Teth, interpreting this as further evidence of Duchamp’s Jewish and Phoenician connections, and his marriages as convenient for his supposed homosexuality.

The article further contends that Duchamp and his brothers were exempted from WWI due to a heart murmur, which the author dismisses as a lie given Duchamp’s later health. The author posits that Duchamp’s urinal being voted the most important artwork of the 20th century exemplifies how Modernism killed art, with art experts endorsing this “murder” because they, like Duchamp, lack talent and thrive in a decimated art field. This “invasion” of art, abetted by capitalists, aimed to destroy art’s spirit and replace it with a fabricated market driven by financiers.

The article refutes the idea that Modernism was a response to WWI, stating it was already in motion by 1910. Duchamp’s concept of “anti-art,” developed in 1913, is presented as a personal, childish reaction to his perceived lack of artistic talent. The author draws parallels between Duchamp and scientists like Bohr and Heisenberg, who allegedly destroyed fields they couldn’t master due to an inability to visualize. This destruction of “retinal” art and scientific diagramming, according to the author, happened because talented individuals lost protection from aristocracy in the 20th century, as art and science moved into the public sphere and were subjected to the demands of financiers and the public.

The article suggests that European nobles abandoned art and science for other pursuits, influenced by American billionaires who valued wealth over substance. This shift led to the decline of genuine artistic and scientific pursuit, replaced by superficial interests and a focus on monetary accumulation. The author also brings in Nietzsche’s ideas, suggesting his theories were misinterpretations of the era, particularly regarding the death of Christianity.

The core argument is that the decline of art and science, and the rise of Modernism, was not a natural societal decay but a planned event orchestrated by groups like the Fabians and those with roots in Communism from the 1820s and 30s. This plan, spanning over 200 years, aimed to destroy Christianity, science, art, the family, and traditional medicine to rebuild society on “inhuman” principles of absolute control. The author cites Tolkien as an example of someone who understood the darkness behind this plan. The article concludes by suggesting that this grand plan is now unraveling, particularly after 11, leading to a state of chaos that resembles a “Mordor plan.” The author believes the Phoenicians are trying to hide this collapse, but their power is gone, and everyone will eventually face the consequences.

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