Bezalel, Fake Art and Israeli Art Students
When art supports state crimes...
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I have commented extensively on Arik, an Israeli art student. The son of the Hebrew terrorist who blew up Jerusalem’s King David Hotel in 1946 became a king of the Israeli security services. Protected and pampered by them, he got scholarships to study arts in Milan and the Bezalel Academy of Arts and Design in Jerusalem. Milan hosts one of the biggest Mossad stations in Europe due to its being on a major crossroads in Europe and near a major industrial center. Bezalel is the major art academy in Israel. After he graduated both, he began teaching at Bezalel and at the Green Village. In the last institution I was teaching multimedia and computing during my graduated studies at the Weizmann Institute of Science. He befriended me and I made the error of mentioning The Cross of Bethlehem (back then just an idea) to him. He mentioned the book to his masters, and a note was entered in my file. Later, the authorities learned about my then underground Christianity, and the two items combined into an unpleasant reality for the security services, mainly due to my access to highly classified information in the army and elsewhere. Years later, already recognized as a refugee, I published the book in a Print on Demand program of Amazon. I chose a chapter called “Arik” for promoting the book. “Arik is furious,” I learned through Skype.
This article is not about this heavyset man, but about his mules, those animals carrying him along the years along the easy path people belonging to the Warring Family deserve, and their methods. Israeli art students became famous after the 9/11 event and not due to their prodigious art. Simply, many of them double as state agents. Since Israel was defined as a terrorist organization by the United Nations Human Rights Commission, it can be claimed they are terrorists. Many of them do graduate Bezalel.
What is Bezalel? Over the years, I heard a lot of stories about the establishment by Arik himself; back then he was one of the teachers there. Everything could be summarized in one word: “artifact.” Even those who didn’t enjoy such a detailed introduction would find the institution logo strange. Not because of the old-styled fonts used, but because of the fact the Hebrew spelling of “Jerusalem” reads “Yerushalem” and not “Yersushalaym.” This is a transparent effort to give a false sense of antiquity; the establishment first foundation was as recent as 1906 and as a result of a direct decision of the 1905 Zionist Congress. As with the case of the Weizmann Institute, this was a sign the establishment would have a special status. In 1929 the original Bezalel was closed. In 1935 it was reopened by a group of artists who fled Germany.
Professor Arnon Zuckerman – the academy’s actual president – claims that “… have placed Bezalel at the epicenter of Israel’s cultural discourse and artistic scene, making it instrumental in shaping and enriching the country’s cultural identity.” This is an interesting statement. The German artists who founded the actual academy had no art to base upon, thus they created a blend of Biblical and Zionist subjects in a style influenced by art nouveau, Persian and Syrian styles; this is nowadays usually known as Bezalel School. Thus, we are talking about an artifact. Paraphrasing Zuckerman let me re-state the last words to “an instrumental artifact.”
The State of Israel needs agents capable of moving in various environments wit ease and unsuspected. Art students are instrumentals because nobody would suspect a foolish student fastidiously drawing in a large notepad his girlfriend, who happens to be modeling at the entrance of the nearest missiles’ base… well, this is a bit of an exaggeration to make the idea clear.
However, there are so many publications about the issue, that the main point may be missed. We are not talking here just about art students. In The Cross of Bethlehem I do describe a wide range of Israeli agents who approached me along the years. Several of them were disguised as Israeli tourists seeking for information about a destination. Others were mercenary agents from other countries or international businessman. There were seducing agents (two of them broke up and told me about their true occupation, one of them to the extent of showing me the listening equipment she carried – see The Cross of Bethlehem for more details). I knew many students at the Weizmann Institute of Science and the Tel Aviv University who acted as informants of the Shin Beth. I’m sure the same is true regarding all the other Israeli universities. Victor Ostrovsky describes how businesses belonging to Jews or Israelis living in other countries are used as fronts for Mossad operations, in what can only be defined as a Fifth Column scheme. I have reported how such a business in the city where I live was operational in the attack against me on July 2009. I have recently mentioned another Israeli refugee in Europe – he has reported to me how Israeli and Jewish businesses popped out in the city he is now residing after his arrival there; he was violently attacked by them on several occasions. We are talking about a secret, violent and illegal political police.
The point is clear. Identifying Mossad agents exclusively as art students is a dangerous error. The Mossad uses people belonging to all venues of life because it needs access to everywhere. Under the circumstances there is no other solution but defining every Jew by religion, Zionist by profession (including Christian Zionists), and Israelis prospering abroad in the list of “suspect Mossad agents.” The message to these people should be clear: being Trojan Horses and Fifth Column soldiers is a bad –truly bad– idea for them. They may be terrorists or terrorists’ sympathizers. Their violent attacks against political opponents are strong statements of their wild-wolves-worldview and must be repudiated in every legal way and as loudly as possible.
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