In yet another example of how “modern art” is actually rubbish, a vicious knife attack in the middle of a modern art exhibition in Miami was mistaken by viewers as part of a “performance art” display, according to the Miami Herald.
The “art” show, part of the “Miami art week” in the Miami Beach Convention Center, was disrupted near an installation entitled “The Swamp of Sagittarius,” created by Miami artist Naomi Fisher and her “partner” Agatha Wara.
The “art” consisted of canvas strips printed up to resemble an astrological pattern, river reeds, and a cell phone sim card. The canvas strips were arranged into rectangular cubicles, in which people could sit on low seats.
This nonsense presented as “art” helped create the atmosphere in which the very real knife assault was considered by patrons to be part of the “performance.”
Two Chinese women, both visiting the exhibition, got into an argument. One drew a knife and stabbed the other in the shoulder and neck before being overpowered and dragged away.
The bleeding victim, who did not suffer serious injuries, collapsed on the floor and was taken away on a stretcher. The bizarre events did not, however, seem out of place on the exhibition floor.
Some patrons thought the stabbing was a performance art presentation. Others believed the police tape cordoning off an area of the convention center was part of an art installation.
Furthermore, the Miami Herald added:
Inside the convention center, security guards and event organizers worked quickly to clean up the scene, and to keep public attention focused on the art and not the stabbing. One bystander said he asked a guard what happened, and was told that a very expensive statue had fallen on someone.
Given the other exhibits which form part of the “Miami art week,” it is little surprise that the other “patrons” thought the knife attack was “art.”
For example, another exhibition, attended by 400 “patrons” in Miami, consisted of a “performance” by Egyptian “urban pop artist” Omar Hassan (who now lives in Italy).
In this masterpiece of artistic skill and talent, Hassan wore paint-drenched boxing gloves and punched a canvas. The resultant splotches, which he called “Breaking Through” pieces, sold for up to $55,000 to the assembled idiots.
Another exhibition of the “Miami art week” consisted of “patrons” being induced into using “Lysa III”—a nude mannequin, set up by “artist” Jennifer Rubell. Lysa III’s supposed artistic merit is that the mannequin has been modified so that walnuts can be crushed between its legs.
Yet another “artist” whose works formed part of “Miami art week” was Louise Nevelson, the infamous Russian-born Jewess “feminist artist.” Her masterpieces consist of randomly shaped pieces of junk, which, according to the Art Story history website, utilized “wooden objects that she gathered from urban debris piles.”