Caravaggio and the history of the 20th century

Caravaggio and the history of the 20th century

John Bjarne Grover

It seems that the whole story of the 20th century could be related to the work of Caravaggio called 'The burial of Jesus'. It is said in the biography of Chang and Halliday that Mao's last communication when he died was to tap the wooden sideboard (cp. 'Schengen') of his bed three times with his finger. That looks like this painting - with Mao as Jesus. A closer study tells that it could be about the death camp program of Hitler as the background of Labråten 58: Me holding the knees, Tone and Vibeke Gröver behind me, Ragna Gröver holding under Jesus' back and Gröver/'Mengele' as the nun (a certain gender-switch in the parents). It is perhaps possible that the true identity of the 'nun' could have been commented upon in the Vatican. This posture of the male in front could have been the background of a 'Charles de Gaulle' story - only turned around as far as front-back is concerned.

The stalker - would that have been about the 'Tune Igitur Demens' (Properz I, 8A) behind 'me'? Do the male holding the knees spring forth from the 'folder' of the female behind? Whose legs is it really? I notice the fingers to the head of this female - and the fate of Gadaffy's son after the death of his father as well as the role of Moses Pergament. In theory, Tone Gröver could have been the daughter of Vibeke Gröver - but the latter could not have 'ruget' ('brooded') her out. (Cp. the concept of 'Apfelsprudl'). If Mao died by an injection making him 'daffy', and he could even have asked for it himself in order to be that Jesus on this artwork, who put it in? Who gave daffy? That I should have put it in would be a joke only - but a Charles de Gaulle story could have been related to this joke nevertheless.

Treblinka, Belcez, Sobibor could have been based on this painting with a future plan on Labråten. Auschwitz would have been that gender change? (I recall a pipe tobacco called 'Three nuns' from the inventory of Kongensgate 8 in 1970).

The socalled 'types' of a negative kind can also be recognized in this painting - with 'burden' ('drubbe)', 'lourdes' ('trulte'), 'krybbe' ('purke'), could be even a 'frau Pur[h]e' ('hurpe') as well as 'truble' (Mengele?) ('berte') and 'spitte[d]' ('tispe').

The male holding the knees could resemble me slightly - but it is Jesus who resembles Sachs and Celan. These two could even have been genetically engineered for this purpose - and the artwork of Gröver/'Mengele' (in e.g. Auschwitz) could have been the art to change my look into the front male if I am a son of these two. The trick would be that the artwork of Caravaggio shows a mirror of Jesus in the rest of the group behind - or in the one who holds his knees - Josef of Arimatea. This idea could furthermore have been the background of the Lundikingus strategies - with the death of Martin Luther King etc.

It is possible that many of the grotesques for which Caravaggio has been credited are not really his - could be he had made another 'Fräulein mit grünen Hosen' and it was replaced by a more grotesque artwork of a 'medallion' type. Many of his 'skara-vaggio' - 'cut-the-head-off' - paintings could of course be of this type. Celan wrote to Sachs on 1 april 1968 that his wife Gisele would have exhibitions in Sweden in Skara, Hudiksvale and Kristianstad - and to a scandinavian ear (Sachs spoke swedish) this 'skara hudik' sound very much like 'cut the head off'. Or even 'cut your head off' = 'skara hudit' or 'cut the penishead off'. The story tells that Celan knew about this Caravaggio background.

Neither do I take faith in the story that Caravaggio, losing his temper, murdered Ranuccio Tomassoni during a ball game in 1606 - this sounds like an intrigue on the name relative to his own "Martyrdom of Matthew" from 1600 relative to the name of Rafael - see this piece of recursive graphics of mine with a teneo-nuntio scroll held up in the front of the wolf and a 'rafael' behind (it looks like a sort of wrench). There are symmetries around the main group - such as a Venus in marble in the wolf's tail and a Venus in sprawl on the other side, or the mouse sleeping in the wolf's mouth and the escaping rat or mouse on the other side. It is not so difficult to recognize Caravaggio's work in this recursive picture - the open mouth, even the rooster's red beak can be spotted. Therefore this 'teneo-nuntio' and 'rafael' - and the phenomenon of the possibly only self-portrait Caravaggio made in the spectator in the back of the scene, looking behind the wall. It is ridiculous to believe that Caravaggio murdered Ranuccio Tomassoni in the hope of being recognized as a 'Rafael' - but it certainly is possible that an intrigue can have been constructed on such a basis - that others murdered him (behind the wall) and could witness that he did it.

This means that it is possible that some of the grotesques (like that 'Judith and Holofernes' - for 'hodet og jul[ia]-offre[r]nes' = 'Julia sacrifices his head') are not authentic but 'jokes' on a similar theme in the original. Where are the originals stored? In what basement? It could have been a 'Gisele Lestrange' if that is the story. Works like the '7 works of mercy' or the 'Rest on the flight to Egypt' are certainly his own authentic work - but look quite different from the grotesques such as the 'Zahnbrecher' and things like that. The titles and themes to my 'Linien' (Dornenstauch part 3) have totally different reasons, and it can be argued that it is difficult to understand this part of the constitution of the human reality and semiotics without coming close to Caravaggio's work - which therefore does not mean that my work is derived from his. Likewise, if Adolf Hitler installed himself as deeply into jewish philosophy and mysticism as he could for turning it all into terror, it can be difficult to understand jewish mysticism after WWII without becoming aware of a certain alarm due to nazi smells - and that could have been the very purpose with it. Therefore my titles and poems to 'Linien' could indicate that Caravaggio indeed took a certain interest in the phenomenon of 'immediately above the head' (such as the hands in the burial work). Whether this means that Caravaggio also took interest in the grotesques related to David-Goliath themes, or if the grotesques are bad jokes on this interest of Caravaggio in the phenomenon of 'immediately above the head', I dont know, but would guess that his more advanced works suggest that he would not have nourished such primitive-looking interests - and would neither have been indulging in drinking and violence at night nor murdered Tomassoni (a pimp, was it?) during a 'ball game'. A very bad intrigue it could have been for smearing dirt on italian art at its best. The modern 'drinking and whoring' ('fyll & hor', cp. 'hyllefor' such as in Properz I,8A,26) themes of political intrigue could derive from this intrigue on Caravaggio.

It is of course possible that this 'teneo-nuntio' + 'rafael' as an old intrigue of political kind could be the real reason for a role of Properz on I, 8A-8B - with 'Tune Igitur Demens' etc. Sextus Aurelius Propertius could have been taken for Sextus Mao-Tse-Tung (onset-truncated) plus a Properz F. Kennedy, and then even the Aung San murder in 1947 could be about this - whether it was Mao or Chang-Kai-Chek (the daughter!) who came to win in 1949. That was after the murder of Gandhi in 1948 - and when I was born in Sandveien in Molde in 1957, it could have been not a coincidence that Indira Gandhi's sons got names that could seem to comment on this history.

Clearly if there is a lot of power-games around my person, the explanation could be of this kind - going back to Caravaggio and Rafael and a tragic power intrigue that brought an end to that rich period in italian intellectual life - a peak of art in world history. One naturally thinks that italian mafia could have been developed for protecting the vulnerable bodies of the intellectuals - and even the mafia was eventually couped into the western world and its administration via the story of Adolf Hitler.

It is incredible indeed if this is the history of the holocaust - and it is I who have to say it. It should have been published long ago if this is the story. Intrigue should not have any role to play in public administration. A pity indeed if the Jesus of this artwork is the washing broom of the washing element of Zinckgasse. There are the 'Washington' names of Eisenhower and Reagan in the streets intersecting with 'Vasgereben' in Szolnok. Some could say that there is a certain 'bill' to such a 'clean-tone' - but don't blame me! It is not I who consider Jesus a washing broom - but maybe the nazi death camp program called 'Aktion Reinhardt' (!) comprising Treblinka, Belcez and Sobibor could have had the purpose of considering the jew Jesus as such a 'broom'.

The socalled 'Aktion Reinhardt' comprised just the three death camps of relevance for this complex and could be the contents of the idea of 'a mop isse'. It must be noticed that if this is the 'Vasgereben' which could mean 'Ingrid Leodolter Haus', it is very illegal according to the constitution of 1955 to reinvoke or reinstall nazism in Austria. I certainly do not support anything such. One sometimes gets the feeling that the 'services' try to smuggle the old Hitler power projects in again. I do not support that! I live in Austria as a normal person without any political function at all.

It seems difficult, at least from my home computer, to find articles about 'Aktion Reinhardt' on the web (e.g. the english wikipedia article comes up but not the german) - but there are many 'Operation Reinhardt'. Up-her-ation - with the broom? And this comes up: "www.facebook.com/aktion.reinhardt - Aktion Reinhardt is on Facebook. Join Facebook to connect with Aktion Reinhardt and others you may know. Facebook gives people the power to share and..."