The New York Times ran a review last month of an exhibitit at the Met Breuer called “Everything I Connected: Art and Conspiracy.” The exhibit features works that comment of conspiracy theory as as well art emerging from the processes of detecting and and cross-referencing multitudinous elements are built into particular theories. it struck me how the basic mind-set described resembles that occult perspective as expressed via some work using Qabalistic correspondences, to put it most simply – seeing what words have the same numerical values, accepting that they are thus connective and trying to project the context in which these connections become apparent and their operations intelligible and controllable. Once you factor in Crowley’s willingness to flip between languages, change spellings and such to make this all fit — well, in the end everything DOES appear to be connected. Which many would say reveals a deeper Mystery.
But this similarity perhaps explains why so many conspiracy theorists like Alex Jones are drawn to “studying” occult systems and organizations as well as socio-political ones. Also why some occultists develop an interest in and devotion to certain conspiracy theories.
Here’s an excerpt:
“The show’s first half highlights artists who work with public records to disclose conspiratorial networks great and small. Sometimes this takes the form of bringing hidden materials to light — like Hans Haacke’s renowned 1971 documentation of the New York real estate holdings of interconnected shell companies, and Alfredo Jaar’s 1984 collation of photographs with Henry Kissinger skulking in the background, his face ringed each time by a conspiracist’s red circle. Sometimes declassified or leaked materials serve as artists’ raw materials: Jenny Holzer’s room-saturating LED display broadcasts memos of American actions in Iraq, while Trevor Paglen shoots telescopic photographs of “black sites” in Afghanistan…
“The show’s second half tips away from these artist-as-investigator practices and embraces a more devious, more Kelley-esque mode, in which the conspiracy — a real form of hidden collaboration — becomes impossible to distinguish from the conspiracy theory: the more or less outlandish narrative that outsiders discover or invent.”
Read the entire article”