911 Whodunnit  End Times Art Nouveau: Psychopathic Art

911 Whodunnit

 End Times Art Nouveau: Psychopathic Art

By Timothy Spearman

None could speak of villainy better than the best. And so we may attribute to Iago no better description of the villain than him who beholds him in the mirror. The fool Iago is best positioned to view the acts of fools. Who could better speak of his own acts than the fool who has lived them? And so Iago, the man wise to his folly, speaks best when he says, “There’s none so foul and foolish thereunto,/But does foul pranks which fair and wise ones do.” This could well apply to the prankish actions of an art troupe who staged the greatest hoax the art world has ever known in the World Trade Center one year before 9/11. Jack the Ripper said, “I gave birth to the twentieth century.” Jack sent several pieces of prankish art telegraphing his crimes to Scotland Yard. Analogously, the psychopathic and presumed Mossad agents whose prankish art exhibition was staged on the 91st floor of Building 1 of the World Trade Center and included many sketch and photograph mementos of their exhibition in a book, gave birth to the 21st century, “the project for a new American century,” the secret destiny of America, the New Atlantis, a project that would send America into free fall like the Falling Man mannequin that Gelatin had planted in Building 1, which would be sent into freefall later before the camera lens of Associated Press photo journalist Richard Drew.

The book recording these antics and published in 2001 is called Gelatin: The B-Thing. It was published by Walter Konig in Cologne, Germany in 2001. The book purports to document a March 6, 2000 exhibition by art students staged in a “studiospace provided by the lower Manhattan cultural council on the 91st floor of World Trade Center 1.” Not all daytime activity is so clean. As a security specialist, the author can attest to the fact that many crimes are committed in the plain light of day and in full public view. The criminal who commits crime in plain sight is audacious and takes advantage of that audaciousness because no one expects it. Most people, even security people, suffer from “change blindness”. We don’t see it because we don’t expect to see it. No one would think of “pretentious” cross-dressing art students as terrorists or covert operatives. Under the cover of an art exhibition, they can walk right past security without a security guard even blinking. It may have been the greatest performance art piece in history to con security staff in this way. Most Americans have no time for art, the blue collar set particularly. Most security guards in the World Trade Center would look away upon seeing this troupe entering the lobby, repulsed by the sight and the thought of art students dressed in drag visiting some studio in the WTC.

Some consider the art exhibition a hoax and claim it never took place. But why would Gelatin host a party afterwards toasting the success of something that never happened and then insist that all attendees turn in all pictures taken at the party celebration? It doesn’t make sense that you would celebrate a non-event anymore than the Israelis found in jubilant celebration in a park in New Jersey were celebrating a non-event. What do both groups have in common? They’re both Israeli. Hmmm. It does rather give one cause for pause and consideration. The claim is that they feared deportation and insisted that attendees of the party turn in photos of the party celebrations. Why would they fear deportation over pictures of a party celebration? Clearly there would be nothing to fear if the exhibition had been a mere hoax and non-event. The hoax is the clever way in which these Israeli Mossad agents have tried to turn this piece of deconstructionism art into a hoax. They are clearly up on their Derrida. They almost paraphrase him when he argued that, “The world is a book written inside and out.” “The amazing thing that happens when you take out a window is that the whole city comes into the building,” Mr. Janka, one of the art troupe was quoted in the New York Times article as saying.[1]

“If you write about the article maybe you can just not write about it too much,” is reported to have asked a reporter after a feature had been written about the art exhibition on the 91st floor of Tower 1. This was the first of several calls protesting the publication of an article written on the World Trade Center art exhibition despite the fact that they had already published their book Gelatin: The B Thing.[2] In the wake of the New York Times article it is odd that no one in eleven years has raised the most pertinent issue. Hoax or not, how could they have chosen the 91st floor of Building 1 for the exhibition and named themselves after an explosive if they had no prior knowledge of the September 11 attacks and had nothing to do with the planting of explosive charges in the Tower? Stick that explosive question in your pipe and smoke it Gelatin.

A description of the exhibition has been posted in a blog describing the installation of a balcony on the 91st floor of Tower 1 for no apparent purpose. The blog entry ends with the assertion that an attorney will be made available to represent Gelatin. The import of Mr. Charles Drago’s statement is provocative. It seems Gelatin is likely to face litigation at some stage because they held an art exhibition in the WTC without notifying security. They also tampered with the structural integrity of the building by removing a window from Tower 1. It is also possible they might at some point be served a subpoena for suspected involvement in acts of terror in New York. One is even tempted to suspect Mr. Drago’s involvement in the operation, since he seems to have intimate knowledge of the troupe and the exhibition they purportedly staged on March 6, 2000. Mr. Drago writes:

“gelatin is on a floor with other artists who are part of this studio program.
gelatin’s space (the window, where the action will happen), is walled in with a
system of cardboard boxes.
other artists sharing the 91st floor do not know what we are planning and doing.
The construction of the balcony and all other preparations are not visible
for them.”

The narrative continues:

“the balcony is a prefabricated construction, made by gelatin.
one person at a time will be able to stand on it.
the balcony will be camouflaged.
it will be built to be as less visible as possible for any passerby on the street.
it will be taken apart the moment after being pulled back in.”

Further:

“one window will be taken out.
the removing of the window is done in a professional and secured action.
no constructive parts of the building will be removed or damaged.
there will not be any visible traces, after the window will have been put
back in.”

Finally:

“nobody but gelatin is officially involved in the project.
there will be an attorney telling gelatin how to behave.
there will be an attorney responsible to handle the case for gelatin.”[3]
One photo shows a makeshift balcony purportedly erected outside Tower 1. These images are grainy and frankly unconvincing, suggesting either real or feigned fakery. Also, there are photos that appear to have been shot from the balcony itself. Moukhtar Kocache, the director of the studio program, said that the photographs taken of the outside balcony were obviously faked, but digital manipulation experts disagree. But George Dash, the co-owner of Nucleus Imaging and his colleague, used magnifying loupes to examine a copy of The B-Thing. Neither of them could detect inconsistencies. “The angles are all to perfect,” says Mr. Grosso. “It looks real to me. Absolutely. I’ve been doing this for 22 years.”[4]

Gelatin: The B Thing is a very disturbing publication. There is no way this can be passed off as just a prankish hoax by some obscure art troupe from Wien, Austria. The fact is that the exhibition, purportedly held over a year prior to the Sept. 11, 2001 attacks on March 6, 2000, shows two interesting numerological signatures pointing to prior knowledge and criminal complicity in 9/11. March 6 carries the Mark of the Beast at the turn of the millennium in a dire Ides of March portent, since the date is the third month and the sixth day, which could suggests 3/6 or three 6s. Secondly, the fact that the exhibition was staged on the 91st floor of Building 1 points to prior knowledge, especially considering that there are 19 floors from floor level 91 to the top floor 110. 119 is the emergency code for the Middle East, while 911is the emergency code for Western countries. The fact that these numerological signatures are implanted in the staging area of the exhibition suggests that the WTC Towers were built with a pre-established agenda in mind. It seems their planners knew what they were being built for before the foundation stone of the building was even laid.

This seems to be another effort to conceal a covert operation behind front men. Under the cover of an art exhibition, it appears that key components of the future terrorist attack may have been installed by covert operatives posing as art students. The fact that the art exhibition itself is being couched as a “hoax” is ludicrous, since the numerological signature of the future event is imbedded in the floor level and building number of the exhibition staging area. Equally revealing is the inclusion of firefighters in the exhibition who would play such a pivotal role on 9/11, as well as the inclusion of mannequins in The B Thing, when the Falling Man photo seems to capture the descent of a mannequin rather than an actual victim. Hoax or not, the documentary evidence proves that the participants or organizers of the exhibition had prior knowledge of the September 11, 2001 attacks and left the signature of the future disaster all over a covert operation staged as an art exhibition. The foreign agents cleverly conceal their covert operation behind an art exhibition hoax. The hoax lies not in the fact that the art exhibition never took place as they would have us believe, but in the fact that it was a genuine art exhibition. The so-called exhibition gave the agents the cover they needed to install the detonation devices for a future controlled demolition of the WTC Towers. Where is the proof? Perhaps the water-boarding techniques promoted by the criminal cabal behind such events should be turned on the perpetrators. Since the covert ops have been clever enough to remove the physical evidence, perhaps a confession from the Israeli-born art students would qualify as documentary evidence. Since they are not Arab Muslims, their attorney will no doubt put forward the argument that they are not terrorists and should not be subjected to torture, since evidence gained under torture is inadmissible in court — except of course for Arab and other non-Zionist terrorists.    https://www.gelitin.net/projects/b-thing/

Book about Exhibition on 91st Floor of WTC