The XYZ has gained exclusive access to information that artists across Melbourne are ‘deeply concerned’ that the city’s booming construction industry is putting pressure on struggling artists, who are finding it harder and harder to find abandoned warehouses in the inner city in which to do art which nobody likes. An industry insider spoke to The XYZ on condition that we buy them lunch:
‘We think it’s great that Cultural Marxist art, music, dance, plays, etc, over the last half a century has helped nurture a world in which white people are so taxed and demoralised that they stop reproducing themselves at replacement levels, and our economies are based so thoroughly on debt and fiat currency-fuelled fake growth that we have to import millions of people from the third world who hate everything we stand for in order to prop it up.
‘But one of the unforeseen consequences of this has been that the Multicultural Melbourne housing market has experienced an unsustainable bubble, and developers have strong incentives to turn the abandoned factories and warehouses, which our support for union-friendly policies had helped to decimate, into apartments. This means that our often-illegal access to cheap, open urban spaces in which we can produce more communist propaganda has been severely limited.
‘This will disproportionately affect the very young, whom we have worked tireless to proselytise with degenerate art, particularly as we generally have few children of our own, and thus need access to other people’s offspring if we are to corrupt future populations. If this trend of urban renewal continues, we worry that young people’s exposure to art forms which subvert the highest pinnacles of Western culture will be reduced. Seriously, won’t somebody think of the children?
‘It is for this reason that we are emotionally blackmailing, sorry, lobbying the state government to restrict the development of apartments in the inner city. The way we see it, we understand that nobody actually wants to listen to music which deliberately avoids melody, and performance art which literally involves peeing in a cup. (We also acknowledge that the people who developed these breakthroughs deliberately wanted to remove the bourgeoise notion of “enjoyment” from art so that we could advance a deeper understanding of the Marxist dialectic).
‘So obviously, without stealing from productive people, I mean, government support, in the form of direct Centrelink payments and in community arts grants, music and art which nobody is interested in would die out. Restricting property rights, I mean, reasonable industry regulation, is an obvious logical next step from said wealth redistribution. Such policies would be another step in bringing about the kind of totalitarian socialist nightmare of which most artists fantasise.
‘We believe this is far preferable to creating art which people may actually be interested in, and making a profit. The out-grouping from fellow artists calling us sell-outs would be utterly unbearable.
‘Finally, we think it is time to conduct a national conversation on why it is important to steal from people to fund art that nobody likes. The white race isn’t going to exterminate itself! The fact that we are not talking about this shows just how far we, as a country, have to go.’
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