*John Berger (1926 - 2017) one of the worlds most celebrated storytellers and writers on art, in "Metaphysik from Downtown" Neue Züricher Zeitung. Berger gave half of his Booker prize money to the British Black Panther Party. Would he have had plaisier to see how Basquiat managed to fool the art world or would he mourn him, or both?
EDUCATION NiL– zero – false. German/French, education on the Nile – correct. He proves it by his secret identities, taken from egyptian mythology. Invisible truths via the enigmatic writing culture and the mythologies of ancient Egypt. Enigmatic? Understandable only by the initiated. "I'm not making paintings," he said, "I'm making tablets." L. O'Grady on Basquiat, Artforum 1993. Artists worked on tablets in ancient Egypt. They had their own way of seeing in a straight line, called pharaonic perspective, the one he shows. Knowing the Osiris myth and that religious systems were built on previous religious systems is not to bad.. (7) Basquiat-isms, edited by L. Warsh, Princeton University press.
Portrait of the eighteen-year-old SAMO© in the autumn of nineteen hundred and seventy-nine when we invented music. He had his concept in mind back then.. © Gerard Pas, London, ON, Canada.
Some of his SECRET IDENTITYs
with numerical precision Basquiat
reveals himself as Jesus.
Self Portrait as a Heel (Fraudster). The trace to his unvisible truths in my diary led to the Egyptian sun god Horus and to positions that see Jesus as the mythological successor of Horus. Searching for reliable sources, I came across a date: 0924 60. On this day astronomers discovered asteroids, Horus, Osiris, Anubis and Ptah they called them. The numbers correspond to the numbers on his T-shirt. The 9 that completes the date? Count the prongs of the little comb, there are 9. Disguised to the number 694020, the date is in Untitled(1986). Chantal Hergenroeder, a mathematician, discovered it in BAP (1983), she wrote: See the 9. And indeed, the first zero is connected to the large 9 and the latter inscribes itself behind the first 0 like this: 609024. The number: an identity number, the portrait his mug-shot. The larger comb has 7 teeth more, reminiscent of the seven days of creation and thus of God, Jesus was condemned for causing trouble and usurping the title of king. In his self-portrait in a fur skirt, Dürer shows a pose that was reserved for kings and Christ alone around 1500. Divino Artista, the divine artist whose creative abilities early Italian art history described as part of the creative power of God. His fur, most precious animal hair. With ACE COMB, a cheap comb mark, Basquiat points to his hair that socially sorts him in and out. HEAL and HEEL sound the same. Healing messages sent God through his son. The work belongs to his SECRET IDENTITIES, quote from "Job Analisis". Comparison: Lot Essay Christies 2010, no Jesus, no completion of Dürer's self-portrait by the crimes Jesus was accused of. Jesus, painted in 1988 is in Riding with death, see INCOGNITO.
A poetic utopia: one cross + three nails + one hammer. One nail for the right hand, one for the left hand, one for the feet. Godfriday, futile rescue mission for Jesus. Untitled 1981 (Aouphilla) which sounds like Ophelia, derived from the Greek ὄφελος for benefit, With Ophelia Prince Hamlet comes into the picture and with him Horus fate. Two king's sons, two murdering uncles, two murdered fathers. In Aouphilla he shows the three fences, from the drawing. They will turn out to be three systems of religion.The ambulance drives to the left. Judge©, a collaboration with Andy Warhol and Da Vinci.
Fraudster: The Prophet.
Self Portrait as a Heel #2. Persons with faces on their backs, are in Dante Alighieri Inferno, their Crime: Prophecy, Dream interpretation. The Church considered this to be fraud and pagan superstition and saw it as an encroachment on a sphere reserved for God. COMPOSITE - composed, as a rogue in the sense of the church and as a healing prophet in ancient times, f.e. Joseph who interpreted the dreams of Pharaoh. JOE? Joseph in Egyptian captivity, where he should have worked as a cook. The pan symbolyses the Holy Spirit and the fried egg with two yolks Jesus and his Father. Like the father, the son. For comparison Lot Essay Auction Christies, no Dante no Inferno. Dante`s dream interpreter by W. Blake, public domain. COMPOSITE is a concept of the Egyptian iconography; gods as mixed figures, human bodies with the head of an ibis, a falcon, a dog or jackal, a cat f.e.. Erik Hornung, The One and the Many. Altägyptische Götterwelt, 6th ed. Darmstadt 2005, p. 101 ff.
Fraudster: The great Pretender,
in Self portrait as a heel#3 (Hollywood Africans). Hollywood? It's a synonym for acting. "Part of Basquiat's occlusion strategy was to play primitive", Dr. Kellie Jones, in her essay "Lost in Translation", Basquiat Retrospektive catalogue, Brooklyn Museum 2005. Dürer shows his right hand, Jean his left, a paw and the date of birth 22 12 60. A few eyelashes on his left eye, an explanation offered by Alan H. Gardiner's list of hieroglyphs with D9: weeping. Weeping? He had to deny himself being a calculating strategist. Confession of the gerat Pretender: art as "an hillarious optical illusion".
Why left? 1. In the last judgement, the damned are on Jesus' left. For the viewer, they are on the right. In the east, on the right, the sun rises, life begins; in the west, the left, it sets. 2. In ancient concepts the afterlife (paradise) was in the west. The creators of civilization lived in the East. In Kemet, the black land along the Nile, as the Greeks called it and Mesopotamia, "History begins with Sumer" Dr. S. N. Kramer (1956). The descendants of the inventors of civilisation were abducted to the West, where the afterlife did not turn out to be paradise. Basquiat mirrors world history, telling the TRUE HISTORY of the origin of civilisation. Called WAR ON HISTORY in the USA. Hidden in Self Portrait as a Heel#3 is Charly Mingus, bassist and author of "Beneath the Underdog".
HEEL, a play with ambiguities: the heel, the fraudster, the fraud, the deceived.
An Old Testament heel story, a fraud: The second-born Jacob holds on to the heel (Hebrew עָקֵב 'āqev) of his first-born, heavily hairy brother → Esau, which is why he is called "heel-holder" (cf. Gen 25:26). The other interpretation of the name refers to the root 'QB I "to deceive" and is from Esau's perspective that Jacob had usurped the birthright (cf. Gen 25:27-34) and stolen the firstborn blessing from him (cf. Gen 27:1-40). Basquiat told an Italian journalist that he reads the Bible. The source will follow.
Right or left, right or wrong, chosen or damned?
From your point of view: In the Last Judgment left of Jesus are the elected, to the right the damned. The Gospel of Matthew. 25:33 depicts the Last Judgment from the perspective of Jesus: He will gather the sheep to his right, but the bucks to the left. Hans Memling The Last Judgement (1467-1470) after the Revelation of John. Under Jesus is the archangel Michael with his soul scales, mythological successor of the moon god Thoth. Fig: National Museum Gdansk, public domain.
a right foot which is left behind.
In many cultures, left has a negative connotation. The French "gauche" not only denotes the left side, but also means "clumsy, gauche". It is probably ultimately derived from a Franconian verb "wankjan", which corresponds to our modern "wanken". Similarly, the English "left" originally had the pejorative meaning "lame, weak". This contempt is particularly evident in today's English dialect word "cack-handed". This foot is a left behind, one off millions cut off foot, please see Congo. The numbers? Why don't you try it, I left it for you, doesn't have to solve everything, does I?
A kind of divine comedy: Basquiat as god of war Seth with his girlfriend Suzanne Mallouk In order to wrest the rule of Egypt from Seth in favour of her son Horus, Isis (Divine Mother) transforms herself into a young woman and offers herself to the childless Seth, who is her brother. Procreation, production of an heir and sex in exchange for nourishment. Title: Arroz con Pollo. His girlfriend Suzanne had Palestinian ancestors. The big vulva? An ideal of beauty among the Khoikhoi (true people): elongated inner labia, his reference to Sara Baartman (Black Venus) and to the fate of African women. Details can be found in Dr. Susanne Reichling`s dissertation from 1999, in German, p. 159. And in "Widow Basquiat", by Jennifer Clemente, 2014. With Venus or her symbol, the pentagram, which also symbolises the morning star, he refers to the origin of woman, to the first one, whose mortal remains were found in Africa.
False trails as camouflage. Joseph was marginalised in Egypt, not in Christian culture. Jordana Moore Saggese, she wrote "Reading Basquiat" unfortunately did not recognise the biblical Joseph. The comic drawing from her clip on youtube: The chaotic brilliance of artist Jean-Michel Basquiat. Her title is 100% exact for his structure, chaos as camouflage. the art historical conclusion is not. His visual teeming seems chaotic, yet his private logic connects everything. J.M. Saggese`s reading is based on that of her predecessors in art history who did not share a room and conversations about God and the world and the bohemian life with him like I did. He plays with ambiguities, nicely recognisable with ASS in the silver spoon.
ASS: donkey, jerk, fool, as well as the oldest known depiction of Jesus: the crucified Jesus with the head of a donkey, "Alexamenos worships his god", mocking graffito from a guardroom in the imperial palace in Rome, around 125 A.D. "The Golden Donkey", the Metamorphoses of Apuleius - a box story, the story within a story within a story. This is how we can understand the structure of his work, which is also a kind of scavenger hunt. ASS in the silver teaspoon, JMB on its reverse.
Where the criminal lives: the lower leg in the oval is a B, like Basquiat, according to Alan H. Gardiner's list of hieroglyphs. The oval is a shenu, royal ring. Its symbolic function follows the magical ritual of encircling to protectively surround the name and preserve it for all time. HOTEL? For his journey into the beyond, where the sun sets, in the west, where, according to mythological beliefs, the dead live. As the sun god, he lives in his pyramid, which holds him captive in the afterlife. In the world he lives as an INVISIBLE MAN, his self-chosen social death, the content of whose work had to remain officially invisible. Mummified as one is usually dressed by the living for the pyramid. Can you imagine his discipline, his secrecy? EEP, a power company in the USA. The sun was the source of energy, personified as a deity in many cultures.
Horus as the ibis-headed god with the red and white double crown for Lower and Upper Egypt. Red and white are his colours of recognition, his corporate colours, so to speak. Since deceased, he is a DEAD BIRD. John Berger's closing words from the N Z Z . The seven letters M A N D I E S are found repeatedly in some of the last paintings, accompanied by a crow's claw - a sign, also, of Basquiat's immense loneliness.
The descendants of the ancient African gods depicted as bird-headed, the BIRDs, are famous sausages, food for hungry wolves, fodder? As unpaid forced labourers, robbed of their humanity they feed their masters' coffers. Ornithology? Basquiat's family book, his historiography on the fate of the sacrificed who realised western progress., see Congo.
Why the camouflage I.
Ralph Ellisson, 1952: 'I am invisible, understand, simply because people refuse to see me.'
James Baldwin "...actually, you should perish from being denied being something other than what the white man intended you to be" ... "the power of the white world is threatening whenever a black man refuses to accept the white world`s definitions. So every attempt is made to cut a black man down– not only was made yesterday but is made today", The Fire next Time. p. 69. Whether the people in charge, who have been informed by me for years, ignore his encrypted work because he posthumously pulls down their trousers with it, I am not in a position to judge.
2019 first translations
in the artists' association MALKASTEN Düsseldorf, founded 1848.
BILD appeared at the press conference; the invited media, which otherwise report extensively on discrimination, did not show up. On the one hand understandable, what Jean achieved with his steganography (greek. hidden writing) is beyond the realm of the imaginable. Ute Janssen, who studied with Nam June Paik and was Wim Wenders' assistant, documented the lecture. Photo ©Bobby Grossman New York.
one trace for deciphering he left in my diary 1979. In the beginning was his misspelling, His contact address he left in my diary, so we can stay in touch. Being homeless it was that of his drummer Michael Holman. The misspelling communicates, if you share to MICHEAL. MIC for Microphone, for narrate. Healing through narration. The deeper meaning remained hidden from me for decades until I asked Michael, my brother. He knew the solution hidden in the twist of a and e, Michael – Micheal, which Basquiat confirmed in his notebook with EDUCATION NiL.
Michael the Archangel is mediator between God and man, leader of the heavenly hosts and weigher of souls in the Last Judgement. He is a psychopompos who escort the deceased souls to afterlife. Michael is also seen as the mythological successor of the moon god Thoth, who recorded the weighing of hearts in the court of the dead. With healing spells moon god Thoth cured the injured left eye of the sun god Horus. EYE OF HORUS, HEALING, PROTECTION, LEFT EYE, FAMOUS MOON KING and Thot in ancient Egyptian form as a baboon are in his work. SANTO he wrote to one BABOON. MONO? MOON and alone. In the feuilleton reporting how Basquiat came into my suitcase with SAMO© ESTA EN ALGO, the Frankfurter Allgemeine Zeitung (2011) corrected the misspelling. Basquiat? I didn't call him that then and won't do so here again.
A red circle around AMERVKA. Jean defines the wound as being outside the circle. Inside the circle is the sun, the creative force. “For many Yoruba, red, ‘supreme presence of color,’ signals àshe [spiritual command] and potentiality.” (Robert Farris Thompson, Flash of the Spirit, New York, 1983, p. 6. In ancient Egyptian magic exits in the magical act of encircling. This was done to keep away evil spirits and protect whatever stays inside the circle. Studies in ancient oriental civilization, No 54. THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO, p. 57. The otherwise hidden in his address, please see 1979.
In the beginning was the misspelling, mine: Jaen.
How many orphans he knew, I cannot know. Was orphaned with 15. An orphan – Counterparts, it jumps from singular to plural, which makes sense in terms of his SECRET INDENTITYs, there are a few more.
AS MICHEAL he sketches himself in the BLUE RIBBON PAINTINGS, which tell the conception of the divine child Horus. The film Egypt decoded by Robert Bauval, broadcast by 3Sat in 2016, German public television, depicts the conception as Jean painted it three decades earlier.
JE AN MICHEL, I AM MICHAEL
On reverse of Self Portrait as a Heel. JE AN MICHEL corresponds with Warrior(1982) which identifies him as the leader of the heavenly hosts, the Archangel Michael. The blue frame, please see CODES. It corresponds with "Riding with Death" too, following the position of Jehovah's Witnesses who see in Michael the Son of God. That Jean was familiar with the position of Jehovah's Witnesses he shows in the drawing with THE SECOND DEATH and THE COFFER at the end of this chapter.
Thot, Michael`s predecessor, as a soul guardian, soul companion (psychopompos) in the Egyptian court of the dead. There, Ma`at, the goddess of justice, weighed her feather against the heart of the deceased and Thot, the moon god, recorded the proceedings. In the left pan of the scales, as seen by the observer, lay the heart of the deceased, on the right the feather of Ma`at. If the heart weighed more than the feather, it was devoured by the death eater. The deceased could not begin the journey to the afterlife, he died the second death. As Mistress of the West, Ma`at is a goddess of the dead. Fig: Weighing of the Heart, and Judgment of the Last Judgement, Rogier van der Weyden, public domain.
His story is that of the victims of the embellished history, the GOD DOG evolution, how he defines it. Will it be read out in front of the class? Drawing and writing therefore had a common verb: sesh. From his notebook 1980, red communicates Ashé, Yoruba àṣẹ, please see CODES.
jean as Sun god Horus: Identifier.
the left eye, the Horus eye differs from the right eye, or he shows only the left profile. The left side of a bird's face- that too is sun god Horus. Even if this appears to be the us bald eagle that adorns the Great Seal of the United States and the dollar. With IN GOD WE TRUST Jean then means himself. Horus transformed in a word: BIRD. Ancient depictions show Horus in the coveted bird form, a reference to his ascension to heaven, his proximity to the Creator God. Also he can be recognised by the red-white double crown or its colours and the insignia of Horus, such as anch or was-sceptre. Hippopotamus? Horus transformed into a hippo fought for the throne with Set, the war god. His bird heads usually look to the left. The most beautiful Horus, in my opinion, is by Lenny Krawitz. The two lower legs, separated from the body, again the B according to Alan H. Gardiner's list
Horus at the Metropolian Museum NYC and a crafty one in a bird's nest hat.
"I wanted to put a metal roman belt buckle on this painting. I went over to the Metropolitan Museum and ..." Basquiat Interview 1982, by Marc. H. Miller.
LEONARDO DA VINCI'S GREATEST attack
"[...] but recurs with them to the history of the impact of Leonardo da Vinci's comparative anatomical and physiognomic studies, in which the black man was constructed as the antithesis of the ideal of beauty, goodness and truth." Dr Susanne Reichling, "Jean-Michel Basquiat. The African American Context of His Work.", 1999, p. 155.
Bird legs carry in LEONARDO DA VINCI'S GREATEST HITS a male gender. Presumably it is that of the bird-headed sun-god Horus, robbed of his crown, degraded to his sex. The most substantial pictorial reading on the work can be found in Dr. S. Reichling's dissertation, p. 151, Hamburg 1999. The railway tracks stand for forced and slave labour and robbery. Placed as a ladder, they also stand for ascension, off to paradise by working dead, f. e., like "Arbeit macht frei", the concentration camp motto. ROPE is an example of how he communicates in disguise. On the one hand, a rope can replace the ladder, on the other hand, a rope is used for tying up, for death by hanging after a court sentence or for lynching. The latter is reported by Billie Holiday in Strange fruits. The blue crown on the corpse? Symbol for the power of Christian kings and rulers. His colour code, please see CODES.
Learn to laugh without crying, Kurt Tucholsky (1890 - 1935, he took his own life). Art historian "No logic, why should there be logic...this is Post Punk New York" at 9:12 min in the youtube BOOM FOR REAL clip for the exhibition at the Barbican Art Gallery London. In this one, we also learn that he was "constantly learning and thinking". Curator responsible for the exhibition, which was also shown in Frankfurt: Dr Dieter Buchhart, who frequently quotes less explosive material from Dr Reichling's dissertation. In Paris, New York, Basel, Bilbao, Bonn, New York (3), Paris and Tokio Dr Buchhart was the responsible Curator.
Identical are the eyes of the sun god as a child. Why: His uncle Seth, the god of war, will only injure his left eye later in battle. Good and bad to young Horus in Spanish? See left, Dr. Kellie Jones, Lost in Translation, Catalogue Brooklyn Museum p. 170. Horus beheaded his mother after she accidentally wounded him with a harpoon.
In Spanish he wrote in my suitcase what became the title of the diptych in 1980: Samo is on to something. He is also with his saliva, which he used to make the smudges. WALA? A female and a male Australian deity in Aboriginal Maythology. WALA is also a seer in Germanic mythology.
The Nazi tea set from his poem can be found in the film "Rouge Male" in which Peter O'Toole plays a failed Hitler assassin. His knowledge of film history was prodigious; he slept in cinemas, he revealed to me.
Cut through the Great Pyramide of Giza in the BLUE RIBBON PAINTINGS: 1 AL MAMUN`S FORCED PASSAGE. The King`s Chamber is missing in these works, Jean makes it float to the left, westwards, where the sun sets in other paintings. He only makes one small change with AL MAMUN`S FORCED ENTRANCE.
one of hid sources: Gods, Tombs and Scholars, C. W. Ceram.
Top, drawing with AL MAMUNS FORCED ENTRANCE, on the right in black and white, the template by Morton Edgar. SARCOPHAGUS: From the Greek σάρξ sarx, for "meat" and φαγεῖν phagein, for "eat" = meat-eating. ANTECHAMBER: Vestibule, the last line of defence against invaders. THE COFFER: From Old French cofre, from Latin cophinus "basket", in German: Koffer, engl. suitcase. THE SECOND DEATH: in ancient Egypt this was the final death, without a continuation of life in the afterlife, which only the uninjured, mummified body secured for the deceased. But, also John the Revelator used the term "second death". Jean's drawing establishes the second death with
SARCOPHAGUS, the looted sarcophagus of the royal chamber. THE SECOND ADVENT OF CHRIST: The Second Coming of Christ. All men, the living and the dead, will be judged byJesus Christ. The universe will then be completed according to Christian conviction. Christians who have served their sin-penalties remaining from temporal existence will unite with God in a mystical way; they will see God face to face (1 Cor 13:12 ).
In chapter 11 of his Novel of Archaeology
p. 148, C. W. Ceram reports on the Grand Pyramid as object for speculation. Morton Edgar and the Jehovah's Witnesses, for example, advocate the thesis that it is a "Portrayal of Creation". They declared the end of the world in 1913 (WOW). From Edgar's publication Jean quotes THE COFFER, THE SECOND DEATH and THE SECOND ADVENT OF CHRIST. Jean also shows the side-relations of the sarcophagus labelled "The Coffer" instead of coffin in his works. Always alienated, never unambiguous and then, for a change, unambiguous: VENUS, for example, he places on the right under "The COFFER", coinciding with the location of the Queens Chamber.
Ark of the Covenant Hebrew: Aron habrit, Ark of the Testimony.
"Spelling errors" as camouflage for hidden messages, hidden in a non-academic logic. Structured as a confusing, huge excavation field whose shards must first be recovered, assigned and put together before causality and content become visible.
Take the Ten Commandments as a manifestation of the divine Spirit who wants his chosen people to be organised justly. Then Aron, the Ark, has the function of being the protective container for the Spirit of God. Which in turn allows one to question AARON on his football helmet as a sign of his devotion to the Baesball player Hank Aaron (Basquiat experts' position). A baseball player would be handicapped by a football helmet. On the one hand, Jean can be identified as the sun god Horus and as Jesus, on the other hand he shows himself wearing a helmet to protect his head/spirit. If one deletes an A, AARON becomes Aron and thus the Ark of the Testimony for the protection of the divine spirit. And that too, he puts his hand on his helmet. "Grab your head," they say in my home country, an invitation to think. A hand on the head, here on the helmet, can also be seen as a protective gesture.
A reference to the atrocities in the Congo can be found in "Gods, Tombs and Scholars", as a letter to Howard Carter, the discoverer of the tomb of Tut-Ench-Amun. Picture 83 in the German edition of Ceram's bestseller, shows the Atztec sculpture of Tlazoltéotl-Ixcuina, the goddess of childbearing, which is found in Jean's work SIENNA(1984).
The topic of his art is the unfriendly takeover of intellectual property. Pythagoras' Theorem which were documented as African knowledge long before Pythagros were even born, in the Rhind Papayrus, for example. EUROPE– the rope as a symbol for a turning point, for bondage robbery of freedom for Lynch justice, for example. Put simply, the Occidentals, as LeRoi Jones calls them in BLUES PEOPLE. The Occidentals have robbed the Sumerians and Africans of their identity, history and status as the creators of civilisation. The Occidentals have robbed hundreds of American First Nations of their identity as Native Americans, their culture and their property. Issues we discussed in 1979.