Bjarne Melgaard : un proyecto para Atlántica = Bjarne Melgaard : a

White male power by Bjarne Melgaard,
Institute of Civil Disobedience, Oslo 2001
I, BJARNE MELGAARD, A DEVOTED SON OF ODIN, HEREBY DECLARE
TH ATIWILL NOW STOP WORKING WITH THE GALLERIES, CURATORS AND
SYSTEMS I HAVE BEEN INVOLVED AND ASSOCIATED WITH IN THE PAST
THE MENTAL CONCEPTION OF A REVOLUTION IS NOW COMPLETELY
GONE FROM OUR WORLD. IT'S TIME TO RECONSTITUTEII ONE OF THE
CONSEQUENCES OF THIS WILL BE THAT I WILL STOP MAKING
MEDIOCRE, OVERSTUFFED INSTALLATIONS, PSEUDO-REBEL FILMS
ANDCRAPPAINTINGS.
NOW GO UNDER THE ÑAME OF BJARTE ORMSTUNGE AND WILL BE
PREOCCUPIED WITH ISSUES OF THE NATIONAL, NORWEGIAN BLACK
METAL, DYING MY HAIR GREY, NORDIC MYTHOLOGY AND THE
CLOTHES OF THE LIKES OF SSURPLUS, ORFI AND HAVING A PERSONAL
TRAINER. I WILL BE UNDER THE INFLUENCE OF MY INSTITUTE IN OSLO,
DEVOTED TO THE REVOLUTION OF THE SENSES.
VIVA THE REVOLUTION! AND ALWAYSREMEMBER:HELLISWHEREYOU
SITÚATE YOURSELF.
WHEN I SEE ART AROUND ME NOW, IT IS ONLY THE ACTIONS OF
BOY SCOUTS AND GIRL SCOUTS, COMPLETELY COMPROMISING
THEIR WHOLE BEING. SO, AS A MAN OF NO ILLUSIONS, AT LEASTI CAN
LOOK AT MYSELF IN THE MIRROR IN THE MORNING AND SAY «l'M A
FREE MAN». THIS NOW MEANS A LOI
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The Secular Blasphemy
- Our use of the term «White Devil» denotes the symbolic acceptance of the inherited position of oppressive ruler bestowed upon the White
European by the Third World. To embrace and cherish their hatred as the left-handed cry for totalitarian order. (...) Being a White Devil
Conspirator means having a far higher understanding of these people than the coddiing leftist or profit-minded capitalist.
(White Devil Conspiracy interview, Warcom Media 1997.)
- Black music for white people
(Record title by Screamin' Jay Hawkins.)
- Black Metal is for white people
(Hellhammer of Black Metal band Mayhem.)
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The Demonologists of the Rennaissance imagined that witches gathered at secret Sabbaths to worship their evil God. One of the principal
shapes of this deity was that of a man with jet-black skin. This is an interesting analogy of how Western civilisation has seen the black man as the
embodiment of the primitive: The black man represents unrestrained virility or unleashed violence. But while the West fears his primitivism, it'
also longs for it; perhaps fearing that a society of string quartets, welfare programs and warm showers has had too high a price.
In the 1950s, rock'n'roll was adopted by American teenagers. In the suburbs of middie America, nice white kids were dancing to the frenetic
sounds of black music - scaring the shit out of their nice white parents. This outburst of primitivism amidst white picket fences was terrifying. It
is hardly a coincidence that some of the most far-fetched ideas about how «jungle rhythms» corrupted the teenage mind came f rom the Ku Klux
Klan. Likewise, conservative Christian groups were worried about the ecstatic states produced by the rhythm and the blues. Consequentially,
white society furnished rock'n'roll with its usual corporate makeover: «Buy it, clean it up, and sell i t . » ^
Fifty years later, movements such as post-colonialism, feminism and Afrocentrism have sharply and steadily criticised the white male. The
«Dead White Males» that were formerly seen as the founders of western civilization are now often described as racist oppressors, a faint echo
of Malcolm X's description of Caucasians as «White Devils.»
Meet Mr. White Male: Oppressor of ai! races, creeds and colors. Sexist, homophobe, racist. Devourer of the world's dwindiing resources. Mr.
White Male is even backed up by an armed power structure and clever techniques for making his f emale colleagues invisible at office meetings.
He will viólate your virginity and take your wallet. «Whitey» is the devil of the woric
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generation has found its own expression, capitalism eventually moved in to créate a more marketable interpretation of it. This leads to a thirst
for something authentic, an expression of youth that has not been shrinkwrapped by Sony and hyped by MTV. In the stifling safety of social
democratic Norway, such a rebellion felt vitally necessary. That necessity created Norwegian Black Metal.
Black Metal emerged as a subgenre of heavy metal at the start of the 80s, a marriage of Black Sabbath on 78 rpm and primal screams - with
Satán the best man at the wedding. The f irst generation of black metal bands descended like fallen angeis f rom the sales charts into the bargain
bins at the tail end of the BO's. But Black Metal did not die; rather, it crawled underground to lick its bleeding wounds. Fed on its own blood, it
resurfaced in Norway, a blackened and twisted monster. Consequences ranged from a barrage of some of the best records made in Norway,
to brutal murders and arson attacks against churches.
Ideologically, Norwegian Black Metal was based on a homegrown variety of Satanism that was little more than an inverted versión of Christiar
teachings. While Christ taught goodness, Black Metallers preached evil. But what is evil? In today's secular society, evil has increasingly left t h |
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religious arena and entered the political. Evil is that which is politically unacceptable. It was inevitable that the Black Metallers, whil|
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concocting a cocktail of all that is contrary to the valúes of liberal society, would stumble upon racism and fascism.
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In a society and culture that strives to accept virtually any cultural, sexual or philosophical expression, Satanism and racism are the tw|
strategies available that gives instant shock valué, and therefore a feeling of power, to disaffected white youth. By pledging allegiance to Sata!
or Hitler, any adolescent boy becomes a threat not only to society, but to civilization itself.
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The Hell's Angeis have utilised this knowledge to its fullest potential. This group of motorcycie-riding Americans has many ex-servicemen from
W W II in their ranks. That they should wear Swastikas, SS ruñes and Iron Crosses as insignia seems illogical. But the Hell's Angeis were well
aware that these symbols would piss off Joe Public far more than leather jackets and bad hygiene. This cartoonish fantasy of masculinity is
mirrored in the stylised Fascism found in several youth scenes. This odd ideological order -(«one fascism please, heavy on the Auschwitz and
invasión of Poland, hold the economic reforms and welfare plans») is more symbolism and fetishism than politics. But it still has the political
function of giving these youths the role of secular devils. Which, of course, they are all too happy to accept.
Sporting slogans like Norwegian Aryan Black Metal and growling lyrics like «the Norse race must slaughter the others/When bluemen (the
Norse word for blacks) knock too heavily on our door», parts of the Black Metal scene has willingly played the role of White Devils. In the process,
they have shown that White primitivism and the secular blasphemy of white racial identification has a shock effect surpassing that of black
Gangsta Rap by a mile. They will continué to do so until the next generation of young people comes up with something even more terrifying.
Didrik Sederlind, co-author of «Lords of Chaos»
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Intellectuals Are The Shoeshlne Boys Of The Ruling Élite...
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INSTITUYE OF CIVIL DISOBEDIENCE / INSTITUTT
FOR SIVIL U L Y D I G H E T C / O BJARNE MELGAARD, O S L O . ^ I C D Í