Continuing on from my article on the degenerate jewish artist Marco Evaristti and his extremely cruel and sadistic ‘art’; we have another jewish artist from Latin America. In this case Mika Rottenberg – who is also an Israeli – from Argentina. (2)
Rottenberg isn’t quite so obviously vile and openly sadistic as Evaristti but she is never-the-less is typical of the degenerate jewish ‘artists’ that proliferate in the weird world of ‘modern art’.
We can see this in Rottenberg’s art such as her ‘paintings’ from 2020 to 2022: (3)
‘Vv11’ (2020)
‘Vv49’ (2022)
‘Vv54’ (2022)
These are – quite frankly – the daubings of a child with little to no rhyme or reason other than a focus on what is degenerate and transgressive since ‘Vv11’ appears to feature the barely discernible figures vomiting, while ‘Vv49’ appears to feature a phallic ‘woman’ – of a sort anyway – urinating onto the floor while preparing to give a blowjob to the semi-penis shaped cloud that looks ready to enter her mouth.
Meanwhile ‘Vv54’ appears to feature the humanoid figure once again vomiting but also defecating at the same time. This isn’t art it twenty minutes with pen and paints then another twenty minutes to think up some vapid ‘rationalization’ for what her ‘art’ allegedly shows.
It is a scam to put value on degeneracy over beauty.
Two recent ‘modern art’ installations by Rottenberg continue to reflect this these with an apparent reference to drug-taking.
These are: (4)
‘Lampshare’ (2024)
‘Vibrant Matter’ (2025)
Who on earth thinks this is ‘art’ let alone ‘beautiful’ I don’t know, but it is clearly just a childish half-baked fantasy product that Rottenberg quickly knocked up for some ready cash and that wrote some half-baked – pun intended – blurb around to ‘justify’ and ‘explain’ it to the eternally credulous ‘art critics’ of today.
Rottenberg’s recent public ‘art installation’ in New York City called ‘Foot Fountain’ however take the cake.
This looks like this:
‘Foot Fountain’ (2025)
Now despite no mention being that this ‘art installation’ – which predictably doubles as a public foundation – is clearly meant to be a penis in the shape of a leg and foot and as such is hardly the sort of thing one wants to put in public even if we put aside traditionally morality for a moment.
It is childish, tasteless and quite frankly an insult to the term ‘art’ since it is ugly, sexually transgressive (for no reason) and suggestive of a kind of disturbed mind that is better suited to a padded room than the public square.
Rottenberg predictably claims that her work is a ‘reflection of herself and her mind’ writing in one interview that:
‘My work is about certain things that I feel and that happen in the world and how I process them. It’s a way to process them. I’m not saying: “Oh, this is how it should be, or this is how you should process this.” It’s my reaction to the world. That’s what I think art is.’ (6)
Probably the most ludicrous thing is that Rottenberg claims her art explores ‘ideas of labor and the production of value in our contemporary hyper-capitalist world’, (7) which is obviously complete and utter made-up twaddle given that how a pink phallic foot foundation is supposedly a critique of ‘labour’ and ‘value’ in the twenty-first century – other than as a ironic critique of the idea that ‘modern art’ is anything but a complete and utter scam and that ‘labour’ and ‘beauty’ have absolutely no relation to ‘value’ in ‘modern art’ – I don’t know.
Yet apparently it isn’t that as she’s actually being serious not ironic as she explains in the aforementioned interview as follows:
‘It’s been almost 10 years now since I made it, which is crazy. But, yes, I think that blend between an internal space, a psychological space, the space of someone that consumes and produces things, and then connecting it to different systems that are out there, such as the small commodity market in China or the border fence in Calexico, Mexicali, that blending of fact and fiction, blending my perception of these places as a subject and the realities of these places, that’s key to my work. My experience is as a consumer. And my experience of the border … I entered the US as an immigrant, but I was legally documented. I have a relationship with borders and who is in and who is out. There’s something there, but it’s not my direct experience. So, it’s always a blend. Although, after 2016 and the first Trump terms, politicians and the people around him started blending fact and fiction. My work since then doesn’t do it any more because he does it so well. It used to be the case that politicians and the press should at least try to stick to the facts, and artists were the ones to have the liberty to bend facts and make them into fiction. When it became such a mainstream and shameless thing for politicians to do, it was very confusing to me as an artist.’ (8)
Oh, and she’s ‘interested in queer ecology as a frame of thinking and object-based anthropology as a more conceptual frame’ too; (9) whatever that actually means!
One cannot help but realise that Mika Rottenberg is simply either an extraordinarily gifted con-woman or her ‘art’ is just what she says it is: the reflection of her diseased and degenerate jewish mind given form.
References
(1) See my article: https://karlradl14.substack.com/p/marco-evaristtis-degenerate-and-sadistic
(2) https://www.hauserwirth.com/artists/23390-mika-rottenberg/
(3) https://www.hauserwirth.com/hauser-wirth-exhibitions/40540-mika-rottenberg/
(4) Idem.
(5) https://www.thehighline.org/art/projects/foot-fountain-pink/
(6) https://www.studiointernational.com/index.php/mika-rottenberg-interview-vibrant-matter-hauser-and-wirth-menorca
(7) https://www.hauserwirth.com/artists/23390-mika-rottenberg/
(8) https://www.studiointernational.com/index.php/mika-rottenberg-interview-vibrant-matter-hauser-and-wirth-menorca
(9) Idem.