"I realized that we don't really think about it this way, but Sodom was a book about war profiteers, that the four men who perpetrated the atrocious, sexual, violent acts of kidnapping people-girls and boys-to bring them to their chateau to do whatever they want with them, they could do that because they were war profiteers within the war of Louis XIV."
"This particular artwork gets a mention in the recent dump of Epstein emails. In January 2010, an art adviser identified as Annibelle from Neilson Consultancy-likely the late Annibelle Neilson, a British socialite known to have wrangled girls for Epstein-writes to Epstein."
Reality is rapidly decaying, complicating the understanding of news through mere facts. Paul Chan's 2009 artwork, Sade for Sade's Sake, reflects this decay by reenacting the violent fantasies of the Marquis de Sade's The 120 Days of Sodom. The work highlights themes of war profiteering and sexual violence, drawing parallels to contemporary conflicts. Chan's insights reveal that Sodom serves as a commentary on the atrocities committed by war profiteers, resonating with the realities of the Second Gulf War and the destruction in the Middle East.
Read at Artnet News
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