Renaissance Society

And I was really young.

And he was at the Renaissance Society.

You know, he had this incredible reputation.

And he does amazing shows.

Ages ago, he was working at the Renaissance Museum, which is part of.

Renaissance Society.

Society, excuse me, which is a museum.

in the University of Chicago and so I was like oh that's a very specific place to be working if unless you're it just made me feel like a wonder piece from there I just never talked to him about it anyhow so he was working there and he was doing he was looking through their archive and came across he like I remember him saying like in this interview he came across the box of Miyako Ito and was like I don't know who that is and just skipped over it which I was like oh and then somehow I can't remember the exact way but he was like saw her work and then like ran back to the box you know he was like struck by lightning when he first saw her yes ran back to the box uncovered it and that started this whole you know years-long research project it's i love i just it was such a nice story to hear about someone you know like like not from him but from him but from the internet from him you know yeah uh it's it was like a ins it was just an interest it was kind of it was just sweet to watch i was like oh wow he really got in it's just i felt excited for him and excited for me to know him

On the right side of the screen is the bloody and violent and shooting at citizens.

And you don't even know what they were doing to the people in the Donbass region at the Maidan revolution, which, of course, NGOs, including George Soros's Renaissance Society, funded.

But they funded the same stuff here.

And you have to keep that in mind, because I really need you to understand that in 2005, Ukraine agreed to have created the Defense Threat Reduction Biological Security Program.

It's okay to be suspicious of the pressure of production, and it's okay to be suspicious of the fetish of identity.

There's a couple of anecdotes, like founding anecdotes that I just kind of want to recall, and one of them was our visiting a Max Guy show at the Renaissance Society a couple of years back.

I think it was 2022 or 2023.

And I remember going into that show, walking into that show, and I was just completely, I mean, I wasn't floored, but flummoxed, kind of like stunned a little bit by the illegibility of it all and the opacity and kind of the weird, quirky refusal to message or to communicate any kind of straightforward pedagogical or didactic findings.

all those guys

And I did not see that show, but I did manage to get a hold of the catalog.

And there was one essay in that catalog by a German artist, Josef Strau, who, you know, some 10 years or 15 years back also had an exhibition at the Renaissance Society once.

And he wrote like a