Published on Apr 18, 2012

Dir: Mareike Wegener, Germany, 80 min, 2011, Documentary
Brooklyn based artist Mark Lombardi created graphic artwork portraying the opaque global network of financial and political elites, including their…
http://www.brooklynfilmfestival.org/films/detail.asp?fid=1219

March 2000

Eight months before an idiot son of the Bush crime family “won” election for president…

A year before Osama bin Laden became famous for 9-11…

Mark Lombardi, who had just achieved a major breakthrough in his career as an artist, reportedly hanged himself in his Brooklyn studio.

His art form?

Drawing intricately detailed diagrams of the relationship between the Bush family and its allies, the Bin Laden family, and other global criminals.

If there are people who commit political murders and then stage them to look like suicides – and there are – don’t you think that it’s quite a coincidence than Aaron Swartz – a very positive, resourceful, and intelligent young man who was co-owner of a major social media network – died the very same way?

It’s all just a big coincidence.’

BrassCheckTV

 

 

 

Mark Lombardi and the Ecstasy of Conspiracy


Detail, Mark Lombardi, George W. Bush, Harken Energy, and Jackson Stephens, ca. 1979-90 (5th version), 1999

With the 40th anniversary of the assassination of JFK freshly behind us, our abiding romance with conspiracy theories seems more ardent than ever. And one of the most remarkable expressions of that romance is on view at The Drawing Center in New York, “Global Networks,” an exhibition of the work of Mark Lombardi. In an age where we all dimly sense that The Truth Is Out There, Lombardi’s extraordinary drawings aim to provide all the answers.

Although Lombardi’s work has combined the mesmerizing detail of the engineering diagram and the obsessive annotation of the outsider artist, the man was neither scientist nor madman. Armed with a BA in art history, he began as a researcher and archivist in the Houston fine arts community with a passing interest in corporate scandal, financial malfeasance, and the hidden web of connections that seemed to connect, for instance, the Mafia, the Vatican bank, and the 1980’s savings and loan debacle. His initial explorations were narrative, but in 1993 he made the discovery that some kinds of information are best expressed diagrammatically.

The resulting body of work must be seen to be believed — an admittedly oxymoronic endorsement of subject matter of such supreme skepticism. Lombardi’s delicate tracings, mostly in black pencil with the occasional red accent, cover enormous sheets of paper (many over four feet high and eight feet long), mapping the deliriously Byzantine relationships of, say, Oliver North, Lake Resources of Panama, and the Iran-Contra operation, or Global International Airways and the Indian Springs State Bank of Kansas City. Because the work visualizes connections rather than causality, Lombardi was able to take the same liberties as Harry Beck’s 1933 map for the London Underground, freely arranging the players to create gorgeous patterns: swirling spheres, hopscotching arcs, wheels within wheels.

 

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