To reiterate, these are the same #AthensBiennale curators who have publicly declared me "the epitome of online hate speech" for taking a stand against the normalisation of fascism and antisemitism.

This is where we're at, and it is extremely scary....

The event's curator, Fil Ieropoulos (Amadeus Sacerpullus), is shown here with #AthensBiennale curators Poka Yio and Kostis Stafylakis, and on Facebook discussing Third Positionism.

Also on the bill was Ed Fornieles, the edgelord British artist and #AthensBiennale exhibitor caught egging on a far-right antisemitic troll's harassment of me last month: https://x.com/Luke_Turner/status/1041719661451272197

Daniel Keller is now compounding his harassment of me—ongoing since July, which led to my having to withdraw from the @AthensBiennale ( https://dir.lat/StdcJC )—by liking Leia Jospe's latest tweet.

This lot really can’t seem to do anything but double...

My open letter about my withdrawal from the #AthensBiennale, and the normalisation of fascism in the art world, has just been translated and published in French 🇫🇷✊...

The art world has a serious problem.

Ed Fornieles—another artist due to appear @ #AthensBiennale—is all over the fascist pro-Deanna Havas account pumping out antisemitic basilisk images of me.

I shouldn’t have to spell out why this is not ok....

Absolutely vital discussion here @hjjweeks, especially ahead of the grotesque spectacle of the antifascist-vilifying #AthensBiennale opening this week: https://www.youtube.com/watch?v=6kb3xK1UNsI

Disturbingly, Athens School of Fine Arts—where #AthensBiennale curator Poka Yio teaches—just held an event platforming Daniel 'DC' Miller, the fascist writer under investigation by police for making death threats towards me.

He appeared as Italian "superfascist" Julius Evola.

This is abhorrent.
The same account whose antisemitic abuse Deanna Havas lol'ed at.
That Ed Fornieles egged on.
That Daniel Keller defended as merely "harmless" cartoons.
That #AthensBiennale declared me "the epitome of online hate speech" for taking a stand against.
Enough.

An excellent piece on the real meaning of "cultural Marxism" by @samuelmoyn, which helps contextualise the antisemitic nature of the abuse that the likes of Ed Fornieles, Daniel Keller & the #AthensBiennale have been excusing & enabling....

For fantastic insight into the kind of orchestrated harassment being engaged in by some of the fascist LD50 supporters and #AthensBiennale artists, @sarahjeong's 'The Internet of Garbage' is a highly recommended read:...

Meanwhile, Daniel Keller, the anti-Antifa artist whose harassment of me over the past 6 months (including disseminating antisemitic propaganda about me) forced my withdrawal from the @AthensBiennale, posted these overtly creepy tweets about my Berlin appearance:

Dean Kissick, NY Editor of Spike Art Magazine, then posted this snarky tweet about the talk's cancellation.

Kissick is a long-time collaborator of Ed Fornieles, the @AthensBiennale artist caught egging on antisemitic harassment of me by an extreme far-right account last year.

Morgan Quaintance completely nails it in this month's @ArtMonthly with a demolition of the "repellently simple and irredeemable behaviour" of the art world figures taking part in, supporting & defending the continuing mob harassment of me following last year's @athensbiennale 👇

It is vital that the art community does not give the #AthensBiennale a free pass to simply brush its instrumental role in this harassment campaign under the carpet, and keeps pressing for accountability and zero tolerance of antisemitism in the art world.

#NoSafeSpaceForJewHate

The events that stemmed from the #AthensBiennale, and the apparent legitimacy this gave in some quarters to the antisemitic harassment campaign against me, have severely affected my life for the past three years, at extreme cost, both emotionally and financially.

A few people have been asking my thoughts on the latest #AthensBiennale, which opens today, following events of 2018—in which the Biennale engaged in horrific institutional gaslighting over the antisemitic harassment campaign I've endured from alt-right corners of the art world.