Esoteric Sacrilege in a Viennese Church

Update – readers from Austria have assured me that Villach is a small town south-west of vienna, rather than a suburb, as I previously thought. Apologies for the error!

A new art exhibition displayed in an Austrian Catholic church is not only sacrilegious, but also shows indications of an occult influence.

The exhibition was launched during Mass on March 9 with the enthusiastic blessing of the parish priest. Entitled CROSS: WAY: STATION (“Kreutz: Weg: Station” in the native tongue) the installation will be displayed in St. Jakob Church in Villach, Austria until April 4.

Artist Michael Kos has taken classic images of Christ and subjected them to abuse in the name of his spiritualised ‘art’. Kos claims that his three pieces, a crucifix, a tabernacle and a bizarre architectural structure in front of the altar are meant to represent the Son of God being subjected to a ‘real ordeal’ – something he undoubtedly managed to achieve by his disrespectful display.

According to Gloria TV, the diocese is run by the heterodox bishop who gave the world an “Episcopal Vicaress.”

Body Cube

The so-called ‘Body Cube’ is set in front of the altar and is large enough to stand in. It is quite disturbing, containing 49 dismembered body parts of Jesus Christ.

Kos explains the structure as a three-dimensional cross and says “the open axis structure of the cube creates a variable play of cross shapes. From every other point of view, different forms arise, from the simple cross to the half cross, the cross of the room to the swastika.”

The use of cubes is the first clue to the display’s occult meaning as adepts appreciate the cube’s secret: when unfolded, it becomes a cross. As explained here in an article about liturgical design, cubes are ‘inherently Masonic.

Kos’ reference to the swastika, is another red flag since the swastika is a well-known New Age symbol. The composition of the structure, black-painted aluminium is a further clue since in the occult, the use of a base-metal for construction of a cross symbolises humiliation.

‘Body Cube’ shown in its entirety
The cube bears a resemblance to the ‘triple-tau’ cross, revered by Freemasons.

Balance Act

A second piece of artwork in the installation is a wooden figure of Christ, covered with white chalk and appearing to balance on a tightrope. The artist believes that this represents “a kind of resurrection happening through a rapture” and that it also refers to the concept of ‘balance.’

As mentioned many times in these pages, the principle of balance is very significant in the occult world. In choosing this theme, the artist underscored the balancing of chaos with order, sin with grace.

Although black-and-white tiled floors are not unusual in Catholic churches, it is perhaps no coincidence that one is found in this particular church. The contrast between black and white is yet another reference to finding ‘balance’ between opposites.

Here is what article Michael Kos says about “Balance Act”:

“Art is very often a balancing act because it can support values but also overthrow them.”

The installation balance.AKT is an unusual, sacred representation that not only shows the change in religion and culture, but also the wafer-thin dividing line between play and existential fall.

No god can be safe in the long run. Every individual and a son of heaven can experience the loss of balance. Man has become one who knows about the light-footed play and the bottomless abyss. [Emphasis added.]

Kos makes no attempt to hide his disdain for the Son of God.

Christpower

The final and most blasphemous of all the artworks is entitled, “Christpower.”

Believe it or not, this is a tabernacle (or at least represents a tabernacle – it isn’t clear whether or not the Blessed Sacrament is actually housed in this monstrosity.)

“Christ Power” is a white lacquered steel tank with a fill indicator which the artist says was inspired by the idea of “a critical tabernacle – or rather a tabernacle in crisis.”

Again, references to the occult are peppered in the artist’s explanation: he says that “shrine”, “transformation” and “secrecy” are all aspects of the tabernacle. ‘Transformation’ is of course, the ultimate ‘balancing’ act.

In his explanation of the work, Kos again shows his disregard for the Catholic faith, calling its veneration for the Blessed Sacrament ‘exaggerated.’ He goes on to suggest that divinity is found within the individual. This is the immanentism of esoteric philosophy and may be contrasted with the Christian idea of transcendence – that God is found beyond the individual.

“The question arises as to the relevance of a unique object today, which was characterized for centuries by cult dramaturgy and symbolic exaggeration.

This work of art oscillates between affirmation and negation of the religious level. The fill indicator is just before the vacancy rate and refers to a vacuum where there could also be spiritual abundance. But what is this abundance? Who fills up at all?

… Isn’t CHRISTPOWER also a psychoanalytic transmission that the believer unconsciously performs himself? So less an external force than an active internal force. A intrinsic force that fades away.

SOURCES: Carinthia Diocese website and Gloria TV.

Abortion Advocates & Occult Artwork at Vatican

It was bad enough that Papa Bergoglio would agree to meet with the Board of Directors of a pro-abortion NGO at the Vatican. The setting for the official photograph, however, takes this meeting to another level.

The Conrad N. Hilton Foundation is the largest funder of Catholic religious sisters around, has sent millions of dollars towards the formation and good works of Catholic sisters over the years. It also assists refugees, the poor and provides access to safe water – ostensibly one of its seven main goals. The Foundation also has an association with National Catholic Reporter which, due to its heterodox content, even US Bishops have claimed is ‘not really Catholic’.

That’s all well and good but the Hilton Foundation is also very pro-abortion. Among the many organisations the Foundation has helped financially are those dedicated to ‘reproductive health’ aka abortion and contraception, including the ‘California Latinas for Reproductive Justice.’ [see more here.]

California Latinas for Reproductive Justice

Pope Francis met with the Board of the Hilton Foundation on January 22 of this year. He of course told them how wonderful their work was, giving them some gems like “Compassion is not throwing money into the hands of another without looking them in the eyes. Right. Be like McCarrick who looked the Popes right in the eyes as he threw them bucketloads of money.

What really caught my eye was the strange artwork hanging in the background of the official photograph of the occasion, which was circulated by the Vatican’s press office. Although not as aesthetically offensive as other artwork favoured by the Curia (thinking here of Rupnik and Jago) this one certainly is strange when you take a close look at it. And the fact that it was chosen as the backdrop to the photograph of Francis taken with abortion advocates and feminist nuns like Nathalie Berquart makes it even more stunning.

“Abbraccio Cosmico” by Camilian Demetrescu

“Abbraccio Cosmico” (Cosmic Embrace) is a tapestry created by by Camilian Demetrescu. Demetrescu was a Freemason-turned-Moslem who associated with Modernists, nihilists and Theosophists. His tapestry was installed in 2008, during the pontificate of Benedict XVI.

Describing his work, Demetrescu claims that:

This tapestry has been made in Italy (Gallese) after the september 11th 2001 : the cosmic love (abbraccio cosmico) is the only response to such a tragedy. Two angels are moving the universe around the planets’ hug.

What he doesn’t explain is that this design is all about astrology, including cosmic portals and ‘as above, so below’ imagery as well as the fake New Age ‘angels’.

Below is one interpretation of the image that came from an occultist – not from the artist himself. [NOTE: This information came from a website called ‘Keys to Ascension’. I really don’t like linking directly to occult websites.]

The translation means “Cosmic Embrace.” The center of this painting is a man and woman1 in a tender embrace. This represents the Sacred Union of the Divine Feminine and Divine Masculine. Uniting the Heart and the Mind through Divine Cosmic Love – Christ Love!

Facing the picture, the Blue Angel on the left represents the Feminine/Universe/ Spirit. The Brown Angel on the right represents Masculine/Earth/Physicality. The Angels wings are pointing up and down. They are each holding a handle. One up – one down. As Above – So Below. The handles are connected to a shaft of Light that runs through the heart center of the Divine Cosmic Embrace. The EnLightened Ones are guiding the transition.

Notice also that the handle held by the Earth Angel is attached to a spiral – a Cosmic Portal. The handle held by the Cosmic Angel is attached to a symbol of the Cardinal Grand Cross2. Earth/Humanity goes through the Cosmic Portal to connect to the heart of Divine Source/Divine Unconditional Love – the Cosmic Embrace. The Cosmic Alignment funnels Light through Divine Source/Divine Unconditional Love to elevate Earth.

The Cosmic Portal envelopes the planets and humanity in a Divine embrace of Christ Consciousness. This is the birth of the New Age of EnLightenment!

  1. Another interpreation explains that the two people embracing are ‘asexual.’ ↩︎
  2. An astronomical formation which is highly significant in the practise of astrology. When a Cardinal Grand Cross occurs in the heavens, it is a ‘sacred day’ to many occultists. ↩︎

Let There Be Luce

The controversial anime-inspired ‘Luce’ is the official mascot for the 2025 Jubilee and was launched at a press conference on October 28 by Archbishop Rino Fisichella. Luce’s name is of course derived from the Latin lux, lucis, meaning ‘light’. From this comes such English words as ‘illuminate’, ‘luminous’, and ‘Lucifer’, as well as the Italian, illuminati. (This article from LifeSite gives a very thorough analysis of the name ‘Luce’ and its link with Enlightenment philosophy.)

The artist who created Luce was immediately exposed as being a promoter of LGBTI rights and a purveyor of fine sex-toys, leading to a collective sigh from controversy-fatigued traditional Catholics.

The first thing one notices when first looking at Luce – when one recovers from the visceral response to the sheer insult being given to God and to the Church’s tradition of exceptionally fine art – is the staff in the figure’s left hand. Although being promoted as a pilgrim’s staff, this is very reminiscent of a witch’s stang. The stang is a two-pronged tool made of wood, used by witches for spells and (apparently), for flight.

A stang was famously presented to Pope Francis during the 2018 Synod by a young woman wearing a red string around her wrist. The Pope later carried this stang instead of the usual crozier during Mass.

From the Museum of Witchcraft and Magic, Boscastle, Cornwall

The Stang, pictured at left with crossed arrows, is the relatively modern name given to a witch’s staff. The word was first used by a male witch in the 1960’s but the tool itself is far older and can be found in ancient artwork as well as in various cultures.

Luce also features a Rosary without a corpus (so as not to offend the Protestants?) worn around its neck and shells in its eyes. Eyes are highly symbolic for occultists, and represent the gateway to inner knowledge. In the esoteric world, shells are said to represent new birth or transformation. At first glance, the eyes of Luce seem to be extremely sad and filled with tears – not a great look in these days of industrial-scale child abuse.

But Luce is only part of a collection of mysterious esoteric-themed artwork being promoted by the Vatican. Vatican News also announced that a bizarre painting will be displayed during the Jublilee. From artist Marc Chagall, the painting will be on loan from the Art Institute of Chicago. The artwork is called, “white Crucifixion’ and shows Jesus on the cross, wearing a Jewish prayer shawl called a tallit.

Chagall, a Jew, was apparently obsessed by Christ’s crucifixion and painted many works around this theme. Some of those showed Chagall’s own face in the figure on the cross. This is said to represent the persecution of Jews, especially during the Holocaust.

But there may be a more sinister interpretation of this: high-level satanists pursue something known as apotheosis, which is the state of ‘becoming a god’. I’ve previously mentioned a book by Kerth Barker, in which he mentions some satanists he knew who displayed statues and artwork which featured their own faces. This was because they wanted to be worshipped as gods. Chagall was perhaps attempting to do the same thing by replacing Christ’s face with his own. Chagall’s work was also featured in an occult art exhibition in Spain in 2023. So while none of this is conclusive evidence of Chagall’s ties to the occult, it is nevertheless interesting in light of the Vatican’s continued use of artwork from Rupnik and its ties to the very strange artist, Jago.

Vatican officials are also planning to use ‘Luce’ as a mascot at the 2025 World Expo to be held in Japan. Along with Luce, the Holy See’s pavilion will exhibit Caravaggio’s Deposition of Christ, shown at left. This may be another clue to the existence of Luce: Caravaggio is known as the ‘Master of Light‘ because of his use of the technique known as tenebrism – the dramatic contrast between dark and light areas – in his works. Caravaggio must be a favourite in the Curia, as he was most likely a bisexual who died at an early age, possibly from either syphilis or murder.

So with Luce, Chagall and Caravaggio, it’s just a case of ‘another day, another immoral role model’ as the Ape of the Church continues its slow grind towards total apostasy.

Pope Francis Has Rupnik’s Art in His Apartment

As Catholic media has reported the Pope is hanging artwork from the notorious sex-offender Marko Rupnik in his private apartment at the Santa Marta.

The image in question can be seen in a Youtube video made by Canal de la Cuidad (City Channel), posted on August 8, 2024. The video is entitled Pope Francis met with victims of Alfredo Astiz – although they aren’t exactly victims of Astiz. More about that shortly.

Image source: El Observador

The image indicated above is unmistakably by Rupnik, with its telltale dark, soulless eyes. It is identical to the one shown below: an angel rousing St. Joseph from his sleep. Controversially, Vatican News has so far refused to stop using Rupnik’s images and this one appeared on its website for the feast of St. Joseph, Spouse of the Virgin Mary on March 19 of this year.

Now to the connection Alfredo Astiz connection. Astiz was a prominent military commender during the Argentine Dirty War (1976-1983.) He was later charged with crimes against humanity and sentenced to 19 life sentences for human rights abuses.

The video from Canal de la Cuidad was related to Astiz’ victims. It shows Pope Francis speaking with a young woman by the name of Anita Fernandez, the grand-daughter of Esther Ballestrino de Careaga , who was a left-wing activist executed under orders from Alfredo Astiz.

Ballestrino had been a great friend of Jorge Bergoglio: she was his supervisor when he worked at the Hickethier-Bachmann Laboratory in Buenos Aires. Ballestrino was an avowed Marxist and had a great impact on the young Bergoglio. George Neumayr’s Political Pope recounts Fr. Bergoglio’s thoughts on Ballestrino:

“I owe a huge amount to that woman; she taught me so much about politics. She often read Communist Party texts to me and gave them to me to read…..I realised a few things, an aspect of the social, which I then found in the social doctrine of the Church.”

After his ordination, Ballestrino called Fr. Bergoglio asking for the Last Rites to be given to a family member, even though she was personally an atheist. When Fr. Bergoglio arrived, he was told that Ballestrino in reality wanted him to dispose of the Communist literature which would incriminate her in the event of a raid. Bergoglio acquiesced (one source claims he took these books to a ‘Jesuit library’) but despite this, Ballestrino was eventually detained and ‘disappeared’.

By the time her body was found, washed up on the beach after being thrown from a plane, Bergoglio was Archbishop of Buenos Aires. Even knowing that she was a Marxist, he had her buried in the garden of the church of Santa Cruz. So, while Alfredo Astiz was not a good person, and while throwing Marxists from planes is quite inhumane, Ballestrino wielded an evil influence over the young Bergoglio, helping to form, so to speak, the anti-capitalist and humanist tendencies which are apparent in him today.

{NOTE: One more detail about the Papal apartment: this rather bizarre set of decorations are found to the Pope’s left in the video. They are quite strange and bring to mind Jago – that other sex-fiend artist who has been mentioned in these pages.}

More Evidence of a Vatican S** Cult?

At this point, if anyone thinks it is hyperbole to suggest that there exists a group of prelates who are involved in ritual s** abuse or at the very least, who are addicted to deviant s**, then they are beyond convincing. The evidence seems quite overwhelming.

This is not only because of the notorious abuser, Rupnik, and his uncanny knack for escaping punishment despite so many credible accusations. Nor is it because of Tucho Fernandez and the disgusting books he wrote before landing the top job at the DDF.

Marko Rupnik pictured with Archbishop Mark Coleridge at Our Lady of the Southern Cross in Springfield, Queensland, Australia. Rupnik is notoriously protected by Rome while his abhorrent works of art continue to disgrace many a church around the world, including here in Australia.

No, the idea of a formal group of deviant bishops, priests and even cardinals who are engaged in occult rituals, often involving s**, was suggested over a century ago when it became known that Cardinal Rampolla was a Mason. Not only that, but he was known to be involved with the OTO, a group for which ritual s** is its bread and butter. Since then, strange tales and mysterious events suggesting the existence of such a group within the Curia have popped up from time to time.

From “Windswept House“, and its shocking account of simultaneous Black Masses performed by high-ranking Catholic priests, to the disappearance of young girls within the Vatican walls, to the gay orgies and general air of sodomy prevalent among the hierarchy, there is no doubt that sinister forces have infiltrated the Curia’s ranks or that they are using the dark arts to further the reign of Satan. Even Fr. Gabriel Amorth – an exorcist but no great traditionalist – confirmed that Satanic Black Masses are in fact being held in the Vatican. And wherever one finds Black Masses, one finds deviant, ritual s**.

These men even arranged for children to be entertained by a drag queen at “world Children Day”!

The latest discovery which lends further credence to the existence of a s** cult in the Vatican comes from the highly informative blog, Pope Head. I have been following this Substack account for a while now, and have found it to be a good source for information relating to Masonry, especially its signs and symbols.

This recent article refers to one written at Pope Head some time ago; the original was a long post about an artist named Jago, who had created a sculpture of the late Pope Emeritus Benedict XVI. (Incidentally, I also wrote about it here.) Pope Head gave quite an examination of the artist in question, and found other works of his which are even more disturbing than his bust of the Pope: works with a theme of child s** abuse.

Before and after pictures of Jago’s sculpture, which is clearly meant as a message – an insult to Benedict or the mocking triumph after a stolen Conclave. The right-hand version, made after Benedict’s abdication, retains the Papal ring and most bizarrely, has been given a set of eyes, which were conspicuously missing from the original.

His latest article, though, asks a pertinent question: who exactly was it that commissioned the sculpture of Benedict XVI? (And the answer may well be given in the PAID section of the Pope Head blog.) It is known that someone in the Vatican commissioned it and, according to the Pope Head thesis, it looks suspiciously like that person or persons unknown had in mind Benedict’s resignation when the sculpture was first created.

Four years prior to Benedict announcing it to the world.

Two names are then mentioned by Pope Head: Cardinals Ravasi and Bertone. They jointly gave Jago an award for his original bust in 2009, so are obviously great fans of his work. (Pope Benedict himself did not care for it.)

Ravasi, as the reader may recall, is known for his “Letter to Brother Masons” reproduced here.

Bertone was once Secretary of State and was said to have been close to Benedict.

Pope Head suggests he is a Freemason (Well, he DOES have a collection of black and white scarves) who helped Bergoglio gain power and who may have been responsible for Vigano’s “sideways promotion” away from the Vatican Bank. Indeed, Bertone is singled out for blame in Archbishop Vigono’s latest missive on his accusation of schism.

Bertone was also accused of helping himself to large amounts of Vatican funds and, according to Pope Head, is all round, a “terrifying” figure.

Not only that, he actually met Sr. Lucia of Fatima on three occasions, then went on to – how shall we put it – slightly change the Third Secret, something none of us would want on their conscience at our particular judgement.

One of Jago’s earlier pieces, said to be his own hand. Erm, does that look like a BITE MARK on the index finger?

Could Ravasi and Bertone have been the ones to commission Jago’s bust of Pope Benedict AND were they responsible for forcing Benedict’s resignation?

If not they, then what Vatican official chose an artist who (at least later on) is so obsessed by the r**ing of children that he sculpts artwork using that theme? Even Jago’s relatively normal works contain some abnormal element. (See his hand, above.) The man is simply not balanced.

But then, “balanced” is not not a word that could be used to describe the Curia under the Bergoglio pontificate. Rather, it is regime marked by sexual perversion, narcissism and diabolical disorientation.

And, incidentally, those are all the ingredients necessary for a thriving culture of ritual coupling.

Vatican continues to use Rupnik’s art!

Have they no shame?

Evil. That is the only way to describe it. The folks at Vatican News apparently think it appropriate to continue using the art of disgraced sex-abuser-priest, Marko Rupnik, to promote some of the liturgical year’s most sacred days. Is this a not-so-subtle message of business as usual at the Vatican?

That the Age of Aquarius is steaming ahead in Francis’ Rome? How dare they? How DARE THEY?

This artwork is so disorienting, some would say, demonic.

And if you have the stomach for something even more bizarre – here is Rupnik explaining his mosaic about St Pio – only he spends the bulk of the time spouting nonsense about Pope Francis and his similarities with our dear Padre.