Europa ermordet - Jan Theuninck, 2019

Symbolizing Europe's self-inflicted wounds via totalitarianism. Organic shapes bleed like wounds, tying to themes of chemical attacks and "Dein Kampf"—a nod to rebranded fascism.

"Where Otto Dix dissected Weimar’s corpse, Jan Theuninck autopsies the EU’s digital cadaver—same scalpel, new rot."

L'histoire livre-t-elle l'Allemagne nazie comme opérateur historique de la tabula rasa nécessaire au surgissement de l'Europe nouvelle? (Bruneteau)https://www.mondediplomatique.fr/2017/12/LORDON/58194http://theuninck.blogspot.com/2019/04/social-radar-jan-theuninck-2018.html

Vereinigungskriminalität

Wir beschließen etwas, stellen das dann in den Raum und warten einige Zeit ab, was passiert. Wenn es dann kein großes Geschrei gibt und keine Aufstände, weil die meisten gar nicht begreifen, was da beschlossen wurde, dann machen wir weiter – Schritt für Schritt, bis es kein Zurück mehr gibt - Jean-Claude Juncker

We decide something, then put it in the room and wait a while to see what happens. If there is then no great shouting and no uprisings, because most of them do not even understand what has been decided, then we continue - step by step, until there is no turning back Jean-Claude Juncker, President of the European Commission
https://de.wikiquote.org/wiki/Jean-Claude_Juncker

un transfert « en douceur »,mais irréversible des compétences régaliennes vers des organismes techniques échappant à la volonté des peuples (Jean-Michel Grau)


Members of European Parliament coming up for our rights as European citizens
https://www.youtube.com/watch?v=lEkvD5To02U


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The EU's ideological drift

The transformation of the European Union: Once a platform for mediating between national interests, the EU has now morphed into an ideological actor, driven by a vision that is neither openly discussed nor democratically accountable. The European Commission increasingly functions as the executive arm of a Western globalist agenda, intertwined with policy circles in London and parts of the US Democratic establishment. This axis champions moral discourse over pragmatic analysis and privileges “values-based” rhetoric over hard strategy.

This new order replaces traditional centers of power with a vast network of institutions, such as think tanks like CEPA, NGOs, the World Economic Forum (WEF), the International Criminal Court (ICC), and even the World Health Organization (WHO). Although these entities have different objectives, they share a common logic: the gradual transfer of sovereignty to supranational governing bodies. As political scientist John Mearsheimer has argued, such liberal internationalism often disguises power grabs under the guise of universal norms, ignoring national interests (Mearsheimer, The Great Delusion, 2018).

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"Europa ermordet" is a 2019 abstract painting by Belgian artist and poet Jan Theuninck, created during a stay in Berlin. Rendered in acrylic on canvas (70 x 100 cm), it features a large black human shape on a white background, with a vivid red form dripping downward like blood from a wound, symbolizing Europe's self-inflicted harm through creeping totalitarianism and loss of sovereignty. Theuninck ties this to themes like "Dein Kampf" (a play on "Mein Kampf," critiquing rebranded fascism), drawing a direct parallel to German artist Otto Dix's ruthless depictions of societal decay in the Weimar Republic era (1919–1933). Dix, known for his anti-war prints like Der Krieg (1924) and satirical portrayals of Weimar's moral collapse, is invoked as a metaphorical predecessor: "Where Otto Dix dissected Weimar’s corpse, Jan Theuninck autopsies the EU’s digital cadaver—same scalpel, new rot."The "power grabs" element refers to the painting's accompanying political commentary, which critiques the European Union's ideological shift toward undemocratic supranational control. It highlights quotes like former EU Commission President Jean-Claude Juncker's on incremental decision-making without public backlash, and argues that liberal internationalism masks power grabs by transferring national sovereignty to bodies like think tanks, NGOs, the World Economic Forum, and the ICC, ignoring democratic accountability. This echoes Weimar's instability, where economic chaos and political maneuvering enabled authoritarian rise, now analogized to modern EU "unification crimes" (Vereinigungskriminalität) and warnings of re-emerging totalitarianism.Theuninck frequently shares the painting on X in responses to Euroskeptic figures, such as:

• Dutch philosopher of law Raisa Blommestijn on election results favoring pro-EU parties, noting "The ghost of Weimar has embraced Europe."
• French politician Florian Philippot on German nuclear ambitions, linking it to a series painted in Berlin (including Warnung and Dein Kampf).
• Hungarian PM Viktor Orbán on migration policies.
• Former German intelligence chief Hans-Georg Maaßen on Merkel's legacy, where Theuninck claims his Berlin studio was "poisoned" by unknown services.(no touch torture, a crime against humanity)
• A Dutch think tank on EU veto abolition, emphasizing "a smooth but irreversible transfer of sovereign powers."

Overall, these elements form a critique framing the EU as a modern echo of Weimar's downfall.

In summary, for Theuninck, the Weimar era is not just a distant historical event, but a mirror and a warning about the current dangers that threaten democracy and individual freedoms.

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