Girl Who LIED About College Rape, Now Has New ‘S&M’ Art Show – Because TRUMP?!

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Do you all remember the former Columbia University student who splendidly carried a mattress around campus as a form of artful protest to draw attention to her declared rape and alleged rapist? Yeah, that girl who ended up being a liar. Well, she’s back in the news again, and this time it’s for another agitating piece of her political ‘performance art’.

The 24-year-old Emma Sulkowicz current artsy-fartsy ploy has a lot more to do with politics…but still has a whole lot of creepy to go along with it. Apparently to her, play-acting S&M is a form of art. Or protest. Or art…

You know what? There is no telling what these kids nowadays are trying to do. They are all liberally charged, that they can’t seem to function without dramatics being involved. Anyways, Emma’s gallery has two steps to it. Step one: get dressed up in a skimpy bikini. Step two: be beaten with a leather belt by an older, creepy bearded gentleman named ‘Master’.

Some people’s kids, I swear…

If you were to ask Emma what this whole creepy, sexual fantasy thing was about, she would say that it really had nothing to do with sexuality, but was just a metaphor — for her perceived belief that ‘art’ was somehow being ‘held back’ by the oppressive Trump administration.

Seriously though, have we given up on this generation yet?

The Daily Mail:

Emma first rose to national prominence in 2014 while she was a fourth-year student at Columbia. At the time, she accused a fellow classmate of raping her in her dorm room, bringing the charges to the attention of the university. Two other women also brought formal complaints against the accused, but in hearings, the school found the male student to be ‘not responsible’.

Emma was also part of a larger complaint filed later against the university, alleging that it had mishandled sexual assault cases.

To bring even more attention to her situation, she staged a piece of performance art called Mattress Performance (Carry That Weight), in which she carried a 50lbs twin-sized mattress — like the one she claims she was raped on — around campus.

What Daily Mail failed to mention was that the school first took action against the accused without any evidence of the claim. When they looked further into it, they couldn’t find any evidence to back up the claims of rape, hence, “the school found the male student to be ‘not responsible” precisely because it wasn’t true.

Oh, and the accused? He counter-sued after he was dragged through the mud by these lefty psychopathic liars. Now, it would seem that since Emma played the victim the first time, she’s turned it into an art form.


Shown at the Elizabeth Foundation for the Arts Project Space and documented by a reporter at Broadly, the performance kicked off with a pink-haired Emma standing in her section of the gallery in heels and a coat.

Soon, the coat came off, revealing a skimpy bikini. An older bearded man, whom she called Master Avery — a professional dominatrix whom Emma considers a close friend —then approached her.

He slung insults at her, telling her that her ‘boobs were too small’ and her posture was bad. He then got physical, using a rope to tie knots around her legs and waist. He tied her to a wooden beam which was strung up to the ceiling, so Emma hung, bound and immobile, above the ground. He then began hitting her with a belt.

In a subsequent performance, with more ‘intense’ beatings, the male dominatrix even invited the crowd to participate. Only one man took him up on the offer, slapping Emma’s face. Though most of the audience was ‘shocked’, according to Emma, just one person was concerned enough to intervene, walking up to the young woman and asking her outright if she wished to be taken down.

Eventually the guy called, ‘Master Avery’ moved away from the dummy that asked to be battered, and the audience untied her for the beam.

So after all was said and done, Emma believed her project accomplished much:

‘We’re acting out this sadistic-masochistic relationship between the institution with all of its financial power, and this program [art] that wants to be political but can’t be really because it’s being tied up by this institution.’


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