The Walker Art Center’s Controversial Descent into the Occult

MINNEAPOLIS, MN- Taxpayer-funded demon summoning might seem like the plot of a bad horror movie, but it’s definitely real.

Recently the Walker Art Center in Minneapolis has come under scrutiny for hosting a highly unusual “family-friendly” activity that has left many questioning the museum’s motives and appropriateness.

The event, dubbed a “collective and playful demon summoning session,” took place on August 5 and has ignited a heated debate about the boundaries of artistic expression and the responsibility of cultural institutions.

The museum, known for its eclectic and innovative exhibitions, welcomed parents and children to participate in an event that many critics argue crosses a line between creativity and the potentially dangerous.

Tamar Ettun, the artist responsible for orchestrating the controversial affair, defended the event with a seemingly blasé statement: “Demons have a bad reputation, but maybe we’re just not very good at getting to know them.”

The event, divided into two distinct segments, began innocently enough, as visitors collaborated with Ettun to design personalized vessels for their supposed inner demons.

Examples included the “demon of overthinking” and the “demon of not trusting your gut,” as displayed on the museum’s website. But the sinister undertones became more pronounced as the event progressed.

Attendees were then treated to a summoning ritual led by Ettun herself, supposedly invoking the presence of a spirit named Lilit the Empathic Demon.

This character, inspired by the mythological figure Lilith from Jewish folklore, promised to guide participants in “locating their feelings using ancient Babylonian techniques,” according to the museum’s online advertisement.

Just so you know, Lilith’s depiction in Jewish texts and traditions is far from benign.

Often portrayed as a malevolent and seductive demon, Lilith has been associated with chaos and destruction, hardly a suitable muse for a family-oriented event.

Ettun’s casual co-opting of this figure raises questions about her understanding of cultural sensitivities and the potential impact of her artistic choices on young, impressionable minds.

Not surprisingly, Lilit’s involvement in Ettun’s artwork is not limited to the museum event.

The artist has established a phone number purportedly belonging to the Empathic Demon, inviting individuals to text their inquiries and receive in-character messages from Ettun herself.

This curious attempt at blurring the lines between reality and fiction raises concerns about the ethical implications of engaging the public in such an enigmatic and potentially psychologically charged manner.

The controversial event culminated in what was described as a “somatic movement meditation,” aimed at helping participants “befriend their shadows.”

However, critics argue that the entire spectacle was a thinly veiled attempt to legitimize the summoning of dark forces under the guise of artistic expression.

One must question the judgment of the Walker Art Center in allowing such an event to take place, especially considering its status as a recipient of taxpayer funds through Minnesota’s Arts and Cultural Heritage Fund.

Many have expressed dismay over the apparent lack of oversight and accountability, with taxpayer dollars potentially funding projects that deviate from the center’s purported mission.

This unsettling incident is not the first time Tamar Ettun’s work has raised eyebrows.

Her previous artwork, “How to Trap a Demon,” showcased in New York’s Richard and Dolly Maass Gallery, similarly delved into the realm of demonology.

Ettun’s assertion that her exhibition “challenges historical gender binarism and offers a new perspective on Lilith’s archetype” does little to alleviate concerns about the potential glorification of malevolent forces.

It is clear that the Walker Art Center’s decision to host a family-friendly demon summoning event has ignited a fervent debate about the boundaries of artistic expression and the responsibility cultural institutions bear when engaging the public, particularly impressionable children, in controversial and potentially harmful activities.

For those familiar with the potential dangers of playing with demonic rituals, this whole affair seems deliberately evil and very, very stupid.

As the dust settles on this unsettling affair, one can only hope that it serves as a sobering reminder of the power and influence of the art world, and the imperative to exercise discernment and prudence when navigating the murky waters of artistic experimentation.

Really makes you wonder what weirdness they’ll try to get away with next.

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