Aquí cuentan las desventuras de Shia y compañía en su periplo por NY. Son muy LOL:
On January 30, 10 days after the inauguration of Donald Trump, the actor and artist Shia LaBeouf sent an aggrieved email to the American Civil Liberties Union.
In the email, mostly uncapitalized and formatted like stanzas of free verse, LaBeouf alleged a campaign of subversion against his work. Since opening, the piece had been set upon by internet trolls and neo-Nazis. But that wasn’t what had gotten him so hot. Instead, LaBeouf wrote, a city council member named Jimmy Van Bramer was prevailing on Carl Goodman, the museum’s director, to shut the piece down behind the artists’ backs. He cc’d both men on the email.[/quote]
Según la Wikipedia “La ACLU proporciona asesoría legal en los casos en los cuales considera que las libertades civiles podrían estar en riesgo”.
It had all come together so fast: the idea, the planning, the installation – and the attention. LaBeouf, Turner, and Rönkkö had only started their art practice three years before. Turner and Rönkkö had met in art school, at London’s Central Saint Martins. In 2011, Turner wrote a piece of fairly esoteric cultural theory he called “The Metamodernist Manifesto,” and in January 2014 LaBeouf, according to Turner, “turned up at [Turner’s London] doorstep,” enthusiastic about the theory and eager to chat.
In the days after the American presidential election, the three artists began a series of Skype calls (Turner lives in London, LaBeouf in Los Angeles, and Rönkkö in Helsinki) trying to devise an installation that would, in Turner’s words, “create a resistance to the normalization of division … xenophobia, racism, misogyny, all the worst things about the world.” These discussions quickly gave rise to the idea of “He Will Not Divide Us,” and the trio registered the domain name on Nov. 11.
According to NYPD statistics shared with BuzzFeed News, from Jan. 20 to Feb. 10 (when MoMI shut down the exhibition), there were 127 calls placed to the city’s 311 complaint line about activity at MoMI. That included 16 noise complaints and 10 calls related to bomb threats, gun threats, thrown urine, drugs, and “nude pics.” In addition, there were 26 911 calls, 7 complaints of criminal activity (including complaints the NYPD categorized as grand larceny, assault, and terrorism), and 4 arrests. (For reference, according to Van Bramer’s office, the NYPD reported no such 311 calls, complaint reports, or arrests at the museum in the three weeks before the piece was installed.)
Turner was annoyed that museum staff asked the artists to come up with a contingency plan for the litter generated by the hundreds of daily visitors; it was a sign, he said, of how unprepared they were to handle the troll swarms.
“They were just massively amateurish,” he said. In particular, Turner was furious that the museum did not provide a larger security presence. “We are used to dealing with museums that provide massively excessive security whenever we have projects. Not overdone but contingency plans for every eventuality,” he said. Goodman, the museum director, countered that he had hired two extra security guards once the scale of the crowds became apparent, and that he and other museum staff pulled grueling all-nighters to make sure peace was kept in front of the camera.
After the events of the first weekend, Goodman said, the artists offered to pay the cost of any additional security. “Our feeling was no additional security would solve those problems,” Goodman said. “But once we priced in good faith what would be needed, the artists rescinded the offer.” In his email to the ACLU, LaBeouf alleged that the museum said it would require $90,000 for the extra staff, and gave the artists almost no time to respond.
Beyond the security issues, LaBeouf, Turner, and Rönkkö were upset by what they said was the museum’s lack of initiative in fighting hate speech. After the “1488” incident, Turner said, the artists asked the museum to post a sign explicitly forbidding hate speech by visitors. Instead, he alleged, museum staff dithered.
Turner found out that the MoMI had closed “He Will Not Divide Us” from Page Six. He woke up in London on the morning of Feb. 10, having returned to the UK after the first week of the performance. [/quote]
A todo esto, Shia y su cuadrilla acabaron lo de la cabaña sin que les dieran caza y, por lo visto, Shia estaba tan contento por su victoria, que se fue al museo de marras en Helsinki y se puso a bailar allí en medio: