Kom och demonstrera/protestera med oss:
Kom och demonstrera/protestera med oss:
Kom och demonstrera/protestera med oss:
The Museum of the Princes’ Islands in Istanbul will present a new exhibition Dec. 22, organized as the closing event of the “City Museum Studies in Turkey” project, which was initiated in October last year with support from the European Union.
The exhibition, curated by the museum’s curator Deniz Koç, will display the works of different artists, academics, researchers and other museums. It will feature human stories, new life experiences, themes of sharing and loneliness through the eyes of those who immigrate to cities.
The “Immigration Blows” section of the exhibition tells of European experiences and will host the Sweden-based, Turkish artist, Hakan Akçura as a guest. Video performances and photographs of his immigration experiences will be presented in this section of the exhibition.
One of the supporters of the project, Berlin’s Kreuzberg Museum, will present a history on 300 years of immigration in Berlin with interactive video and archive works in this part.The exhibition will remain open for a year.
videoperformance, 2006, 51 minutes
One-sided conversation recording, waiting for months after his call to Swedish Migration Board where the artist had applied for residence and work permit for the second time in 2006. Akçura explains the content of videoperformance record the day he sends it to migration board and carries this problem he has shared with thousands of other immigrants to media. The artist is not only answering those questions which would be asked by immigrant board, he also has the worry of answering questions they would never ask, and to share the first year’s witness and thoughts of a new immigrant regarding Sweden.
After joining the Istanbul Biennial in 1995 as an invited participant, I am a contemporary artist who has participated three solo exhibitions and dozens of group exhibitions, independent demonstrations, and a published poetry book.
I am a neo-fluxus artist.
I live in Sweden since January, 2005.
2 years before this date I met my wife, whom I fell in love with and I am an artist who has changed his city and country in order to live with her and two children she had before me.
When I landed at Stockholm on January 2005, one year residence and work permit was stamped on my passport on October 2004 that expired on October 2005.
We entered the eighth month.
If I do not show this permit which is not extended and meeting for permission is delayed for an uncertain period, I will not be send back here by the customs of the country if I go abroad, for example, when I go in my own country.
After the meeting I mentioned about, with Migrationverket on October 2005, we made a series of phone calls.
We talked to people who think quite differently about when we might be called.
This crisis of confidence pushed me to this art activity.
Doing it is being postponed by him, when he would do is unpredictable and one side of the bilateral discussion which will open the door for “the extension of residence and work permission”, is me making this discussion, and to complete it.
Therefore, I would like to facilitate Migrationsverket’s work. I want to help them.
How many people are waiting with me, I do not know.
What problems Migrationverket lived, whether after these racist correspondence were they had to change the staff, train them. I don’t know.
Surely, there are reasons that can be understood and accepted by them.
But ultimately, I make this record where I think the thing done is practically to destroy, suspend my travelling liberty.
What will I do? Trying to sum up briefly, I will try to convey; what I’ve done in this country since January 2005, what I was trying to do, what I think, things I have observed, and how do I look at the future.
As soon as I came, a new form of life, “a family with two children” in my life, and moreover, I lived the required transition process for being able to live first time in a country and city.
For a while, a period had passed for learning what a new country, a new city, a new house, a new way of life is asking me, what could I offer for them, learning, teaching, trying to actualize where we would get along with.
Moreover, we moved a few months later. So after I come, this is my second house I live in.
It comes to the rush of moving … A period of time has passed in this new neighborhood that we moved with the organization of creche and school that the children would start after summer.
Some time, turning my face to my back, to my own country, İstanbul, I sent an application there. İstanbul Biennial’s concept was “İstanbul”. I offered a contemporary art event called “Istanbul rooms”. Was not accepted, then …
After moving inside the house, in a room, on a wall we created a small studio to work, and I immediately began to paint.
An old personal exhibition of mine “Kentresimleri” was drawn 150 years ago, and printed as etching. This was an event trying to put forth figure from drawn forms and converting 22 European cities’ core city plans to picture. Stockholm was also taking place in them.
The similar study method I used was a late term “kentresmi”. Its name was “Hecate and Empusa or Izmir bay”. It is gone from me. Now it is in a private collection.
Like most of the others who had gone to SFI, my first friends were also immigrants. Immigrants who have come during the same period or have come before me, though have no Swedish education or continue their education…Older immigrants…Our teachers…
There is a series of life difference. You start to learn this country with them. Water flowing in house, hot water, heating are all free. If you are inside a space, dying from cold is not a question in this country. The power of public transportation…Albeit a very small sample, I observe the prevalence of metro network in this city which we say there is finally in Istanbul also. I observe the roads. I observe the lives flowing near me.
I made these observations in the same time, same months – mentioning about last spring and beginning of summer – for taking about 4000 photo frames, I travelled in this city from one end of the suburban line to other end as an artist. When forming a sentence from here, in reality an absurd conclusion appears: Probably, I know the ways better than many people. With its social, ethnic distribution, changing texture of the city, ranging quality of the service, and all the indicators of the city, I began to experience a new training.
I took pictures of what? I took pictures of this city’s wall tissue. So, what the local laws accept as crime. So, for whom the police forms special teams for capturing the people who do it. Graffiti culture, graffiti, stencils, stickers. New stencils pressed on them, new stickers that are sticked, new written writings. Of all the complexity. Trial of their deletion, the remaining tracks, of posts-glueings on them. From district to district, from periphery to the center, change of styles, textures, colors, words. Change of relationship forms with the passengers passing from their side. All. I tried to document all of the city wall texture. I have got such an archive about 2005.
When compared with 90s, perhaps I was in a city where graffiti culture began to decline, but at the same time as Istanbul, more than the sum of the population of this country, although more likely I came from a city where almost no graffiti culture was existing. Over time a photography exhibition project has evolved with at least 200-250 and at most 400-450 photographs. Since we had material to form such an exhibition, I could apply somewhere for an exhibition.
I applied to Tensta Konsthall because it was a contemporary art center of an immigrant district. But I think that place – later on I had a conversation with manager friends and I learned – does not want to be remembered as “immigrant district contemporary art center”, and given up this effort, and examples of this effort, and had entered the process of believing the meaning of making programs not different from the programs of a contemporary art center’s programs, alas!
I think for this reason, and perhaps also thinking that they would not be able to find support to meet required press expenditures, they rejected. But as friend has conveyed, they have liked.
At that time also, and perhaps one of the two works I can do – I can do one of two work-,I designed Engelska Riskförbundet’s monthly publication of the “Birlik” for one issue. It was not an existing journal with its content. Besides its design, I included about twenty articles to enrich all its content.I included 6-7 photographs of mine, one of them being cover photo. I saved the subject that take place on the cover and make up the weight of the content for this research. They accepted. They wanted. Perhaps “Birlik” was the first publication that issued the results of this research.
Graffities were photographed, as well as this city was toured from one end to another, became witness of such an analysis, and I spent time designing a publication with these results forming its contents. All of these, necessarily, would bring the conditions of designing more powerful contemporary art event and presenting this to somewhere, and it brought.
I designed a project calle “Reflex”. This was an “outside” art event. A multi participatory art event.
Immigrant neighborhoods, especially driving on the highway you can see their side, which is etched in minds, or in the case of a report that the illustrations used in those places you know, there are certain silhouettes. Everyone knows…Then on these silhouettes, these large, long and high structures, – the existence of which I learned in this country, I liked much, very functional, especially in the dark months of life has become an integral part of life, we wear for children with care, everyone wore – consider 30 meters big reflexers are hung. In the same form, perhaps in the form I determine, with the same sweetness, innocence, entertainment, pleasantness. Just visualize…Moreover,made of small again, yellow, white, gilt,and small pink reflexers. Connected with each other or sewn .
Who did this? The people who live in the neighborhood where these are hung. They have participated voluntarily to this event. Maybe I have presented, perhaps we have created forms together.
When were they hung? They were hung in every immigrant neighbor with seperate festivity.
How long will they stay hung? Two months… In these darkest months.
Highway traffic would always flow facing their reflections. Trying to understand what they were, learning, looking at it that way again. Vehicles, will pass telling us that simple message – not different than their actual usage: “Protect me”, “see me”, “don’t crash, do not give harm to me!”.
To provide such a simple sentence, with such a festive and public participation, is it necessary to have a very participatory process? For me it is necessary. Because the place I look at art is such a place. People themselves, as if they are in the flow of their lives, ultimately with a lot of parts arising from that ordinary life, not the existence of a so high, noble kind of creation of art , I believe in that artistic creation. I believe there is a creative potential even in people who call themselves ordinary. I believe, with a provocation, with a call for it, collectively, with participation, they themselves could constitute creation itself. I am putting together “art-games” from the point I tell “How good this would be if it were seen”.
Eventually, my “Reflex” project was such a project and of course it needed much support. It needed too much permission, operation (burocratic). Needed calls to be made. Needed labor – and this was the easiest, requiring not much money – Therefore, it should be presented somewhere. For doing this work with their collectiveness.
First I presented to Kulturhuset. Correspondence took months. It was a correspondence not requiring to last for months. Actually this situation brought for me to start to know another institution: Artistic burocracy. Correspondence took several months, and perhaps with mail amount reaching ten, while having a project requiring things to be said about, they talked about everything, sending me from here to there, however they never wrote a word about the project. Finally when they wrote, they wrote it because I wanted. This was unbelievable. “Lagom” ! I started to learn “lagom”. It is the most powerful and deepest institution!. It surrounds everywhere. I started to learn “lagom”. All habits, gestures, facial expressions, all collectiveness, concessions, cowardliness, retreats,tranquillization, started to learn “lagom” the code of calling back the animal at the bottom downwards and downwards,
Already been taught in all areas of life. So, does teaching it mean “passing” it to people? No. Aren’t there people who come to this country, becoming more Swedish than pure Swedish, having discriminatory even humiliating attitudes, even old hidden racist immigrants? There are. But, generally in this country, I think, there is not many immigrants who have been taught and adopted all of these mandatory secret codes. This country, to this country, to life flowing in this country, to people, to anything belonging to people, called into being a set of human, roughly looking to everything from two different aspects. How good is that! It is an extraordinary chance for Sweden to bring all this fortune, cultural exchange, different experiences of different civilizations to this lonely land free from war, painless, calm, remote, to the middle of these people belonging to this land.
Poor, was not there, was nothing too full, I do not mean a thing happened. Do not look from this point of view. Maybe it’s a powerful shaman in north, which has still intense relationship with the underground spirits , with a strong mythology, a completely different side of life, so lonely, so far, a very cold face, a sorrow that flows through all of them raised a deep culture of this country. Or else, how would a Bergman arise from this country?
While talking about this richness and lagom, the sentence I started is left behind: I was correponding with Kulturhuset. There was not a single word regarding my project in those mails one coming after another. Finally, I learned that, Kulturhuset had no objective and subsidy for outside projects. It is not accepted. I turned to Tensta Konsthall and send it there. With the same assumption and in good faith…For me, this place was still an immigrant neighborhood and contemporary art center and how good it was. Even though they found it interesting they did not accept also. Because they were not sure to organize the required support.
My studentship continued. In summer I went to Turkey with my family and came back. Good thing…It feels good. Upon returning, I started to make the big picture I wanted and finished: “My hero from 9/11”. It did not go. I still have it.
I worked for a web site that takes long to produce and still could not finish, almost believing that it is cursed. Tried to accelerate that process. I continued to enter the information I needed to enter.
I started to correspond with a publishing house in Turkey for following the published material, and for publishing my two poem books that I have filed already. Next year, I will try to procure its publishment.
In this process, at the same time, I studied the possibilities of the foundations and public organizations that support the artist. I decided to apply to several of them. I came into line for studio. The portfolio I sent was enough for them. They accepted immediately. Recently a studio was available but it was to large and expensive for me. I am still in the row.
I applied for studio support. “I applied for finding support for my “Reflex” project. Upon arrival, turning my face to my city, I applied for the provision of support for my “Rooms” project which I have told that I had presented to Biennal. From the sum of all these observations and thoughts I mentioned about, a picture weighted exhibition project called “Lagom” is developed. I applied to find support to it. I made several graphic designs in my country and here for making my way, for having support elsewhere.
I love my children very much. I love my wife very much. I started to love this country more and more.
I had a creation which was the reason for starting to correspond with Kulturhuset while I was in Istanbul. When I was conveyed about the acceptance of my residence and work permit on October, 2004, they had made their decision based on art object I had presented two months before. Of course we had an “interview” but I had taken this art object to the interview and presented it to Migrationsverket. This was an art object named “About Hakan Akçura’s love and identity”. This was a book containing; my relation from the first day of our meeting which was the reason why I came, certificates of my marriage, photos of each stage, screen shots (screen prints), and after that my creative curriculum vitae, pages of my printed catalogs, criticism written for me, clippings of the interviews, my art and edition of web pages that include my art and my name. My photograph artist friend had taken photos of me from top while I flip each page of the book. While I was waiting the result of my application, I have presented all these photos as a slide show, to Kulturhuset, maybe each of them to be presented with digital press for a larger exhibition. With a project named “For residence and work permit”…They conveyed me that they could not find the possibility to exhibit in such a short time, and thanking, they rejected.
Since then, with all these flowing process 4 art books can be formed like that. Intensive flowed time. Intensive flowed life.
One of my child is in nursery school, the other one is in elementary school. They stay one week with us, and one week with their father. Their father is a very good friend of mine. From my school, from my wife’s environment, flowing through life, I started to acquire friendships slowly but gradually increasing. Some of them are Swedish. I met wise and creative, very brave young people. Both the culture of graffiti in the city, not the loneliness, light, shadow, other objects and people trying to document the existence of a total of times, and I’ve met a lot with them in the following months …
I liked the nature of this country very much. I liked the priority given to a child in flowing daily life very much. I liked people’s respect to animals and nature very much. I liked the sky very much. But one of the first information I had was totally against what I have conveyed. I have never seen any other country where such a large number of young population treating old people so hard, so intolerably as if they had joint resolution. They look at these old people like they do not need to live, like it is not necessary for these people to live there. Or sometimes they look at old people as they were ready consumers while others work. Young people were very tough.
When you look around from here, “loneliness” is reached. Such a large number, such a deep loneliness, one by one but the existence of human beings living together in such a country, it was not anything I can imagine. Of course, the origin of this loneliness, even if they are arrived later to this city-perhaps a hundred years ago, it is deep, it also has a strong impact on special deep loneliness of Swedish peasantry living alone 2 km. away from each others’ houses, sparse and scattered.
But for sure, I will never forget one day in particular. That day it started as if an interesting thing was being observed was a very deep education for me:
Our journey was with metro, where many Swedish and several immigrant children were in the railway car, was a journey from center to periphery to their region. Children welcome among themselves, speak calmly and with all the other Swedes, while we calmly looked around us …At a moment, where an internal language with known and hidden laws that flows through all pure Swedes knowing how young people should be looked at, one of the young men quickly slapped on wagon glass “thud”.
What kind of a state, gestures, facial expressions, total of ready sentences “lagom”, but also, unfortunately, in the eyes of immigrant children who deserve such a reaction, is involving the growth of a secret racism in an inner language. Unfortunately! None of them know it and live it.The people of this country, with a deep knowledge of civilization, they know how much of a civilized community they are in terms of equality and justice. These people are not still considered as Swedish people,still each of them is considered to be “invandrare”, would stay always like that, they have entered this country on foot and will continue to enter by walking… When will the community itself will be Sweden in the eyes of everyone? Very likely! Not likely! Very impossible! Not! World flowing booming. Migration from anywhere to anywhere…But the difference is that migration in general, is the migration of people to places where wars, suffering, death, massacre, torture, difficulty, is experienced with more different heat and places that experienced alike things, but not here. They have a story where almost none of these are experienced, only to find the stories of heroism one must go up to Vikings, Almost none of them have not experienced a date, only to find the stories of heroism to gidilmsi up to the Vikings, what good is that recently war, poverty, is not seen, what good is that very deep pain, torture, is not seen, and migration to a country where no laments are heard.
I don’t know. These are the observations of an artist who has lived for a year in this country. You can read me from here, you can know where I will be today from here, what I will do tomorrow, where I would flow my creation, what I will think, how I will stay, how I will live, someday how I will think or not think to be a citizen.…
I am “passing”! Am I included in here? No. But do I “belong” there? No. Such as who? Already like all migrants…They just cannot belong here.
The third generation is here now. Those who were born here. People who do not have other country. From out of nowhere “do not come from”. But they themselves do not feel Swedish. They are not encouraged to feel. Names, definitions, each being an “invandrare”… But they do not have other countries! I have one. Decrease? I do not know. Increase? I do not know. But I “pass” here. I have, but I do not have as much as a year ago!
If you have questions regarding my flowing relations, my family life, relations with my children, ask these questions to people in nursing school, people at school, my neighbors. I feel that, you will have more proper answers.
But still a man who has come from the Aegean region, a man who comes from Istanbul, feel it very deeply. Blue sea, I miss real blue sea so much.
When I go out from the country, at customs, they will look at my passport to see whether I have “residence and work permit” in this country. For this reason I don’t go out thinking that I could not return. I am afraid of not being able to go out. I am sure that people who wait with me have similar reasons seperately. I don’t know how many of them were obliged to concoct excuse to take front queue. Either he “killed somebody” in his country or made somebody ill. Their queue was either taken front or not.
But I am just telling you my wish. “I want my travelling freedom! I did not do anything for this injustice. I am talking from a position where I can say, none of the people who wait with me has done anything. I had this record for helping. I will send it to you and make you see it. I hope that the process accelerates. I hope this works.
This is the reason of everything.
This is the reason of this art event.
I am here.”
Gustaf Andersson (Tidningen Kulturen)
Kämpen för det förlängda uppehållstillståndet, Hakan Akçura är aktuell med en ny videoinstallation som ska visas i Chicago under en månads tid. Mr President let me challenge you to face his (1-2) är inspirerad av filmerna som visade Saddam Husseins hängning.
Hakan Akçura blev rikskänd förra sommaren genom videoverket Öppet brev till Migrationsverket. Konstverket var en kommentar och en uppmaning till myndigheten om varför han inte fått sitt uppehållstillstånd förnyat trots 10 månaders väntetid.
Centralt för konstverket är just väntetiden, det handlar om vad Akçura under den här tiden åstadkom, hur han reste runt i Stockholm och hur han betraktar mentaliteten hos svenskarna. Tekniken är ett sorts dokumentärporträtterande där Hakan inzoomad filmas utan avbrott i 51 minuter. Konstverket uppmärksammades i Svenska Dagbladet samt genom ett reportage i Kulturradion i P1.
När jag träffar Hakan i familjens lägenhet på Kungsholmen i Stockholm är han på ett glatt humör. Om ungefär en månad kommer hans senaste videoverk att visas i Chicago. I den ljusbruna fåtöljen ger Hakan under intervjun intrycket av att vara en mycket eftertänksam person. Han stannar ofta upp i sina resonemang, gestikulerar och funderar på vad han ska svara på mina frågor.
I slutet på din film ”Öppet brev till Migrationsverket” så sa du att du hoppades att ditt konstverk skulle skynda processen kring uppehållstillståndet och att den skulle bli nyttig, Blev konsekvenserna de du trott?
– Nej den skyndade inte processen med mitt uppehållstillstånd, vad jag vet. I alla fall inte som jag hade hoppats att den skulle göra. Men den kan ändå ha hjälpt till eftersom jag fick tillståndet förnyat på den svenska ambassaden när vi var i Turkiet. Vi hade på sommaren rest till mitt hemland Turkiet. Och om jag inte hade fått tillståndet hade jag inte kunnat återvända till Sverige, säger Akçura.
Du berättade i videon att du skulle se till att personalen på Migrationsverket såg filmen, hur gjorde du? Och fick du någon sorts respons från dem?
– Jag postade videon till Migrationsverket. När Svenska Dagbladet sedan skrev en artikel om mig fick jag via reportern som intervjuade mig höra att de bekräftat för dem att de sett den. Men jag har ännu inte fått någon personlig respons, säger han.
Hakan Akçura fick till sist efter tio och halv månads väntetid sitt tillfälliga uppehållstillstånd. Ett tillstånd som går ut nu i augusti, men förhoppningen är att han därefter kommer få ett permanent uppehållstillstånd, det brukar nämligen vara praxis. Men i och med att det tog tio och en halv månads tid förra gången så kan man aldrig veta att så blir fallet.
Hakan Akçura är noga med att kalla sig för neo-fluxus konstnär. Det är ett begrepp som han själv föredrar att beskriva sin konst med, men det är även ett begrepp han fått sin konst betecknad som av flera kritiker. Första gången någon kallade hans konst för neo-fluxus var under konstbiennalen i Istanbul 1995. Fluxus kännetecknas av att man blandadade flera olika konstnärliga uttryckssätt som litteratur, musik och bildkonst.
Just nu är Hakan aktuell med videoverket Mr President let me challenge you to face his (1-2) som kommer att visas upp på Time Travelers: Video and Time based art festival i Chicago under en månads tid. Verket är starkt inspirerat och är en sorts utveckling på filmerna av hängningen av Saddam Hussein som tidigare fanns utlagda på YouTube.com.
– Internet och särskilt sajter som You Tube och Myspace har betytt mycket för konsten. Det har blivit möjligt för konstnärer att ställa ut verk som tidigare ansetts obekväma och provokativa för de redan etablerade konstinstitutionerna. Genom de här sajterna kan går det nu att nå en masspublik med otroligt enkla medel. Jag räknar med att ungefär femtio tusen redan har hunnit se Mr President let me challenge you to face his (1-2), säger Hakan Akçura.
Vad vill du uttrycka genom att använda en bild på George W Bush´s ansikte placerat på Saddams huvud i din videoinstalllation?
– Jag vill bland annat ifrågasätta det demokratiska tillvägagångssättet med att avrätta Saddam Hussein. Mitt verk är tänkt att tvinga Bush till en konfrontation och är egentligen ett sökande för personlig rättvisa mot systemet. Att filmen om Saddans hängning förbjöds på Youtube visar på ett tydligt sätt vad som är förbjudet på så kallade communities på internet. Fastän dessa communities vill ge sken av att vara utopiska arenor öppna för alla, säger Akçura.
Innan vi tar avsked hinner Hakan visa upp en akrylmålning från 2005 han har för upphängd hemma i sin ateljé i ett av rummen. Uppkomsten till verket My hero from 9/11 var ett fotografi från den 11 september där en okänd person kastar sig ut från den ena skyskrapan. Ursprungsbilden var tagen av en okänd fotograf och är väldigt pixlig och otydlig.
Hakan hittade bilden på Internet och säger att han i den bilden fann en hjälte. Hakan vill med målningen, som är en sorts förstoring av det här fotot, fånga hur lugn och fridfull personen var som hoppade ner och hur person accepterat sitt öde. Tavlan ska manifestera och utropa denne okände personen till en hjälte. Hakan berättar vidare att tavlan ingår i en serie med hjältar, men att han ännu inte bestämt vem han ska hylla härnäst.
Aktuell med: Time Travellers: Video and Time based art festival, i Chicago 29 juni – 28 juli samt projektet “Sann Dialog” som bygger på erfarenhetsutbyten mellan turkar och svenskar.
Fluxus är en konströrelse som uppkom under 1960- och 70-talen. Den fångade upp idéer från dadaismen och ifrågasatte konstnärliga normer och värderingar. Kännetecknande drag var att man ville spränga gränser mellan musik, litteratur och bildkonst och kombinera dessa uttryckssätt fritt. Några exempel på konstnärer som brukar bli klassade som fluxus-konstnärer är bl.a. John Cage och Yoko Ono.
nu är jag tillbaka på redaktionen efter min resa och kan svara på dina invändningar mot programmet. Du har en rad punkter med kritik så jag börjar med att försöka besvara dem:
1. Du säger att det finns en riktig intervju som är tre timmar lång och en kompletterande intervju. För mig är nog ändå allt som spelas in på band lika riktigt och vad som sedan används en del i en bearbetningsprocess. Om du fått ett felaktigt intryck av vad som kommer att användas är det förstås olyckligt men det visste förmodligen inte ens reportern förrän allt material var insamlat.
2. Man kan diskutera hur översättningarna användes i programmet. Det man vinner i direkthet och spontanitet förlorar man kanske samtidigt i exakthet och precision. Om din fru inte var medveten om att hennes röst skulle användas var det förstås ett diskutabelt sätt att arbeta. Negar säger dock någonting helt annat så här står ord mot ord. Det gör det väldigt svårt för mig att värdera den invändningen.
3. Jag tycker att det framgår ganska tydligt av programmet vad som är dina åsikter och vad som är Negars egna reaktioner. På så sätt kan lyssnaren själv ta ställning för om den gillar reporterns arbetssätt eller inte. En kvinnlig lyssnare i 70-årsåldern tyckte t ex att du har helt rätt i dina analyser och att Negar har fel.
4. Jag känner inte igen den bild som du säger att programmet ger av dig som konstnär. Jag hör ett porträtt av en internationellt aktiv konstnär och uppfattar just det här verket som en konstnärlig handling på en utställning, inte som ett sätt att få uppehållstillstånd.
5. Om jag hade vetat att du krävde att få en kallelse till ett kommande projekt uppläst i programmet hade jag nog själv kontaktat dig för att förklara att vi inte kan göra det i våra program. Negar säger också att hon aldrig avgett ett sådant löfte och återigen står ord mot ord.
6. Jag förstår att det finns en nyansskillnad mellan ‘medelsvensson’ och ‘medelsvensk’. Men för mig är den inte så stor att den blir avgörande för hur man uppfattar programmet.
7. Som redaktör för Kulturradion känner jag mig inte utnyttjad. Jag tycker att det blev ett intressant program med ett starkt temperament (programmets eget temperament alltså). Däremot är jag förstås olycklig över att du och din fru känner er utnyttjade i den här situationen. Reporterns frihet är en sak men de medverkandes förtroende för processen är förstås också viktig. Tydligen har någonting gått snett på vägen men jag har svårt att exakt få grepp om vad när jag jämför din kritik med Negars beskrivningar av arbetet. Vi får givetvis ha en diskussion på redaktionen om hur vi ska undvika den här typen av förtroendekriser i framtiden och vi kommer förstås att tillmötesgå ditt krav på att inte att sända programmet igen.
Jag kan också tillägga att vi förstås är intresserade av ditt projekt “Sann dialog” och att vi gärna skulle följa upp med ett reportage i någon form när det blir klart. Så håll oss gärna informerade om när och i vilket sammanhang det kommer att presenteras.
med vänlig hälsning
Redaktör för Kulturradion/ stf Kulturchef