“A dump on the floor”, 2008
Cross trains come and go
Sometimes it is a pure relief when your fears come true well, that when I read Susanne Slöörs “review” of the exhibition, a high floor on Tegen 2. An exhibition that wanted to explore what happened to the relationship with the debris late modernism happy days, when fresh-picked from their trash caches, wonderful relief from today’s upptornande mountains of waste. For no one can deny that there is a connection between the world and the art?
To Susanne Slöör is an artist and critic as hard against missionary texts, ideas, concepts, exhibition information, political topics, etc., etc., are well known. They are in her eyes, impure elements and does not belong in the arts. This, she has repeatedly expressed in polemics texts and reviews. Her texts can look harmless out at first glance, but after that while she blossoms into the contempt of many of contemporary art’s directions, ranging from conceptual art / idébaserad art, to political art and the intellectual and political talks taking place around them.
That during certain periods in the Swedish art recent decades been elements unilaterally hung’s importance in thin theories and ideas, without any further contact with the visual elements are correct. Then it would have been great if Slöör had taken the battle at a time when THEORIZE often took the upper hand. A period that highlighted many of today’s more established artists who obviously had caused anger BLOOD on the many artists who “missed the train” or was on “another line”. But today, when the flow is no longer present, the color and formpuritanism characterizing the critic Slöör a mirror equivalent of Lars O Erixon crusade against painting, in its most rabid – high-postmodern days. And as in all fanatical missions will be its advocates to end completely blinded by their own brilliant vision.
After a period of Slöör is a very ambitious and grandiose attempt at intellectual arguments in this George Bush-style crusade for the “pure art” that is not anything close to Ulf Linde refreshing move towards “post modernists” in its time, which apart from its quite obvious authority on the subject is both open and broad-minded in its konstsyn than its Adept. Ulf Linde have even spoken well of the sometimes highly contested artist Lars Hillersberg.
In Slöörs world is idea of art and the political arts representatives and their works are by definition objectionable. For her dream of “The absolutely unnecessary art”; “the pure art, but matters” – as if it were! Boltanski want to “make people cry”, just to offer an example of an artist with the case, currently up to date on the Magasin 3. An artist who lets his personal history coloring his emotional bearing messages.
One wonders why: Slöör is just naive or hiding the other motives behind her unilateral statements?
No, if there is something you do not need to doubt it is the art of cases, though they understood differently in different periods / periods and for different artists and their works, something that all who read art history knows. But Slöör trying to create negative connotation about some art with the help of this word, in a campaign that is only to so-called political and idébaserade artists are carrying on meaningless and unnecessary cases “obstruction”. To start with, one can change it in the context disparaging word “case” against the much richer connotation “message”. But Slöör are not stupid than she knows words denominations.
Nobel winner Jelinek Elfrida, which in its virtuoso writing art goes to Furio attack on its home culture has its issues and messages as well as Selma Lagerlöf in Gosta Berling tale has his. So it’s always been, in literature and drama, as well as in the visual arts (Goya, Courbet, Kandinsky, El Lissitzky, Picasso, Jenny Holzer, Cindy Sherman, Lena Cronqvist, Ann-Sofi Sidén etc.). For what distinguishes good art is the sum of the bottom of the effect is greater than the matter; (an ingredient, among other ingredients). Just like a bun!
The “pure art” as Slöör so unilaterally beat the drum for giving very unpleasant connotation to the earlier campaigns in history, something that I do not even think she wants to be associated with.
Omkonst – “Artists are writing about art ‘
No, it’s not just art exhibitions that can Reviewed by “artists who write about art,” artists can be understood rewrite the reviews of “artists who write about art.” Is not that what is the whole idea of the art site Omkonst: the artists themselves to formulate and shout when the art or art criticism becomes too one-sided, because “many voices are needed”, as it so uppfodrande is at Omkonsts website.
Fast conditions for a fruitful talks decreases when the other party either lacks the ability to read prior to or is so crooked that he deliberately did not describe the starting point for the exhibition as a “review” or worse, suggest an entirely different.
When we write, we have many words available to us, and we pick berries denominations, clang, sometimes neutral and sometimes positive and sometimes inconsiderable. For the rhetoric is an art that is often abused. Contempt is one of its most reed instruments and is an effective method when we want badly, sabotage, pushing down, but easily get away. It has therefore always been the signature Forces and resources of all time and I want to firmly assert that Slöörs “review” is an excellent example.
I therefore ask the reader on the lenient with the lengthy review that now follow, but contempt is difficult to defend against, because there are not susceptible to arguments. Rena untruths are easier to prove, but also space.
So let us take a closer look at critics assuming new approach and then judge for themselves.
If I write: “and on Omkonst continue to tirelessly act with her to collect art on the pure art without message,” I think the reader can imagine transmitter’s signals (implicitly “good deed”, sigh one-track collectors and pathetic they confuse art … ). It is with the words (selected) she chooses to present ladder 2 of the “review” the initial and further into the “review” blossoms contempt and stand up until the very end.
But first the background to the exhibition so that everyone gets a chance to assess the veracity of Slöörs Sarcasm on “predictability” in the exhibition idea that is completely went under the “umbrella” she further down the text claims. But a true assessment is best understood in place (the exhibition is ongoing through Oct. 12).
The exhibition is presented openly and records to a text leaves the starting point: the investigative and associative – non-driven theme “to respond to junk” on a very small area on the floor. It was to read:
Tegen 2 invited a number of artists from the visual and sonic world to respond to spam. A rather stale artistic strategy and aesthetics while: to make art of trash and low materials. So really there is nothing new at all.
But perhaps there has been a shift, because of the alarming reports on earth nerskräpning, growing mountains of waste, waste management problems, etc. So we simply wanted to investigate the matter, quite without preconditions. For perhaps the romantic vision of litter and waste artistic transformation only “infected” by the debate, when we are most likely going to a destruction, of oil resources, pollution, and mountains of waste for export. A fact that even the most serious environmental scientists today dry notes.
And now, standing and walking around in the material we see that it became a kind of travel with Magnus in the starting suggestion Barts high of envelopes: A trip to an end. Yes, it sounds undeniably threatening the end of the suggested “demonutdrivningen” in the inner room, where the daemon slowly becomes an infection, we can not get rid of. Hope Fully? Hardly. But you can always choose another ordning. For us it was also both exciting and terrifying discovery that in this context also realize how quickly ideas are turned into garbage, which is also highlighted in the exhibition.
So you could say that it is in the meeting between the works something happens, their ongoing talks, which also sounds penetrating, with an additional sensual stimulation that corrode our daily lives. Waste we must handle. Was so good!
NOTE: The thick marks have been made retrospectively to emphasize that background, the idea is not at all consistent with Slöörs presentation of an “umbrella” (consistent theme) on: “Earth’s finite resources, and climate threat.” So it is obvious to everyone that it was not a governing idea of the invitation to artists, other than “to respond to junk” which in principle can be anything. And also not ruled paths in the unpredictable outcome. As it was completely free to the artist to define “its rubbish” and to stretch the concepts and us observers to see and read. It was there that was the very idea of investigating and as a critic should respond to. A In other words, quite the opposite basis than the programmatic ordering arts, “worthy and predetermined …” with instruction manual “which Slöör would say prevailed. And if she feels that the exhibition itself is “predictable” and “praiseworthy” so she can actually prove it to respond to at least some of the 15 works, and not just the bad texts, for the whole of her argument.
That there is an associative link with today’s pressing environmental problems is neither far-fetched or wrong to touch, but is by no means the main topic. And if that were, it degrades not art by definition.
We have during the exhibition had several visitors who are involved in more than art, it is good. Then you can have a conversation about the art of language and communication. It has become a taboo to bring new groups to meet art, however, is alarming. Relax, we do not end up in the 70s for it! It is a question of democracy. The old bourgeois exclusive artistic vision has been disheartening enough swallowed by the barbs and hair. And the question they put it, so you should run out in the cold. Hello Hello out there was a discussion about this? It happens though, occasionally in the literature. Surely, it is pleasing that we have no Åsa Linder Borg in the art world. This killing nicety.
In light of Slöörs-long visit to the gallery, it is amazing that she makes such a serious FLUFF. The “travel” and the relationship / conversation that occurs between the works relate she is not at all to. Her starting point is short and good: “… Yes, you can themselves figure out the rest of the content” – as if it is pure crap which does not need a detailed presentation. When it is precisely the content (and shape) of the individual works that do not go to “figure out” and that makes this exhibition surprising in several ways. For Slöör can hardly claim to a musical dramatic works based on a speech by Ringholm expressed by the actor is an example of “Earth’s finite resources and klimathot”, when Mats Lindstrom has its basis in ideas, the people Household old diplomas, which today förpassats to the junk heap, and so stretched the limits of “junk”. Or Karin Mamma Andersson’s “abstract painting” which became a temporary palette, which then became a beloved painting. ” And neither of works by Magnus Bart, Dascha Esselius, Kerstin Hansson, Simka, Victor Hugo Mondragón Franco, Hakan Akcura, Hanna Hartman, Jockum Nordstrom, Lise-Lotte Norelius (sound), Sten-Olof Hellström (sound), Daniel Carlsson (audio) , Gunilla Wiele-Smith, or Mathias Joseph’s audio works have no “pekfingriga” associated with “the Earth’s finite resources and the climate threat” and the majority no direct connection at all. Mathias Joseph’s, which is 4-årsstudent on Konsthögskolan involved with a sensitive and highly appreciated the audio works with only a vague reference to his own text dismissed. Missing Sussanne Slöör everything verdict?
Overall, one can say that there are 4 works of the 15 directly alluding to “the Earth’s finite resources.” A fact that Slöör been completed, it is because it does not fit into her allegation of “predictable”? Or that it “emphatically stated an open door”, when the exhibition consists of a low-key compilation, which works among themselves to communicate with each other according to completely different starting points. If this talk she does not.
Even with the deliberately chosen mix of artists with such different media and the background is right interesting in itself. Would not it be worth a note, a little curiosity?
Why father Susanne Slöör with falsehoods?
Only with reference to its highly private irritation over the artists’ personal texts, which she dismisses as “instruction manuals” she refrains from engaging in the works, which she, because of a few lines of text relegated to the concept art, despite the fact that every mediocre art connoisseur knows that neither Jockum Nordstrom or Karin Mamma Andersson is the concept artists, so not even the majority of artists in the exhibition. And the nature of their brief personal worded texts do not: ideas, reflections, with large variation; funny, poetic image, thoughtful, yes, anything but a few predictable “manifestos”, as “down on the nose.” Texts, among other things, gives us interesting insights into the Mexican culture chocolate rituals and symbols of macho. That a football is made of Mexican chocolate, it is irrelevant for the experience and understanding of the work? And how is it predictable?
Slöör seem not to understand that art today is global and mixing up of multiple cultures. Future “Swedish art” will consist of a cultural melting pot of new content and materials, and with new and undesirable connotations, we need tools to interpret. That makes an idea-and text-phobia which Slöörs clean impasse. “To just see” is a beautiful utopia, but has never existed. Enforcement is always “infected”, never “innocent” or “clean”. Yes, even post-modernism bar something good with it, which can be good to pick up where we are now ystert and reborn or senila rushing into the new dazzling art festivals, forgetfulness of what just now prevailing Bible.
Wisely lets her works also not be illuminated, for then it would be obvious to any reader that her imposition of the whole exhibition as “predictable” comes to nothing. Of the 15 works she tries half-heartedly at the end to highlight a single (!), With the same consistent inconsiderable tonnes, a teddy bear she will be grateful to find themselves seen before and which therefore are excellent to highlight as an illustration of their preconceptions.
And know what Slöör on ladder 2’s visitors? One topic she also prejudiced and perfectly speculates in contempt and she just put his feet where three times. Well, it consists of one of the art world right rare mix that we are indeed very happy. But Slöör REPARTEE takes for granted that “people turn to steps 2 to have its own sound approach confirmed”, as if in that case did not apply to the entire art industry! We must in all cases, visits from several of our more frequent immigrant suburbs, including school visits. Among them there were many who did not know what a golfpegg was, but found nothing new in the exhibition! (Jockum Nordstrom, sculpture and text) that Slöör equally sweeping dismisses as everything else. We have also received several visits from people who are waiting for permits, a problem that is expressed in a work Slöör dismisses with the “do not carry the story as ardently defend the program declaration.” Fixed the author, Hakan Akcura had every reason to as Turkish immigrants feel of the structural racism in Swedish society, together with the knowledge of its even darker past, which he describes in his engaging text, (NB Slöörs demeaning words in the “review” of course, is: “zealously defend”). And that in fact framed, as it is prepared to cut down on the floor and watch’s parts and not get caught looking at “their own great unwashed shoes” as Slöör however, will notice. So feel free to explain to me how the substance was predictable in this context?
Why this contempt? Susanne Slöör that purports to be a serious critics. Why would she misunderstand the artists’ reflections? What is it for a texthat expressed when the artist / critic, in this case the painter Susanne Slöör, who last exhibited in Stockholm at the gallery Helle Knudsen, himself taken on a text on behalf of art, but would like all other artists who do not follow her line to the letter will let the art of silent mouth while she herself spends digital meter column after column meters of artificial text? Fixed remainder in connection with artificial knee-jerk dismissed as “manifestos”, “proclamations” and “positions”. And the titles written on a floor is “tragi-comedy ömkliga.”
Yes, is not it strange that Slöör have major problems with samtidskonsten.Precis that each theater visitors can waive application sheet in the foyer and then probably miss the play is based on material processed from old medical records, in the same way, every art visitors skip the written, with risk to miss the brown sculpture on the floor is made of chocolate. Moreover, pre / ancillary information is not always the text of the moment, it is everything you already know, your body of knowledge when you stand in front of a work. And of course, a well-known art, the more are gathered in your head of earlier collected information and experiences. Shall we, in other words, do not go and see the exhibition as Slöör Reviewed by concern for our “pure vision”? No, it does not mean she understood. Nor can she say that the gallery did not believe in the art when they place their financial reviews in the windows? Or what should we believe?
No, you are so hypersensitive, so then they will just go with blinkers or lobby for the “burka” on the world’s art museums, art galleries and galleries that contain text.
Sometimes, moreover, a text charge from the preliminary information / preconceived idea that exist. All bias is also preliminary information. That was probably the Slöör would be left home before she came to the ladder 2!
It is sad that an otherwise very nice (NB I write is not “worthy” of the sarcastic spirit of a `la Slöör) artist initiatives Omkonst lend themselves to clean attack. For any review can not even with the best will in the world claim that she made.
I have not had the idea that Leif Mattson, the recent accession responsible for the SAK, Sweden General art divide their employees konstsyn, for if this were, it is ominous in the Swedish art life growing concentration of power.
Omkonsts own self-image
Good ‘Netiquette’ case
(downloaded from the website http://www.omkonst.com)
“We publish texts respectfully expresses encouragement, interest, courtesy and contains well-considered and criticize in the form of signed columns”
Slöör really believe that the reader feel Slöörs “review” which “respectfully encouraging”, showed “interest”, and “courtesy”, or contained “prudent and criticize.” Jo, a right. It was “signed”!
Why have such a manifesto in itself violates the whole “Netiquette”?
PS Actually, one might ask why at all to spill words on a sinister “review”. Why not just put it in the virtual trash? Most are still only galli Matias. But if pure lies / fabrications may stand unchallenged do I take care not my mission against the participating artists and arts audiences. In addition, another encounter in trouble next time. And hopefully all can learn: not to be uncritical, or even “nurtured courteous” but to show a small degree of open-mindedness.
Gunilla Sköld Feiler
Tegen 2 (Curator for “A dump on the floor”)
A dump on the floor
The prerequisite was to work with junk, such as ruffles either the eye or ear, or both. Coalition umbrella exhibition is a presentation on the earth finite resources, climate threat … Yes, you can themselves figure out the rest of the content. On the Tegen 2, they put their act tirelessly to bring together art around topical issues, like political and universal human nature. In the current exhibition have the artists to have a spot on the floor for its celebration around the theme. It is at once worthy and predictable.
The closest reflex related to the provision of operating instructions for many of today’s art in particular the idea or concept based obstructing this time visibility. It may be the excuse in a little less pretentious context, as here, but worthwhile in itself once again to think about.
Something goes wrong in the particular form of communication that art allows. Why can not the beneficiary draw from the works based on actual events or authorization of the world? Why proclaims Monday positions for an audience that will most likely already thought about the subject and its dystopiska consequences? Why do not dare artists rely on the work inherent ability to create associations and possible interpretations?
The incentive to rush to force open the doors is fascinating in its own way. But the audience that find, for example, ladder 2 unlikely to need attention, informed or persuaded. It is closer at hand to believe that it is seeking there to get their own healthy attitude confirmed. But how interesting is it? The TAUTOLOGIC, or pie-in-cake attitude, as much of the conceptual or socially oriented art rests on you can possibly treaties.
A bigger problem raises the question of the credibility of the drama’s ability. The bottoms unfortunately in that many artists today seem to be content with his own fascination of a phenomenon or experience, such as a colored plastic folder, or the cut-paper circles from punched, triggers. But these bears hardly the story as ardently defend the program declaration. They may hold an entirely different, and why then not satisfied with it. Moreover, the signature, ironically, even more important for artificial life than before. The “anonymous” and smaller craft work is in relation to its creator, the personal becomes the artist in the sense that the viewer eagerly down on the nose that “this experienced and NN NN is an artist.”
But if he seeks to forget the signature of the private experiences of her childhood, for example, voice preserved on a telephone answering tape or piles of broken pegs on the golf course, what remains then? Well, the language itself are talking rubbish. How it is able to do secondary matter to the principal, or pay attention to us of life’s ongoing dying. Simka duo’s discarded teddy bear is perhaps the concept art as crying children and kittens are TRASHY ART. But the button eyes and the leaky sågspånet triggers effectively a universal loss and raises a forgotten loss.
The titles in Indian ink on the floor next to the works gives the exhibition, a tragicomic ömklighet and works well enough to hint works possible content. You have to look down on the small piles and their own oputsade shoes.
Stockholm 2008-10-03 © Susanna Slöör
Trash Culture gets new meaning
What is garbage and what exactly clean away in Sweden today? Refuse is definitely politics and, of course, it can also be artificial. Now, the Sköld Gunilla Feiler put together an exciting exhibition of fifteen artists who in various ways discuss the global consumism, elephantism and narcissism skull labeled mountains of waste. The title of exhibition is “A dump on the floor” and one of artist is Jockum Nordström, which has set up an anorexic high of golf pegs.
Mats Lind’s audio works is that it is not just physical debris that end up in the bin, but also ideas. Hakan Akcura has created a work of tens of thousands of punches from the paper, each of which represents human destinies and tragedies of the Swedish compulsory sterilization policy.
Participating members are also Magnus Bart, Dascha Esselius, Karin Mamma Andersson, Simka, Hanna Hartman, Victor Hugo Mondragón Franco, Mathias Josefson, Sten-Olof Hellström, Daniel Karlsson, Lise-Lott Norelius, Kerstin Hansson and Gunilla Wiele – Svensson.
City (2-8 October 2008, s.60)
Theory of “Open Flux” on NY Arts Magazine, 2008
I am glad to inform you about the launch of the Anna Lindh Foundation new website, where you can read the winning articles of the Second Edition of the Euro-Med Journalist Prize for Cultural Dialogue: The articles will be available soon in French and Arabic.
But of course, I’m not “swedish web artist”…
“Euro-Med Journalist Prize for Cultural Dialogue” to Vercihan Ziflioglu and her article about my open call/art event, “Love at the Hatred Tunnel”
Among journalists from 37 countries, TDN’s (Turkish Daily News) Vercihan Ziflioğlu won the “Euro-Med Journalist Prize for Cultural Dialogue” with four articles. The award is given annually to four journalists from European and Mediterranean countries
Journalist, poet and author Vercihan Ziflioğlu, a reporter for the Turkish Daily News, was yesterday awarded the “Euro-Med Journalist Prize for Cultural Dialogue” organized by the Swedish Institute and supported by the Anna Lindh Euro-Mediterranean Foundation. Ziflioğlu, 33, who joined the TDN from the daily Hürriyet last January, competed with journalists from 37 countries and was honored for four articles appearing in the TDN this year. Her winning reports included “Artist Without Borders Between Yerevan and Istanbul,” “Love at the Hatred Tunnel” and “Turkey’s ‘Ebru’ Through the Eyes of Atilla Durak.” “I feel this is less an award for me and that it is an award to all at the TDN,” Ziflioglu said at an impromptu newsroom ceremony. “It is an award for cultural dialogue which is what the TDN is all about and I owe this honor to my colleagues who have been trusting, supporting and understanding.”
Turkish Daily News (Detaily news about prize)
Ziflioglu’s article-interview with me: “Love at the Hatred Tunnel”
An art exhibition in Istanbul gets between the fronts of Islamism and Kemalism
Hafriyat “means something like” construction site “but also” excavation. “There is also the name of one of the first and until now most important independent artists’ groups in Turkey. When she is around ten years ago joined together, there was in Turkey as well as no free art market. In this gap is “Hafriyat” drawn with the aim of self-censorship to break through and young artists a platform and an experimental field for new forms of expression to offer.
With the reactions that her latest project, a poster exhibition titled “Allah Korkusu” (fear of God), has triggered, had none of the twelve “Hafriyat” Members expected. Solely because of the title, she was initially by the Islamist newspaper Vakit “attacked. It was the group not to art, but just a question to provoke and to hurt religious feelings, the newspaper claimed on 5 November – five days before the opening of the exhibition, without any of the images seen to have. “At this time, the selection of posters has not yet determined,” says the exhibition coordinator, the name will not be called.
The chic and entirely in white held, two “Hafriyat” Gallery stands out with its large glass front clear from the surrounding gray and dilapidated stone houses out. It is located on a busy street in the middle of Karaköy, an old Craftsman-quarter and port workers on the Golden Horn. The coordinator told, the owner of a neighboring business shortly after they had the appearance of the “Vakit”-informed article, two bearded men had come to him and had told him that “Hafriyat-Karaköy” gallery will soon close. The threat was understood. Some of the invited artists withdrew their participation in the exhibition before its opening.
Between two camps
“In Turkey it is after such threats have to assaults and even murders came. That’s why we were forced to us, and especially the visitors to the exhibition opening to protect,” said the exhibition coordinator. After a private security service had said that he did not ensure sufficient protection could, the artists turned to the police. That was an own goal: The police now took its impetus in the exhibition – particularly at three posters, the dignity of the Turkish state’s founder and Gralshüter of secularism, Mustafa Kemal Atatürk, would reduce.
This could be the police, according to a poster of the artist Hakan Akçura true, the Ataturk demonstrates without a face – an allusion to the ban on depicting the Prophet Mohammed. Similarly, the poster of a woman with a headscarf objected Ataturk a T-shirt bears, and one that the state founders in various Islamic prayer Poznan shows. The latter has been suspended by the artist. Yet the prosecutor is examining all three posters, whether they represent a legislative initiative and a criminal complaint after being taken to be.
Islamism on the one hand, Atatürkismus on the other – these are not only the two major camps, which are in Turkey for years so fierce face, but also two of the biggest taboos. It was the aim of the exhibition, the related mechanisms of fear and oppression humorous to question them artistically to break through – for example, with the slogan “God forgive me dear, that I participate in this exhibition!” on a poster. Now you have upset both camps, albeit with different works: The faceless Ataturk, among the artist has written that Kemalism is a form of worship that God, was adopted by the Islamist newspaper Vakit “commended mentioned.
Visitors in the headscarf
“The reactions to the exhibition show in which a paranoid society we live and how restricted the freedom of expression still is. I think it will still take a long time until the changes and you can work really relaxed,” says a the “Hafriyat” artists who wants to remain anonymous. The painter and “Hafriyat” co-founder Antonio Cosentino is confident: “There are mechanisms such as Section 301” – he makes insulting Turkishness under penalty – “will be used for cultural workers of all kinds to suppress. But ultimately it is nobody succeeded to prevent the exhibition. And this is the most important, because so have we achieved our goal, our artistic ideas on the subject made available to the public. ”
There are now several reports on the issue in the Turkish media released, most of them are relatively neutral, respectively. Not so in the “Vakit”, which again has nachgelegt and not the exhibition as “Danish” but as “local provocation” called – what, like between the lines to read, actually was much worse. The media hype is now the group has grown over the head, even if the issue is known to a wider audience has become. To come now also women with headscarves in the gallery to view the posters. Most of them, so Cosentino, had said to demand that they are not hurt by the pictures feel.
“Me, my masters dog” and “Good morning”, 2007
When Lars What subscribed Muhammad that roundabout-dog, it became a violent debate. Now the ladder 2 has an exhibition on prejudices and hierarchies with the dog as a starting point.
“We immigrants are Sweden’s dogs,” says Dror Feiler.
When City hit four of the five artists participating in the exhibition “Me, my master dog” they immediately pull away on association tours around the dog.
-When immigrants wave of the tail and play basketball or fight is all excited, but not when they bite, “said Dror Feiler little incisive.
Barks of prejudice
“But unlike you, I am a good dog,” said plax Dmitri, who has done a computer works where you can enter their prejudices and become both barked and pardoned.
The work also art
– My best friend when I work is a dog, “says Hakan Akcura, who has made his immigrant job as newspaper dealer to a part of his art.
In the aftermath of the debate on Lars What tecknong “Prophet Muhammad that roundabout-dog” was born the idea to put the dog in the center – but not to depict the –
To the sound of a dog shall rolls a text from Orhan Pamuk “My name is red,” where the dog itself may be heard.
He thinks, among other sins of their French artfränder which may not show their bodies, but are forced to wear small coats.
Dog meat on the table
Opposite is a table spread and a Korean neon letters entices with prima dog meat. The artist Carl Michael von Hausswolff (whose name appropriately means housewolf) want to challenge the old dogma.
-Different cultures believe different things are strange to eat. Now the pressure from the West so hard that Koreans feel ashamed to eat certain things, “he said.
Have you ever eaten dog?
-Maybe … I have eaten many things. I believe that one should respect people’s choices, as long as they did not kill other people.
Lina Wenner Stone
With the dog down in the mire
Why just got a dog task to be in a roundabout? Most banal: that it was a dog Stina Opitz did, that was sabotaged and then replaced with one of the “same kind”, a roundaboutdog. But the speculation also that it was for the people wanted the crossing and therefore there another “street”, a mixed dog.
Both dog and the rage among means something everyday, which is close to home. The dog is a dog like ours, and among breeds created is a kick in the ass in a breeding system and rastänkande which have become increasingly outdated.
Roundaboutdog was to be the early fall’s most annoying words. It was a bit ironic that the very, whose history was radically popular, became a islamofobisk and racist symbol. When the Tegen 2 now shows, I, my masters dog, it is the dog’s owner meanings out to more places. Carl Michael von Hausswolff show a small Korean dogsmeattradition, Dmitri Plax unites lucky dog reasons satisfactory to our own and with prejudiced station while Dror Feiler borrows Orhan Pamuk dog in “my name is red” and let the text flow. If Muhammad aversion to dogs – or rather the love of cats – about cafe culture, dirt and cleanliness.
Yes, perhaps we are all master dogs, obedient accomplices. Or the wise, domestic, social. Something that Hakan Akçura look in his dual performance in which he first tries to make its own in a hard molded the world – be a personal newspaper dealer.
It is fun to steps 2 gives itself into a thematic cultural morass like this. Questions about the social system, religion, freedom of expression – yeah, here they are. And he roundaboutdog subscription, he is demobilized conspicuously absent.
“Even though it is 30 years late, maybe…?”, 2007
(Open inquiry and invitation to Mr. Fredrik Reinfeldt and Mr. Recep Tayyip Erdogan)
Turkish internet news portal Haberturk H2
published news about this inquiry and invitation:
hakan akcura <email@example.com>
Open inquiry and invitation to Mr. Fredrik Reinfeldt and Mr. Recep Tayyip Erdogan
Fredrik Reinfeldt <firstname.lastname@example.org>,
R. Tayyip Erdogan <email@example.com>
Even though it is 30 years late, maybe…?
Open inquiry and invitation to Mr. Fredrik Reinfeldt and Mr. Recep Tayyip Erdogan
Mr. Fredrik Reinfeldt,
Mr. Recep Tayyip Erdogan,
USA launched the unmanned probes Voyager 2 on August 20, 1977, and Voyager 1, on September 5, 1977 and sent them deep into space. This is the 30th anniversary of this meaningful journey toward deep in space.
Pioneers 10 and 11, which preceded Voyager, both carried small metal plaques identifying their time and place of origin for the benefit of any other spacefarers that might find them in the distant future. With this example before them, NASA placed a more ambitious message aboard Voyager 1 and 2-a kind of time capsule, intended to communicate a story of our world to extraterrestrials. The Voyager message is carried by a phonograph record-a 12-inch gold-plated copper disk containing sounds and images selected to portray the diversity of life and culture on Earth. The contents of the record were selected for NASA by a committee chaired by Carl Sagan of Cornell University.
Dr. Sagan and his associates assembled 115 images and a variety of natural sounds, such as those made by surf, wind and thunder, birds, whales, and other animals. To this they added musical selections from different cultures and eras, and spoken greetings from Earth-people in fifty-five languages, and printed messages from President Carter and U.N. Secretary General Waldheim. Each record is encased in a protective aluminum jacket, together with a cartridge and a needle. Instructions, in symbolic language, explain the origin of the spacecraft and indicate how the record is to be played. The 115 images are encoded in analog form. The remainder of the record is in audio, designed to be played at 16-2/3 revolutions per minute. It contains the spoken greetings, beginning with Akkadian, which was spoken in Sumer about six thousand years ago, and ending with Wu, a modern Chinese dialect. Following the section on the sounds of Earth, there is an eclectic 90-minute selection of music, including both Eastern and Western classics and a variety of ethnic music.
“Friends of space, how are you all? Have you eaten yet? Come visit us if you have time,” says the translation of one of the greetings recorded on identical gold-plated phonograph discs mounted under engraved covers on the side of each Voyager. That message is in Amoy, a language spoken by millions of people in eastern China, and one of 55 languages included on the record.
“Greetings to our friends in the stars. We wish that we will meet you someday,” says a translation of the Arabic language greeting.
Some other messages don’t sound quite as eager about getting together. The one in Rajasthani, a language of northwest India, translates to “Hello to everyone. We are happy here and you be happy there.”
The English-language message among this set says, “Hello from the children of planet Earth.”
Voyager 1, launched on Sept. 5, 1977, has already become the most distant of all human-made objects. Every day, it flies another million miles ( 1.6 million kilometers) farther from the Sun. Voyager 2 is about 80 percent as far away as its twin.
They are still returning scientific information from the outer reaches of the Sun’s domain almost every day. Their durable electric power supply, generated from the heat of radioactive plutonium, will allow them to continue making measurements and radioing them home for about 20 more years. That may be long enough for at least Voyager 1 to still be operating when it passes the boundary between the solar wind from the Sun and the interstellar wind from death-explosions of other stars.
Even after the power supply runs too low to operate instruments and transmit data to Earth, the Voyagers will continue silently speeding away from the Sun and Earth. Many thousands of years from now, each will eventually become closer to other stars than they are to the Sun.
A committee headed by the late Dr. Carl Sagan of Cornell University chose what to put on the Voyager “golden record.” The group had only about six months to decide on the contents and to gather the recordings.
Some choices, such as the multiplicity of languages, suggest that the message is as much for Earthlings as for aliens. A single language would be easier for an unearthly intelligence to decipher, if one ever acquires the record. A diversity of tongues aboard a craft leaving the solar system emphasizes the shared global significance of the endeavor.
Besides the multilingual greetings, each record also has music, ranging from Louis Armstrong and His Hot Seven to Melanesian panpipes, and from a Navajo night chant to a Beethoven symphony.
Other sounds of Earth on the record include both natural noises, such as a rainstorm and a chimpanzee, and human-created ones, such as a train and a kiss.
Pictures can be encoded into information on a record. The Voyager golden record 116 pictures. One document stored as an image is a greeting from Jimmy Carter, who was president at the time of the launch.
Part of Carter’s text says, “We cast this message into the cosmos. It is likely to survive a billion years into our future, when our civilization is profoundly altered and the surface of the Earth may be vastly changed. Of the 200 million stars in the Milky Way galaxy, some – perhaps many – may have inhabited planets and spacefaring civilizations. If one such civilization intercepts Voyager and can understand these recorded contents, here is our message:
“This is a present from a small, distant world, a token of our sounds, our science, our images, our music, our thoughts and our feelings. We are attempting to survive our time so we may live into yours. We hope someday, having solved the problems we face, to join a community of galactic civilizations. This record represents our hope and our determination, and our good will in a vast and awesome universe.”
Swedish and Turkish language messages
When it was observed that the Turkish and Swedish messages were obviously recorded by the personal acquaintances of the committee and without officially contacting the governments of these countries…
Swedish language message translated to English is “Greetings from a computer programmer in the little university town of Ithaca on the planet Earth”.
Turkish language message translated to English is “Dear Turkish-speaking friends, may the honors of the morning be upon your heads”.
If one day these messages would find their counterparts and if they will be listened to, the Turkish and Swedish messages will be spoken with the content, accent and articulation I just mentioned.
What exactly do you think about these subjectively recorded messages and the way that the contents of these messages determined most probably by the people who read them?
I attached the greeting samples from other extinct and living languages, and can we honestly talk about the personal-national characteristics when we take place like this unserious manner within such a meaningful content?
How would you like the messages in your native language take place on this golden record instead of these messages?
I am a contemporary artist from Turkey and who chose to live in Sweden for the last 3 years.
On the 30th anniversary of Voyager 1 and 2’s launches, the only reason that I direct these questions about the quality and content of these messages to you as the currently office holding prime ministers of the native countries of these languages is related with who and what I am.
And of course, among all other languages only Turkish and Swedish messages were having this kind of extraordinary quality…
I invite you to record the answers of these questions vocally and have them sent to me, and then permit them to be exhibited –without any interference- with the original messages.
I sincerely carry the hope for both of you to hear my call in your busy schedule and will not be late to answer…
9 October 2007
Resources and useful links:
Sumerian language message translated to English is “May all be well”
Urdu language message translated to English is “Peace on you. We the inhabitants of this earth send our greetings to you”.
Italian language message translated to English is “Many greetings and wishes”.
Ila (Lambia) language message translated to English is “We wish all of you well”.
Akkadian language message translated to English is “May all be very well”.
Romanian language message translated to English is “Greetings to everybody”.
Hindi language message translated to English is “Greetings from the inhabitants of this world”.
Nguni (Zulu) language message translated to English is “We greet you, great ones. We wish you longevity”.
Nyanja language message translated to English is “How are all you people of other planets?”.
Hittite language message translated to English is “Hail”.
French language message translated to English is “Hello everybody”.
Vietnamese language message translated to English is “Sincerely send you our friendly greetings”.
Sotho (Sesotho) language message translated to English is “We greet you, O great ones”.
Hebrew language message translated to English is “Peace”.
Burmese language message translated to English is “Are you well”.
Sinhalese language message translated to English is “Wish You a Long Life”.
Wu language message translated to English is “Best wishes to you all”.
Ukrainian language message translated to English is “We are sending greetings from our world, wishing you happiness, goodness, good health and many years”.
Aramaic language message translated to English is “Peace”.
Spanish language message translated to English is “Hello and greetings to all”.
Greek language message translated to English is “Greetings to you, whoever you are. We come in friendship to those who are friends”.
Korean language message translated to English is “How are you?”.
Persian language message translated to English is “Hello to the residents of far skies”.
Indonesian language message translated to English is “Good night ladies and gentlemen. Goodbye and see you next time”.
Latin language message translated to English is “Greetings to you, whoever you are; we have good will towards you and bring peace across space”.
Armenian language message translated to English is “To all those who exist in the universe, greetings”.
Serbian language message translated to English is “We wish you everything good from our planet”.
Portuguese language message translated to English is “Peace and happiness to all”.
Kechua (Quechua) language message translated to English is “Hello to everybody from this Earth, in Kechua language”.
Japanese language message translated to English is “Hello? How are you?”.
Polish language message translated to English is “Welcome, creatures from beyond the outer world”.
Luganda (Ganda) language message translated to English is “Greetings to all peoples of the universe. God give you peace always”.
Cantonese language message translated to English is “Hi. How are you? Wish you peace, health and happiness”.
Punjabi language message translated to English is “Welcome home. It is a pleasure to receive you”.
Nepali language message translated to English is “Wishing you a peaceful future from the earthlings”.
Russian language message translated to English is “Greetings! I Welcome You!”.
German language message translated to English is “Heartfelt greetings to all”.
Mandarin Chinese language message translated to English is “Hope everyone’s well. We are thinking about you all. Please come here to visit when you have time”.
Marathi language message translated to English is “Greetings. The people of the Earth send their good wishes”.
Thai language message translated to English is “We in this world send you our good will”.
Bengali language message translated to English is “Hello! Let there be peace everywhere”.
Welsh language message translated to English is “Good health to you now and forever”.
Gujarati language message translated to English is “Greetings from a human being of the Earth. Please contact.”
Kannada(Kanarese) language message translated to English is “Greetings. On behalf of Kannada-speaking people, ‘good wishes'”.
Telugu language message translated to English is “Greetings. Best wishes from Telugu-speaking people”.
Oriya language message translated to English is “Greetings to the inhabitants of the universe from the third planet Earth of the star Sun”.
Hungarian (Magyar) language message translated to English is “We are sending greetings in the Hungarian language to all peace-loving beings in the Universe”.
Czech language message translated to English is “Dear Friends, we wish you the best”.
Enforced explanation and warning
Unfortunatelly, I am not part of the exhibition Time Travelers: Time Based Art Show in Chicago. I feel emberessed over the fact that I will not be in an exhibition which I told many people I would participate. I want to say sorry to you all and want you to know why this happened.
I found out that I am not one of the participants after that I informed many people by email, interviews and my blogg. This has come like a bad surprice to me since I sincerely believed this nonprofessional curators (Amelia Winger-Bearskin) personal invitation to me to participate her exhibition was serious. She received all material for the exhibition from me and all aggrements were done.
I checked out the gallery website of curiosity and got a chock by the artist-list that not included me. Apparently she had changed her mind without informing me and when I required an explanation, she made things even worse by saying that it was just an missunderstanding and that I was not going to be in the exhibition. I could maybe accept the fact that she changed her mind without informing me but telling me that I missunderstood things really made me angry and dissapointed of this arrogant treatment.
Allthough I have all the documents and rights on my side, I have decided not to go on with this struggle but I still believe that it’s my duty to inform and warn artists that may co-work with this nonprofessional curator (Amelia Winger-Bearskin) in the future.
Hakan Akçura will exhibit in Chicago
Gustaf Andersson (Newspaper Culture)
Campaigner for the extended residence permit, Hakan Akçura is up to date with a new video to be displayed in Chicago for a month. Mr. President let me challenge you to face his (1-2) is inspired by the movies that showed Saddam Hussein’s hanging.
Hakan Akçura became wellknow last summer by video work Open letter to the Migration Board. The work was a comment and a call to the authority on why he had not had their permits renewed, despite 10-month waiting period.
Central to the artwork are just waiting, it is about what Akçura during this time caused, how he traveled around in Stockholm and how he sees the mentality of the Swedes. The technology is a kind of documentary portraits whereby Hakan zoomed filmed without interruption in 51 minutes. The work was highlighted by the Svenska Dagbladet and by a story in the Culture Broadcasting in P1.
When I meet Hakan in the family’s apartment on Kungsholmen in Stockholm, he is in a happy mood. In about a month, his latest video to appear in Chicago. In the light brown across the hall gives Hakan during the interview the impression of being a very thoughtful person. He often stays up in their reasoning, gestural and thinking about what to answer my questions.
At the end of your film “Open Letter to Sweden Migration Board” as you said you hoped that your artwork would speed up the process surrounding the residence permit and that it would be useful, the consequences Were you thought?
– No it does not hasten the process of my residence, what I know. In all cases, not as I had hoped that it would do. But it can still be helped because I got the permit renewal at the Swedish Embassy when we were in Turkey. We had in the summer traveling to my homeland Turkey. And if I had not received authorization, I had not been able to return to Sweden, says Akçura.
You told me in the video that you would ensure that staff at the Migration Board saw the movie, how did you do? And did you get any kind of response from them?
– I mailed the video to the Migration Board. When Svenska Dagbladet then wrote an article about me, I received via the reporter who interviewed me told that they confirmed that they saw it. But I haven’t yet to receive a personal response, “he said.
Hakan Akçura had finally, after ten and half months waiting their temporary residence permits. A state which is now in August, but the hope is that he then will get a permanent residence permit, it tends to be the practice. But, in that it took ten and a half month period last time you can never know that it will.
Hakan Akçura is careful to call itself the neo-fluxus artist. It is a concept that he himself prefers to describe his art, but it is also a concept he received his art referred to by several critics. The first time someone called his art for the neo-fluxus was art biennalen in Istanbul in 1995. Fluxus is characterized by the blandadade several different artistic means of expression as literature, music and visual arts.
Right now, Hakan current video work with Mr. President let me challenge you to face his (1-2), which will be presented at the Time Travelers: Video and Time-based art festival in Chicago for a month. The work is heavily inspired and is a kind of development on the films of the hanging of Saddam Hussein that were previously posted on YouTube.com.
– Internet and especially sites that You Tube and Myspace has meant a lot to the art. It has become possible for artists to exhibit works previously considered awkward and provocative to the already established art institutions. Through these sites can go there now to reach a mass audience with amazingly simple means. I expect that about fifty thousand have already had time to see Mr. President let me challenge you to face his (1-2), “said Hakan Akçura.
What do you want to express by using a picture of George W Bush’s face placed on Saddams head in your video install installation?
– I want to question the democratic approach to assassinate Saddam Hussein. My work is intended to force Bush into a confrontation and is actually a search for personal justice against the system. The movie about Saddams hanging was banned on Youtube shows clearly what is prohibited in the so-called communities on the Internet. Although these communities want to give the impression to be utopian stadiums open to all, says Akçura.
Before we take time to dismissal Hakan show up an acrylic painting from 2005, he was suspended for at home in his studio in one of the rooms. Emergence of the work “My hero from 9 / 11” was a photograph from Sept. 11 where an unknown person throws away from one skyscraper. Origin picture was taken by an unknown photographer and are very pixlig and unclear.
Hakan found the picture on the Internet and says he found the image a hero. Hakan want with the painting, which is a kind of magnification of this photo, catching the calm and peaceful person was who jumped down and the person accepted their fate. The painting will manifest and proclaim him unknown person to a hero. Hakan says that the painting is part of a series of heroes, but he has not yet decided who he will celebrate next.
Current by: Time Travelers: Video and Time-based art festival, in Chicago from June 29 to July 28, and the project “True dialogue” based on exchanges between the Turks and Swedes.
Fluxus is an art movement that arose in 1960 – and 70’s. It caught up ideas from dadaismen and questioned the artistic standards and values. Characteristic was to blow up the boundaries between music, literature and visual arts and combine them free expression. Some examples of artists who tend to be classed as fluxus-artists include John Cage and Yoko Ono.
“Love in the tunnel of hate”, 2007
(Hakan Akçura’s open call to Turkey)
Turkish Daily News:
An ideal multicultural Turkey can show the way
Hakan Akçura, painter, poet and video performance artist, who implemented the “Love at the Hatred Tunnel” Project, is presenting his attitude toward discrimination and racism along with the visual works he prepared
Wednesday, June 20, 2007
Turkish Daily News
In one echo to the shot that felled Armenian-Turkish journalist Hrant Dink last January, a Swedish-Turkish Web artist has launched a new Internet portal aimed at bringing together the distinct cultures of Anatolia: among them Armenian, Turkish and Kurdish.
“This is an exercise for justice,” said Hakan Akçura, an artist based in Sweden, who said he has struggled mightily to make his voice heard as a minority in Scandinavia, a factor that has given him a great deal of empathy with Dink, killed by a teenage gunman filled with nationalist hatred who confessed.
An earlier Web video project of Akçura’s premiered at this week’s Bodrum International Film Festival. The newest and latest, however, is “Love at the Hatred Tunnel,” a Web-based home for blogs, videos and graphics that has already attracted contributions from more than 20 creative fellow artists across all ethnic hues and geographies.
Such racism is an illness that is hard to cure in this modern century, Akçura said this week. Many people around the world lose their lives due to their nationality, religion, language, color and opinion. Just like Dink, editor in chief of the Agos newspaper.
Akçura said that he was concerned about the racist messages posted on the Internet right after the Dink assassination. The period that started with Dink’s assassination has prepared the ground for a nationalist wave to continue, he said. He noted that the “wave” continues even as wounds have not yet healed, other nationalist attacks have followed, including the killing in May of three missionaries in Malatya.
Akçura voiced concerns about conflicts between some Turks and Kurds. Which all led to his launch of the “Love at the Hatred Tunnel” project. He calls on those that love Armenians, Turks and Kurds to become involved. To join the project, it’s enough to express ones feeling in a video and send it to http://open-flux.blogspot.com. So far Akçura has received many videos.
The artist says that 20 people applied for the project but he expects an immense interest. He is about to examine the videos while he believes that his project needs more widespread support. The artist intends to present the videos to Turkish audiences in Istanbul and Diyarbakır. The reason behind choosing Diyarbakır is that the city has a large Kurdish population. After exhibiting the works in Turkey he plans to take the exhibition to other countries.
‘Mr. President let me challenge you to face his’
Akçura is an artist who doesn’t keep his views to himself. The execution of ousted Iraqi dictator Saddam Hussein’s affected him deeply and he aroused a bit of international interest when he changed the face of the overthrown Iraqi leader lying in the morgue with that of U.S. President George W. Bush. He posted the video on Youtube. Two experimental videos titled “Mr. President let me challenge you to face his,” which show Bush in a provocative way during the execution process of Saddam made it to the most watched videos section of the “Arts and Animations” category rapidly in January. But not for long. The videos were taken off the Web site with claims that the video embraced violence. Akçura said: “It was said that my video included violence. It was virtual, yet the real execution images were displayed to billions of people on TVs everyday hundreds of times.” The artist says that he sent the video to the White House as part of his virtual campaign for justice.
After Youtube blocked his work, the artist posted the video on Google Video. He mentions that they also blocked it after a short period and his reaction is “My search for justice got stuck in virtual censor.”
Akçura’s censored video has been shown at the New York Scope Art Fair. The video, which will be shown in “Time Travelers 2007” this month in Chicago, is being screened in Turkey at the fourth International Bodrum Film Festival that started Friday and will end tomorrow.
Migration and discrimination in Sweden
Akçura, says that he experienced many problems as a migrant in Sweden. According to him the system protecting Swedish artists ignores migrant artists. He emphasizes that there is discrimination. Akçura’s video called “Open Letter to the Swedish Immigrant Office” evoked lots of comment from the artist society in Sweden and Turkey.
Cohabiting should be encouraged in Turkey
The artist is not very optimistic on the near future of Turkey. The thing that affected Akçura in the Dink assassination is that the police had their photos taken with Dink’s murderer. Akçura highlights the necessity of spreading the concept of living together in Turkey with the support of art. Akçura expects that everyone, who don’t have any concerns about the identity of people, should lend a helping hand to his project. He is happy to publish the call of “Love in the Hatred Tunnel.”
The arguments on identity doesn’t mean anything to Akçura and he awaits people with open arms who attach more importance to love than to identity.
A concept and art event presentation positioned “against racism”, invitation for participation:
Love in the tunnel of hate
Turks who love kurds. Kurds who love turks. “Couples,” whose one half is turk, and the other is kurd. Couples who have experienced either briefly or a lasting love of a turk or a kurd. This call is for you:
I have been collecting profanities oral and written by racist turks and racist kurds in the internet for a duration of four-five months. “Racist” as an adjective should not be confused with nationalist. These reciprocal positioning have been increasing rapidly and What I am “going to expose” is consist of these aggresive, abusive languages and voices. (All I am going to do is to expose the texts that are already buried in the internet. Those texts are there, open and of course known by some! ) [It’s added afterwards because has been misunderstood.] Igather them from site visitors writings and comments in shared web sites – like You Tube.-Voices that I am recording comes from certain chat rooms, most of them kurd. (Swearingwords usually said by turks against kurds.) [It’s added afterwards because has been misunderstood.] They are in thousands… The hatred they embrace is unbelievably clear and naked. They are so coagulated, shallow and real, when I read and listen to them, they make me feel like I am getting dirty. They are the documents of how nationalist racism is growing with the cruel, lowest of the low and dangerously certain flowing dialogues between thousands of kurds and turks which each of us have been witnessing in unease.
The couples participating in the artistic activity called “Love in the tunnel of hate” will come to life on individual screens allotted to them in a space where these profanities and assaults cover the four walls and the ceiling and the sounds “pour down” intermittently. Visitors will be watching these videos in this excessively “dirty” hate tunnel-space.
Couples who are going to join “Love in the tunnel of hate” art event will receive these hate drafts by me. I will send them many samples. Because, they have to see, read and know in what kind of poisonous “tunnel-location” the event they are thinking to join will breathe. Canditates are goig to read these texts not from the last copy but from the initial copy which I will display in front of them from the huge poisonous barells.
The voices that they will unfortunately-or fortunately- not be able to listen has almost the same intense and shallow content and addition to that assuredly they compass the power of “real voices come from real bodies.”
I want the following from couples who decide to join in after this process:
With existing or borrowed video cameras they are going to film each other or their relationships. Contents or forms -how and where they are going to film- are purely depend on participants who will tell, document and transfer me and visitors to the exhibition, the tales, the reasons and difficulties if there are any, and expressions of love for a turk or a kurd.
I like to have cunstructed or unconstructed “home video recordings from the participants.
How are they going to film or document each other? How are they going to transfer their rooms, homes, lives? How are they going to present their power of love? Everything will be created by participants’ consideration. From the most coagulated, detailed form and content to very simple ones, everything will be accepted by me. Because the actual question they are going to answer relates, how they want to exist in the tunnel-location which will be covered by poisonous hate documents.
There is no limit of duration.
If recordings can be done by digital camera- namely, recorded on a CD and transfered directly to the computer – it would be very convenient for me during the editing. But if the camera is analog –namely, records in cassettes/tape- I accept that too, I don’t want anybody quitting because of this.
I am the one who is constructing the concept and the context. I am the one who will edit the videos if I find it necessary. I am the one who is going to work for resourses, constitute the conditions for the exhibition. Participants will realize that contents of the texts will create serious legal problems which I’ll have to tackle.
At the exhibition, participants names will appear as they wish. I prefer their open identity… But they can chose to join without a surname or with a nick name. They will be presented as “participants”.
I want to exhibit simultaneously in Istanbul and Diyarbakır. If I can’t manage that it will be moved from one city to the other. Of course, the probability for the exhibiting in other cities is also my desire and on my agenda.
I don’t know how many couples are going to join the exhibition.But I am not targeting hundreds of couples, I find this to be unrealistic from direct experiences: when I asked people “to implement a personal creation of himself or herself,” I ended up dissapointed.
Every new couple that is going to agree to cooperate will make me very happy.
For any questions, future participants and documents for the tunnel of hate please write to: firstname.lastname@example.org.
p.s.: For the preparation and the exhibition all kinds of support is welcome. This invitation and the potential exhibition can only be put on the map extensively through, newspapers, magazines, forums and writing groups; support and solidarity for financial requirements of this process like the editing of the materials and subtitling, or any kind of direction concerning the exhibition, solution for the location and curatorship, and technical expertise for sound-image facilities are direly needed.
(Translated by Sibel Erduman)
Discussion at Swedish Parliament about segregation, 2007
The songs really almost unlikely, it tells you about how you have been treated.
My colleague who works with labor issues inform me that the employment culture to provide nationwide special mediation in the culture of job-seekers with training and / or long experience in the field of culture and give me the address of Af Kultur’s website under which, for example, designers included among the professions that the delivery should serve: link.
It seems clear position to contact Diskrimineringsombudsmannen investigating discrimination, unequal treatment of equal cases. If you have not already done it and knows how it works: on the page, there are more details on how to register. Certainly, it is difficult to prove discrimination, but perhaps precisely because it is important to register so as to be a clearer picture of how discrimination in society looks like.
When you write to us, are you saying that it is the politicians to ensure that the Employment Culture functioning satisfactorily. We should reflect on what we in the Left Party’s side can do – for instance, put a question to the minister responsible for what he is doing to ensure equal treatment of artists at the Af-culture in the country. Since we are no longer a party which cooperates with the government, we have no possibility to take the matter up directly in the Cabinet Office.
Thank you for your letter. It is always valuable for us to see how it actually happens in society when you need to use the institutions that we as politicians is to take a decision on.
pol.sekr. responsible for Culture on the Left Party’s parliamentary cabinet
I want to thank the Left Party’s help and support.
I understand that you are asking questions to the government generally and not in individual cases. I also minister of non-respondents response, the lack of his curiosity and his unwillingness to take responsibility.
I think that I’m on the road to get to know this country despite all the good will from people like you.
I feel no desire to appeal, but only inform about the situation. Press the message “Segregation of AF Culture” has sent me off to thousands of addresses from the media and cultural / arts venues. In support, I have only received a reply from a KRO president and you and three four individual responses from individuals.
If the answers from the organizations should have reacted been only a silence so I think that the minister’s response is not particularly surprising to me.
I can use that word here, which I used in the press release: namely, that it is easier to get wings and fly than to deal with the dövande silence in Sweden.
Hello again, Hakan!
We therefore asked a written question to the Labor Minister. I enclose both the minister and response.
We can not in parliament treat individual cases but the issue must be addressed more generally. As for the answer it says, not very surprising that the minister does not intend to take any specific action. Such responses we usually get. But perhaps there are still things in the answer that you can support you in if you directly address the county labor board – in person or by mail. Labor Market Board has also given a section where you can send a complaint, if you have not already done so?
Gudrun Utas (Left Party)
“Open Letter to Sweden Migration Board”, 2006
Waiting for permission to stay have become art
15 June 2006
Now, the Migration Board’s waiting times have become art. It is the Turkish artist Hakan Akçura who made a video performance of its pending clearance on the renewal of residence permit in Sweden.
While waiting for clearance to stay in Sweden, Hakan Akçura busy. In addition to Swedish studies, he tries to fix the artist grants and exhibitions.
Many of the ideas and projects seem to move Sweden, Swedish and his new knowledge of their new homeland. A novelty that attracted his interest is the concept of “moderate” (lagom): one of the things he thinks about his performance in the video he recently sent to the Migration Board to tell about their situation and give voice to all those waiting.
– We fluxus artists are not very discerning, we will not hierarchical but that all people and everyday things have a potential for development. That is what we are trying to encourage. Take, for example reflexes. There is something everyday. One of my project ideas, to join with those who live in immigrant dense areas sy reflex Shrouds that hangs together on the facades during the darkest winter months. It really says the same thing as the knee worn on your clothes and does “not colliding with me.” Linked Monday reflections on a facade in Rinkeby say the same thing for Swedes who can see it when they go by on the highway. See us, protect us, treat us equally.
Four years ago he met his great love Leyla through an art project on a dejtingsajt. They married and in early 2005 he moved to her in Sweden. Right now devotes his days to learn English and find space to convey his art in his new city, Stockholm.
– To learn about Stockholm bought I get a SL-card and traveled all over town. From Akalla to Skärholmen, to Hjulsta and Rinkeby. All the suburbs where many immigrants live. I observed people and photographed at the same time the art that is illegal: grafittin and stickers. Those that make it stand for the ornament of the city.
The graffiti is such a serious crime in Sweden was a surprise. Not even in Turkey is the penalty so hard. He followed the entire process, from the painters in their studios in the forest and bergsrum to workers who wash away grafittin. He also saw the divided city during the his travels in t-track.
– During my travels back and forth between center and periphery, I saw between each station how social and ethnic portrait, language and attitudes are changing. The longer out in the periphery, the more clearly how the Swedes were fewer and how much more difficult relations between Swedes and immigrants become the longer it is going out. The children who without warning embankments to the subway box, and people to jump into and get them to drop its “moderate face”.
Hakan Akçura is not alone in waiting for clearance from the Migration Board. At the end of May, waited 6 590 so-called related matters, therefore, people who are married or cohabiting with a Swedish citizen, on clearance for a residence permit in Sweden. For a month and a half ago the EU was adapted rules.
Now do not question the Migration relationens seriousness, but retain some control by only provide time for relationens firm permits first two years. The new rules will reduce the waiting time, but Hakan Akçura have been waiting for eight months. Possibly, a message the next few weeks.
What do the Migration Board that waiting times inspires art?
– We have no opinion. If it is nice art, it is nice. If there are furiously, it is interesting. It may well be criticism that we can take for us by. We are not proud of our turnaround times” said Marie Andersson, press officer at the Migration Board.
Akçura says that his video is a sincere attempt to explain themselves and answer’s questions.
– When I was in the interview with the Swedish Migration Board asked me how many locks that are at our door, what we have to portkod, who washes and so on. If they want to know they can indeed call to the school and ask which of us leaving the children. The goal of my video was that the Migration Board would have to know what I think about this country’s immigration policy. That it still sees the people as “immigrants”, even those who are born here and really only has this country to call your. I want to show what I think about Swedes fears, shyness and the concept of moderation (lagom).