REVIEW. At one point laughing I loud during the reading of the Niklas Orrenius the book the Shots in Copenhagen. It is when the Lars Vilks infamous drawing the Prophet Muhammad as a roundabout dog ends up in the hands of the Dan Park and become a poster on cabinets in Malmö with the addition of: "the Senior of the jewish assembly".
So nedrigt. (This is pure lie.) So unnecessary. (Have not Muhammedteckningen created enough hullabaloo?) So dangerous. (Lastly, and judehatet among muslims is behind the harassment, intimidation and murder in the Öresund region.) So typically Dan Park, a kind of art Onkel Kånkel that consistently celebrates racism, pyros and genocide and, among other things, made a mug with the text "Joseph Reported, the world’s best dad".
And that is precisely why a hilarious satire of all the overwrought, conflicted and, increasingly, bloody history. As Vilks says to the assembled art students: "If you happen to out of controversial situations: do not Try to make it better. Instead, try to make it worse!" Instead of sobering tone down and gloss over, sleek twist up and screw, do not create the rarely lucid comedy.
I’m reminded of that this is, after all, only a drawing, some mischievous prank. The indignant question: What are you doing!? should rightfully be directed, not to the artist, but to the statesmen, preachers, activists and terrorists. As well as to the fegaste of all: the Swedish public.
They pop all up in Niklas Orrenius eminent långreportage, woven around the artist Lars Vilks and the pencil drawing he never got to set out on Tälleruds museum in Värmland in the summer of 2007.
The konträre Vilks provoked not on the "right" way, with yet another tirade against the George W Bush, capitalism and christianity, so the promoter turned it down. The artwork was printed instead of the independent.
This upset The muslim congregation, who protested and called for a boycott. The news soon reached the muslim world. Iran condemned the publication, including other dictatorships, demanded that the Swedish government would act against the newspaper and the artist, and terrorist organisations IS put a price on Lars Vilks’s head.
the Situation has quickly worsened. With fractions and talkörer stop muslim activists in 2010 a lecture by Vilks at the Uppsala university, and two clumsy arsonist hurt the most themselves and leave the jackets, keys and id cards on the spot. They have something almost touching in comparison with when the IS-terrorist: Omar El-Hussein is attacking the Lars Vilkskommitténs meeting and a synagogue in Copenhagen in the spring of 2015, and shoots, killing two people.
It is an under-reported piece of recent history, but in Orrenius book may all be heard. He refers and talks, lets the events and the people speak, also arsonists and extremists. Environment-, fragrance – and klädbeskrivningar adds without having to stand in the way. It will be dramatic, exciting and memorable.
Sometimes fill the author in with the poignant observations. Why has the media been so silent about that Lars Vilks was the target for the mark in Copenhagen? Hardly anyone pays attention to turkey’s first birthday. Why is it in Denmark, he has a stödkommitté? The book is in its low-key and versatile descriptor a keen anklagelseskrift.
The dodges, either for the terrorvurmen among salafist muslims or murderous "Sverigevänner", but is never so keen as when it comes to the Swedish public.
Smygrasister has long condemned the Swedish idealism. I can delight them with that in Orrenius book is missing it completely. This is exposed rather the räddhågsna folksjäl, completely renons of empathy and crass busy with their own sphere, which, instead of condemning his murderous enemies, to shun and hate Lars Vilks.
do not Misunderstand me: You may absolutely criticize and condemn Lars Vilks ‘ art, his intentions and his appeasement towards muslimhatare. But to require that he shall reside in his hometown, get to a restaurant or invited to cultural events for the little risk to itself and therefore runs to the islamic terrorists turn to the right then, to make the threat to be a threat, to make the victim to the perpetrator, and it is bottomless shame.
Ynkryggarna are everywhere; in the home town Höganäs, sweden, at Kulturhuset, among investigative journalists. Get in Sweden seems to put a point of honour to make life more liveable for the dödshotade. Many helps on the contrary the terrorists to execute the sentence, a fängelseliknande, isolated existence.
don’t Come and boast about Swedish values! This – kryperiet for the strong and the violent, and the självrättfärdiga the anger against the threatened avfällingen – is in truth the Swedish values. I have seen them. I have grown up with them. I hate them.
Lawyer Hans-Gunnar Axberger is in all cases well-read, but not convince with his speech if that freedom of expression should be more the exception. The elephant in the room is that the exceptions are not about hurt feelings, but about the propensity to violence and threats. It is to reassure the dictators, lynchmobbar and terrorists as Axberger want to be able to lock in the satirist and close the media, not to any sensitive soul is torn in its interior.
in Particular, ill-thought-out this proposal in the light of how the Swedish government in 2007 handled the anger against the artwork. If there had been the slightest of loopholes in the legislation, would Fredrik Reinfeldt not have been able to be both accommodating and at the same time clear that no one intends to punish the artist or the newspaper. The dialogue was wise, you should listen also to the religious who want to put the cartoonists in prison. In the talks, it emerged that Sweden is a good community for muslims, unnecessary confrontation was avoided.
But the management leaves a provincial taint. The argument "this is how we make in our country," kastrerar freedom of expression. The right to mock the gods, prophets, and other fantasifoster, is universal and applies to all people, not just the swedes and the danes.
So bombastic express, of course, not Niklas Orrenius. He allows us to instead meet the artist Mahu, 41 years old, from Iran, who fled the religious repression to freedom in Sweden. She wrestles with the question if she should paint the prophet on the cover of a religion critical book for the iranian audience. A beautiful and worthy conclusion to this melancholy tale.
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