Et maleri af de afviste irakeres ophold i Brorsons Kirke af John Kørner og en porcelænshavfrue af Bjørn Nør-gaard er blandt de værker, der nu sættes til salg hos auktionshuset Bruun Rasmussen. Alt overskud fra den såkaldte Aktion Auktion går til de afviste irakiske asylansøgere gennem initiativet Kirkeasyl.
»Auktionen er en solidaritetserklæring fra kunstverdenen til de afviste irakiske asylansøgere. Det er et forsøg på at skaffe nogle penge og skabe noget positiv opmærksomhed,« siger Katarina Stenbeck, der er kunstfaglig koordinator på Aktion Auktion. Auktionen finder sted fra den 11.-21. september og kommer ud over en auktion på internettet til at have en udstilling i Kødbyen på Vesterbro i København. Selve salget af værkerne sker i samarbejde med auktionshuset Bruun Rasmussen:
»Vi har mange gange deltaget i velgørenhed sammen med både Kræftens Bekæmpelse og Red Barnet. Men vi var lidt tilbageholdende i den her sag, fordi den er politisk højspændt,« siger Peter Christmas Møller, der er salgs- og vurderingsdirektør i Bruun Rasmussen.
»Det er en speciel situation, idet vi normalt ikke blander os i politiske signaler. Vi vil ikke diskutere dansk asylpolitik eller rydningen af Brorsons Kirke. Men kendsgerningen er, at der er en del mennesker, der er kommet i nød. Dem bakker vi op igennem denne her humanitære indsamling,« siger han.
Ikke for sent
Bruun Rasmussen har endnu ikke set alle værkerne og vil derfor ikke give en vurdering af, hvor meget auktionen kan komme til at indbringe. Men forventningerne fra initiativtagerne er store.
»Ambitionen er at indsamle over 200.000 kroner, men det kommer an på, hvor meget folk ønsker at støtte op om projektet og sagen,« siger Emil Nielsen fra Aktion Auktion, der til daglig studerer kommunikation på RUC.
Mange af de afviste irakere sidder i det lukkede fængsel i Ellebæk, og en tvangsudsendelse kan ske hvert øjeblik. Alligevel mener han ikke, at initiativet kommer for sent.
»Indtil videre er der kun sendt 13 irakere ud af landet. Aktion Auktion kan selvfølgelig ikke alene forhindre, at de tilbageværende irakiske flygtninge bliver tvangsudvist til Irak. Men forhåbentlig kan vi være med til at øge det folkelige pres på politikerne, som i sidste ende kan føre til, at de får tildelt asyl eller humanitær opholdstilladelse,« siger Emil Nielsen.
Kommentarer
Fantastisk opbakning og engagement fra så mange mennesker, - det er da noget at glæde sig over midt i sorgen og vreden!
Sidste nye er, at det åbenbart er lykkedes at købe en af fangerne fri, ved at tilbyde vedkommende et vellønnet job.
Det er en dejlig nyhed, at man på den måde har kunnet redde et menneskeliv, men jeg synes godt nok det er underligt at opleve, at den danske stat i denne sammenhæng optræder som en slags gidselstager, der mod kontant betaling frigiver de mennesker, man har taget til fange.
Kilde:
http://politiken.dk/indland/article778127.ece
Det er såmænd fordi man gerne vil have højtlønnede til landet og ikke så gerne forfulgte mennesker der skal hjælpes..
Underligt er en meget velopdragen beskrivelse ;)
Jeg har hørt Pia Kjærsgaard sige at hun vil da gerne have indvandrere, hun er meget glad for dem, bare de “tjener kassen”.
Surt nok er der jo megen arbejdskraft gået tabt nu, ved at nægte mennesker med høje og gode uddannelser en midlertidig opholds- og arbejdstilladelse, hvis de ikke umiddelbart kan hjemsendes.
Men jeg kender mennesker, der før Udlændingeloven blev strammet, har fået tilladelse til at bo og arbejde og er startet med at arbejde i en kiosk eller andet steds, trods en tidligere beskæftigelse som professor i matematik på universitet etc.
Folk er faktisk meget arbejdsivrige og mange kommer for at skabe sig en tilværelse for dem selv og børnene.
I stedet bliver de nedbrudt og mister respekten for sig selv, - og så har vi selv været med til at skabe en negativ cirkel.
THE ARTIST AND POLITICS: A SYMPOSIUM (1970)
The symposium question was, “A growing number of artists have begun to feel the need to respond to the deepening political crisis in America. Among these artists, however, there are serious differences concerning their relations to direct political actions. Many feel that the political implications of their work constitute the most profound political action they can take. Others, not denying this, continue to feel the need for an immediate, direct political commitment. Still others feel that their work is devoid of political meaning and that their political lives are unrelated to their art. What is your position regarding the kinds of political action that sould be taken by artists?”
The artist does, not have to will a response to the “deepening political crisis in America.” Sooner or later the artist is implicated or devoured by politics without even trying. My “position” is one of sinking into an awareness of global squalor and futility. The rat of politics always gnaws at the cheese of art. The trap is set. If there’s an original curse, then politics has something to do with it. Direct political action becomes a matter of trying to pick poison out of boiling stew. The pain of this experience accelerates a need for more and more actions. “Actions speak louder than words.” Such loud actions pour in on one like quicksand-one doesn’t have to start one’s own action. Actions swirl around one so fast they appear inactive. From a deeper level of “the deepening political crisis,” the best and the worst actions run together and surround one in the inertia of a whirlpool. The bottom is never reached, but one keeps dropping into a kind of political centrifugal force that throws the blood of atrocities onto those working for peace. The horror becomes so intense, so imprisoning that one is overwhelmed by a sense of disgust.
Conscience-stricken, the artist wants to stop the massive hurricane of carnage, to separate the liberating revolution from the repressive war machine. Of course, he sides with the revolution, then he discovers that real revolution means violence too. Gandhi is invoked, but Gandhi was assassinated. Artists always feel sympathy for victims. Yet, politics thrives on cruel sacrifices. Artists tend to be tender; they have an acute fear of blood baths and revolutionary terror. The political system that now controls the world on every level should be denied by art. Yet, why are so many artists now attracted to the dangerous world of politics? Perhaps, at the bottom, artists like anybody else yearn for that unbearable situation that politics leads to: the threat of pain, the horror of annihilation, that would end in calm and peace. Disgust generated by fear creates a personal panic, that seeks relief in sacrifice. Primitive sacrifices controlled by religious rites were supposed to extract life from death. The blind surge of life, I’m afraid, threatens itself. Modern sacrifices become a matter of chance and randomness. Nobody can face the absolute limit of death.
Student and police riots on a deeper level are ceremonial sacrifices based on a primal contingency-not a rite but an accident. Nevertheless, because of media co-option, the riots are being structured into rites. The students are a “life force” as opposed to the police “death force.” Abbie Hoffman makes reference to William Golding’s Lord of the Flies on page 184 of Rello/utioll for the Hell of It; Golding’s pig devil surrounded by flies is compared by Hofiinan to an “unbelievable smell of decay and shit.” Golding’s novel abounds in images of piggishness; there is the fat boy called Piggy, and the rotten head of a pig. The overall mood of the novel is one of original disgust. One must remember that this novel was very popular with students some years ago. Life is swollen like Piggy and this is disappointing, the clean world of capitalism begins to stink, “the sexual channels are also the body’s sewers” (George Bataille), nausea and repugnance bring one to the brink of violence. Only the fires of hell can burn away the slimy, maggot-ridden decomposition that exists in life, hence Rello/utioll for the Hell of It.
“Then the rest joined in, making pig-dying noises and shouting.” (Lord of the Flies.) As time goes by, pollution and other excreta are liable to turn the planet Earth into a more horrible pigpen. Perhaps, the moon landing was one of the most demoralizing events in history, in that the media revealed the planet Earth to be a limited closed system, not unlike the island in Lord of the Flies. As the Earth thickens with blood and waste, as the population increases, the stress factor could bring “the system” to total frenzy. Imagine a future where eroticism and love are under so much pressure and savagery that they veer towards cannibalism. When politics is controlled by the military, with its billions of dollars, the result is a debased demonology, a social aberration that operates with the help of Beelzebub (the pig devil) between the regions of Mammon and Moloch.