I have written a short piece for the New Statesman, commenting on how presidential pardons do nothing to tackle the underlying injustice, and perpetuate the chill on freedom of expression.
Pardons have a particular place in judicial systems. There may be unusual circumstances where a person has indeed broken the law, but the sentence imposed is inappropriate. A pardon asserts that the conviction was correct, but alleviates the punishment.
That is wholly unsatisfactory in cases where the law has been abused, as it was in the case of Wa Lone and Kyaw Soe Oo. Although they are out of prison, there has been no acknowledgement by the state that the convictions were a clear miscarriage of justice. In fact, the pardon reasserts the just opposite – that there was nothing wrong with the imprisonment.
The gallery, founded by the advertising magnateCharles Saatchi, rejected calls from some visitors to remove the paintings, arguing it was up to visitors to come to their own conclusions on the meaning of the art. However, in response to the complaints, SKU suggested as a compromise the works should remain on the gallery wall but be covered up with sheets.
“It seemed a respectful solution that enables a debate about freedom of expression versus the perceived right not to be offended,” he said in a statement to the Sunday Times.
Nick Barley, director of the Edinburgh International Book Festival, has warned that the UK visa system alienates cultural visitors and is in dire need of an overhaul. In recent years, participants in the EIBF and other major UK festivals have had trouble getting permission to enter the UK – a huge freedom of expression issue for them, and for British audiences who have a right to hear them speak.
I’m also quoted in the piece, noting the many ways in which the UK visa system conspires to discourage cultural visitors.
“Here, I’ve noticed that the issue with visa refusals is not just the culture of ‘suspicion’ which leads to some authors and writers, usually young and usually from countries that are poor or which have security or human rights issues, being refused. The visa application system itself is too complex and it’s too easy to make a mistake or to provide incomplete information, which can also lead to a refusal. And the Home Office never provides any opportunity for the applicant to clarify or amend an application.”
He added: “The system is a combination of hostility and complexity that turns people off as well as turns people away. That this is a case is absolutely a political choice – yet another way in which antipathy towards immigration hurts British culture.”
The name of piece by Jani Leinonen tells you exactly what it looks like and also gives heavy clues as to why it is controversial: it is the crucifixion of Ronald McDonald.
There have been angry protests against the sculpture by Israeli Christians who consider it offensive and blasphemous. There were threats of fire bombing.
The sculpture brings to mind another crucifixion mash-up, Immersion (Piss Christ) by Andreas Serrano (1987). I also think of The Holy Virgin Mary by Chris Ofili (1996), a picture painted using elephant dung and which features pornographic imagery. Rudi Giuliani, then mayor of New York, called it ‘sick’ when the painting was exhibited there in 1999.
I just noticed that the International Observatory for Human Rights put up a video last month, publicising the demonstration they did outside the Embassy of Myanmar in September. The ‘occasion’, so to speak, was the ridiculous jailing of Reuters journalists Wa Lone and Kyaw Soe Oo.
I was at the demo, representing English PEN, and am featured briefly in the video, calling on The British Foreign Secretary Jeremy Hunt to put pressure on Aung San Suu Kyi.
Darkness. Brazil elects a proud fascist. A gunman murders eleven people at a Pittsburgh synagogue. The EU is becoming unsafe: authoritarians are on the rise in Italy, Hungary, and Poland; Journalists have been murdered in Malta and Bulgaria. All around the world, politicians, the press and the people are asking themselves how and why things have declined so quickly and catastrophically.
Icing is a medium of expression. I think often of this marvellous interview with the musician Todd Trainer (drummer in Steve Albini’s band Shellac) with the music journalist Holly Day:
Yeah. Icing has definitely always been a part of the visual aspect of Brick Layer Cake. All four records have had icing on the covers, both front and back covers – literally all the artwork that has ever appeared on my records is icing, so that’s a theme, an aesthetic theme … Icing is a rather limited medium – I shouldn’t say “limited”. It’s an unforgiving medium to work with, because you only get once chance to really do it right.
Trainer’s album covers, with their naïf cursive, are a thing to behold, and I wonder if there are other modern artists working in the medium. There are probably similarities in technique to art made from neon tubing, as practiced by people like Bruce Nauman or Tracey Emin. And since icing is very much a craft, it is surely ready for a Grayson Perry subversion. Continue reading “Gayer Cake”
In debates about reproductive rights, a crucial concept is over ‘when life begins’ and when a complex collection of human cells starts to have a moral claim. Some people say this must be the ‘moment of conception’. Others talk about ‘viability’, when certain senses come online; or they talk about the moment of birth.
For a long time now, I have been meaning to write a post about the ‘free speech moment’, after which we have a moral duty to defend the right to freedom of expression, even if we find the speaker or their statements odious. During a free speech controversy, asking oneself when that moment might be is a useful exercise, which helps to clarify what one thinks.
The Free Speech Moment I refer to might be the point of publication. Or in other contexts: The clicking on the ‘tweet’ button; The curtain up; the the exhibitionopening; The opening notes of the first song; the speaker clearing their throat.