Thursday, January 29, 2009


şimdi yüzünü batı'ya dön daima'cılar, aman kendini öcü ortadoğu'dan soyutlacı'lar için panik zamanı. şok! bu kısmı baya keyifli.
kimse israil'e uluslararası platformda bu kadar sert çıkmadı epey zamandır. bu kısmı da yürrü be!
öte yandan kaçın kurası, eski haganahçı peres işin içinde, hımm feels like a setup. burda ver coşkuyu ver ver, var biraz.
bir sonraki bölümde israil'in sakızı hazırlanıyor sanki "turkey becomes fundamentalist, sides with hamas, therefore iran" bkz jerusalem post
işte bu kısmı çok hayra alamet değil.

not: bababababa ortadoğu uzmanı konuştu gene :)

Wednesday, January 28, 2009

hayat kolay devam etmiyor

An Atlas of Radical Cartography is a collection of 10 maps and 10 essays about social issues from globalization to garbage; surveillance to extraordinary rendition; statelessness to visibility; deportation to migration. The map is inherently political-- and the contributions to this book wear their politics on their sleeves.

An Atlas of Radical Cartography provides a critical foundation for an area of work that bridges art/design, cartography/geography, and activism. The maps and essays in this book provoke new understandings of networks and representations of power and its effects on people and places. These new perceptions of the world are the prerequisites of social change.

MAPS | An Architektur | the Center for Urban Pedagogy (CUP) | Ashley Hunt | Institute for Applied Autonomy with Site-R | Pedro Lasch | Lize Mogel | Trevor Paglen & John Emerson | Brooke Singer | Jane Tsong | Unnayan

ESSAYS | Kolya Abramsky | Maribel Casas-Cortes & Sebastian Cobarrubias | Alejandro De Acosta | Avery F. Gordon | Institute for Applied Autonomy | Sarah Lewison | Jenny Price, Jane Tsong, DJ Waldie, Ellen Sollod, Paul S. Kibel | Heather Rogers | Jai Sen | Visible Collective & Trevor Paglen

EDITORS | Lize Mogel & Alexis Bhagat

Monday, January 26, 2009

reena spaulings- a novel by bernadette corporation

The money sure comes in handy, too. Only it’s funny money. It seems completely disconnected from any relation to labor. "Holy shit a little money is alright. I just think I might have gotten a little more of it though. Why is it that when you do so little for it, no amount of recompense is enough.
Holy shit this is six months' worth of standing guard at the Met. I just think that when you're serving time for it, a sense of reality allows the dollar amount to remain small and still seem OK, to trickle in at the same pace as the hours do, whereas when you're selling nothing you're selling an essence which is priceless. Why is it that essences are so light? Holy shit it’s my economy, an economy of essences.

Set in post-911 New York City, Reena Spaulings was written by a large collective of writers billing itself as The Bernadette Corporation. Like most contemporary fiction, it is about a female twenty-something who is discovered while working as a museum guard then becomes a rich international supermodel. Meanwhile, a bout of terrible weather seizes New York, leaving in its wake a strange form of civil disobedience that stirs its citizens to mount a musical song-and-dance riot called "Battle On Broadway." Fashioned in the old Hollywood manner by a legion of professional and amateur writers striving to achieve the ultimate blockbuster, the musical ends up being about a nobody who could be anybody becoming a somebody for everybody. The result is generic and perfect. Not unlike Reena Spauldings itself, whose many authors create a story in which New York itself strives to become the ultimate collective experiment in which the only thing shared is the lack of uniqueness.

About the author:

The artist-collective Bernadette Corporation was founded in a night club in 1994. In the beginning the group organized spontaneous, purposeless events in public space. Then in 1995 they morphed into a fashion label, then a self-publishing company that, from 1999 to 2001 published an art magazine called "Made in USA." Bernadette Corporation has also produced films, including Hell Frozen Over, 2000, and Get Rid of Yourself, 2003, as well as exhibits at art galleries and museums throughout the world.

Saturday, January 24, 2009

exodus 2048 at new museum

Museum as Hub (5th floor)
Presented by Be(com)ing Dutch at a Distance
Jan 16 - March 29, 2009

New Museum
235 Bowery
New York, NY 10002

Thursday, January 22, 2009

hermes und der pfau

bir şehirde güncel proje mekanı ihtiyacı nasıl doldurulur, bu mekan için nasıl izleyici yaratılır ve devam ettirilir, bir şehirle etrafındaki sanat çevrelerinin ilişkileri nasıl kurulur, işletilir. Anne-Sofie Ruckhaberle ve Philipp Ziegler'in stuttgart'ta bir yıldan fazladır yürüttüğü proje mekanı Hermes und der Pfau gerçekten iyi bir örnek. onbinlerce euro bütçeleri, şu kadar geniş metre kare alanları yok ama anne-sophie ve philipp ortaya sağlam bir vizyon koyuyorlar, sıkı bir izleyici grubu tarafından da takip ediliyorlar. ortamıyla, müziğiyle, muhabbetiyle. ayrıntıları websitesinde.

emre ve cevdet extra city'de

Project Room
Manifest Destiny

with Cevdet Erek / Emre Hüner /
Mladen Stilinović / Reinaart Vanhoe /
Xurban Collective

30 January – 8 March 2009

Opening 29 January at 19.00

Opening program:
20.00 – 21.30: Shore Scene Soundtrack, a performance by Cevdet Erek
Bar, and live music by Masar Kadrievi Gypsy Orchestra and Kamerakino
Free entrance

The exhibition Manifest Destiny marks the starting point of a work-in-progress, deriving from collaboration between Kunstenfestival 0090 and Extra City Center for Contemporary Art in Antwerp. The initiator and curator Meryem Bayram invited the following artists for a first joint residency, as part of this project: Cevdet Erek (TR), Mladen Stilinović (HR), Xurban Collective (TR), Emre Hüner (TR) and Reinaart Vanhoe (BE). During the course of 2009 there will be further working visits. This exhibition serves as the cornerstone for a project that will emerge in its full capacity in 2010.

Wednesday, January 21, 2009

pardon, değişim mi demiştik?

state of emergency, noh suntag

mr chomsky says "Exterminate all the Brutes": Gaza 2009

On Saturday December 27, the latest US-Israeli attack on helpless Palestinians was launched. The attack had been meticulously planned, for over 6 months according to the Israeli press. The planning had two components: military and propaganda. It was based on the lessons of Israel's 2006 invasion of Lebanon, which was considered to be poorly planned and badly advertised. We may, therefore, be fairly confident that most of what has been done and said was pre-planned and intended.

That surely includes the timing of the assault: shortly before noon, when children were returning from school and crowds were milling in the streets of densely populated Gaza City. It took only a few minutes to kill over 225 people and wound 700, an auspicious opening to the mass slaughter of defenseless civilians trapped in a tiny cage with nowhere to flee.

In his retrospective "Parsing Gains of Gaza War," New York Times correspondent Ethan Bronner cited this achievement as one of the most significant of the gains. Israel calculated that it would be advantageous to appear to "go crazy," causing vastly disproportionate terror, a doctrine that traces back to the 1950s. "The Palestinians in Gaza got the message on the first day," Bronner wrote, "when Israeli warplanes struck numerous targets simultaneously in the middle of a Saturday morning. Some 200 were killed instantly, shocking Hamas and indeed all of Gaza." The tactic of "going crazy" appears to have been successful, Bronner concluded: there are "limited indications that the people of Gaza felt such pain from this war that they will seek to rein in Hamas," the elected government. That is another long-standing doctrine of state terror. I don't, incidentally, recall the Times retrospective "Parsing Gains of Chechnya War," though the gains were great.

The meticulous planning also presumably included the termination of the assault, carefully timed to be just before the inauguration, so as to minimize the (remote) threat that Obama might have to say some words critical of these vicious US-supported crimes.

Israel abandoned Gaza in September 2005. Rational Israeli hardliners, like Ariel Sharon, the patron saint of the settlers movement, understood that it was senseless to subsidize a few thousand illegal Israeli settlers in the ruins of Gaza, protected by the IDF while they used much of the land and scarce resources. It made more sense to turn Gaza into the world's largest prison and to transfer settlers to the West Bank, much more valuable territory, where Israel is quite explicit about its intentions, in word and more importantly in deed. One goal is to annex the arable land, water supplies, and pleasant suburbs of Jerusalem and Tel Aviv that lie within the separation wall, irrelevantly declared illegal by the World Court. That includes a vastly expanded Jerusalem, in violation of Security Council orders that go back 40 years, also irrelevant. Israel has also been taking over the Jordan Valley, about one-third of the West Bank. What remains is therefore imprisoned, and, furthermore, broken into fragments by salients of Jewish settlement that trisect the territory: one to the east of Greater Jerusalem through the town of Ma'aleh Adumim, developed through the Clinton years to split the West Bank; and two to the north, through the towns of Ariel and Kedumim. What remains to Palestinians is segregated by hundreds of mostly arbitrary checkpoints.

The checkpoints have no relation to security of Israel, and if some are intended to safeguard settlers, they are flatly illegal, as the World Court ruled. In reality, their major goal is harass the Palestinian population and to fortify what Israeli peace activist Jeff Halper calls the "matrix of control," designed to make life unbearable for the "two-legged beasts" who will be like "drugged roaches scurrying around in a bottle" if they seek to remain in their homes and land. All of that is fair enough, because they are "like grasshoppers compared to us" so that their heads can be "smashed against the boulders and walls." The terminology is from the highest Israeli political and military leaders, in this case the revered "princes." And the attitudes shape policies.

The ravings of the political and military leaders are mild as compared to the preaching of rabbinical authorities. They are not marginal figures. On the contrary, they are highly influential in the army and in the settler movement, who Zertal and Eldar reveal to be "lords of the land," with enormous impact on policy. Soldiers fighting in northern Gaza were afforded an "inspirational" visit from two leading rabbis, who explained to them that there are no "innocents" in Gaza, so everyone there is a legitimate target, quoting a famous passage from Psalms calling on the Lord to seize the infants of Israel's oppressors and dash them against the rocks. The rabbis were breaking no new ground. A year earlier, the former chief Sephardic rabbi wrote to Prime Minister Olmert, informing him that all civilians in Gaza are collectively guilty for rocket attacks, so that there is "absolutely no moral prohibition against the indiscriminate killing of civilians during a potential massive military offensive on Gaza aimed at stopping the rocket launchings," as the Jerusalem Post reported his ruling. His son, chief rabbi of Safed, elaborated: "If they don't stop after we kill 100, then we must kill a thousand, and if they do not stop after 1,000 then we must kill 10,000. If they still don't stop we must kill 100,000, even a million. Whatever it takes to make them stop."

for the whole article:

Monday, January 19, 2009

Beirut Art Center (BAC) açıldı !

Beirut Art Center (BAC) is a non-profit association, space and platform dedicated to contemporary art in Lebanon.

The aim of the center is to produce, present and promote local and international contemporary art and cultural practice in a structure that is open and active throughout the year.

An unprecedented initiative in Beirut, the center constitutes a public space that makes art accessible to a large and growing audience of residents and visitors alike, who will be able to engage with rich and diverse range of contemporary art and cultural practice.

Along with its main exhibition space, BAC includes a screening and performance room, a mediatheque and a bookshop. BAC will also organize regular activities such as lectures, concerts, performances, video projections and workshops.

The purpose of BAC is to serve as a catalyst for the realization of contemporary art projects and for the interaction of local and international cultural players. In particular, the center supports local and regional contemporary artists, who face great difficulties due to the lack of financial and institutional support in this field.

The center is located in an industrial zone that visitors can easily access from all over the city. It is an independent, stand-alone building with 1,500 square meters of space divided across two floors, designed by architect Raed Abillama.

and the opening exhibition CLOSER:

Jananne Al-Ani A loving Man . Tony Chakar 4 cotton underwear for Tony. Antoine D’Agata Selfportraits 1991-2008. Mona Hatoum So much I want to say. Emily Jacir Crossing Surda (a record of going to and from work). Jill Magid Composite. Anri Sala Intervista. Lina Saneh Body parts. Lisa Steele Birthday Suits - with scars and defects. Akram Zaatari Saida June 6, 1982. Cynthia Zaven Missing Links

How does one define "the intimate"?
When is a story worthy of becoming public?
What marks the border between a personal experience and an artistic one?

Beirut Art Center’s opening exhibition Closer, features art works drawn from personal and intimate stories, which create a space to reflect on experiences both common and unique, familiar and without precedent, public and intensely private.

All of the works included in this exhibition have in common a defined starting point from which narratives can take on various lives of their own. In initiating a process—whether it is switching
on a camera before a relative without knowing where it may lead, or recording the passage of time through self-portraits taken over years—these art works create a field in which actions, ideas, and emotions can materialize unexpectedly, and even, accidentally.

Often, these works shake our notions of reality by fictionalizing intimate stories and/or situating
the artist as the subject/object of the work itself.

Sunday, January 18, 2009



Mouin Rabbani, a contributing editor to the Middle East Report magazine, dismissed the significance of the Sharm el-Sheikh meeting.

Speaking to Al Jazeera, he said: "What we are seeing now is a sideshow by people who through their own misjudgments, miscalculations, and ill-advised alliances, have sidelined and marginalised themselves, and made themselves irrelevant to the objectives they are seeking to achieve."

Rabbani also said the leaders talked about the humanitarian crisis in Gaza as if it had been caused by an earthquake.

"I'm speechless, that you can, in 2009, have a major international gathering to discuss the Israeli Palestinian conflict, and have a whole series of keynote addresses, in which the word occupation isn't mentioned even once."

DNA'ma dokunma!

almanya şimdi de başka bir göç kontrolü mekanizması işletmeye niyetliymiş.
aile vizesi talep eden kişilere, aynı aileden olup olmadıklarını tespit etmek için DNA testi yapacakmış.
fransa tarafından şiddetle tavsiye edildi heralde. ne güzel de esinleniyorlar birbirlerinden.
bu ciddi gelişme krizle birlikte batı avrupa'nın göçmenlere karşı daha da kontrol fanatik olacağının habercisi. "gattaca" zamanları iyice yaklaşıyor galiba.
salı günü berlin'de reichstag önünde "DNA'ma dokunma" protestosu var, diye haber aldım.

almanya'da "finger weg von meiner DNA":

fransa'da "touch pas a mon ADN" (Charlie Hebdo ve SOS Racisme imza kampanyası):

Thursday, January 15, 2009

geçmişi unutabilirsiniz ama geçmiş sizi asla unutmaz

Where do I stand? What do I want?

Zones of Conflict at Pratt Manhattan Gallery
Curator: T.J. Demos

Representations of war have always played a significant role in shaping the collective unconscious. The live coverage of the early-1990s Persian Gulf military campaign, however, inundated television viewers with too much footage and trivialized the power of media images within the public sphere. This prompted the rise of alternative discourses addressing the strife—including, in recent years, an impressive array of artistic reactions, which London-based scholar T. J. Demos attempts to capture in “Zones of Conflict.” Given the enormous scope of the task, he decided to concentrate on bringing together photographs and videos by fourteen artists and one writer that question the documentary mode.

An-My Lê's series “29 Palms,” 2003–2004, shot in the style of nineteenth-century American landscape photographic tableaux, depicts large-scale exercises performed by armed forces in a Southern California desert, allegorically shifting the theater of operations onto US soil. Focusing on destroyed infrastructures, Emily Jacir’s photographs examine the effects of the Israeli-Palestinian dispute on the region’s inhabitants. In Bank Mirror, Ramallah, April 22, 2002, bullet-shattered glass, fragmentarily reflecting several individuals, constitutes a metaphor for the unstable circumstances of their everyday lives. The blurring of fact and fiction, a concern pervading many of the works on view, characterizes Hito Steyerl’s November, 2004. Inspired by the aesthetics of exploitation genres, the artist captures her best friend, Andrea Wolf, playing the lead character: a woman warrior in this feminist film. Later in her life, Wolf entered combat, joining the forces fighting for Kurdish independence. Killed in 1998, she became revered by the Kurds as a revolutionary, a mirroring of her role in Steyerl’s video. Political commitment is also a trademark of Thomas Hirschhorn; copies of his 2007 text-based collage Where do I stand? What do I want? are distributed for free at the gallery’s entrance. Mapping Hirschhorn’s personal opinions and positions, this collage calls attention to his socially engaged practice while extensively referencing global discord. These works anchor the exhibition in the realm of activism, revealing that the zones of conflict suggested in its title are taking place not only on a national stage but also on a personalized, subjective level and that the response of each individual—whether artist or viewer—is a contribution to the change so urgently needed in the present state of affairs.

boykot diyenler doğru derler

Wednesday, January 14, 2009

beşir'le vals durumları

"Haksızlığa uğratıldığı düşüncesi, Ralph'ın aklına Lübnan'daki iç karartıcı durumu getirdi yeniden. Orada yaşanan ve sinsi sinsi şiddetini artıran o dehşeti izlemeye başlayalı ne kadar olmuştu? Bir yıldan fazla herhalde. Filistin Kurtuluş Ordusu'nu Lübnan topraklarından söküp atmak bahanesiyle İsrail tanklarının sınırı geçtiklerini duyduğunda Ralph hemen 'daha fazla toprak ele geçirme arzusu' diye tanımlamıştı olayı. Daha fazla toprak. İsraillilerin en eski düşleri. İsrail hükümetinin dilinden düşürmediği barış ve güvenlik sözcüklerini hep tersinden okur, böyle okunması gerektiğine inanırdı Ralph. Gerçekte güvensizliği ve çevrelerinde düşmanlar olmasını yeğlerdi İsrailliler. Hele o iki Filistin mülteci kampındaki katliam! Pis işlerini Lübnanlı Hristiyan Falanjistlere yaptırırken , o topraklarda sözde güvenliği sağlayan İsrail ordusu geride durmuş, o iki Filistin kampındaki katliamı -boğa güreşlerinde keyiften dört köşe olan İspanyollar gibi- sinsi bir keyifle izlemişti. Bütün bunların Amerika'nın desteği ve parasal yardımıyla yapılmış olması da ayrı bir dert kaynağıydı doğrusu. tüm bu kötülükler yetmiyormuş gibi, ABD sözde güvenliği sağlayacak barış koruma görevlileri adı altında Amerikan deniz piyadelerini üslendirmişti Beyrut'ta. Oysa bu davranışın Amerika'nın İsrail'in müttefiki ve parasal destekçisi olarak yorumlanmasına yol açacağı gerçeği apaçık ortadayken..."

Patricia Highsmith, Sokakta Bulundu, 1987

AFAVA in Berlin KunstWerke

January 15, 2009, 7 pm

Artists’ Film and Video Association
presented by Köken Ergun, Laura Horelli, Norman Richter, Hito Steyerl, Maya Schweizer and Clemens von Wedemeyer

The Artists’ Film and Video Association (afava) is a group of artists and filmmakers that was founded in 2008 by Yael Bartana, Guy Ben-Ner, Köken Ergun, Laura Horelli, Norman Richter, Hito Steyerl, Maya Schweizer, and Clemens von Wedemeyer. They aim to create a platform for discussions, to distribute films and videos, and to highlight the processes and contexts from which the films have evolved. They are interested in works, which document, analyze, or attempt to change conditions in society.

Further information:

Introduction by Hito Steyerl

Film screenings:
Summercamp (IS, 12 min, 2007)
by Yael Bartana (Berlin premiere)
Metropolis – Report from China (CN/DE/FR 42 min, 2007)
by Maya Schweizer and Clemens von Wedemeyer

The event (in English) will take place in the forth floor of KW.
In the context of Highlights from the Cologne KunstFilmBiennale in Berlin

Monday, January 12, 2009

latest from basim magdy

last good deed at kunsthaus baselland and fragile monuments at suzie q projects zürich

Thursday, January 8, 2009

(afp, sara dolatabadi)

susanne kriemann's new project at SMBA+ eagleton and groys in "now is the time"

Susanne Kriemann / Vincent Meessen


18 January through 8 March

Opening: Saturday 17 January, 5 – 7 p.m.

SMBA kicks off the new year with the opening of the exhibition ‘Susanne Kriemann / Vincent Meessen’. Kriemann and Meessen exhibit new work which refers to specific, historic subjects that were paragons of the modernist theory of progress and the idea of the malleability of society.

The exhibition comprises Susanne Kriemann's photo installation One Time One Million and Vincent Meessen's short video film Dear Adviser. These works were created independently of one another, but by inviting the two artists for one exhibition, both the significant differences between them and their sometimes strong correspondences are emphasised.
Modernist thought, in which technological progress (as embodied by the Hasselblad camera, the apparatus that recorded the first man on the moon) is intertwined with the idea of the malleable society, is central to One Time One Million. The work was realized during Kriemann's residence in Stockholm, where she conceived of the vast new 1970s urban extensions as an examplum of modernist principles. Kriemann takes the viewer on a sort of roller coaster ride through the 20th century. The viewer passes from perfectionist images of birds in flight and aerial photographs of rationally planned new urban neighbourhoods to images of dead birds in the storage rooms of a museum of natural history and residents of the concrete city enveloped in burkas.

In Vincent Meessen's Dear Adviser a rather different modernist icon is taken as the point of departure: the city of Chandigarh, which was designed by the Western architect Le Corbusier over a period of years and destined to become the new capital of the Indian state of Punjab. Unlike what books on the history of architecture would occasionally have us believe, Chandigarh was never an unambiguous project. The sometimes extensive empty spaces in this concrete city, catapulted into no-man's-land after 1947, as well as the at times strange signs and symbols revealed by its architecture, betray the hands of different architects and an eventful local political context full of ethnic and religious conflicts. Its supposed unequivocalness is deconstructed in an almost semantic manner in Meessen's film, which is 'dedicated' to Le Corbusier, an architect who preferred the description of 'adviser' for his work in Chandigarh.


Eagleton and Groys in Now is the Time

Date: Thursday 15 January
Time: 8 p.m.
Location: Oude Lutherse Kerk, Auditorium of the University of Amsterdam, Amsterdam

Thursday 15 January the sixth lecture in the series Now is the Time: Art and Theory in the 21st Century entitled BELIEF will answer to a 'religious turn' in contemporary society. The influential literary critic Terry Eagleton (UK) and art critic, philosopher and media theorist Boris Groys (DE) will look into the contemporary prominence of ethical and religious values. In reaction to censorship and iconoclasm many artists feel compelled to oppose the religious turn by defending freedom of speech. Notwithstanding this defensive position, the art world seems to be developing an increasing positive interest in religion. Eagleton and Groys will concentrate on this interaction between religion and art and the way in which these two diametrically opposite tendencies are related. In his lecture Eagleton will give a critical analysis of the relation between both epistemology and religion, and religion and reality. Furthermore he will explore the function and position of the contested terms truth, religion and belief in our post-secular society. Groys has co-curated the exhibitions 'Iconoclash' (2002) and 'Medium Religion' (2008/09), both at ZKM in Karlsruhe (DE). By using these exhibitions as case-studies he will introduce in his lecture a theoretical framework for the much discussed ‘return of religion’. Two of the aspects that will be discussed are the function of media, for example the use of television for religious propaganda, and the media reproduction and meaning of religion, especially in the geopolitical centres of the world.

Sunday, January 4, 2009

Kharita 01

Kharita 01
Symposium on Urban Trajectories in Cairo

January 16th-17th, 2009
Rawabet Theatre

The Kharita symposium is the first public event of an ongoing initiative that explores multiple urban orders simultaneously at play within Cairo.
In recent years, suburban complexes and town centres have been emerging along the outskirts of the capital at an unprecedented scale. These real-estate developments are under construction in parallel to an incessant proliferation of informal settlements across the city's districts. Meanwhile, educational institutions, multi-national corporations and government apparatuses are moving out of the centre and into those new zones.

At a moment when notions of centre and periphery collapse into each other, we invite a number of architects, artists, curators, urban planners and scholars to rethink what it means to live in Cairo. Through a series of interviews, lectures, videos, panels and performances, we look at how the circulation of power operates within the city, while inscribing our notions of value, difference and desire.

We approach the current moment of building cities as a potential site for articulating new positions vis-à-vis sentiments of nostalgia and the function of criticality. The Kharita symposium considers the impact of cities-to-be on art practices and discursive activity in Cairo.

Amr Abdel Awi, Sherif el-Azma, Hisham Bahgat, Clare Davies, Eric Denis, Marwan Fayed, Markus el-Katcha, Alaa Khaled, Aglaia Konrad, Samir el-Kordi, Akram al-Magdoob, Omar Nagati, Marion von Osten, Katja Reichard, Joseph Schechla, Peter Spillmann and Brian Kuan Wood.

The Kharita symposium is organised by Pericentre Projects - Nida Ghouse, Malak Helmy & Shahira Issa, in collaboration with the Townhouse Gallery.

Saturday, January 3, 2009

israil gazze'ye resmen girdi...

Friday, January 2, 2009

academic silence for gaza

akademya bir eleştirel düşünme mekanıysa şayet, bir politik direnme alanı da olabilir mi?
savunma amaçlı gazze saldırısında bir üniversite de vuruldu. peki dünyadaki akademisyenlerden gelen tepki oldu mu?

Where's the Academic Outrage Over the Bombing of a University in Gaza?

The Chronicle of Higher Education

Not one of the nearly 450 presidents of American colleges and universities who prominently denounced an effort by British academics to boycott Israeli universities in September 2007 have raised their voice in opposition to Israel's bombardment of the Islamic University of Gaza earlier this week. Lee C. Bollinger, president of Columbia University, who organized the petition, has been silent, as have his co-signatories from Princeton, Northwestern, and Cornell Universities, and the Massachusetts Institute of Technology. Most others who signed similar petitions, like the 11,000 professors from nearly 1,000 universities around the world, have also refrained from expressing their outrage at Israel's attack on the leading university in Gaza. The artfully named Scholars for Peace in the Middle East, which organized the latter appeal, has said nothing about the assault.

While the extent of the damage to the Islamic University, which was hit in six separate airstrikes, is still unknown, recent reports indicate that at least two major buildings were targeted, a science laboratory and the Ladies' Building, where female students attended classes. There were no casualties, as the university was evacuated when the Israeli assault began on Saturday.

Virtually all the commentators agree that the Islamic University was attacked, in part, because it is a cultural symbol of Hamas, the ruling party in the elected Palestinian government, which Israel has targeted in its continuing attacks in Gaza. Mysteriously, hardly any of the news coverage has emphasized the educational significance of the university, which far exceeds its cultural or political symbolism.

Established in 1978 by the founder of Hamas — with the approval of Israeli authorities — the Islamic University is the first and most important institution of higher education in Gaza, serving more than 20,000 students, 60 percent of whom are women. It comprises 10 faculties — education, religion, art, commerce, Shariah law, science, engineering, information technology, medicine, and nursing — and awards a variety of bachelor's and master's degrees. Taking into account that Palestinian universities have been regionalized because Palestinian students from Gaza are barred by Israel from studying either in the West Bank or abroad, the educational significance of the Islamic University becomes even more apparent.

Those restrictions became international news last summer when Israel refused to grant exit permits to seven carefully vetted students from Gaza who had been awarded Fulbright fellowships by the State Department to study in the United States. After top State Department officials intervened, the students' scholarships were restored — though Israel allowed only four of the seven to leave, even after appeals by Secretary of State Condoleezza Rice. "It is a welcome victory — for the students," opined The New York Times, and "for Israel, which should want to see more of Gaza's young people follow a path of hope and education rather than hopelessness and martyrdom; and for the United States, whose image in the Middle East badly needs burnishing."

Notwithstanding the importance of the Islamic University, Israel has tried to justify the bombing. An army spokeswoman told The Chronicle that the targeted buildings were used as "a research and development center for Hamas weapons, including Qassam rockets. ... One of the structures struck housed explosives laboratories that were an inseparable part of Hamas's research-and-development program, as well as places that served as storage facilities for the organization. The development of these weapons took place under the auspices of senior lecturers who are activists in Hamas."

Islamic University officials deny the Israeli allegations. Yet even if there is some merit in them, it is common knowledge that practically all major American and Israeli universities are engaged in research and development of military applications and receive money from the Pentagon and defense corporations. Weapon development and even manufacturing have, unfortunately, become major projects at universities worldwide — a fact that does not justify bombing them.

By launching an attack on Gaza, the Israeli government has once again chosen to adopt strategies of violence that are tragically akin to the ones deployed by Hamas — only the Israeli tactics are much more lethal. How should academics respond to this assault on an institution of higher education? Regardless of one's stand on the proposed boycott of Israeli universities, anyone so concerned about academic freedom as to put one's name on a petition should be no less outraged when Israel bombs a Palestinian university. The question, then, is whether the university presidents and professors who signed the various petitions denouncing efforts to boycott Israel will speak out against the destruction of the Islamic University.

Neve Gordon is chair of the department of politics and government at Ben-Gurion University of the Negev and author of Israel's Occupation (University of California Press, 2008).

Jeff Halper is director of the Israeli Committee Against House Demolitions. His latest book is An Israeli in Palestine: Resisting Dispossession, Redeeming Israel (Pluto Press, 2008).

özgür dünya yalanları

dün livni biz israil olarak özgür dünyanın buradaki uzantısıyız ve teröre karşı müdadele veriyoruz demiş.
bu kendini meşrulaştırma stratejilerini bugünlerde israil kadar ustalıklı kullanan yok.
sonuna kadar temizlemeye çalışıyor ki gazze'yi yeni bir intifada daha başlamasın. biliyor ki varoluşunu israil'den ölesiye nefret ederek şekillendirecek yeni bir filistinli nesil daha geliyor.

11 eylül'ü iç ferahlatıcı bir milat olarak gören özgür dünya neferleri özenle besledikleri dinsel fanatizmin hasadını yapıyor. devlet terörünün kendisine şahane bir altyapı hazırlanmış oluyor böylece.
israilliler zamanında avrupa'nın kendisinden öğrendiklerinden başkasını uygulamıyor. itiyor gettolaştırıyor yaşamı felce uğratıyor nefreti alabildiğine körüklüyor ve temizliğe girişiyor.

bizimse elimizden imza vermekten, destek açıklamaları yapmaktan başka bir şey gelemiyor.

israil'in kendi iç faşizmi hakkında çok şey öğrendiğim bir arkadaşım tel aviv'den şöyle yazmış.

'the horrific useless war here is very depressing. i find myself in small demonstration against the war that so far have no impact on the outcomes. violance and destruction became a second nature. hardto digest how no one is yet to comprehends that violance leads to more violance and the actof going to war is almost automatic.'

bir gün devran döner diye umut etmek istiyorum.
yael bartana'nın mary kozmary'de yaptığı davetin cevabını almasını diliyorum.

imza kampanyası için