25 Sep 2024 | News and features
We are writing to bring attention to the case of the visual and performance artist and master’s student, ODEE, who is being sued for damages (including legal fees likely upwards of £500,000) in the High Court in London on the 25 and 26 September 2024. The lawsuit has been brought against ODEE by Samherji, one of Europe’s largest fishing companies based in Iceland, for the unauthorised use of its website and brand.
ODEE’s art piece centres around the concept of corporate responsibility through a fictional apology – via a website he created and a mural at the Reykjavík Art Gallery – for the alleged corruption committed by Samherji to secure fishing quotas in Namibia revealed in 2019 by the whistleblower, Jóhannes Stefansson, and which quickly became known as the #Fishrot Scandal.
Samherji has exercised its rights to challenge ODEE by issuing an interim injunction to require him to take down the website with the spoof apology, and he did so in May 2023. The court will need to decide whether to vary or discharge the injunction, and whether the artist should be liable for Samerjhi’s legal costs and alleged damages. However, the question remains as to whether such action is proportionate, or an attempt to silence those who speak out against corruption.
The alleged corruption is currently the focus of a high-profile trial in Namibia in which 10 suspects have been charged including the former Ministers of Justice and Fisheries – the majority of whom have been held in custody since 2019, and who may face even longer jail terms if convicted. Investigations into Samherji’s activities are continuing in Iceland.
Ensuring that whistleblowers can disclose information about wrongdoing in the public interest is vital for democratic accountability – so that proper investigations can occur, and those responsible are held to account. Protecting whistleblowers safeguards the public’s right to know, an essential element of the right to freedom of expression.
Artistic freedom of expression – through film, theatre, literature, painting and conceptual art, among many other media – is also vital to a healthy democracy and to public discourse and the development of ideas. Artistic expression allows individuals, communities and societies to consider and examine moral and ethical choices, as well as how power works and affects us, whether it is political, social or economic.
Freedom of expression links whistleblowers and artists – individuals must be protected from the powerful who wish to stop them speaking up. Jóhannes Stefansson and ODEE deserve our support. In today’s world, where we face existential challenges to protect our natural resources, environment and climate systems, we can ill afford to let these voices be silenced.
We, the undersigned, therefore, urge Samherji to drop its disproportionate case against the artist, ODEE.
SIGNED BY:
African Centre for Media & Information Literacy (Nigeria)
Artistic Freedom Initiative (International)
Blueprint for Free Speech (International)
Daphne Caruana Galizia Foundation (Malta)
Disruption Network Lab e.V. (Germany)
Centre for Free Expression (Canada)
Civil Liberties Union for Europe
Citizens Network Watchdog Poland
Climate Whistleblowers (France)
GlobaLeaks (Italy)
Government Accountability Project (USA)
Index on Censorship (UK)
Institute for Public Policy Research (Namibia)
Justice and Environment (EU)
Oživení (Czech Republic)
Pištaljka (Serbia)
Platform to Protect Whistleblowers in Africa (PPLAAF)
Pro Publico (International)
Protect (UK)
Shadow World Investigations (UK)
Spotlight on Corruption (UK)
The Whistleblower House (South Africa)
Transparency International Ireland
Transparency International Italy
Whistleblowers-Netzwerk e.V. (Germany)
Whistleblower Chile
Whistleblowing International Network
* Protect is a registered Charity in England and Wales No.1025557
** WIN is a Scottish Charitable Incorporated Organisation No. SC048595
22 Aug 2024 | Media Freedom, Middle East and North Africa, News and features, Syria
Media freedom has been slowly dying in Syria since the Arab Spring, suffocated by a lack of regular funding and poor governance.
The rise of the Arab Socialist Ba’ath Party and Hafez al-Assad’s coup in 1970 led to state dominance over all its institutions, resulting in a media monopoly that supports the regime. State television and several official daily newspapers have controlled the media landscape for over 41 years.
A rare exception was the launch of the online news service Kulluna Shuraka (We Are All Partners) as a volunteer project in 2003. In 2006, the service expanded thanks to donations from Syrian figures, businessmen, and some grants.
The outbreak of popular protests in Syria in March 2011 resulted in a rare improvement in the country’s media landscape with a rash of alternative local newspapers such as Ain Al-Madina, Tamaddun, Kulluna Suriyun, Zaytun, Souriatna and Enab Baladi emerging, primarily funded by donations and financial support from international organisations.
The emergence of a range of non-state-controlled media and journalism sources allowed Syrians for the first time in decades to access news that the Assad regime sought to obscure and prevent from being broadcast.
That media freedom has been short-lived.
Over the past eight years, the Syrian media landscape has seen the closure of most of these independent media outlets due to a lack of funding – of those outlets listed above, only Enab Baladi continues to publish regularly, supported by many individual donations.
Kulluna Shuraka’s financial situation began to worsen in 2016, forcing the website to become volunteer-run again. The site ultimately closed in 2018, although its social media channels continue to be run by volunteers.
Ayman Abdel Nour, the former director of the Kulluna Shuraka website, points out that external funding entities in Europe, the USA and Canada usually provide support under explicit contracts, meaning that funding can often be withdrawn at short notice. In a conversation with the Monitoring Fund, Abdel Nour explained that some funders give just a month’s notice of funding ceasing and even just 24 hours in some cases. This has left many Syrian media outlets in difficult circumstances, with journalists suddenly finding themselves out of work despite ongoing financial commitments.
The newspaper Kulluna Suriyun which translates as We Are All Syrians faced a similar shortfall in funding. It was initially launched through individual donations and support from a fundraising entity of the same name. The funding stopped when this entity demanded that the newspaper act as its official spokesperson, according to journalist Hussein Bru, who managed it for several years. Later, Kulluna Suriyun received funding from a Danish organisation to cover printing costs and some expenses; this support was limited and focused on printing and salaries for some journalists in Turkey and Syria.
Bru noted that work continued for a long time with several colleagues working without payment. The highest fee he ever received was 450 euros. The newspaper ceased publication in 2018 due to a lack of financial support after it transitioned from a bi-monthly publication to a monthly magazine, a reality that many Syrian media outlets experienced as they faced similar challenges.
Syrian journalist and activist Alaa Muhammad says the drying-up of funding forces institutions to reduce their staff dramatically which results in a large number of journalists being made redundant at one time, affecting organisations’ ability to produce high-quality journalistic reports with accurate information, even if operations continue and they do not close their doors.
Muhammad believes this is a source of anxiety for many, as they live in a state of financial instability and constant worry about the future, which impacts their performance and their capacity for innovation and development. “This loss of funding might push institutions to seek alternative funding sources, which could be tied to specific agendas, making them operate according to these agendas instead of leveraging their independence,” she says.
This also has a psychological impact, she continues, as journalists face immense pressure to fulfil their duties amid resource shortages and job instability, negatively affecting their mental health.
Many workers at the closed media outlets received no financial compensation when they were made redundant and were subject to arbitrary dismissal. Several confirmed to Index that there are outstanding salaries that remain unpaid.
Journalist Khaled Abdel Rahman, who worked for a respected Syrian media institution, recounted that upon the closure of the institution, he was denied payment exceeding $1600. Abdel Rahman says many of his colleagues share the same plight.
Media activist Anas previously worked for Al-Jisr TV, which broadcast from Turkey for many years. When the channel was closed, the team was informed in advance and compensated for their years of service, but this is a rare occurrence in the Syrian media landscape.
Syrian journalist Rodi Hassou has also seen a noticeable decline in the number and quality of independent media projects and is worried about the loss of these critical voices.
Hassou believes that these media outlets represented fundamental pillars of the Syrian revolution and channels of communication between the international community and Syrians.
“The cessation of funding was not merely a financial loss; it was also a loss of the voices that reflect the realities and analyses of the revolution, serving to document history for future generations,” he says.
The closure of Orient TV and the Kulluna Shuraka website signified the loss of important voices that conveyed the suffering of Syrians. He says, “These outlets witnessed and participated in narrating the story of the Syrian people’s struggle against oppression, courageously covering the events of the revolution from the very beginning. ”
Hassou considers the loss of these outlets as a turning point in the Syrian media landscape, where the voice of the Syrian people has become increasingly faint.
13 Aug 2024
Bänoo Zan is a self-exiled poet and translator living in Canada. As well as publishing numerous works, including the books Songs of Exile and Letters to My Father, she founded the Shab-e She’r Poetry Night in Toronto.
12 Jul 2024 | Europe and Central Asia, Israel, Middle East and North Africa, News and features, Russia, United Kingdom
A Russian art collective which was due to open a show in London highlighting the plight of opponents of the Putin regime claim their exhibition was cancelled at the last minute because one of them was Israeli.
The Pomidor group was founded in Moscow in 2018 by the artists Polina Egorushkina and Maria Sarkisyants, but the duo was forced to relocate two years ago after the Kremlin crackdown on opposition activity. Egorushkina now lives in London and Sarkisyants in Ashkelon in southern Israel.
Their latest show, Even Elephants Hold Elections, was part of an ongoing project about free expression designed to challenge people in democratic countries to understand life in an authoritarian regime and reflect on their own experience. Pomidor’s work includes embroidered banners celebrating political prisoners which the artists display in friends’ windows and phone booths on the street.
Among these are tributes to Viktoria Petrova, imprisoned in a psychiatric unit for anti-war social media posts, Mikhail Simonov, a 63-year-old pensioner arrested for comments on other people’s social media and 13-year-old Masha Moskaleva, who was taken away from her father after drawing anti-war pictures at school.
The show was due to open on 3 July at the Metamorphika Gallery in east London. But on the evening before, the two artists were told the gallery had received messages raising concerns about “inappropriate behaviour” on social media.
This referred to two posts pinned on Maria’s Instagram account. One post from 7 October expressed her horror at the “terrible evil” and included the words, in Russian, “Israel my beloved, we are here, we are here to support each other, all my thoughts are with the kidnapped, let only them return home alive. Eternal memory to the fallen.” A second post marked the one-month anniversary and expressed solidarity with the Israeli hostages and their families.
Sarkisyants told Index they were called to an urgent meeting the next day: “They showed me the two posts and said you should clarify your position. I said, I am from Israel and there was nothing in the post but facts: 1200 people were killed and 300 became hostages.”
The gallery asked Pomidor to sign a joint statement with Metamorphika condemning “the Zionist regime”, which they refused to do. “I’m Israeli. I was there,” said Sarkisyants. “What they proposed was impossible for me to do”
After several hours of discussion, Pomidor suggested a compromise of putting the exhibition solely in the name of Polina, but the gallery demanded the collective remove all work connected with Maria. At this point the exhibition was cancelled.
Pomidor posted on Instagram: “The problem came up because Maria is from Israel.”
This is something the gallery strongly denies. Metamorphika founder Simon Ballester told Index: “We were really compassionate with her story. But we asked her to say she had empathy for Palestinians and was against the war crimes.”
Ballester said the problem came when Sarkisyants expressed her support for the Israeli government’s actions in Gaza.
“It’s outrageous” the artist told Index. “I told them I do not support Netanyahu or his government. I feel they betrayed us. We expected them to protect us, but they didn’t. But I support my country Israel and its people.”
Since the cancellation of the show, Metamorphika claims it has received over a thousand “hate mails, insults and threats”. According to Ballester, he and his colleagues have been accused of being “Nazis, rapists, antisemites and misogynistic scumbags”.
Asked if he now regretted cancelling the show he said: “I think it was the right thing. I’m sorry it was the day of the show. That was really unfortunate.” He said the gallery operated on humanist principles and was striving for peace and equality.
The Pomidor exhibition will next travel to Montreal in Canada and the artists are in discussion with a gallery in London to host the show later in the year.