”Vilks konstnärskap inte synes särskilt angeläget att lyfta fram och dessutom finns eventuella säkerhetsmässiga risker.”
Föreningens styrelseprotokoll från den 20 oktober

”Vilks konst höll inte den höjd som står i paritet med den fina byggnaden”
Sven Lindgren i SR

Det blir förstås problematiskt om man har så fina byggnader att man inte vågar använda dem till det de är avsedda för. Man kommer att tänka på gamla tiders ”finrum” som endast användes när de ”säkerhetsmässiga riskerna” var under kontroll, typ barn och ungdomar hårt tyglade (om de ens fick gå in där) så det fina möblemanget inte kom till skada.

Snart kommer en bok om hur islamfobin utvecklat sig sen Rushdieaffären slog upp stort i global skala av världens islampotentater och för den delen även andra religionspotentater som mer än gärna tog rygg på Khomeini med de kränktas anhang.

Fatwa to Jihad: the Rushdie Affair and its Legacy – Kenan Malik
The Satanic Verses was not just a novel about migration but also a satire on Islam, “a serious attempt”, in Rushdie’s words, “to write about religion and revelation from the point of view of a secular person”
…
In 1989 even the Ayatollah’s death sentence could not stop the publication of the novel. Rushdie was forced into hiding for almost a decade, translators and publishers were killed, and bookshops bombed. Yet Penguin never wavered in its commitment to The Satanic Verses.
…
Today all it takes for a publisher to run for cover is a letter from an outraged academic. In March, Random House sent galley proofs of The Jewel of Medina to various academics, hoping for endorsements. One of them, … condemned the book as “offensive”. Random House immediately dropped it. No other big American publishing house would touch it.
…
What the differing responses to the two novels reveal is how Rushdie’s critics lost the battle but won the war.
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In the 20 years between the publication of The Satanic Verses and the withdrawal of The Jewel of Medina, the fatwa has in effect become internalised.
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The second myth is that all Muslims were offended by The Satanic Verses. In fact most Muslims were little concerned about it. Until the fatwa the campaign against The Satanic Verses was largely confined to the subcontinent and Britain. Aside from the involvement of Saudi Arabia, there was little enthusiasm for a campaign against the novel in the Arab world or in Turkey, or among Muslim communities in France or Germany. When Saudi Arabia tried at the end of 1988 to get the novel banned in Muslim countries worldwide, few responded except those with large subcontinental populations, such as South Africa or Malaysia. Even in Iran the book was openly available and was reviewed in many newspapers.

”Slayer viste Muhammed-tegninger

Der var dømt religionskrig til metal-braget i Valby, da Slayer under numrene ‘Jihad’ og ‘God Hates us’ viste Muhammed-tegningerne på storskærm

Daniel Fonseca – 20:30 – 22. nov. 2008

Amerikanske Slayer var ikke blot på hyggevisit, da de i går besøgte Valby Hallen.

Under numre som ’Jihad’ og især ’God Hates Us all’ tordnede Knud Westergaards Muhammed-tegninger op på storskærmene som et supplement til Slayers altid ugudelige tekster.

De fly, som fløj ind i World Trade Center, blev også på skærmene akkompagneret af Slayer. Budskabet var ikke til at tage fejl af: ’Religion is war’, lød det fra amerikanske hedninge.”

http://ekstrabladet.dk/musik/dkmusiknyt/article1088512.ece