MEP Justas Paleckis Office | Евродепутат: Отношениям Беларуси и ЕС нужен взгляд в будущее (2013 03 08)Депутат Европарламента от Литвы Юстас Палецкис, готовящий доклад об отношениях Минска и Брюсселя, объяснил в интервью DW, какой ему видится стратегия диалога между сторонами.
Депутат Европейского парламента от Литвы, член его делегации по связям с Беларусью Юстас Палецкис работает сейчас над специальным докладом о ситуации в отношениях Брюсселя и Минска. В интервью DW Палецкис рассказал, почему пришло время для выработки стратегии диалога Евросоюза и Беларуси.
DW: Зачем Европарламенту понадобился специальный доклад об отношениях ЕС и Беларуси?
Юстас Палецкис: По моим подсчетам, за последние годы были приняты десятки резолюций, посвященных положению в Беларуси. Но все это была лишь реакция ЕС на разные негативные события, на недемократические выборы, на нарушения свобод и прав человека. Фактически не было ни одного документа, где говорилось бы о будущем, о том, как строить стратегию дальнейших отношений Брюсселя и Минска.
Еще несколько лет назад меня назначили докладчиком, который должен был оценить Соглашение о партнерстве и сотрудничестве между ЕС и Беларусью, в силу известных причин так и не подписанное. Поэтому я обратился в комитет по иностранным делам Европарламента с инициативой подготовить документ о сложившейся ситуации, включающий предложения для Еврокомиссии и Европейского Совета, как можно продвигать вперед отношения ЕС и Беларуси.
Мою инициативу о подготовке доклада поддержали, вскоре он будет вынесен на голосование в комитет по иностранным делам Европарламента. Затем, после 1 июля, когда Литва будет председательствовать в ЕС, этот доклад еще до ноябрьского саммита "Восточного партнерства" в Вильнюсе будет представлен в Европарламенте для обсуждения и голосования.
- Насколько действенной оказалась европейская политика визовых и точечных экономических санкций в отношении официального Минска?
- Согласно информации, которой я располагаю, цели этих санкций не были достигнуты в полной мере. Я расцениваю решения о санкциях как сигнал того, что ЕС хотя и не хочет идти таким путем, но вынужден это делать. Думаю, что этот путь не самый перспективный.
- Какие вопросы будут затронуты в вашем докладе?
- Мне надо ориентироваться на большинство в Европарламенте. Надо признать, что многие депутаты мало знают о ситуации в Беларуси. В основном у них информация из текстов резолюций, которые несут сплошной негатив. Этот негатив обоснован, поскольку есть много фактов нарушений прав человека. Но страна живет, развивается ее экономика, и об этом я тоже буду говорить коллегам во вводной части своего сообщения.
Часть доклада будет посвящена положению с правами человека и демократией. Здесь новостей немного, ведь пока ничего не меняется. Но новое в оценке текущей ситуации все же будет, анализ целого ряда вопросов, по которым идет деловое сотрудничество между Беларусью и ЕС - в области торговли, защиты окружающей среды, транспорта.
Затем последуют предложения, как использовать возможности, которые имеет Евросоюз. Это необходимо для дальнейшего развития отношений, контактов между людьми, начиная с инфраструктуры и заканчивая визовыми вопросами, в которых сейчас мяч на белорусской стороне. Но есть надежда, что и тут дело сдвинется с мертвой точки в процессе переговоров.
Отмечу, что при подготовке доклада я обсуждал сложившуюся ситуацию и с представителями белорусского гражданского общества и оппозиции, и с официальными лицами, и с коллегами по Европарламенту, и с сотрудниками Европейской службы внешнеполитической деятельности. Главный вывод - для изменения ситуации нужен не конвейер резолюций, а предложения, что делать в будущем.
- Насколько обоснованы опасения белорусского гражданского общества, что для возобновления диалога с Минском Брюссель может отказаться от требования освобождения и реабилитации белорусских политзаключенных?
- О ситуации с политзаключенными обязательно будет сказано в докладе в главе о правах человека. Это само собой разумеется - пока в Беларуси есть политзаключенные, и власть не проявляет желания решать эти вопросы, сотрудничество с ЕС будет идти с большими препятствиями и большими потерями для обеих сторон.
- Какими могут быть шаги ЕС для изменения отношений с Минском?
- Надо помнить, что Беларусь - не только президент и его окружение. Это девять с половиной миллионов человек, от них нельзя отвернуться. На мой взгляд, надо разговаривать и с оппозицией, и с гражданским обществом, и с представителями властей Беларуси. Только тогда можно объективно оценить ситуацию, чтобы появился хотя бы минимум взаимопонимания, который может подтолкнуть к обсуждению проблем за круглым столом.
В первую очередь важно развивать диалог о модернизации Беларуси. Я встречался с белорусскими экспертами, которые уже работают в рамках соответствующей программы Евросоюза. Хотелось бы, чтобы к дискуссиям подключился и официальный Минск. От представителей ЕС, работающих со специалистами белорусских министерств, знаю, что в Беларуси квалифицированные госслужащие. Это настраивает на оптимистический лад.
Отмечу, что правительство Литвы тоже очень заинтересовано в том, чтобы улучшить отношения с Беларусью ко времени вильнюсского саммита "Восточного партнерства". С осторожным оптимизмом можно сказать, что активизация отношений Минска и Брюсселя обозначена, но пока все очень хрупко. Если "занозы", мешающие развитию диалога, не будут удалены, двигаться дальше будет сложно. Но усилия со стороны ЕС будут прилагаться весьма интенсивные.
© Deutsche Welle, 08 03 2013 2015 09 28 wnogcoqlk | In a vast basement area of the University of Westminster in Central London is a small piece of Saudi Arabia. The underground space houses AmbikaP3 art gallery which recently showcased the degree work of final year art students. Among the graduates was Wejdan Reda, who curated an exhibit called 鈥楨xclusion鈥?featuring the work of four contemporary Saudi female artists. Their work is shown within a representation of a traditional, segregated, Saudi house typical of those found in the Hejaz region; an important element is the focus within this structure on the separate spaces for men and women.The space that is off limits to men is where you can see emotions that women prefer to express to other women in a setting that is private and reserved exclusively for them. Here you find a very raw piece of work called 鈥楨pidermis鈥?by Wa鈥檃d Al-Mujalli. It is a digital video piece of an anguished figure that has the appearance and malleability of clay 鈥?not fully formed and pulsating with energy and emotion.Such unfiltered emotions can safely be expressed in the closed female area, in an atmosphere of tolerance and acceptance but would not normally be seen outside in public, explained Reda.Alongside this intense piece is a more light-hearted video showing women wearing abayas and headscarves and carrying brightly colored handbags enjoying a dodgem ride. This is Arwa Al-Neami鈥檚 鈥楴ever Never Land II,鈥?2014, shot in a theme park in Mahrajan Abha. To western eyes the unusual aspect is that this is a ride reserved exclusively for women. But what emerges strongly from the image is that everyone seems relaxed and to be having fun in a completely natural way. The onlookers, including men, clearly see nothing out of the ordinary in this scene.In the space open to men there is a piece by Meaad Talal Hanafi entitled 鈥業 Looking at I.鈥?The abstract is accompanied by the words 鈥業gnorance.鈥?鈥楽lavery,鈥?鈥楩reedom,鈥?鈥楻eflexion鈥?and 鈥榃eakened Spirit,鈥?Speaking of this work, she commented: 鈥淭his is an abstract painting of both of one鈥檚 selves in a silent dialogue with each another. Filled with rage and disappointments about each other for they have failed themselves in blending in with the rest of society, fearing its judgment; a reflection of a woman鈥檚 expression against her surroundings.鈥淭he color palette is expressing an outrage with flamed colors putting a larger focus on the black as its main color to attract one鈥檚 attention to detail. Arabic calligraphy is also incorporated to magnify the expression to the max with little focus on its specifics to trigger the viewer鈥檚 imagination and not limiting it.鈥?In the women鈥檚 private space is another work by Hanafi entitled 鈥業,鈥?accompanied by the words, 鈥楧emise,鈥?鈥楲ove,鈥?鈥楩oresight鈥?and 鈥楬eart,鈥?Speaking of this piece she commented: 鈥淭his is an abstract painting of one鈥檚 soul with a glimpse of a more joyful and cheerful experience. A reminder of how beautiful things may be if one would look at it from a different perspective. It鈥檚 the ultimate state of victory anyone wants to seek. Arabic calligraphy is also incorporated displaying love and affection.鈥滺anafi is a self-taught artist and a senior undergraduate architecture student. She is currently studying and working part-time as a graphic designer in Jeddah. She describes herself, not as an artist, but as an 鈥渆xpressionist on the way to exploring my true self through art.鈥?She hopes to combine this art journey with her architecture and to build her own design house. She is now working on several, self-funded art projects with the aim of making the work more widely accessible and 鈥榣iving the experience to the fullest.鈥濃€楨xclusion鈥?also features work by the Olympic runner Sarah Attar. The beautiful images shot in a translucent light come from her Fire Series, 2013. She explained: 鈥淭his specific body of work was a reflection of my experience as one of the first females to compete for Saudi Arabia in the London Olympics. I wanted to address and reflect on the more personal side of such a high profile, and publicized event. These photo-composites are a symbolic internalization of this experience. The photos fill the figure creating one unique image. This ultimately acts as a visual representation of how the experiences are part of me; that they don鈥檛 just belong to the public eye and media outlets. 鈥淧hotography seems to be how I address experiences and places: It becomes my own interpretation of my environment. I combined my photographs with the silhouette self-portraits, which allowed me to connect with them, and ultimately the experiences, on a deeper level. The silhouette also provides anonymity. While some of the scenes in the photos may be recognizable, such as the Olympic torch, the silhouette provides a new way for people to address these scenes on a more personal level, in their own way becoming the silhouetted figure.鈥滱 part of the structure within the women鈥檚 space shows the window grilles, Rawasheen, through which women can observe the outside world without being seen. Reda pointed out that from this concealed vantage point the women view the world from an elevated position which in a sense conveys power. She explained that she wanted the work to show both the negative and positive aspects of the culture in a multi-layered way.鈥楨xclusion鈥?which formed part of Reda鈥檚 final degree work demonstrates the story she wants to convey through her curating and her instincts as an artist. She has graduated from Westminster with First Class Honors and will now do a Masters at Goldsmiths, University of London. Initially, she set out to study architecture and did a foundation course to prepare for this career path at the American University of Sharjah. However, during a visit to Dubai Media City she became fascinated by the art she saw in the galleries and paused her studies to rethink her focus. Encouraged by her fianc茅 to follow her dreams and take the time to figure out the best path before committing to a six year architecture degree course, she then did a foundation course in Art Design at Kingston University. At this point she still had an open mind about her future, but after attending an open day at the University of Westminster she found herself drawn to the BA degree course in Contemporary Media. She is keen to specialize in curating and is excited by the burgeoning art scene in Saudi Arabia where so many galleries and museums are now flourishing. When she returns to her home town of Jeddah she says that she sees her culture with a fresh eye and perspective and regards herself as fortunate to experience two cultures. She concluded: 鈥淚 want to work in contemporary Middle Eastern Art especially focusing on female artists. With conservative cultures it is important to see what is hidden.鈥濃€擡mail: Cheap Uggs We are getting some planes and boats in, Trond Jensen, head of the UN Office for Coordination of Humanitarian Affairs in Yemen, told IRIN. We have just deployed a team to work with the Saudi authorities on a plan to facilitate access. 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