Oskar Benitok has written an opinion piece addressed to the current town council and opposition political actors, sharing his past experiences and debating the lack of public space for musicians in Llodio. The author clarifies that he never intended to personally attack anyone and regrets that the response to a legitimate criticism has been an individual reaction of anger, especially due to the pressure exerted on the local media outlet Aiaraldea Komunikabidea.
Benito also sought clarification regarding the photograph accompanying his text. He states that the image of the 'reoccupation of the House of Paintings' was not his choice but was selected by the media outlet to provide context. He finds it hurtful that an archival image could be used to claim ownership of a collective's struggle and question the presence of those outside that specific framework.
He recalled that the collective memory of self-management in Llodio is diverse, having originated from a union of anarchists, autonomists, independentists, and left-wing abertzale militants. He emphasized that there is not a single narrative and mentioned several specific events:
In 1989-1990, the first eviction order for the House of Paintings (Skuata) within 48 hours came under the administration of the Herri Batasuna town council. The assembly's response was firm, and the council had to back down after negotiations and improvements to the electrical installation.
Later, the PNV carried out a definitive eviction. In response, the Skuata assembly, the Txitxarra Collective, continued to meet at the Llodio Cultural Center to plan the 'reoccupation'. The author remembers that on that specific day, roles were divided, with some on the roof and others chained below, resisting the eviction.
Those below, along with students and residents of Llodio, showed solidarity in the street, sitting in front of the vans and enduring baton charges and rubber bullet impacts, defending the freedom of detained comrades. The author states that not remembering his participation will not erase the blows received or the solidarity shown by the music groups he was part of.
In 2000-2001, when musicians were left without public alternatives and self-managed a private space, the left-wing abertzale town council (under the banner Euskal Herritarrok/Batasuna) imposed another 48-hour eviction order, citing non-compliance with safety regulations. Once again, the council had to retreat after the musicians protested at the neighborhood assembly and plenary session, gaining public support.
The author transitions to the current situation, where, he claims, the person in the mayor's seat offers the same outcome for independent musicians: no public venues. Currently, 30,000 euros of public money have been spent on a private study about cultural needs, while public spaces remain empty and music groups pay for private rehearsal spaces.
The author expresses regret if the text personally affected his colleague, but emphasizes that this was never the intention and considers him a friend, even if the sentiment is not reciprocated.
