Art collective raises questions over John Browneâ€™s conflict of interest as ex BP CEO
Tate Trustees have decided not to accept â€˜The Giftâ€™, a 16.5m wind turbine blade, as part of its permanent art collection.
â€˜The Giftâ€™ was installed in Tate Turbine Hall in an unofficial performance on 7 July, involving over 100 members of Liberate Tate, the group that has made headlines for dramatic artworks relating to the relationship of public cultural institutions with oil companies.
The artists submitted official documentation (see below) for the artwork to be a gift to the nation â€˜given for the benefit of the publicâ€™ under the provisions of the Museums and Galleries Act 1992, the Act from which Tateâ€™s mission is drawn.
The refusal of the offer comes despite the fact that more than a thousand people signed a petition started by a Tate member calling on Nicholas Serota and the Tate board to accept the artwork and return the blade to the Turbine Hall for public viewing.
Informing Liberate Tate of its decision, Tate stated the reason being that: â€œin line with the current strategy, commitments and priorities for the Collection and the size of the object in relation to existing pressures on collection care â€“ the offer of The Gift is declined.â€
Giving Liberate Tate 7 working daysâ€™ notice, Tate also said that if the art collective did not respond by 16 October, it would â€œrecycleâ€ the artwork.
Today, 15 October, Liberate Tate has responded asking Nicholas Serota questions including:
(The full version of Liberate Tateâ€™s response can be found in the Notes).The decision comes at a time when controversial art sponsors have again been in the news. Last week the National Gallery announced that its sponsorship agreement with arms dealer Finmeccanica was ending a year early following on from protests and public pressure.
Sharon Palmer from Liberate Tate said:
â€œWe are not disappointed for us as artists â€“ our future work will continue to be seen at Tate as long as BP is supported by Tate, although we would welcome an early end to our practice â€“ but we are disappointed for what this decision says about the present nature of the institution that is Tate.â€
â€œRecent studies have shown that BP sponsorship of the Olympics managed to improve the public perception of the company, despite the fact that they are continuing to devastate the climate and are pushing ahead with devastating tar sands extraction and arctic drilling. Tateâ€™s relationship with BP is fulfilling the same function in actively helping the oil giant to avoid accountability for countless destructive activities. The Gift is an artwork that celebrates the possibility of real change â€“ for Tate as much for everyone else facing the challenges of the climate crisis.â€
The Gift is Liberate Tateâ€™s fourth artwork in the Tate Modern Turbine Hall.
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It has been established byÂ Chris Fremantle, producer and research associate withÂ On The Edge Research,Â Grayâ€™s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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