Overview
Nearly one-third of the artists scheduled to exhibit in the 19th Biennale of Sydney have written an open letter to the board of directors, urging them to "act in the interests of asylum seekers" by withdrawing from "the current sponsorship arrangement with Transfield".
Transwho? Detainees who've been dodging bullets and knives on Manus Island know the name all too well. It's an "operations, maintenance and construction services business" that, in the 2013-14 financial year, made millions out its involvement with the Nauru Regional Processing Centre. Since early February, Transfield has taken over welfare responsibilities on both Nauru and Manus from the Salvation Army (because a construction company is just so well-equipped to provide education, recreational facilities and emotional support to traumatised individuals).
Though the 28 artists acknowledge that the increasing dependence of public institutions on private funding is complex, they are clear, that "in this particular case", their involvement risks "adding value" and "cultural capital" to the Transfield brand. The letter states, "We appeal you to work alongside us to send a message to Transfield, and in turn the Australian Government and the public: that we will not accept the mandatory detention of asylum seekers, because it is ethically indefensible and in breach of human rights; and that, as a network of artists, arts workers and a leading cultural organisation, we do not want to be associated with these practices."
The problem is that Transfield isn't just another name on the sponsorship list. Transfield Holdings actually established the event in 1973, and Transfield Foundation board member Luca Belgiorno Netti is the Biennale's current chairman.
While the open letter does not overtly threaten boycott, a separate statement hints at the possibility. "We are taking this very seriously," spokesperson Gabrielle de Vietri said. “Some artists are reconsidering their participation, and others organising different forms of protest from within ... Still other artists have proposed to join with the Biennale team in an effort to develop alternative modes of fundraising." A Boycott the 19th Sydney Biennale Facebook page is gathering support.
With the Biennale due to open on March 21, the board members, the 90 participating artists and Sydney's art-loving public have some quick decision-making to do.
Here's the full text of their open letter:
An open letter to the Board of Directors, Biennale of Sydney
19 February 2014
To the Board of Directors of the Biennale of Sydney,
We are a group of artists Gabrielle de Vietri, Bianca Hester, Charlie Sofo, Nathan Gray, Deborah Kelly, Matt Hinkley, Benjamin Armstrong, Libia Castro, Ólafur Ólafsson, Sasha Huber, Sonia Leber, David Chesworth, Daniel McKewen, Angelica Mesiti, Ahmet Ö?üt, Meriç Algün Ringborg, Joseph Griffiths, Sol Archer, Tamas Kaszas, Krisztina Erdei, Nathan Coley, Corin Sworn, Ross Manning, Martin Boyce, Callum Morton, Emily Roysdon, Søren Thilo Funder, Mikhail Karikis all participants in the 19th Biennale of Sydney.
We are writing to you about our concerns with the Biennale’s sponsorship arrangement with Transfield.1
We would like to begin with an affirmation and recognition of the Biennale staff, other sponsors and donors, and our fellow artists. We maintain the utmost respect for Juliana Engberg’s artistic vision and acknowledge the support and energy that the Biennale staff have put into the creation of our projects and this exhibition. We acknowledge that this issue places the Biennale team in a difficult situation.
However, we want to emphasise that this issue has presented us with an opportunity to become aware of, and to acknowledge, responsibility for our own participation in a chain of connections that links to human suffering; in this case, that is caused by Australia’s policy of mandatory detention.
We trust that you understand the implications of Transfield’s recent move to secure new contracts to take over garrison and welfare services in Australia’s offshore immigration detention centres on Manus Island and in Nauru. We have attached for your information, a document that outlines our understanding of the links between the Biennale, Transfield and Australia’s asylum seeker policy.
We appeal to you to work alongside us to send a message to Transfield, and in turn the Australian Government and the public: that we will not accept the mandatory detention of asylum seekers, because it is ethically indefensible and in breach of human rights; and that, as a network of artists, arts workers and a leading cultural organisation, we do not want to be associated with these practices.
Our current circumstances are complex: public institutions are increasingly reliant on private finance, and less on public funding, and this can create ongoing difficulties. We are aware of these complexities and do not believe that there is one easy answer to the larger situation.
However, in this particular case, we regard our role in the Biennale, under the current sponsorship arrangements, as adding value to the Transfield brand. Participation is an active endorsement, providing cultural capital for Transfield.
In light of all this, we ask the Board: what will you do? We urge you to act in the interests of asylum seekers. As part of this we request the Biennale withdraw from the current sponsorship arrangements with Transfield and seek to develop new ones. This will set an important precedent for Australian and international arts institutions, compelling them to exercise a greater degree of ethical awareness and transparency regarding their funding sources. We are asking you, respectfully, to respond with urgency.
Our interests as artists don’t merely concern our individual moral positions. We are concerned too with the ways cultural institutions deal with urgent social responsibilities. We expect the Biennale to acknowledge the voice of its audience and the artist community that is calling on the institution to act powerfully and immediately for justice by cutting its ties with Transfield.
We believe that artists and artworkers can—and should—create an environment that empowers individuals and groups to act on conscience, opening up other pathways to develop more sustainable, and in turn sustaining, forms of cultural production.
We want to extend this discussion to a range of people and organisations, in order to bring to light the various forces shaping our current situation, and to work towards imagining other possibilities into being. In our current political circumstances we believe this to be one of the most crucial challenges that we are compelled to engage with, and we invite you into this process of engagement.
We look forward to hearing your response and given the urgency of this issue, hope that we can receive it by the end of this week.
Thank you for your consideration. Sincerely,
Gabrielle de Vietri, Bianca Hester, Charlie Sofo, Nathan Gray, Deborah Kelly, Matt Hinkley, Benjamin Armstrong, Libia Castro, Ólafur Ólafsson, Sasha Huber, Sonia Leber, David Chesworth, Daniel McKewen, Angelica Mesiti, Ahmet Ö?üt, Meriç Algün Ringborg, Joseph Griffiths, Sol Archer, Tamas Kaszas, Krisztina Erdei, Nathan Coley, Corin Sworn, Ross Manning, Martin Boyce, Callum Morton, Emily Roysdon, Søren Thilo Funder, Mikhail Karikis
NOTES
1. Please note that in this document we use the name Transfield to refer to three branches of the Transfield brand: Transfield Holdings, Services and Foundation. Please refer to our information sheet for our understanding of how these are linked.
Image: Henna-Riikka Halonen, Moderate Manipulations, 2012 (video still).