Have global climate change protests in public art spaces done more damage than good?

While the recent spate of protests in galleries and museums across the globe has raised eyebrows, we speak to stakeholders in the field to understand its repercussions

Historically, some of the best art has been inspired by or produced as a direct statement on societal issues. Be it the Swadeshi Movement that saw a burgeoning uprising in the field spearheaded by artists like Abanindranath Tagore (‘Bharat Mata’, 1905) to make a strong case for indigenous goods to the Bombay Progressive Artists’ Group, founded in 1947 by F. N. Souza, S. H. Raza,  M. F. Husain, K. H. Ara, H. A. Gade and S. K. Bakre to diversify India’s art practices and break away from an excess of indigenous influence. Female foeticide, industrialisation, war and even the #MeToo movement, among other pressing issues, have always found resonance in the art of our times, with artists like Banksy and Guerrilla Girls never shying away from what we refer to as “protest art”. However, recently, conflicting thoughts about protests emerged when climate change activists decided to take their protests from the streets into art galleries by smearing cake on Leonardo da Vinci’s ‘Mona Lisa', and splashing soup on Vincent van Gogh’s 'Sunflowers'.

A source of conflict

Bhavna Kakkar, founding director of art magazine TAKE on Art and New Delhi-based contemporary art gallery, Latitude 28, has been using Instagram to share news about the recent spate of protests across museums. Kakkar, whose gallery also encourages free thought and an exchange of ideas, believes in the urgency of climate change. However, for her, such protests could deprive future generations of appreciating cultural heritage as we have. “These artworks and art institutions are public spaces and are meant for the education of all. Damaging artworks will only result in the eradication of history, which affects our present,” she tells The Established.

Twenty-seven-year-old contemporary artist Viraaj Khanna believes any protest requires a knee-jerk reaction to draw attention and ensure affirmative action. “Radical ways of protesting against climate change are required, but one should keep life and property out of harm’s way,” he says.

Meanwhile, even among climate change activist groups, there seem to be conflicting opinions on this “radical” protest mode. Leh-based Climate activist Aakash Ranison, who, apart from his work in the field, has also authored a book titled Climate Change Explained, says such protests are “100 per cent required”. “If you restrict your activism to your blog or Instagram, you will only garner likes and shares. Big corporations will continue to earn billions pushing fossil fuels, which is already wreaking havoc. Protests in public spaces are required to build pressure on those who are doing very little to safeguard our planet’s future,” he says. And although he is “not the guy” to engage in this form of protest, Ranison understands and supports those who feel the need to do so. After all, 20 of the world’s biggest oil and gas companies, including the likes of Shell, Exxon and Gazprom, are projected to spend $932 billion by the end of 2030 developing new oil and gas fields, according to a new analysis of Rystad Energy data by Global Witness and Oil Change International. Moreover, by the end of 2040, this figure is projected to grow to an even more staggering $1.5 trillion.

But is the negative press generated from these protests a concern? “While there is a need for urgent climate action, given that corporate-backed media conglomerates barely draw attention to it, such protests are good for a one-time spike. However,they take away from the efforts of millions of affected people globally,” says Yash Marwah, campaigns lead, Let India Breathe, a collective creating awareness and suggesting solutions to improve air quality.

Will we access art differently?

Earlier this month, the directors of 100 galleries of high-profile institutions, many of which have been targeted by activists, came forward to warn climate protestors against “underestimating the fragility” of the artworks they’ve been targeting. “As museum directors entrusted with the care of these works, we have been deeply shaken by their risky endangerment. Museums are places where people from a wide variety of backgrounds can engage in dialogue and which therefore enables social discourse. In this sense, the core tasks of the museum as an institution—collecting, researching, sharing and preserving—are now more relevant than ever. We will continue to advocate for direct access to our cultural heritage. And we will maintain the museum as a free space for social communication,” read an excerpt from the statement co-signed by them.

While there have been conflicting reports about whether the activists had been meaning to “damage” the artworks, given that most have glass protecting them, one can’t help but be a little apprehensive about the impact of these protests on how we visit the National Gallery in London or the Potsdam Museum in Germany next. “Many international museums, especially in Europe, are increasingly becoming cautious of protestors damaging artworks, prompting them to take strict measures in terms of checking at the entries, which was not the case earlier. Vandalising artworks with eatables will only result in them being encased behind thicker glass, changing how we access great works of art,” says Kakkar. “But then again, it’s only natural that museum and gallery administration will do whatever is necessary to protect their assets,” says Khanna.

The value of life v/s art

“What is worth more? Art or life? Is it worth more than food? Worth more than justice? Are you more concerned about the protection of a painting or the protection of our planet and people?” shouted the protesters from Just Stop Oil after the attack on van Gogh’s ‘Sunflowers’. Ranison reiterates the urgency of the issue: “Climate change is real. Just because a few people are annoyed by the protest mode doesn’t negate the issue.”

Meanwhile, Khanna believes in the subjective definition of “value” and how it could be slippery. “There is an argument that a little property damage to fix a much more serious issue is worth it, and the overall idea is correct. While the desecration of a van Gogh painting may not affect me personally, it is important to the history and relevance of a country,” he says. 

Navigating the urgency of climate change

However, while people might take sides in this entire conversation, everyone has unanimously agreed climate change is a pressing concern that requires immediate attention. Most recently, the COP26 adopted an outcome document that António Guterres, the United Nations chief, termed as “an important step” but “not enough”. He pressed on the importance of launching into “emergency mode” and delivering on “the $100 billion climate finance commitment”.

Granted, the recent spate of protests has divided opinion, but it shouldn’t take away from the main issue. So, how do we navigate it? “In India, I wish this climate anxiety takes a more creative turn and ensures that the protests do not encroach on the space of the affected communities. One should channelise this energy into asking the tough questions to the corporate-political nexus, making them defund fossil fuels and investing in community resiliency and climate adaptation,” says Marwah. 

Meanwhile, Kakkar believes museums and galleries should also take stock of the situation and encourage conversations around eco-consciousness. Khanna, as an artist, believes art must also keep up with the times and foster more positive action that leads to change. And as for these protests taking away from the larger issue of climate change, Ranison says: “Let us continue to focus on what’s important for us and future generations—to address climate change.”

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