多年环保抗议后,壳牌结束了对国家美术馆的赞助

新闻/2018年10月19日
壳牌这家石油巨头已经结束了与伦敦博物馆、绿色和平组织的12年赞助合同。礼貌:盖蒂图片/法新社;照片:贾斯汀·塔利斯,After Years of Environmental Protests, Shell Ends National Gallery Sponsorship - 经过多年的环保抗议,壳牌结束了国家画廊赞助,绿色和平组织抗议者参观国家美术馆,伦敦,2012年。礼貌:盖蒂图片/法新社;照片:贾斯汀·塔利斯·
壳牌公司与伦敦国家美术馆达成了一项赞助协议,该协议已经生效了12年。这项交易将在明年一月到期,在美术馆对其公司合作关系的审查之后,这项交易没有被续约。国家美术馆接受壳牌石油的赞助多年来一直是抗议的主题。反化石燃料激进分子的高调行动,包括绿色和平组织在2012的艺术画廊屋顶上悬挂了一条40米长的旗帜,上面写着“这不是油画”,抗议该公司在北极钻探石油的计划。
英国绿色和平组织高级气候顾问Charlie Kronick告诉Frieze,贝壳通过与艺术机构的合作关系获得的是“社会认可”,这是很重要的。在他称之为“对环境不利的交易”中,Kronick说,问题是他们能购买多久的社会认可。在一封发给Frieze的声明中,国家美术馆说:“像许多博物馆一样,美术馆与不同行业的企业发展合作关系。壳牌赞助国家美术馆从2006到2018,作为赞助商和公司成员。该美术馆坚持一种道德的筹款政策,可以在这里看到。壳牌向美术馆证实,其公司会员资格不会续签——估计每年20000至350000英镑。
据英国《卫报》报道,壳牌公司决定提供资金,以“通过我们的Stem(科学、技术、工程和数学)教育项目,集中精力鼓励下一代工程师。”教育议程存在问题:“试图影响未来工程师的教育确实不合适。”
8月份,荷兰两家主要博物馆宣布,他们将停止接受壳牌的赞助。海牙的毛里求斯人和阿姆斯特丹的梵高博物馆都表示,他们正在停止接受这家石油和天然气公司提供资金。这些年来,梵高博物馆接受壳牌的赞助也是抗议活动的目标,环保活动人士最近在博物馆的画廊里滴油。
Liberate Tate的艺术家兼活动家梅尔·埃文斯讨论了她向伦敦大都会施加压力迫使英国石油公司作为赞助商的工作,为艺术家面对当今环境危机的责任撰写文章:“不仅仅是为了制作关于政治的艺术,甚至在社会范围内,但是要制作能够从根本上改变呈现给我们的社会和政治可能性的艺术。”

FRIZE特稿 ARThing编译

 

News /

19 Oct 2018
News /

After Years of Environmental Protests, Shell Ends National Gallery Sponsorship

19 Oct 2018

The oil giant has ended its 12-year sponsorship deal with the London museum

Greenpeace protesters scale the National Gallery, London, 2012. Courtesy: Getty Images/AFP; photograph: Justin Tallis

After Years of Environmental Protests, Shell Ends National Gallery Sponsorship - 经过多年的环保抗议,壳牌结束了国家画廊赞助

Greenpeace protesters scale the National Gallery, London, 2012. Courtesy: Getty Images/AFP; photograph: Justin Tallis

Shell has concluded a sponsorship deal with London’s National Gallery, which has been in operation for 12 years. The deal expired in January, and was not renewed, following the gallery’s review of its corporate partnerships.

The National Gallery’s acceptance of oil sponsorship has been the subject of protests for years. High-profile actions by anti-fossil fuel activists have included Greenpeace planting a 40-metre banner on the art gallery’s roof in 2012, bearing the words ‘It’s No Oil Painting’, in a protest against the company’s plans to drill for oil in the Arctic.

Charlie Kronick, a senior climate advisor at Greenpeace UK, told frieze that what Shell had gained through its partnership deals with arts institutions was ‘social license’ and that it was ‘important to call this out’. In what he called ‘a bad deal for the environment’, Kronick said that ‘the question is how much longer they can buy this social approval’.

In a statement sent to frieze, the National Gallery said: ‘Like many museums the Gallery develops partnerships with businesses from a variety of sectors. Shell supported the National Gallery from 2006 until 2018, both as a Sponsor and a Corporate member. The gallery adheres to an ethical fundraising policy which can be viewed here.’

Shell confirmed to the gallery that its corporate membership would not be renewed – estimated at GBP£20,000–35,000 each year. According to The Guardian, the funding decision was taken by Shell to ‘focus on our work to inspire the next generation of engineers through our Stem (science, technology, engineering and maths) education programmes.’ Kronick suggested to frieze that the oil company’s interest in shaping the educational agenda was problematic: ‘trying to influence the education of future engineers is really not appropriate.’

In August, two major Dutch museums announced they were pulling the plug on Shell sponsorship. The Mauritshuis in the Hague and Amsterdam’s Van Gogh Museum both said that they were ending funding from the oil and gas company. The Van Gogh Museum’s acceptance of Shell funding had also been the target of protests over the years, with activists recently dripping oil through its galleries.

Artist and campaigner with Liberate Tate, Mel Evans, discusses her work in pressuring London’s Tate to drop BP as a sponsor, writing for frieze about the responsibilities of artists in facing up to today’s environmental crisis: ‘not merely to make art about the political, or even within the social, but to make art that can radically alter the social and political possibilities presented to us.’

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