OM Anti-Fascist Values Statement for #J20
published in Hyperallergic:
January 20th is not a day for business as usual. It is a day of reckoning: a day when we must step back stand together and acknowledge how far we have fallen from the values that we supposedly uphold as individuals, communities, and institutions. At the same time, however, we must recognize that this occasion is exactly business as usual in the United States of America. It would be naive to suggest that the advent of Fascism is representative of one man or one woman or one administration. This moment has finally landed following decades of Reaganomics. It landed after centuries of living in a house with a flawed foundation built on slavery, stolen labor, and bloodshed; maintained through the normalization of systemic injustice. It has landed as the full legitimization of cultural homogenization, techno-militarism and life inside the atomized logic of corporatism. It has landed after the sequestering of money and political agency into fewer and fewer hands. We have become a country of red and blue: a separatist mentality that replays “the people” as demographics, driving wedges between “races,” classes, regions, genders, education levels, and worldviews.
Our values — values fought for tirelessly over the generations, values that we believe to be sacred — have proven to be as fragile as they are precious.
Facing this reality, we bear much responsibility and seize this moment of national coming-into-consciousness as an opportunity. Occupy Museums calls on our communities — in this case artists, cultural practitioners, and institutions — to directly name and confront this truth: we are living in a Fascist State. Fascist propaganda exacerbates the racism and misogyny embedded in our culture for cynical political ends; it is the enemy of art. This can be seen from the new administration’s plans to eliminate the National Endowment for the Arts — a last vestige of truly public support of the arts. Their vision of art is reduced to luxury trappings for oligarchs. Although the same financial sphere that has largely brought us to the current precipice stands behind US museums as their primary means of support, this doesn’t devalue their potency as public spaces and repositories of collective mythologies. Their civic function depends not on philanthropy but on struggle. Museums require artists, activists, and global citizens to challenge them, demanding that they hold true to their missions to serve the public, not just the 1%. That is why on #J20 we invite our communities to join us inside the museum, which we demand function as public space, to declare our common values, to make undeniable our demands, and to render our truths unmediated and unavailable for contortion, interpretation, or abstraction. Then we head out into the streets.
Occupy Museums reflects on the values behind our mission and in solidarity with all arts workers commits to continuing the struggle for the following:
- Racism and xenophobia are real and alive today. Misogyny and homophobia are real and alive today. White nationalism is growing in political, economic, and symbolic power. We value cultural institutions who are able to name the severity of this political zeitgeist and join the fight for dismantling white supremacy. We declare that one cannot be neutral on a Fascist train. We commit to joining in efforts to organize an anti-Fascist resistance.
- Arts within neoliberal economies have long been stripped of social organizing force and community accountability. We have witnessed a transparent bid to transform art into an asset class for private speculation, upending its political autonomy; art has become a tool of propaganda. As this incoming administration dramatically reduces or eliminates public funding for the arts, museums will be relying solely on compromised private funding. We uphold the value of art and cultural production independent from financial and political coercion, free from appropriation and exploitation.
- We reject a culture that ignores or celebrates US war and imperialism. We reject a culture that fetishizes, essentializes, and flattens the layers of our shared reality. Such a culture reflects a shallow politics where sycophantic hype replaces public discourse. We value art that is authentic, layered, diverse, and unafraid of delving into the complexity of our shared experiences. We commit to a struggle against the reign of hegemonic power brokers in the arts and in support of a more committed art and discourse. Museums must move toward greater social justice to be relevant.
- Since their inception centuries ago, the collections of art museums have consisted of objects stolen from indigenous and oppressed peoples whose cultures were appropriated and/or decimated to reify whiteness. Even though museums partially embody the democratization of art, they are also sites embedded with white supremacy and patriarchy. We will not separate our appreciation of museums from the ongoing need to shift the power that is codified into this mode of cultural representation. We commit to the ongoing struggle for increased presence of Black and Brown people, immigrants, and women in museum administrations, collections, events, and viewership, and in the return of stolen cultural heritage and objects.
- White Nationalist populism thrives from the perceived (and often real) elitism and exclusivity of the “art world.” Yet it is a right for every human being to partake in and benefit from the cultural wealth and heritage composed from our collective history, regardless of economic or social status. We believe that access to cultural institutions should always be free and we commit to a long struggle to take back institutions from the exclusivity of philanthropy and high-ticket-price corporate models.
- Economic precarity stemming from the devaluation of labor and increased corporate profits from extractive debts drives a wedge between members of our society, pitting us against each other in ruthless competition. We look to democracies across the globe who affirm the right to a living wage and even a basic income and call on our nation’s cultural institutions to pay all employees, contractors, and exhibiting artists a living wage for their labor.
- The transformation of public spaces and our neighborhoods and homes into speculative instruments increases the already dire state of class anxiety. The economic precarity suffered by artists puts them at risk of being both affected by and a catalyst in the gentrification of poor neighborhoods. Cultural institutions play a major role in gentrification that must be addressed; it is imperative that institutions use their cultural and financial capital to support their communities of arts workers and their local publics rather than enable gentrification by participating in development schemes.
- Intellectualism and cultural experiment are considered as dangerous and unpatriotic to Fascists. Nazi poet laureate Hanns Johst famously wrote: “Let ’em keep their good distance with their whole ideological kettle of fish … I shoot with live ammunition! When I hear the word culture …, I release the safety on my Browning!” Our cultural institutions must fortify themselves against the coming onslaught by deepening and declaring their commitment to and support of artists, critical discourse, freedom of expression, and their immediate communities. We call on all museums and cultural institutions to stand in solidarity with the artists, art critics, art workers, and public who will not stand by in silence as power is handed over to Fascists. Cultural institutions can begin (as some have already begun) by collectively reassessing their institutions’ statements of ethics, making amendments, addenda, and revisions that specifically address the institution’s role and responsibility to treat its workers fairly, to protect them from State repression when threatened, and to support the creation of bold and progressive works of art.
(on J20 the museum will be pay as you wish)
- What is the role and responsibility of artists and other cultural practitioners within a nation turning toward Fascism?
- Where is the agency of cultural institutions who depend on philanthropy under an illiberal system that rewards the 1% lavishly.
- How can cultural institutions oppose the state to support and protect their workers and artists who are citizens under threat?
- What specific cultural histories need to be revisited in this political climate to learn from, to revise, to renew, or to newly criticize?
- How can cultural institutions begin a process of self-reflection and dialogue in order to assess their complicity in our nation’s arrival at this political moment?
After this event, stay with us for actions, an assembly, and out onto the streets organized by #J20 planners.
5 PM at Foley Square:
UBS COLLECTION CATALOG RELEASED AT ART BASEL MIAMI 2016
This year’s Miami Art Fairs opening today should be considered as Trump’s inaugural pre-party. That’s because those who will benefit the most from the coming tax cuts and deregulation of industries from finance to Big Pharma to oil and gas, are in Miami now on an art-asset shopping spree.
On the other hand, when wage regulations are cut and student, mortgage, and credit card debts deregulated, 99% or artists are in for tough times. To be fair, artist’s position is nowhere as bad as the most vulnerable citizens: immigrants who will be terrorized, Muslims demonized, LGBTQ harassed, people of color targeted, women shamed. Down in Miami, the party will continue each year.
Art Basel Miami’s lead partner is UBS–the Swiss Bank specializing in wealth management for the world’s ultra-high net worth individuals. This year the bank is launching a catalog for its collection: “UBS Debt Collection: To the 1% Its Freedom” We have obtained a copy. We hope you enjoy this important collection.
DEBTFAIR OPEN CALL
ARTISTS IN DEBT: Open Call to Join Debt-organizing Platform at Whitney Biennial
Are you an artist? Are you in debt?
The day after the election, a well-known art collector writes: “Congratulations President-elect Donald Trump. The people have spoken….nothing left to do now but stop bitching and griping and get on with the job. ...it's not as bad as you think.” That day, the stock market also spoke by closing at an all time high. Business will go on for the wealthy, the top tiers of the art market will continue to boom, but many face dark days ahead. Racism, sexism, Islamophobia, homophobia, and xenophobia have been normalized while inequity across all communities is sure to widen.
The inequities shared by people in both red and blue states are financial precarity and debt.
Occupy Museums invites artists across the US to unite in Debtfair, a project that will be shown at the Whitney Biennial in March 2017. Debtfair is a means of exposing the hidden layer of debt within the art market and its institutions. The 92 artists currently on debtfair.org hold $5.2 Million of debt. We will expand this community in 2017. All artists who apply through this open call will be featured on a revamped debtfair.org, and their work will be shown digitally in the museum; 30 artists who are indebted to the same institutions will exhibit their physical work.
We believe that the practices of painting, sculpture, performance, video, music, and conceptual practice lie at the core of a progressive democratic society. Yet artists and culture workers face evermore extractive economic burdens parallel to the booming wealth and financialization of the art market. Debt often elicits feelings of shame and alienation. It is a hidden tool of economic, social, and racial division. Yet, by showing how we are interconnected through it, Debtfair mobilizes around the financial relationships that bind us to one another, locating possibilities for solidarity in a global struggle, and leveraging our collective power as debtors.
We ask our fellow artists to complete the following questionnaire to begin the process of joining Debtfair. Sharing data about your debts allow us to paint an accurate picture of art and debt today. Only images of your artwork and select written answers are shown publicly with ability to edit your public profile at any point. All information is kept in confidence.
We are particularly interested in organizing groups of artists around the following criteria:
Artists currently in default (including but not limited to education, mortgage, auto, credit card, medical and personal debts. Institutions may include but not be limited to JP Morgan, Bank of America, Wells Fargo, FedLoan, Sallie Mae, Navient, Fannie Mae, debt collectors etc.)
Current and former students of New York University with outstanding debts
Puerto Rican Artists and artists of Puerto Rican descent who have been directly affected by austerity measures and/ or with relationship to Banco Popular (and other institutions)
Artists in the exhibition will be notified by the end of December, 2016.
For media restrictions and further guidelines, please see details in the application link.
Venue: Whitney Museum of American Art, New York City
To learn more about Debtfair and view existing profiles, click here.
To learn more about Debtfair’s exhibition at Art League Houston, click here.
Occupy Museums in Agitprop! at Brooklyn Museum
Occupy Museums' piece "Eroding Plazas and Accumulating Resistance" is a relief map showing the gentrification process around the Brooklyn Museum. It is meant to be a tool used in an outdoor action. In this piece, Occupy Museums teases out a relationship between ultra luxury global real estate in Manhattan and rapid speculation/displacement in Brooklyn. Both processes are unfolding right around the major museums: the Met and Brooklyn Museum. What role do museums play?
The piece is a response to the Real Estate Summit Protest at the Brooklyn Museum on November 17th, and we are involved in a coalition that is organizing around this issue and calling on the Museum to no longer support the speculative real estate industry with its space and reputation.
From the Agitptop! curatorial text. "At key moments in history, artists have reached beyond galleries and museums, using their work as a call to action to create political and social change. For the past hundred years, the term agitprop, a combination of agitation and propaganda, has directly reflected the intent of this work.
Agitprop! connects contemporary art devoted to social change with historic moments in creative activism, highlighting activities that seek to motivate broad and diverse publics....These projects highlight struggles for social justice since the turn of the twentieth century, from women’s suffrage and antilynching campaigns to contemporary demands for human rights, environmental advocacy, and protests against war, mass-incarceration, and economic inequality."
Debtfair Houston: How Do the Economic Realities of Capitalism Effect Artistic Practice?
Debtfair is an ongoing artistic campaign to expose the relationship between economic inequality in the art market and artists’ growing debt burdens, exploring the idea that all spaces function with a layer of extraction just below the surface. Occupy Museums and Art League Houston (ALH) invite Texas-based artists to reframe and exhibit their artwork within the first-realization of Debtfair to illustrate the economic realities for Texas artists and their relationships to the cultural economy at large.
Original artwork will be collected through a non-juried open call in which artists will be asked to submit a work of equal relative value to their monthly debt payment. Artworks will be organized in collective groupings (“bundles”) and exhibited inside the walls, between the studs of the main gallery of ALH. Bundles will be grouped based on information collected from an online questionnaire. This collective exhibition format will present artworks in shared rather than individual terms, illustrating the total debts amongst participating artists and identifying the institutions in which these debts are rooted (banks, schools, cultural programs, life expenses, etc.).
Artwork in Debtfair will be for sale, but not in the normal way that art is sold. Bundled artworks will be available for sale with a starting value of the totaled monthly debt payments of included artists. This number will then be given the same interest rates and financial metrics applied to the debts of artists involved increasing bundle price at the same rate of artists’ debts. Any sales will be distributed to artists at their declared value, further profits evenly split and all payments made directly to the artists’ lending institution for a minimum of one month’s debt relief.
Inauguration of the Fracked Gas Line Museum
Images of Occupy Museums, Sane Energy, and the Guerrilla Girls inaugurating the new Whitney Museum, which stands on top of a new fracked gas pipeline serving NYC.
Open Letter co-written with Occupy the Pipeline and Liberate Tate:
We stand in support of art as a necessity in the service of life, art as a social good, and art as common inheritance of the public.
Therefore, we cannot ignore when art museums allow the public good that art engenders to be misused by powerful corporations in an effort to build credibility when their activities create environmental damage and rights abuses. The sponsorship of art by the fossil fuel industry has long been a public relations ploy aimed at obtaining a social license for destructive profit-making.
Citizens and institutions worldwide are withdrawing support for the continued extraction of fossil fuels that should be kept in the ground. In arts and culture, from London to New York to Sydney, momentum is building for museums to end their connections to the fossil fuel industry. In the UK, artists including Liberate Tate are calling for Tate to culturally divest from the oil company BP. Recently, dozens of leading scientists signed a letter initiated by The Natural History Museum, to remove climate change underwriter David Koch from the board of science museums, and for science museums to cut ties to the fossil fuel industry.
With the new Whitney museum in New York, the public now has an example of a museum that literally incorporates fossil fuel infrastructure into its foundation. The vault of the controversial Spectra gas pipeline is concealed underneath the Whitney museum’s front steps.
The Spectra pipeline is a high-pressure pipeline that brings fracked gas from Pennsylvania and elsewhere to New York City. Should an accident occur, the result could be irreparable harm to the museum, its art collection, workers, and visitors.
Though proponents of “natural” gas promote fracking as a relatively harmless process and claim that gas burns clean, the overall extraction process of fracking has a climate impact comparable to coal. The fracking process pollutes drinking water, creates harmful emissions, and causes earthquakes.
Today we are asking: how can a museum that literally covers up the dirty fossil fuel industry be a beacon for the future of art and culture? This summer, we will host a public assembly in the neighborhood of the new Whitney, and hope that representatives of the museum will be present and active in this important dialogue on art and fossil fuels.
We have Six Key Questions for the Whitney. The people of New York have a right to know the answers to pressing questions before the Whitney opens the doors of its new location.
- How did the Whitney come to be sited over the Spectra pipeline and its fracked gas?
- What emergency plans are in place, including
- how will people and artworks be kept safe and protected if the pipeline explodes, and
- as the Whitney must be aware of how lax the maintenance and inspection rules are for pipelines, what independent risk mitigation action has it taken?
- Given that the Whitney now sits on fossil fuel infrastructure, is the art museum committed to exhibit art that explores themes such as the environment, energy, and how corporations operate in society?
- Will the Whitney ensure that its art education, public and academic programs explore issues such as climate change and the role of art in relation to a safe, habitable environment for Americans and, indeed, all humankind?
- Does the Whitney believe the energy future of New York should be renewable sources rather than more reliance on fossil fuels that will add to climate change?
- Will the Whitney move forward with new environmental and ethics policies to enable it to play a responsible leadership role in the art world and sustainability in a time of climate change, including full independence from fossil fuel interests?
Artists, art lovers, environmentally-concerned citizens, and the media will be taking an interest in this issue, internationally as well in New York and across the USA. The decision to co-locate the new Whitney with fossil fuels cannot be ignored. It has given a significance to the site and identity of the art museum that will resonate in the months and years ahead.
The Whitney museum can make active choices now to be a force for good on the right side of history for the future of New York and the planet, for a culture beyond fossil fuels.
Occupy the Pipeline
Sane Energy Project
Stopp oljesponsing av norsk kulturliv
The Yes Lab
Not An Alternative
The Natural History Museum
United for Action
Global Ultra Luxury Faction
Rising Tide NYC
NYC Light Brigade
Beyond Extreme Energy
The Mother’s Project
Shale Property Rights
NYC Bike Dance
The Artist as Debtor at Cooper Union
Martha Rosler's presentation
We live in an era of unprecedented profits from contemporary art sales and massive debts incurred by art students. Are these phenomena related? Is it a coincidence that in an age in which art can be made from nothing, the price attached to an art degree is staggeringly high? Contemporary art institutions amass great wealth through real estate development and the value of their holdings — why then do museums, art-related businesses and art schools rely so heavily on precarious and unpaid labor provided by artists? What are the connections between big money in the art world and the big debts taken on by so many young artists? Are artists encouraged to believe that extreme economic disparity is just part of the way the art world works? Do romantic ideas about merit and talent mask a system of indenture?
Artists Noah Fischer (member of Occupy Museums) and Coco Fusco will present a conference to discuss the art and the debt economy on January 23 2015 at The Great Hall of Cooper Union for the Advancement of Science and Art. This event is made possible thanks to support from The School of Art at Cooper Union. Our featured speakers include artists Julieta Aranda, William Powhida, Martha Rosler, Gregory Sholette; writer Brian Kuan Wood; W.A.G. E., BFAMFAPHD, and cultural theorist Andrew Ross.
Creative Extraction: Why are Art Schools at the Vanguard of Unreasonable Debt Burdens? A Conversation with Coco Fusco
organized by Occupy Museums:
Friday, December 5, 2014, 6-8 pm:
Momenta Art, 56 Bogart St Brooklyn NY.
FB event here
In recent years, we have witnessed many art school graduates snared into unpayable debt traps through the skyrocketing tuitions paired with low earning potential. Debtfair by Occupy Museums, currently on view in the exhibition “Work It Out,” is a proposal for an alternative art fair that aims to alleviate the debt crisis in the Art World. While proposing a solution based on solidarity, Debtfair also examines the interconnections that exist between student debt, exploitative labor conditions in the art industry, and alliances between the art market and multinational banks and corporations.
How does the “Art World,” whether willingly or unwittingly, take part in an inter-connected web of globalizing neo-liberal economy? While the Art World frolics amid the markets of the Miami Basel Art Fairs, Occupy Museums invites artist and educator, Coco Fusco to introduce a less glamorous section of the Art World: an art education complex paralleled with global practices of labor exploitation, predatory lending, and the privatization of culture. We will discuss broader ranges of oppressive practices, including tuition hikes, predatory lending to students, and the increasing precariousness of faculty positions that parallels other service-labor.
Ritual Rebranding of the David H. Koch Plaza on the Day of its Dedication
#RebrandKoch #PeoplesClimate See Facebook event
As the world prepares to converge on NYC in a mass call for Climate Justice, the Metropolitan Museum of Art will honor David H. Koch, a 4-star general in the dirty energy industry’s war against planet earth. The public space and two grand fountains in front of the Met’s facade will be renamed as the David H. Koch Plaza, following an extensive renovation.
The people will be present at the dedication on Tuesday, September 9th to stand in resistance. The celebration of this philanthropic abuse of the commons cannot pass unchallenged. People are rallying to demand sustainable policies for our culture and the ecosystem.
These fountains are boiling. The policies of The Patron contribute to the melting of the ice caps and the rising of the seas.
We invite you to join a ritual cleansing of the Place Formerly Known As David H. Koch Plaza. In a durational ceremony, we will call upon the energies of resistance, chanting and making offerings, and will collectively rename and rebrand the Plaza.
Proposal to Re-Common the David H. Koch Plaza
"The Metropolitan Museum is scouring away the mark of the public, banishing the working artists who sell their art outside the museum to support their artistic practices and feed their families. Koch Plaza is an intolerable affront to the hardworking people of New York who are one Koch-funded cut away from joining the City’s 66,000 homeless.
In a climate of near-total reliance on ever-more powerful plutocrats, how can free speech in public institutions flourish?
Occupy Museums proposes a project to re-common the Museum."
BIG win for Union Labor at Frieze Art Fair 2014:
"One of the most significant consequences of the Occupy Wall Street movement that descended on lower Manhattan in 2011 was a rejection of that cynicism and a renewed vigor in the alliance between cultural workers and actual workers. From Adbusters to n+1, cultural reviews found common cause with labor, united against the increasingly oligarchic structures of capital freed from democratic accountability. So when it first emerged that the Frieze fair, unlike the Armory and the Art Dealers Association of America (ADAA), New York’s other two major fairs, would not be employing union labor for the construction of its vast (and vastly temporary) facility, the initial protest fell not just to the slighted unions but to an offshoot of this newly formed consciousness. Occupy Museums staged protests at the exit of the 2012 Frieze Art Fair, passing out pamphlets and copies of the n+1-produced Occupy! Gazette into the hands and windows of fair patrons. An alternative event was also organized: Un-Frieze, a barter-based fair. The unions picketed Frieze sponsor Deutsche Bank at 60 Wall Street and joined Occupy Museums at the fair with a signature inflatable rat."
Occupy Museums joins Gulf Labor, MTL, students from NYU, and others to form Global Ultra Luxury Faction (GULF). Highlighting Migrant Labor Debt Bondage involved in the construction of new Guggenheim Abu Dhabi.
Money Rains down in the Guggenheim
Illuminator team joins to rebrand Guggenheim as 1% Global Museum
The Illuminator Joins Gulf Ultra Luxury Faction:
Rebranding the Guggenheim for Exploiting Migrant Workers in Abu Dhabi
At 10:00 pm last night, members of Gulf Ultra Luxury Faction (G.U.L.F.) joined by the OWS Illuminator occupied the facade of Guggenheim Museum in Uptown Manhattan for over 40 minutes. G.U.L.F. rebranded the Guggenheim’s flagship museum in protest of complicity at the ill-treatment and economic exploitation of migrant workers in Abu Dhabi who are beginning to build the new Frank Gehry-designed Guggenheim on Saadiyat Island (aka ‘Island of Happiness’). G.U.L.F.’s act of messaging solidarity follows recent reports from Human Rights Watch, as well as investigative findings from members of the Gulf Labor Coalition (some of whom overlap with G.U.L.F.) who have just returned from a fact-finding mission in Abu Dhabi where where they visited several worker camps and spoke with workers. They confirmed a reality that is the opposite of happy: multiple labor violations, generated by a system built on human suffering and debt bondage.
Last night, G.U.L.F. renewed the call on the Guggenheim to own up to its responsibility as a leading cultural, educational and art institution, and not take economic advantage of the workers seeking the ‘Gulf Dream’. Workers should not be caught in a debt spiral where they must work for years on building the museum only to pay the fees that brought them to Abu Dhabi in the first place. Guggenheim has a choice here. It must refuse to lend its cultural capital to build the ‘Island of Happiness’ where art and luxury mask and maintain a racialized exploitative labor regime, while using its PR department and those of its partners to hide the facts and mislead the public. Unless the Guggenheim changes course with the new museum in Abu Dhabi, G.U.L.F. will continue to remind the Guggenheim that their brand is: “1% Global Museum.”
1% Museums means 1% Art.
Art built on Oppression Loses Meaning.
There are other possible Futures of Art.
Occupy Museums joins Gulf Labor, MTL, students from NYU, and others to form Global Ultra Luxury Faction (GULF). Highlighting Migrant Labor Debt Bondage involved in the construction of new Guggenheim Abu Dhabi.
First Action of GULF
(above image-manifesto briefly on Guggenheim's wall/photo: Hrag Vartanian)
Each time the Guggenheim speaks, its approach to migrant labour issues on Saadiyat Island sounds more like that of a global corporation than that of an educational or art institution. We would like to remind the Guggenheim that it’s a museum, with a mission to “explore ideas across cultures through dynamic curatorial and educational initiatives.” Museums should help the public come to a greater understanding of the global complexities we all face.
Each day the Guggenheim hides behind the excuse that “construction has not yet started on our building” is another day of evading decisions and actions which could prevent a future migrant worker’s servitude. Right now, the Guggenheim Abu Dhabi’s infrastructure is being constructed. That infrastructure includes roads, sewage, water, electric, net pipes, etc., leading to the museum. But other components of the work are also under way. We can only assume that money has been transferred to the Guggenheim here in New York in order to hire the curators and administrators of Guggenheim Abu Dhabi. We know that events off-site have already been organized. Works of art have certainly been bought, insured, and stored. Last but not least, Saadiyat Island is being sold to investors on the basis of the Guggenheim’s name, along with those of the Louvre, the British Museum and others. How can the Guggenheim claim that construction has not begun?
Even if we were to take at face value the claim that construction of the Guggenheim Abu Dhabi has not begun, we would say the following: NOW thousands of workers who will build your museum are taking on the massive debt that will take them years to repay; NOW workers are being recruited with promises that will not be fulfilled, for jobs that will pay less than they expected; NOW workers are applying for the passports that may be confiscated as soon as they land in the UAE; and, surely, NOW is the time to do something about all of this.
It is unfortunate but not surprising that the Guggenheim refuses to open its doors to a serious public dialogue about the migrant labor issues in Abu Dhabi. A museum of its stature must foster public education about the conditions under which art is viewed. The Guggenheim is stepping back from this social responsibility as it focuses on expanding into new global markets.
As for the underpaid Guggenheim guards’ wages in New York, passing off culpability to a subcontractor is no longer an acceptable practice, even in the corporate world. The Guggenheim should pay all employees at least a living wage, even if they are on a contractor’s payroll.
Sadly, the Guggenheim’s latest response confirms our expectation. It has tried to hide behind technicalities and PR spin as it waits for news cycles to die down. We know the composition of their board and it does not surprise us. A 1% Global Museum with a 1% Board that cares very little about its lowest-paid employees and the example it is setting to the world.
We will be back.
G.U.L.F.(Global Ultra Luxury Faction)
full video with subtitles:
Monday, February 24th
On Saturday, the G.U.L.F (Global Ultra Luxury Faction) staged a protest at the Guggenheim Museum in support of the rights of migrant workers in Abu Dhabi.
Earlier today, the Guggenheim director, Richard Armstrong issued a statement pointing out that construction has not begun on the Guggenheim Abu Dhabi. In reality, however, construction on the Saadiyat Island infrastructure has been underway for several years (link to: http://www.saadiyat.ae/en/project-update/infrastructure.html), and the Guggenheim is central to the island’s overall development plan, along with the Louvre and NYU. Moreover, the Guggenheim brand is being used to promote the exclusive, ultra-luxury ambience of the island’s appeal to potential investors and tourists.
An in-depth discussion on Saadiyat Island is scheduled for Wednesday, February 26, 5:15pm EDT, at NYU’s Global Center for Academic & Spiritual Life (GCASL), which is located at 238 Thompson Street, Room 369, in Manhattan’s Greenwich Village.
Art is not a Luxury Asset for the Wealthiest Global Citizens.
In the course of the Saturday protest, we were outraged to learn about the inadequate pay of the museum’s security guards. As part of their efforts to keep us and the priceless art on display safe, they are paid a mere ten dollars an hour by one of the wealthiest institutions in New York and indeed globally.. In New York City, this is not a living wage, by any estimates. The Guggenheim can and should be paying them more. As the wealth gap widens and the global 1% literally builds exclusive luxury islands, the fates of those left out are bound together. They include both Guggenheim’s NYC museum guards and migrant workers who are constructing the museums on Saadiyat Island.
Museums Should Not be Built on the Backs of Ill-Treated Workers.
We call on the Guggenheim Museum to open its doors to a free public assembly on these issues on Saturday March 1. We look forward to the conversation.
Museums Should Be Raising Labor Standards, Not Lowering Them.
(global ultra luxury faction)
manifesto for the action, hung on the wall besides curatorial text of Italian Futurism:
photo: Nick Pinto
manifesto being ripped off wall and taken into Guggenheim's collection
photo: Nick Pinto
OCCUPY MUSEUMS SUPPORTS TEAMSTERS DISPUTE AGAINST FRIEZE ART FAIR
FOR IMMEDIATE RELEASE Contact: Michael McKeon
April 16, 2013 (212) 681-1380
LABOR LEADERS TO HOLD PRESS CONFERENCE ON FRIEZE NEW YORK ART FAIR AND CALL UPON ELECTED OFFICIALS TO CHANGE PARKS PERMITTING
Elected officials will join members of Teamsters Joint Council 16, IATSE Local 829, IATSE Local 1 and District Council 9 of Painters, at a press conference on the steps of City Hall Wednesday at 1:00 PM to confront the organizers of the Frieze New York Art show and their local events coordinator, Production Glue, LLC on their continuing discrimination against hiring New York City’s union workers.
Labor leaders contend that Frieze NY and Production Glue refuse to hire professional exhibition workers and hire workers from as far away as Wisconsin to avoid paying a fair wage. Art world enthusiasts speculate that London based Frieze will become a permanent yearly fixture at Randall’s Island. Production Glue also ran the event in 2012 and refused to employ union workers to construct the fairgrounds and facilitate the event.
These unions will demand that Frieze Art Fair end its practice of freezing out New York workers, and engage good, local, union employers effective immediately. They will also call upon the New York City Parks Department to pursue a new permitting process that evaluates labor standards for these major private events that make major profits while displacing families from enjoying local parks.
Frieze New York, which will run on Randall’s Island May 10-13, 2013, is an international contemporary art fair and will feature works from more than 1,000 artists from around the world.
On Wednesday, April 17, 2013, Teamsters Joint Council 16 President George Miranda, NYC Central Labor Council President Vincent Alvarez, Councilmember Jessica Lappin, Exhibition Employees Union Local 829 President Kenny Kerrigan, IATSE and members of several local unions will speak out on this lack of support and call for Frieze New York’s sponsors to acknowledge the rights of New York City’s union workers.
When: Wednesday, April 17, 2013
Where: Steps of City Hall, City Hall Park
Broadway, New York, NY 10007
Who: Labor Leaders and Elected Officials