licence to spill
licence to spill Apart from catastrophic spills like the Deepwater Horizon, there are a whole host of adverse impacts that are associated with the production of oil. On the local level, it often involves extreme forms of pollution for local communities, while regionally oil is frequently associated with greater militarization and conflict. Globally, carbon emissions, oil companies, and our collective dependence on the product they push, are taking us ever closer to the edge of climate catastrophe.
An explosion occurs on an oilrig leased by BP, 11 workers die instantly, 17 others are injured. 5,000 feet below the ocean’s surface, crude begins to gush uncontrollably from the deep water well. An oil slick the size of Costa Rica causes catastrophic damage to vast stretches of coastal ecosystems, the local culture of tourism and fishing is devastated. The rate at which oil spews forth from the well is unknown, as BP refuses to let independent scientists perform the necessary measurements.
The building of this social licence takes place to some extent in the countries of the distant oilfields, but to a far greater degree in the cities of the global North, such as London, one of the companies’ key centres of operation. Here, Shell and BP have between them sponsored almost all of London’s most prestigious museums and cultural institutions over the course of the last decade.
A decade ago, tobacco companies were seen as respectable partners for public institutions to gain support from – the current BP Portrait Award at the National Portrait Gallery was previously sponsored by Imperial Tobacco. Now it is socially unacceptable for tobacco to play this public role, and it is our hope that oil and gas will soon be seen in the same light, as the public comes to recognise that the sponsorship programmes of BP and Shell are means by which attention is distracted from their impacts on human rights, the environment and the global climate.
the coast of Louisiana. Deepwater Horizon oil drilling platform. Tuesday 20 April 2010
In order for an oil company to produce oil and transport it to the global market, it needs either the support or the silence of the population in those areas of the world in which this takes place. Where the necessary support - or ‘social licence to operate’ - is not forthcoming, the ability of that company to carry out its business becomes seriously impaired.
The financial support that the companies provide strengthens their position as a part of Britain’s cultural and social elite, and creates a perception of making a positive contribution to our society. This in turn not only provides them with an important profile with ordinary fuel customers, but far more importantly strengthens connections between the corporations and vital bodies such as government departments. The support of institutions such as the Foreign & Commonwealth Office, or the Department of International Development, are far more important to the global operations of Shell and BP than that of the populations near the oilfields or on the pipeline routes. These relationships are made at the gala openings and concerts, where the audiences made up of civil servants and decision makers rub shoulders with the oil executives.
40 miles off
South Bank
of the Thames, London. Tate Modern.
Tuesday 20 April
" Art exists to change the status quo. Sometimes you have to take a moral standpoint to provide that space for questions to be raised, even though others argue that you shouldn't..."
Thousands of visitors pass through the converted power station, taking in an internationally-acclaimed collection of contemporary art. Exhibitions include a retrospective of seminal Abstract Expressionist Arshile Gorky, and the Dutch artist Theo van Doesburg. One of the main sponsors of the Tate is BP. The exact nature of this sponsorship is unknown as the Tate refuses to disclose the figure despite numerous Freedom of Information requests.
Nicholas Serota, director of the Tate, speaking in the Guardian, February 2010
10th Anniversary
celebrations of Tate Modern South Bank of the Thames, London. Saturday 15 May
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PLATFORM works across disciplines for social and ecological justice. It combines the transformatory power of art with the tangible goals of campaigning, the rigour of in-depth research with the vision to promote alternative futures. www.platformlondon.org info@platformlondon.org
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For more comments from people in the art world similar to those in this briefing, see www.platformlondon.org/artoilmoney
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For more information on issues around art and oil sponsorship, visit: www.artnotoil.org.uk email: liberatetate@gmail.com or follow @liberatetate on twitter.
The Deepwater Horizon spill has been gushing its toxic tide for four weeks; it has become one of the worst oil spills in history. Art/activists Liberate Tate, enter the museum’s vast Turbine Hall and release dozens of large black helium balloons with dead fish and oil-slicked model birds tied to them by long black ribbons. The balloons float to the top of the high ceiling, blackened feathers fall through the air, part of the celebrations are shut down. Later, the balloons are shot down by Tate staff armed with air rifles.
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ropean e arts of our Eu ic support for th bl ited States. pu Un le e ab th vi an en e th Despite th tter position be h uc m a be what the in d e ul e ar here is it co re tu counterparts, w fu 's le ib ss po In the early 1990 g about the t 20 or so years. What is worryin las ns e th tio sa er ni ov ga h throug n arts or ng debates whe States have gone ere huge agonisi w g a time when e rin er th du , ris es or at M St in the t from Philip or pp su E) was us ro of ne equivalent AC were offered ge for the Arts (the t en m w do En l the Nationa under attack. ? Aside from the ster in the States sa di a e ts ar e th ance of n big holes in th l crisis has blow Why is private fin cia an has fin ch e hi th w , s ns ce plicatio al giving sour du vi di in major ethical im d an e us at tions. Serio ly, corporate, priv wn arts organisa do d majority of the se y to clo en ev think we are craz cted and States, they will significantly impa e th in l na sio es ts prof if you ask any ar nthropic models. ila ph r ei th t adop
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could is a debate that p hi rs so ing BP’s on sp ga l oi stions re rd ue Q y. Public art andvo od yb er internally lve ev and should inwith the Tate are being raised ing om involvement on the issue could be forthc on and a decisi August. sometime in matter known, ur views on the yo e ak m to e If you would lik why not email te) .uk (Head of Ta rg .o te ta te Britain) a@ Ta ot of nicholas.ser tis@tate.org.uk (Head urator at Tate Britain) (Chief C Tate) penelope.cur @tate.org.uk Development – of d ea (H k .u judith.nesbitt s@tate.org rebecca.william