In the last two days Communications Minister Malcolm Turnbull, and former Chairman of the Sydney Biennale and Transfield Executive Director, Luca Belgiorno-Nettis, have provided the Australian public with an unusually revealing insight into what the ruling class expect from the artists they support.
Belgiorno-Nettis is an investor in the Transfield company recently awarded a $1.2 billion contract to provide “Garrison and Welfare” services to the Australian government’s detention centres on Manus Island and Nauru, commented on earlier by No Place for Sheep here. It seems that wherever one goes, from the St James Ethic’s Centre, to the Black Dog Institute, to the Business Council of Australia, to the New Democracy Foundation (see below) to the arts, one encounters a director of Transfield.
Ten artists withdrew their work from the Biennale because the event was heavily sponsored by Transfield, and the ten considered themselves to be benefiting from profits gained from the exploitation of human misery. Transfield was a co-founder of the Biennale some 41 years ago, but has only become problematic since it was awarded the government contracts for Nauru, and most recently Manus.
Turnbull described the artists as being “viciously ungrateful” to their benefactor.
On Radio National’s Books and Arts program today, Belgiorno-Nettis expressed his revulsion at the allegedly personal nature of the attacks on him and his family by “radical protestors” against the Manus and Nauru prisons, and when asked by presenter Michael Cathcart what he thought about the boycotting artists returning to the Biennale now Transfield was no longer involved, stated that as far as he was concerned they weren’t welcome back. They had, he insisted, used “guerilla tactics” against him.
The Transfield Executive Director’s explanation of his position was disappointingly self-indulgent. His outrage at being personally “insulted” is more than a trifle ironic, given the depths of misery and torment suffered by those legally seeking refuge from persecution, who are illegally imprisoned in the tropical hell holes (“garrisons”) overseen by Transfield.
Here is the letter written by the artists explaining their position. I can find nothing insulting to Belgiorno-Nettis or his family, and given Transfield’s withdrawal I see no reason at all why the artists should not now participate.
Neither can I find anything “viciously ungrateful” in the text of this letter.
Turnbull and Belgiorno-Nettis are as one in their contemptuous attitude to artists who disagree with both government policies, and the corporate support of those policies for profit.
Whether you agree or disagree with the stand taken by the ten artists, what the saga has revealed is the attitude of the ruling class to artists it supports. Both the Turnbull & Belgiorno-Nettis outrage at the audacity of artists supported by the establishment who defy that establishment is extraordinary, and the threat, loyally promoted by their middle class emulators, that now corporate sponsorship will become dangerously problematic because of this rebellion, is utterly predictable.
That the establishment’s reaction to robust critique of its policies and actions is outrage at the manner in which the challenge was mounted, and outrage that artists should have the nerve to bite the hand that feeds them, says everything about the lack of spine and imagination in the ruling class. The expectation that artists ought to be “grateful” to the degree that they keep their mouths shut when faced with intolerable and inhuman cruelty shows a complete lack of understanding of what art is about, though I’m certain both Turnbull & Belgiorno-Nettis have art on their walls, and perceive themselves as cultured.
Belgiorno-Nettis is also the founder of The New Democracy Foundation, whose mission is to forge a new path to democracy through a “better system.” Lucy Turnbull, wife of Malcolm, is also a member of this Foundation, along with other recognisable names. The Foundation’s mission statement: The new Democracy Foundation is an independent, non-partisan research organisation aiming to identify improvements to our democratic process. We aim to replace the adversarial with the deliberative, and move out of the “continuous campaign” cycle.
It seems to me that the ten artists were peacefully exercising their democratic right to protest injustice with the most powerful means at their disposal – their work. According to Belgiorno-Nettis’ founder’s message, his New Democracy Foundation supports the right of people to express their opinions, and then for those opinions to be argued, Athenian fashion: The Athenians called their discussion group The Council: 500 men [sic] selected by lot; 50 from each of the 10 tribes. In this way the Council was a mirror of the population at large: a mini-public. No one person, or tribe, could bully any other, because they were all equally represented. The Council’s job was to propose the laws for city, after which another discussion group, called the Assembly, would then meet and vote. Any man [sic] could attend the Assembly and speak and then after all the arguments for and against, a vote would be taken, and that would become the law. They called this system Demokratia – meaning rule of the people.
Of course, trying to avoid dirty money must be an almost impossible task. However, the direct nature of the link between Transfield and the vile conditions in which those legally seeking asylum in this country are held is impossible to ignore. Australian politicians have singled out a group of people who they have determined are not deserving of decent, humane treatment. The group singled out is one whose members are almost entirely fleeing persecution of the most extreme kind. They are not criminals. They have committed no illegal act. They have requested protection from their persecutors. In response, they have been indefinitely detained, attacked, wounded and in one case, murdered, in extremely hostile and isolated conditions.
The company responsible for these “garrisons” and the “welfare” of those imprisoned, is Transfield. Luca Belgiorno-Nettis, as an investor in the company, makes money from the cruel injustice wrought upon asylum seekers by Australian politicians.
I’m hard-pressed to think of a situation more deserving of protest by artists, and anybody else.
No Place For Sheep 
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