In Extinction Rebellion’s most recent exhibition at the NGV, two activists glued their hands to the bulletproof acrylic covering over a Picasso painting, Massacre in Korea. (See the ABC News report and read Dr Catherine Strong, a spokesperson for Extinction Rebellion on the reasons for the protest.) It is part of a tradition of protests at the gallery that goes back to Ivan Durrant’s Slaughtered cow happening in 1975.
Hijacking a state-owned platform to make an emergency broadcast about the climate catastrophe seems fair. Especially given the number of times the state government has used the NGV to promote its message. Part of the function of a state art gallery is to portray the state as cultured and reasonable even when they are cruel and destructive.
This is not the first time that Extinction Rebellion has used the NGV. In 2019 Extinction Rebellion held a Last Supper, a dinner party as sea levels rise with a table floating in the gallery’s moat.
Here is a timeline of some of the other protests at the NGV this century. (Please let me know of other protests at the NGV that I’ve missed in this short time line.)
In 2005 a young artist, Lucas Maddock, navigated a boat made of salvaged scraps in the NGV’s moat to protest the Australian government’s treatment of refugees for a video work titled Refugee. The video was exhibited in an exhibition of VCA students’ work at the Margaret Lawrence Gallery. (See Art Right Now)
In 2012 street artist CDH’s Trojan Petition was dumped in the forecourt and taken inside the gallery for display. (See my post)
In 2017 Picasso’s Weeping Woman was covered with a black veil in a protest against Wilson Security. (See ABC News) Also, in 2017, red dye was added to the water wall and moat in the campaign by artists again in protest against the NGV employing Wilson Security who “violently enforcing the imprisonment of refugees and people seeking asylum in Australia’s offshore immigration detention centres”.
No art was damaged in any of these protests, only the pride of the NGVs security.