“On 14 February 2015 an Islamist gunman attacked a café in Copenhagen where a debate on free speech was being held. Speaking at the meeting was Swedish artist Lars Vilks, who received death threats after he drew cartoons in 2007 of the Prophet Muhammad that were considered insulting by some Muslims (and some non-Muslims). Vilks was unhurt, but a documentary filmmaker, Finn Nørgaard, was killed. A month earlier, Islamists murdered cartoonists at Charlie Hebdo in Paris. On one level, the Danish attack was prosaically ineffective. On another level, it marks a new standard, where anyone associating with ‘insulters of the prophet’ can expect to be a target for extremists.
“This essay will not discuss the cartoons of Vilks and Charlie Hebdo. Instead it will evaluate what recent assaults on controversial art and satirical journalism – and the assaults yet to come – mean for the arts in the West. It is also worth considering how Islamists – some of them born and raised in wholly (or largely) secular European countries – have not rejected Western values, but have absorbed aspects of Western secular culture. This essay cannot be a full account. Though arguments and positions here are simplified, they are not – hopefully – misrepresented…”
Read the short form of the essay on SPIKED, 14 August 2015 here: http://www.spiked-online.com/newsite/article/islamism-and-identity-politics-a-destructive-mix/17290#.Vd-U2fldU5k
Read the long form of the essay on THE JACKDAW, originally published in May 2015: http://www.thejackdaw.co.uk/?p=1632
“Another example of censorship through petition power has come to light this month. An exhibition by Actionist Austrian artist Hermann Nitsch was scheduled to take place in February at Fundación Jumex, Ecatepec de Morelos, on the outskirts of Mexico City. But on 31 January it was cancelled. This followed an online petition against the Nitsch display, though, in its announcement, Jumex does not link the petition to the cancellation. The Nitsch exhibition has been replaced by a group exhibition of works by other artists in the Jumex collection – a mix of contemporary and modern art, including works by the usual names familiar from the network of state-supported museums, private foundations and international galleries, including Cy Twombly, Martin Creed and Lawrence Wiener.
Seventy-six-year-old Nitsch is considered a serious artist, with works in many museum collections worldwide, including the Tate Gallery, MoMA and Centre Pompidou, and who has exhibited frequently over a 50-year career. He came to prominence as part of the Viennese Actionist School that emerged in the 1960s, which is characterised by performances involving violence and humiliation. He is most notorious for his theatrical presentations which combine live action, nudity, bloodletting, blood drinking and degradation as spectacle…”
Read the full article on SPIKED, 13 February 2015 here:
“In a recent article about the controversial artist Allen Jones in the Spectator, the following disclosure was made: ‘Revealingly, a recent Jones retrospective organised by a German museum was turned down by the woman director of one of the main public galleries in London with the words “we don’t want any trouble”.’
“It seems even the prospect of criticism is enough to ward off directors of public venues from displaying politically difficult art.
“This is not the first time. In 2006, Iwona Blazwick, the director of the Whitechapel Gallery in London, was accused of pre-emptively censoring an exhibition of Hans Bellmer’s sexually explicit art. Some works ‘deemed potentially offensive’ to the local Muslim population were withdrawn before the exhibition opened. No complaint from a member of the public had been received by the venue before the decision was made…”
Read the full article on SPIKED, 11 November 2014 here: