Shell, the global oil and gas multinational, has announced plans to end its relationship with the London-based art complex Southbank Centre and the British Film Institute (BFI). The move comes in the wake of mounting pressure for cultural institutions to divest from oil sponsorship in the midst of the climate crisis.
Shell previously financed annual corporate memberships at the Southbank Centre and BFI, together worth around £20,000 (~$25,874), according to the Guardian. As of this year, it will no longer renew its contracts with the institutions.
“From its HQ on the South Bank, Shell has pursued a business plan that has trampled indigenous people’s rights and pushed the world deeper into climate crisis,” Chris Garrard of the nonprofit organization Culture Unstained told the Guardian. “Meanwhile, it has sponsored its cultural neighbors as part of a cynical attempt to deflect attention from the damage it was causing. But the show is over for Shell.”
The organized campaigns, protests, and interventions staged by Culture Unstained and other anti-oil groups, such as the theatrical activists BP or not BP?, have been yielding steady results over the past few years. Two Dutch institutions, the Van Gogh Museum in Amsterdam and the Mauritshuis in the Hague, put an end to their years-long relationship with Shell in 2018. That same year, Culture Unstained uncovered documents showing Shell’s decision to withdraw from the National Gallery in London.
While the most recent divestment was initiated by Shell, this is not the first time Southbank Centre has eliminated a Shell-backed initiative. In 2014, anti-oil campaigners celebrated Southbank Centre’s decision to end its Shell Classic International, a concert series sponsored by the fossil fuel titan. At the time, the music activism group Shell Out Sounds released a statement that read, “While Shell is still a Corporate Supporter of the SBC, we would like to give the SBC the benefit of the doubt and think of this as the beginning of a new era of conscious culture.”
The art world has severed numerous ties with both corporations and individuals accused of contributing to the climate crisis in the past years. Last month, Hyperallergic reported that conservative mega-donor Rebekah Mercer, known for supporting several climate change denial organizations, would no longer serve on the board of the American Museum of Natural History. In 2019, the National Galleries of Scotland ceased its BP Portrait Award, financed by oil company British Petroleum (BP); the Tate, the Royal Shakespeare Company, and the National Theatre have also ended their sponsorship deals with BP.
The last few years at the museum have not been without controversy, and Decatur will inherit a record of workforce struggles.
Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.
This adventurous theater festival returns in person with 36 artists and companies from nine countries performing at different venues across the city.
Helen Molesworth’s true-crime sensation marginalizes the artist’s life and legacy.
Members of NatSoc Florida performed the Nazi salute and chanted “Heil Hitler” at a local LGBTQ+ charity’s fundraiser in Lakeland.
Learn more about the New York-based, globally linked program and its upcoming discussions on art and society in the time of AI and data governance.
Nothing on the canvas wholly captures what it means to belong on land or at sea.
Dyson is part of a growing number of contemporary artists to imbue geometric abstraction with a sociopolitical dimension.
The program, along with recently announced visiting critics, will provide long term funding, promote access, and safeguard experimentation for future students of color.
In an exhibition that consists of mostly small-scale black and white works on paper, viewer engagement almost magically awakens the sleepy room.
Maria Maea’s All in Time continues an intergenerational conversation and exemplifies the artist’s process, not simply the finished pieces.
Koestler Arts works with incarcerated people and patients in secure mental health units, aiming to improve their lives through creativity.
Local artists and culture workers are wondering how the arena will impact the arts landscape, including museums and alternative spaces.