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Santa’s Con: Protestors Challenge Serpentine Gallery on Unpaid Labor

Our suggested change to the sign at the Serpentine Gallery in London. (original image via Walter Lim's Flickrstream)
Our suggested change to the sign at the Serpentine Gallery in London. (original image via Walter Lim’s Flickrstream)

Over the weekend, an activist group calling itself Future Interns descended upon the Serpentine Gallery in London’s Hyde Park. Their objection, the Guardian reports, was to yet another instance of the art economy’s exploitative labor model: uncompensated, administrative work under the guise of internship. The infraction at hand was a recent and particularly egregious “volunteer” listing from Serpentine, for which the not-for-profit gallery was quick to apologize to the Santa-attired activists:

“The points you make are valid and we have listened to your protest. We take our responsibility as employers very seriously, and this advertisement is not in line with our current terms on volunteer placements.”

The Guardian‘s story quotes Future Interns member Woody Morris, one of the protesting Santas, on the serendipitous timing of their Serpentine affront matching “a thing called SantaCon [it occurs simultaneously in London and New York], so the park was just full of Santas.” The more the merrier, and ever more so at Serpentine, where Hyperallergic hears that Director Julia Peyton-Jones has been known to have quite an appetite for assistants, with three of them working for her, according to an anonymous source familiar with her office (and seemingly corroborated by this archived “About” page).

Future Interns were joined in the cause by the Precarious Workers Brigade, who sent a missive expressing concern regarding the same “volunteer” job posting to the Serpentine. The ensuing exchange culminated in the apology noted above as well as an HR assistant at the institution claiming that “I started at the organization as a volunteer and I am now employed here — following my application for a role. We currently have many employees that started that way. I am glad to answer any other question you might have.”

Is shaming the Serpentine into an apology an end in itself? Anything that draws attention to the fiscal exploitation of arts institution aspirants must be so. Just ask Hans Ulrich Obrist, Peyton-Jones’s colleague as co-director and tireless champion for those born after 1989 — at least as art-world fetish objects, if not as subjects of fair economic exchange. And so the precarious lilt between the internship-as-gateway and internship-as-career-mirage continues.

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