With environmental issues top of mind at the United Nation's COP15 biodiversity conference in Montreal this week, galleries and museums across the country remain vigilant about the potential for activists to target famous artworks to draw attention to the climate crisis.
The National Gallery of Canada in Ottawa is watching developments and asking visitors not to bring large bags and backpacks into the gallery, says spokesperson Josée-Britanie Mallet.
"The gallery has done a full risk assessment and continues to monitor the events very closely," she says. "We are in contact with other galleries and museums around the world on potential threats and risk-mitigation strategies."
The first Canadian protest occurred last month at the Vancouver Art Gallery when two women poured maple syrup on a painting by Emily Carr, prompting galleries elsewhere in Canada to go on higher alert.
Around the world, activist groups have sought publicity for environmental causes by using a range of foods to deface famous paintings, including tomato soup on Vincent Van Gogh's Sunflowers in London, mashed potatoes on a Claude Monet painting in Germany, and an oily black substance on Gustav Klimt's Death and Life in Vienna.
Although the actions were undertaken by different groups with varying agendas, they are connected by their performative nature, and by the fact that, in one way or another, each protest calls for measures to reduce dependence on fossil fuels.
The climate activists in Vancouver who took action against Carr’s Stumps and Sky belong to Stop Fracking Around, an environmental group calling for an immediate halt to the Coastal GasLink pipeline expansion in B.C.
The gallery, which condemned the action, says the painting sustained no permanent damage. Police have not announced any charges.
Prior to COP15, which is working on an international plan to promote biodiversity and conservation, the International Council of Museums, a global organization with formal ties to UNESCO, raised concerns about the potential harm climate activists could cause to museum collections.
The council called attention to the work of museum professionals and volunteers "who strive to protect and promote these valuable items of heritage for the enjoyment of the public."
The Association of Art Museum Directors, which includes many important art institutions in the United States and Canada, has also said attacks on art cannot be justified.
"Art crosses boundaries of time and place to underscore the creativity that people everywhere have expressed, and they represent our shared humanity," it said. "Attacking art for any purpose undermines those common bonds. Such protests are misdirected, and the ends do not justify the means."
Among the measures being tried by Canadian museums – and, naturally, they are reluctant to reveal many details – are increased scrutiny of visitors, security cameras and requirements for visitors to leave bags and purses at the front desk.
In Edmonton, the Art Gallery of Alberta's visitors have been "very understanding," says spokesperson Alice Leung.
"Aside from having attendants at each of our galleries, security cameras and staff, we have implemented the no-bag policy," she says.
Victoria's Royal British Columbia Museum has also developed plans to prevent activist actions on its premises.
"We do have protocols for such an incident, and we have raised our awareness and vigilance in light of the potential of increasing threats of this type," says Bill Chimko, a manager responsible for the museum's security.
After the Vancouver incident, the Art Gallery of Greater Victoria was asking visitors to check their bags and purses before entering the exhibition space.
Meanwhile, the Vancouver Art Gallery expressed confidence in its ability to handle further incidents.
"Ensuring the cultural works in our care are protected and kept safe at all times is the gallery's top priority," said spokesperson Lucie Mink. "We will continue to work closely with our security team to assess and establish any new protocols that may be required in the future."
Some museums also point to their role as allies for societal change and their interest in promoting dialogue.
The Art Gallery of Alberta, for instance, is encouraging open communication between activist groups and the gallery to avoid potential threats to the collection.
"We respect diverse conversations, including climate change and conservation," said Leung. "We are monitoring community sentiments and are happy to have dialogue with various community groups on where we can grow and sustain our mandate."
Likewise, the International Council of Museums expressed its desire “for museums to be seen as allies in facing the common threat of climate change.”
In the same vein, young people who show up at the Vancouver Art Gallery before Jan. 8 can visit the Young Activist Reading Room, set up in conjunction with the exhibition, Uninvited: Canadian Women Artists in the Modern Movement, which explores works by women artists ignored by the men who led the Canadian art establishment. ■
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