14 Oct 2020 | News
[vc_row][vc_column][vc_single_image image=”115253″ img_size=”full” add_caption=”yes”][vc_column_text]“I was expecting some reaction,” artist and activist Paolo Cirio told Index on Censorship referring to his installation, Capture, which is made up of publicly-sourced photographs of police officers during protests in France. “But this reaction is much more than expected.”
The installation was due to open on 15 October at Le Fresnoy, a public institution for contemporary art in the north of France, but it was withdrawn following pressure from France’s Minister of Interior. In a tweet on 2 October, Minister Gérald Darmanin called Cirio’s work an “unbearable pillorying of women and men who risk their lives to protect us” and demanded that the exhibition be “deprogrammed” under threat of legal action.
Cirio did create a separate online platform to crowdsource the names of the police officers as part of his wider campaign against facial recognition, but the photographs in the installation at Le Fresnoy were to appear without names, dates, times or locations. He insists that the exhibition would have posed no risk to any of the police officers’ privacy.
“I have stated many times that I have done it even to protect their privacy and to show that [facial recognition] is a potential danger to them,” Cirio explained. “It’s dangerous for everyone even for the police.”
Cirio had hoped that Capture would highlight the asymmetry of power related to facial recognition by showing how the technology can be used “against” the same authorities that urge its use. “During protests police are always trying to cover their mask more and more, and cover their identification number or anything that can identify them, while they use facial recognition against the protesters,” Cirio explained.
“The reaction from the general public is also much more than I expected,” Cirio said. “It’s actually pretty tense – every day I get up and I receive very nasty or scary messages”. But he has also been receiving some messages of support. “Of course there are all the antifa or more left-wing people in France who consider me a hero in a way.”
Since his installation was removed from the programme, Cirio said that Le Fresnoy have offered to show just one of the videos from Capture, but none of the photos. “Basically they’re saying ‘we can still show your work but only this video’,” Cirio said. “They are trying to hide the entire part of the project about police by not showing it, by not even discussing it, which of course is not something I am going to accept.”
In a statement, Le Fresnoy’s director Alain Fleischer said that they had told Cirio that they “could never support a project [linked] to a digital platform where the public would be encouraged to identify and name policemen [sic]”. He said that the decision to remove Cirio’s exhibition was prompted not necessarily by the pressure from the interior minister but by the risk of legal prosecution arising from their association with his work.
“[T]hey were two different things,” Cirio said referring to Capture and the online platform crowdsourcing the names of police officers, accusing Le Fresnoy of linking them in order to justify their decision to censor the installation. “The truth is that they feel the pressure to show no photos of police officers at all.”
“Anyway, again I think it’s appropriate to say that the censorship is from the government, not from Le Fresnoy. I don’t have bad blood against them,” Cirio said. “I understand their position. Too bad they couldn’t stand up with me a little longer.”
Cirio is now discussing the case with three French lawyers, who agree that his installation does not violate French law. “They’re actually suggesting that I file a complaint against the interior minister for censorship,” he said.
“It’s very shocking that this is happening in France. Anyone would think that France is the cultural capital of the world and it’s where all the artists are and there’s total freedom of speech and instead it’s not really the case anymore I would say,” Cirio said.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
23 Jul 2020
Imagine art after, an Index programme involving linking artists from refugee and migrant communities in the UK to artists from their country of origin, exhibits at Tate Britain.
Former BBC current affairs producer Jo Glanville becomes editor of Index.
26 Oct 2017 | Events
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Private view, charity sale
When: Tuesday 21 November 6-8pm
Where: Westminster Reference Library, 35 St Martin’s Street, London WC2H 7HP
Tickets: Free. Registration required via [email protected]
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Exhibition
When: 21 November to 7 December, Mon – Fri 10am to 8pm, Sat 10am to 5pm, Sun Closed
Where: Westminster Reference Library, 35 St Martin’s Street, London WC2H 7HP
Tickets: Free.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]
Workshop
With Banx Cartoons and The Surreal McCoy
When: Saturday 25 November 2-4pm
Where: Westminster Reference Library, 35 St Martin’s Street, London WC2H 7HP
Tickets: Free. Registration required via Eventbrite.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]
Cartoons and censorship
A discussion with cartoonist Andy Davey, Jodie Ginsberg of Index on Censorship, Guardian and Index on Censorship magazine cartoonist Martin Rowson and via video link: Malaysian cartoonist Zunar and Robert Russell, Cartoonists Rights Network International.
When: Tuesday 28 November 6-8pm
Where: Westminster Reference Library, 35 St Martin’s Street, London WC2H 7HP
Tickets: Free. Registration required via Eventbrite.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_column_text]Join the UK’s Professional Cartoonists’ Organisation, Cartoonists’ Rights Network International and Index on Censorship – to try to bring the plight of persecuted cartoonists to the fore.
Repressive governments the world over fear cartoonists. Cartoonists get straight to the point.
Images remain in the public eye longer than do acres of type. While we in the UK and Europe generally accept often excoriating depictions of our leaders, this is definitely not the case in the rest of the world. Here, politicians actually applaud critical and often insulting drawings of themselves, sometimes even assembling personal collections thereof. Not so elsewhere. In at least one verified instance, a foreign cartoonist was visited by government agents and had his hands broken. Doubtless there are others.
Repressive governments, fearful of the truth, regularly imprison cartoonists.
This exhibition seeks to do that. Whilst it is not easy to highlight a repressive government’s treatment of any given cartoonist because that government will often react by threatening the cartoonist’s family and friends, any and all proceeds from this exhibition will go towards trying to alleviate the conditions many cartoonists the world over have to live with.
More information[/vc_column_text][/vc_column][/vc_row]
20 Sep 2017 | Greece, News
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The European Parliament is accused of censoring a series of political cartoons from Greece which were due to appear in an upcoming exhibition later this month.
The exhibition, organised by an MEP from Greece and an MEP from France, aimed to present political and humorous sketches created by cartoonists from the two countries and published in the press on the occasion of the 60th Anniversary of the Rome Treaty. However, Catherine Bearder, a British Liberal Democrat MEP from southeast England, who is responsible for the cultural and artistic events sponsored by other members, decided to remove 12 out of 28 cartoons, all created by Greek cartoonists, claiming that the artwork contained “controversial content”.
Index on Censorship approached Bearder for comment but at the time of writing she had not replied.
According to the regulation of the European Parliament, all cultural events and exhibitions have to be checked so that “under no circumstances be offensive or of an inflammatory nature or contradictory to the values” of the EU.
The Greek MEP, Stelios Kouloglou denounced the “unprecedented” form of censorship by the European Parliament. “The content of the censored cartoons did not insult the values of the European Union in any way,” Kouloglou said in a press conference in Strasbourg on Tuesday, 12 September.
The 12 cartoons are critical of the EU and focus mainly on the way the EU – and especially Germany – dealt with the Greek crisis. One of the censored cartoons features the starting line for a race, with Germany in a Porsche sports car, Italy, Spain and France in old cars and Greece in a chariot being pulled by a pensioner.
Breader presented the upcoming German election as another reason to discard the 12 cartoons, although the exhibition is scheduled to take place after the election.
“The right for artistic creation and freedom of expression are part of the European Union’s fundamental values. This arbitrary decision violates them” Kouloglou remarked in a letter of complaint addressed to the president of the European Parliament, Antonio Tajani.
The Journalists’ Union of the Athens Daily Newspapers also denounced the incident of censorship asking for the intervention of the European and International Federation of Journalists.
Credit: Stelios Kouloglou, MEP[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1505898132982-6897be5b-fada-1″ taxonomies=”5768, 1888″][/vc_column][/vc_row]
