Installation criticising Israel's occupation and Veolia causes stir

April 3, 2009
Issue 

Visual artist Van Thanh Rudd created a stir in Melbourne with his installation "Economy of Movement — A Piece of Palestine". Rudd was invited to exhibit at an art space called the Platform, in the group show Resisting Subversion of Subversive Resistance. The Platform is situated directly beneath Melbourne's Flinders Street train station.

Rudd, 35 years old, has won several awards and his work has been shown in Australia since 1993. In 2004, he established an arts movement called the Carriers Project, which involves carrying artwork on foot through public and private spaces of major cities to expose challenging artwork to mass audiences. Although Rudd has declined to talk to the media about his latest artwork, he commented on his installation to the Electronic Intifada.

When asked what inspired him to create "Economy of Movement — A Piece of Palestine", Rudd replied that, "As Melbourne's city rail network is operated by Connex [a subsidiary of the French company Veolia], I thought it would be a great opportunity to make artwork that would clearly outline Veolia's illegal operations on occupied Palestinian territory".

He added, "I am a member of the Palestine Solidarity Campaign, and have taken part in many street protests against Israel's occupation of Palestine over the last few years. It is not very often that a public space is available to political art, so I really embraced this opportunity. I was very careful and strategic about how I would make this piece of art."

Rudd decided to make a museum-style piece that displayed a rock from occupied East Jerusalem upon a glass plinth. A panel hanging behind it reads: "The stone exhibited is from East Jerusalem (Occupied Palestinian Territory). It was thrown at an Israeli Defense Force (IDF) tank by a Palestinian youth."

Another panel to the right reads: "IDF tanks are protecting French companies Veolia (Connex) and Alstom as they conduct illegal [under international law] operations on Occupied Palestinian Territory."

Regarding the symbolism and imagery of his work, Rudd explained, "I wanted to show through this symbolism of the stone that there is resistance to oppression felt by many Palestinians and the means they have to do this is very limited. I also wanted to show generally, how poor Palestinian people are due to economic blockades imposed by the state of Israel.

"It was also very important to me to use the colours blue and white. The information panels ... are dominated by the colour blue and the text is written in white. I wanted the blue to appear like sky and freedom to humanity, but when white is added it symbolizes the Israeli state flag and oppression. The colours also happen to resemble Connex Melbourne's advertising material."

Immediately after Rudd's artwork was displayed at the Platform, there were complaints by Connex, the public, and a Jewish group. The artwork was covered up the following day.

Connex threatened to sue the Platform, not for the actual content of the artwork, but because the artist supposedly used "their" blue and white colours, and the typeface used in the company's promotional material.

However, after receiving legal advice, the Platform decided to unveil the art again at the official launch of the exhibition on March 6. The City of Melbourne's protocol on artworks panel saw no problem with reinstalling the art, because the work was consistent with the principle of freedom of speech.

Rudd's next major group exhibition is called NAM BANG! and will be shown at the Casula Powerhouse in Sydney from April 4 to June 21. He will exhibit along with artists from other countries, including the US, France and Vietnam.

Rudd explained that, "The exhibition is meant to be about the perspectives of the Vietnam/US war from the second generation — I am half Vietnamese. In this, I will be exhibiting another piece on the Israel occupation, questioning who the terrorists really are and the role the US and the West have in supporting suppression of real democracy."

The controversy surrounding Rudd's exhibited art has been a boost to the Australian anti-Veolia campaign. It has garnered additional attention because Rudd is a nephew of Prime Minister Kevin Rudd.

In the coming months, Palestine solidarity organisations will demand that state governments in Australia "dump their contracts" with Connex and Veolia, because of the company's involvement in the illegal light-rail project in Israeli-occupied East Jerusalem.

As for Veolia, the Age reported that "Connex maintains the East Jerusalem project is legal."

However, a growing international campaign is challenging this assertion through lawsuits, divestment and now art.

[Adri Nieuwhof is a consultant and human rights advocate based in Switzerland. Abridged from the Electronic Intifada <http//electronicintafada.net>.]

You need Green Left, and we need you!

Green Left is funded by contributions from readers and supporters. Help us reach our funding target.

Make a One-off Donation or choose from one of our Monthly Donation options.

Become a supporter to get the digital edition for $5 per month or the print edition for $10 per month. One-time payment options are available.

You can also call 1800 634 206 to make a donation or to become a supporter. Thank you.