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Trojan Horse Demonstration at The British Museum, London by Environmental Humanities Hub

BP or not BP?, est. 2012

Trojan Horse Demonstration at The British Museum, London, 2020

BP or not BP? is a group of actor-activists who protest the British multinational oil and gas company BP. On the morning of February 7th, 2020, the activists snuck a 13-foot tall wooden horse, emblazoned with the logo of BP and accompanied by Greek warriors, into the courtyard entrance of the British Museum. The horse marked the beginning of a 3-day long campaign against BP’s sponsorship of the arts. With smoke flowing from the horse’s nostrils, glowing red eyes, and construction from reclaimed timber and discarded rope, the huge sculpture was a direct response to the museum’s BP-sponsored ‘Troy’ exhibition. BP or not BP? hopes that its demonstration puts an end to the oil company’s monetary involvement with the arts. As the group’s website states, “Every one of these victories chips away at the power of the fossil fuel industry, reducing its public and political influence and strengthening the hand of everyone around the world who’s pushing for cleaner alternatives and a safer climate” (BP or not BP?, 2020). Label by Isabel Williams

Exposure: Portrait Of A Corporate Crime by Environmental Humanities Hub

Raghu Rai, Indian, born 1942

Exposure: Portrait Of A Corporate Crime, 2002 

In this photograph by Raghu Rai, protesters are gathered outside the walls of the abandoned United Carbide factory. These protests are demanding that medical research be established to study toxic contamination and human health in the area. With more medical research, people who have been negatively affected by the toxic gas released during the Bhopal disaster can hopefully be treated. They are gathered near The Statue of Mother & Child created through a collaboration between Ruth Waterman and Bhopal survivors. The sign with the web on it discusses a recent study performed by the Indian Council of Medical Research. The council studied the results of children born to women and daughters that were exposed to methyl isocyanate, but later refused to release the results of this study. Through this picture Rai captured the battle people are still fighting to achieve environmental justice for those affected in Bhopal. Label by Olivia Falb

Street Art Globalization—How Street Art Became a Global Phenomenon by Environmental Humanities Hub

M. Felix, United Kingdom

Street Art Globalization—How Street Art Became a Global Phenomenon, 2015

This graphic poster is featured to exemplify how street art has served as a means of political and social expression around the world. This particular poster is ominous in character; it is meant to concisely convey its message in that there are few, if any other dimensions of the poster that might distract from the three central objects of the piece. The contrast between Mickey Mouse and Ronald McDonald’s smiling faces with the screaming child is dysphoric. This calls attention to the way that seemingly innocent societal structures and franchises can be damaging. Some of the two most well-known figures in the world that are American grown, detaining the child in the middle effectively portrays how American imperialism and cultural influence benefits from the degradation, harm, and exploitation of others. Label by Jordan Stofko

Azougue 80 by Environmental Humanities Hub

Denilson Baniwa, Baniwan, born 1984

Azougue 80, 2019

Azougue 80 is a short video piece of art by Denilson Baniwa, who is an indigenous artist from the village of Darí (in Rio-Negro). His work centers around the idea that art is an important form of expression and communication of political protests and environmental justice work. In this work, he sits at a table with artificial fishing lures and a glass of mercury (where the title “azougue 80” comes from), and he begins eating and spitting them out. In the background, there is a recording of Jair Bolsonaro discussing the benefits of gold mining. The disturbing piece is referencing the contamination that has occurred in indigenous areas due to Bolsonaro’s decisions regarding mining in the Amazon area, and it demonstrates the health hazards and life-altering impacts these destructive actions cause for native peoples. Label by Maeve Marsh