Do Duckrabbit’s ads for Oxfam match their rhetoric?

If you have followed Duckrabbit over the last couple of years you will no doubt know they produce an excellent blog and exceptional multi-media work. However, their recent work for MSF and Oxfam sits some what uncomfortably with the position they often seem to support. Advocates for the voice of those in the developing world to be at the forefront of audio-visual communications, these voices are conspicuously absent from their most recent work. In both the pieces for MSF and Oxfam we predominantly hear from white Westerners who can be described to differing degrees as outsiders. All others are passive receivers of their largesse. We hear very little from those actually from the countries where these problems exist, let alone those who suffer. The claim that the work Duckrabbit did for Oxfam is unique because it is unscripted seems to ignore whose voice is included and whose is absent.

Now, to be fair, both sets of ads are aimed at raising funds in the UK. They are aimed at a UK audience with a specific objective in mind – that they motivate people to give money. The question is – does this mean the voices of the rights holders should be absent? Or more to the point – in order to better understand the problems and balance the relationships between the developed and developing world should we not have voices from both sides represented? I feel uneasy writing this as I admire the folks at Duckrabbit and consider them a progressive force in this field. But feel the need to ask these questions given the work they have produced recently. I welcome their response and hope it contributes to the healthy debate they themselves have fostered so well through their blog.

UPDATE: You can read an initial response from Peter at Duckrabbit here.

‘Unwatchable’ – controversial, yes. But effective?

This video is beginning to kick up a storm due to its graphic content, including a rape scene and graphic violence. A hot debate has been sparked on Jonathan Glennie’s blog on the Guardian website.

So, what is the fuss about? Well, the video re-enacts a true story from the conflict in the DRC, but sets it in rural England. It uses a concept I have been thinking about for a while – taking a human rights violation we accept, or at least expect, from one part of the world and placing it in another that we don’t. The idea being to re-humanise populations that we have become accustomed to seeing brutalised in conflicts and by the state. The problem is, that now I have seen it done I realise it doesn’t work, at least in this example.

In this particular instance what we end up with is a cinematic piece that actually feels more like a work of fiction than if it had taken the real location and people as a starting point. Although brutal, the film is no more shocking than a host of high and low brow cinema, like ‘Irreversible’ by Gaspar Noe (which is actually far more shocking). The melodramatic sound track only goes to reinforce this, as does the way it is shot and the editing. Will the controversy produce more traffic? Probably. Will more of those result in action taken? Maybe. And will those people be the better informed and committed to taking part in long term change. Unlikely.

The thing is that Masika’s story, which the film seems to be based on, is far more moving and horrifying. So much so that I am not sure why they didn’t choose to focus on this?

Some comments on Glennie’s blog make the point that the directness of the link made between rape / conflict / minerals / mobile phones is over simplified. This is certainly true. And although I see this as a failing of the piece – most people will see through this and demand to be treated with more intelligence – I think highlighting the economic factors in such conflicts, linking them to our lives, and asking us to take action has a well tested heritage. But others have just done it better, like the work of Ed Kashi on oil extraction in the Niger Delta.

The petition text is in two parts – the first about EU supply chain standards, which is pretty straight forward. The second part is rather vague though;

‘We further urge you to make clear that the E.U. will take swift and severe action if any party breaks the peace deal or instigates mass violence.’

This may be clarified on another part of the website but coming straight from the film I am not sure who would break what peace deal and exactly what ‘severe’ action I expect the EU to take?

It is also probably worth noting that there are some people still alive in Europe who will remember such brutality themselves from WWII, not to mention some rather more recently.

Enjoy please poverty: controversy on representation

The controversial film by the Dutch artist Renzo Martens, ‘Episode 3‘Enjoy Poverty’ (2009, 90 min), will be screened at the Tate Modern,  London, on 2nd June at 18.30.

In this documentary-style film, Martens investigates the representation of Congolese poverty. Throughout the film  he mocks the way the Western world exploits poverty in Africa. Essentially, Martens’ concerns are the journalists, photographers and charity workers using the Congolese for their own ends. He travels around the Congo and presents these issues to the Congolese people, telling them how their poverty is a resource that the West exploits to make money and to make themselves feel good.

Renzo Martens explores “the contradictions of humanitarianism, photojournalism, and concerned contemporary art”. He will also exposes, sometimes in a very uneasy way, the relation of power between those who watch and those who are being watched.

The film which asks ‘who owns poverty?’ and examines the ethics and economics surrounding images of post-colonial suffering  is not without contradiction. By the end you will wonder what Martens really wanted to achieve or whether he is not as complicit as the ones he mocks?

Surely, material for discussion.

Following the screening, Martens will be joined in conversation by T.J. Demosand Tamar Garb, both of UCL’s Department of Art History.

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