Kim Paice writes:
"Art, State, Sabotage"
Kim Paice
In recent years, government has tended to see an ever-narrowing line between art and threats to the state.
When, on February 8th, Austrian artist Robert Jelinek — founder of the artists collective Sabotage — flew from Vienna to Cincinnati via Amsterdam and Detroit, he was carrying art and literature for the exhibition "Incorporated: a recent (incomplete) history of infiltrations, actions and propositions utilizing contemporary art" at the Contemporary Arts Center.
Between Detroit and Cincinnati, Homeland Security confiscated 33 passport-works by artist Heimo Zobernig, educational leaflets, and personal items from Jelinek’s belongings. Officials left an incomplete receipt for items in one suitcase.
They later explained seizing the art because it was “produced by an anarchy group called Sabotage which does not believe in international borders.” After a period of what one participant called “civil” negotiation, authorities returned the passports and literature to the Contemporary Arts Center in Cincinnati on March 2. They are on view in Incorporated until May 8th.
CNN and other media outlets quickly compared the seizure to controversy over Robert Mapplethorpe’s exhibition in Cincinnati. Yet, the recent incident has new markings. Seizure of a foreign national’s property amounts to an international incident and fosters cultural isolationism.
While hardly comparable to criminal actions in Abu Ghraib and Guantánamo, this event also occurs on the world stage. It tells us that 15 years since the Mapplethorpe scandal, federal authorities have yet to learn that crusades against pornological and political art generate an audience and demand for such art.