The Looting Machine by Tom Burgis (2015)

The looting machine: the alliance between shadow governments and the resource industry that tramples over the people who live where oil and minerals are found.
(The Looting Machine, page 158)

Burgis is a reporter for the Financial Times. In his acknowledgements, he thanks numerous other writers and editors from the FT and, indeed, The Looting Machine, despite its lurid title, has the feel of an extended Financial Times special report, one about corruption all across Africa. There are attempts at ‘colour’ i.e. descriptions of places (luxury hotels in Luanda, open cast mining in Congo) but for the most part it’s facts and figures, names and details of contracts and, volumes of oil or iron and, everywhere, amounts of money money money. Which makes sense as it’s a book-length investigation of how so many African ‘leaders’ have stolen money, scores of billions of dollars, belonging to their countries and peoples.

Many of the ideas – about the nature of Africa’s resource-based, rentier states – are familiar but what distinguishes Burgis’s book is the detailed research he has done to unearth and record the names of (some of the) companies and individuals who are responsible for looting Africa’s wealth. Other books talk about the leader of an African nation ‘and his circle’ or ‘the elite’ in general terms, whereas Burgis names names, identifying the right-hand men of dictators in Congo, Nigeria, Angola, and delves into the shady companies and crooked deals they do. By ‘crooked’ I mean deals whereby corrupt governments sell their mineral resources in such a way as to cream off huge amounts for themselves, at the expense of official government coffers, let alone the needs of their populations, while also conniving in the anti-transparency, profiteering practices of the multinational corporations they’re in bed with.

21st century Africa

What really comes over is that my thinking about Africa is out of date. It’s all very well rehashing the standard old complaints about imperialism and the scramble for Africa and the wicked colonial regimes and the arbitrary borders they imposed which split up tribes and forced completely dissimilar peoples together. Or telling off ‘the West’ and ‘western governments’ for not holding African governments to account or not supporting democracy enough or giving enough aid to help women and girls etc etc, in the style of Michela Wrong or Tim Butcher: the West must do this, that and the other, do more to blah blah…

What comes over is that all those old issues, true as they are, have been superseded by the new world, the 21st century. In the new Africa:

  1. A lot of this is a lost cause; the power structures of crony capitalism, patronage politics and kleptocracy have been in place for over 60 years. It’s going to take more than a UN resolution or ‘the West’ stamping its feet to change the culture of places like Nigeria or Angola at this late stage. They are what they are. So-called elections just replace one faction of the elite with a different faction. The kleptocracy is firmly in place.
  2. China and Russia. The complaints of writers like Butcher and Wrong and hundreds like them, that the West needs to be doing ‘more’, tend to ignore the reality on the ground that Russia, via the notorious Wagner group, have an ever-increasing military presence, especially in the Sahel region of Africa; and much the bigger reality that China is emerging as a decisive economic player all across the continent.

Concepts and categories

Over the past 60 years social scientists, political theorists and economists have gone over the reasons for Africa’s failure again and again. The same basic ideas recur and reappear under different headings or from different perspectives. They build up like a collage of overlapping ideas or terms. Here are some key ones which overlap and mesh together to form the conceptual foundations of Burgis’s critique:

Resource state

A state most of whose revenue comes from one or a handful of raw resources which it sells abroad, generally via multinational corporations. The completely undemocratic closed nature of these kinds of deals makes them a perfect site for kickbacks, bribes, finders’ fees, various ‘taxes’ and numerous other ways for the small elite controlling the state to cream off huge amounts into their personal bank accounts.

Resource economy

An economy heavily slanted towards the production of raw resources (oil, gas, copper, gold) which fails to diversity or invest in other sectors, for example agriculture or manufacturing. Burgis’s chapter about Nigeria is, a little surprisingly, less about the obvious corruption and wealth generated by Nigeria’s huge oil industry/resources, than a sad review of the collapse of its once-thriving textiles industry.

By half way through the book Burgis lets his anger and disgust shine through. He doesn’t refer to the president of Nigeria as the president of Nigeria but as ‘captain of Nigeria’s looting machine’ (p.201).

Shadow economy

A shadow economy includes all economic activities which are hidden from official state or international authorities for monetary, regulatory and institutional reasons. Monetary reasons include avoiding paying taxes. Institutional reasons include hiding from the general population, opposition politicians, the media, regulators, and donor governments, the extent to which you’re running a huge illegal economy.

Shadow state

A state in which the over, official forms of government are not where the real power lies. In a shadow state real power inheres in small personal networks among the elite. Shadow states are characterised by the corrupt distribution of state contracts among this elite, who may also have alliances with powerbrokers in the army or security services.

The personal state

State in which there is no distinction between the president or ruler, and state structures, especially when it comes to budget and bank accounts (p.27). Thus Mobutu of Zaire had revenue from all kinds of ‘state’ contracts, deals, taxes and so on, paid directly into his personal bank accounts and spent it as if it was his money, and so did his cronies. Money which should have been running the state, for example paying the police or maintaining the infrastructure, was instead spent building his palace in the jungle, buying swanky cars and top-end real estate in Paris and the South of France.

Kleptocracy

Where the ruler, his family and cronies, simply steal state money, usually on an epic scale.

In 2002 UN investigators appointed to study the illegal exploitation of Congo’s resources [identified] an ‘elite network’ of Congolese and Zimbabwean officials who were orchestrating the plunder of Congolese minerals under cover of war. ‘This network has transferred ownership of at least $5 billion of assets from the state mining sector to private companies under its control in the last three years with no compensation or benefit for the state or treasury of the Democratic Republic of Congo.’ (p.37)

Result: the disappearing roads, the vanished railway network, hospitals without medicines, abandoned schools and general collapse of Congo, as reported by Tim Butcher in Blood River. Burgis gives the details of a particular series of deals between the Congo state and private companies which, he claims, lost the state $1.36 billion in the 2 years between 2010 and 2012, more money than it received from humanitarian aid over the same period (p.52).

As Burgis gets more angry, he becomes more entertainingly abusive. These countries are not run by a ruling class but by a ‘looting class’ (p.203). Thus Nigerian analyst Clement Nwankwo describes the country’s largest political party, the People’s Democratic Party (PDP) as ‘not a political party. It’s a platform to seize power and then share the resultant booty’ (p.203).

Cryptocracy

A form of government where the real leaders are hidden, or simply unknown. Overlaps with the universe of conspiracy theories where people believe there are hidden global or national conspiracies. In our context all it means is that sometimes the real movers and shakers, powerbrokers and big money men, work behind the scenes, anonymously.

Petrostate

A petrostate or oil state is a country whose economy is heavily dependent on the extraction and export of oil or natural gas. Merely producing oil and gas does not make a country a petrostate; Norway, Canada, and America are major oil producers but also have diversified economies. Petrostates do not have diversified economies, they rely on oil & gas exports for a large part of state revenue, which results in political and economic power becoming concentrated in the hands of an elite, and the spread of unaccountable corruption.

Take Angola where the elite are referred to as the Futungo, a few hundred closely connected families, named after Futungo da Belas, the old presidential palace (p.10). Oil accounts for 98% of Angola’s exports and about 75% of government income, and yet it provides just 1% of employment (p.13).

Or Nigeria where oil was discovered in the Niger delta in 1956 and the enormous wealth it generates for a small elite has ruined the country for 60 years. Oil accounts for 80% of Nigerian government revenue (p.63).

As a political economy took hold that was based on embezzlement and manipulating public office for private gain, government contracts for the upkeep of public goods that support industrialisation – a functioning electricity system among them – were diverted to the cronies of the rulers of the day. The patter was the same [in Nigeria] as in Angola or Congo: the more the non-oil economy withered, the greater the impulse to embezzle, perpetuating the cycle of looting. (p.76)

A petrostate is run by petropolitics which simply equate high office with theft (p.77).

A country where the ruler entrenches power in himself and his clique, using authoritarian security forces against any form of protest, is called a petro-dictatorship. The extreme brutality of the Equatorial Guinea regime is a good example. At one point Burgis coins the phrase petro-nightmare to describe Nigeria’s descent into corruptions and coups.

(Venezuela is another example of a petrostate, along with Ecuador, Indonesia, Iran, Kazakhstan, Mexico, Oman, Qatar, Russia, Saudi Arabia and the United Arab Emirates – but I can only cope with one continent at a time.)

Rentier state

A term coined by political scientists Hazem Beblawi and Giacomo Luciani, denoting countries which have undue reliance on one or several sources of rents such as mineral resources, notably oil and gas.

Rentier states derive most of their income from the extraction, processing and shipping of these resources. Government in a rentier state relies overwhelmingly on income from these industries and not on other sources of income such as general taxation. Therefore rentier states aren’t beholden to their populations but are characterised by autocratic paternalism. The media is commonly highly censored meaning that government and corporate corruption and institutional inefficiencies are easily concealed. From an economist’s point of view, this secrecy encourages inefficiencies and lack of competition, which tend to undermine the welfare, creativity, freedoms, and human development of their peoples. Reliance on one or a handful of commodities for national income means rentier states are vulnerable if commodity prices fall, if global demands falls, or when their resources are depleted.

Dutch disease

In the 1970s Holland discovered oil offshore and began drilling, extracting and refining it with great profits. Everyone was puzzled, then, when the Dutch economy as a whole fell into recession. Analysis showed that when a country comes to rely heavily on one or a handful of raw resources, it has a distorting and damaging effect on the rest of the economy, especially manufacturing and agriculture. Strong oil & gas exports drive up the value of the currency, making imports cheaper and exports more expensive (pages 69 to 70).

Thus Nigeria’s textile industry has been devastated because, when the currency rose on the back of the oil boom, it became cheaper to import cheap Chinese knock-offs of Nigerian fabrics than to make them themselves. In the mid-1980s it had 175 textile mills, now it has 25.

It is safe to say that the destruction of the Nigerian textile industry has blighted millions of lives. (p.65).

Over-investment in these industries at the expense of other sectors, such as manufacturing and agriculture, can hurt economic growth and competitiveness. Unless you make a conscious effort to support and encourage other aspects of the economy, a raw resource boom will tend to damage it. According to a 2003 World Bank report:

Between 1960 and 2000 poor countries that were rich in natural resources grew two to three times more slowly than those that were not. Over that period , of forty-five countries that failed to sustain economic growth, all but six were heavily dependent on oil or mining. (p.157)

Another bad effect is that undiversified reliance on oil and gas industries can cause political and economic crises when the price of oil drops. The entire system comes to a halt.

Resource curse

Research from the 70s, 80s and 90s all confirm the theory that countries with an abundance of natural resources (such as fossil fuels and certain minerals) tend to have less economic growth, less democracy, and worse development outcomes, than countries with fewer natural resources.

Research shows that oil wealth lowers levels of democracy and strengthens autocratic rule because political leaders in oil-rich countries refuse democratic development because they will have more to give up from losing power. Similarly, political leaders of oil-rich countries refuse democratic development because the political elite collects the revenues from the oil export and use the money for cementing its political, economic, and social power by controlling government and its bureaucracy.

No taxation, no democracy

In Western democracies governments regularly have to consult electors because we’re the ones who fund them. In a resource state or petrostate, most of the government’s income comes from licensing deals and rake-offs from refiners. The regime doesn’t get its money from the people so doesn’t care what happens to them or what they think. The rallying cry of the American revolutionaries in 1776 was ‘No taxation without representation’, well the population of a resource state doesn’t pay much tax and it gets no representation. Not relying on the people for its revenue, the government doesn’t care what they think (p.73).

Elections are the last thing the elite wants because it will disrupt the deals and contracts done with Western extractors and multinationals. The Nigerian government gets just 4% of its income from general taxation but about 70% from oil and gas revenues (p.73).

In a resource economy politics degrades down to different factions of the elite fighting for the loot, behaviour which encourages everyone at all levels of society to think and behave the same. High office becomes universally accepted as the opportunity not to serve but to steal (p.74).

Patronage politics

Patronage politics is the use of state resources to reward individuals for their electoral support. It is a type of corruption or favouritism in which a party in power rewards groups, families or ethnicities for their electoral support using illegal gifts or fraudulently awarded appointments or government contracts. There is a further consequence: patronage politics attracts crooks.

Crony capitalism

an economic system in which individuals and businesses with political connections and influence are favoured (as through tax breaks, grants, and other forms of government assistance) in ways seen as suppressing open competition in a free market. an economic system in which family members and friends of government officials and business leaders are given unfair advantages in the form of jobs, loans, etc.

A good example is the Futungo cabal of linked cronies who run Angola under the presidency of José Eduardo dos Santos, president from 1979 to 2017, whose daughter, Isabel dos Santos (born 1973), was Africa’s first woman billionaire and at one time the richest woman in Africa (p.10). The triumph of feminism? Not really. It’s deeply funny that this epitome of crony capitalism and kleptocracy was one of the BBC’s 100 women of 2015, so desperate are organisations like the BBC to fall over themselves to promote women, and especially black women (score double) even if it turns out that they’re world class crooks.

Or take Equatorial Guinea, continuing to enjoy relentless exploitation at the hands of its ruling family, relatives and cronies, led by President Teodoro Obiang Nguema, the longest serving leader in the world, in power ever since 1979 when he overthrew his evil uncle, Francisco Macías Nguema. In Equatorial Guinea, oil accounts for 75% of GDP, 98% of exports and 90% of government revenue. It is a classic petrostate. Burgis enjoys telling us that the dictator’s son, Teodorin Obiang, officially receives only a modest salary for the various ministerial posts he’s held, so it must be from some other source that he has been able to buy a $30 million mansion in Malibu, properties in Cape Town and the Avenue Foch in Paris (the avenue of kleptocrats), a fleet of Ferraris and Rolls Royces, a Gulf jetstream, paintings by Renoir and Matisse, and one of Michael Jackson’s jewel-encrusted gloves – while the majority of the population live in poverty or extreme poverty, with a life expectancy of 51 (p.212).

Terrible leadership

Chinua Achebe  fingered the terrible quality of African leadership as the continent’s key problem, as long ago as 1983, 40 years ago:

The trouble with Nigeria is simply and squarely a failure of leadership. There is nothing basically wrong with the Nigerian character. There is nothing wrong with the Nigerian land or water or air or anything else. The Nigerian problem is the unwillingness or inability of its leaders to rise to the responsibility, to the challenge of personal example which are the hallmarks of true leadership.’ (p.207)

Contractocracy

Government of contractors, by contractors, for contractors.

Law of the roadblock

Burgis appears to have invented this after being stopped and shaken down at countless roadblocks in numerous African countries. When the economy fails, and in particular when the police don’t get paid, they (or armed citizens) set up roadblocks and fleece drivers. Roadblocks demanding baksheesh are a telltale sign of a political system which has abandoned the wellbeing of the broader population (p.59).

China

The last 20 years have witnessed China’s ever-increasing involvement in Africa because African countries have a high concentration of vital raw resources, and China’s economy has grown at an extraordinary rate. Between the early 1990s and 2010 China’s share of world consumption of refined metals went from 5% to 45% and its oil consumption increased fivefold. In 2012 China’s economy was eight times bigger than it had been in 2002 (p.81).

In 2002 China’s trade with Africa was worth $13 billion a year; in 2012 it was worth $180 billion. Two-thirds of China’s imports from Africa were oil, the rest was other raw materials. As Burgis puts it: ‘The fates of the world’s most populous nation and the planet’s poorest continent have become wedded’ (p.86).

China spends two-thirds of its global outlay on foreign corporate acquisitions in the resources sector. Between 2009 and 2012 Chinese state-owned groups spent $23 billion buying Western companies with African resource assets that stretched from Sierra Leone to South Africa (p.143).

Many of China’s earliest deals were done with the petrostate Angola, where it developed the so-called ‘Angola model’. This is where China makes the country a big loan, generally billions of dollars, at low interest rates ostensibly for the country to develop its infrastructure (water, rods, dams, electricity, roads). These projects are then carried out by Chinese corporations employing Chinese engineers, managers and workers. And the country pays back the ‘loan’ in the form of raw materials, oil etc. Obviously, at every step of the process there is scope for the African country’s elite to cream off tens, sometimes hundreds of millions of dollars for themselves. If Western countries, the UN, NGOs etc cry foul, then China and Angola (still nominally run by a Marxist-Leninist party) can dismiss their criticisms with the ad hominem catchcries of imperialism, and colonialism, and racism, and white supremacy etc while the elites of both countries get rich and the people of Angola starve in the streets. (As of 2022, about half of the population of Angola lives in ‘extreme poverty’, while the families who make up the Futungo are among the richest in the world vide Isabel dos Santos.)

Those who defend China’s involvement in Africa say China has built more infrastructure (roads, dams, airports) than the colonial powers did during the entire colonial period. Critics criticise China for doing business with dictators and opaque regimes but, you could argue, ‘the West’ a) did that for years, in fact b) put many of those dictators in place, and c) has been trying to make Africa’s nations more democratic for decades with pitiful success.

So maybe the best policy is just to crack on and build the infrastructure no matter who you deal with. Maybe building the infrastructure which will encourage African nations to develop and industrialise will also, in time, lead to the kind of empowerment and political openness which the western way has so signally failed to create.

The looting machine

As you read through the book you come to realise that Burgis’s account is very much focused on the damage mineral resources, notably gold and uranium, but above everything else, oil, have done to Africa – specifically, how scores of billions of raw materials have been extracted from Africa in a process which has somehow, almost magically, left most of its people worse off than when they gained independence in the 1960s. It’s this that he means when he refers to a looting machine. The machine consists of a number of interlocking past, including:

1. Corrupt rulers

Fairly obvious, and covered in the sections above.

2. How the World Bank and IMF screw Africa

The World Bank and the International Monetary Fund (IMF) were set up at the end of the Second World War. The World Bank’s ostensible aim is to promote long-term economic development and poverty reduction – its official name was the International Bank for Reconstruction and Development – while the IMF was set up to ensure the stability of the global economic system.

In reality both institutions have a long and shameful history of forcing neo-liberal, ultra-capitalist solutions on developing countries, policies which have often plunged them into deeper crisis than they were already in, and actively impoverished their populations.

This is because they enforce what has long been called ‘The Washington Consensus’, the belief that, in order to thrive, all economies must follow the same strict, narrow economic and fiscal model, namely: cut taxes, cut government spending, privatise state-owned industries, scrap protectionism, open your markets to international investment and you’ll be rich. These are the strict and always unpopular terms which come attached to any World Bank loan.

Except all too often they don’t work. Put it another way: if they worked as well as the Bank and IMF claim, surely Africa would be rich by now, when it’s clearly not. In practice, Burgis claims that even if you followed Washington Consensus policies to the letter, all they do is balance the books and solve temporary budget crises: they don’t provide any guidance for the long-term development of whole economies. Compare and contrast the policies of the so-called Asian Tigers (the high-growth economies of Hong Kong, Singapore, South Korea, and Taiwan) which thrived in the 1950s and 60s. In complete contradiction to World Bank advice, these countries implemented protectionism to protect their fledgling industrial sectors, and had a high degree of state involvement, funding and planning in all aspects of their economies.

Instead, the two institutions tended to force African nations that needed their help to open their economies to the vulture forces of ‘the global market’ at exactly the time as 50 or so other struggling Third World countries were doing the same thing, all wrecking their welfare states, cutting spending to the bone and offering cut-price resource extraction deals to the world’s multinational corporations, circling like vultures.

Burgis devotes several pages to describing the Extractive Industries Review (EIR), an independent enquiry which the World Bank commissioned into its funding of the extractive industries (i.e. mining) in 2001:

The review was headed by [Indonesian economist Emil] Salim. Salim held consultations with a wide range of stakeholders in 2002 and 2003. The EIR recommendations were published in January 2004 in a final report entitled ‘Striking a Better Balance’. The report concluded that fossil fuel and mining projects do not alleviate poverty and recommended that World Bank involvement with these sectors be phased out by 2008 to be replaced by investment in renewable energy and clean energy. (Wikipedia)

In Burgis’s view, the World Bank carefully considered Salim’s recommendations, spent 9 months coming up with a lengthy reply, and then ignored them all.

It was not just the World Bank that found its influence in Africa’s resource states diminished. The IMF, its sister organisation charged with maintaining the stability of the world financial system, already had a bad reputation in Africa, with reformers and kleptocrats alike, for imposing the strictures of the Washington Consensus, under which African states had become test tubes for the unfettered free-market philosophy that would also beget the subprime crisis and subsequent near-collapse of the western banking system. Emil Salim’s review of the World Bank’s record in the oil and mining industries reported that, in the cases it had studied, ‘the IMF’s approach to the extractive sectors was mainly one that promoted aggressive privatisation of significant mining and hydrocarbon assets for short-term financing of the [government’s budget] deficit. This did nothing to ensure the creation of competition, efficiency gains, development of a domestic private sector, or environmentally and socially sound development strategies for the extractive sectors.’ (p.171)

3. How multinational corporations screw Africa

Arguably this is the core of the entire book, Burgis’s detailed investigations of the various ways multinational corporations screw African countries. I found the details sometimes hard to follow, and hard to see the difference between the legal world of business contacts and paying people finders’ fees or introductory fees (legal) and the illegal world of bribes and payoffs. But it’s much more than that:

a) Opaque deals which are never published, are inaccessible to researchers or citizens, deliberately designed to be inaccessible so as to allow bribery and kickbacks to the ruling elite.

b) The whole world of offshore accounting and tax havens whose sole reason for existing is to allow crooked governments, crooked organisations, crooked multinationals and crooked individuals to hide their financial dealings and loot from the scrutiny of tax officials and enforcement agencies.

c) Crooked governments finding themselves coerced by cartels of, for example, oil extraction companies into agreeing low rents, taxes and percentages i.e. the companies demand much lower rates of tax per barrel or tonne of precious metal, than are paid on other continents (South America or Asia). They can do this because so many African countries hover on the permanent brink of bankruptcy and so are desperate for deals and cash now, even if it means they get ripped off.

d) Cost distribution. This covers a range of tax dodges, and refers to the way transnational corporations are able to move their profits around to different countries so as to minimise their tax liabilities, or to offset profits in one country against losses or costs in another. Clever accounting means huge multinational corporations make it look like they made next to no profit and so pay little or no tax. Starbucks and Amazon have made this strategy common knowledge, but it’s one of the reasons African countries were handing over billions of dollars worth of resources to multinational corporations which made huge profits for their executives and shareholders, while the host nations remained poor and undeveloped.

The empires of colonial Europe and the Cold War superpowers have given way to a new form of domination over the continent that serves as the mine of the world – new empires controlled not by nations but by alliances of unaccountable African rulers governing through shadow states, middle-men who connect them to the global resource economy, and multinational companies from the West and the East that cloak their corruption in corporate secrecy. (p.244)

Given the comprehensive screwing so many African countries have received at the hands of Western companies and institutions, you can see why China’s ask-no-questions, get-on-and-build-it approach presents an attractive alternative.

Some numbers

In 2011 the IMF determined that the discrepancy between the amount Angola ought to have made from its huge oil sales and the amount which actually went into government accounts was $32 billion (p.173).

In 2012 Shell’s revenue was $242 billion. Shell’s chief executive, Peter Voser, was paid $16.5 million (p.194).

In 2014 reforming banker Lamido Sanusi estimated that corruption at Nigeria’s national oil company, NNPC, was robbing the national treasury of $1 billion per month (p.205) – and yet western countries give Nigeria aid, despite the fact that the amounts Nigerian politicians steal from the state purse could match western aid hundreds of times over.

Islamist violence

All this corruption keeps African states backward. It prevents the development of industry and infrastructure and trade. It creates the prevention of jobs and thus ensures that the new generations of young men have few if any prospects. It promotes grotesque inequalities between the rich elite, and the rich in towns and cities, and the poor everywhere but especially in the country. So lots of unemployed men with no future and a burning sense of grievance.

What I’ve learned to call the bayaye. (The word and concept bayaye are explored in ‘The Shadow of The Sun: My African Life’ by Ryszard Kapuściński and ‘The World’s Most Dangerous Place: Inside the Outlaw State of Somalia’ by James Fergusson).

Fifty years ago they were ripe to join Marxist revolutionary organisations which fought brutal insurgencies to overthrow dictators, western capitalism and install utopian communist societies. Now they join violent Islamist insurgencies which promise to overthrow dictators, western values and install utopian Islamic societies run by Sharia law. Al-Shabab. Boko Haram. Al Qaeda in the Maghreb. Islamic State. According to Sanusi:

‘There’s a clear, direct link between the uneven distribution of resources and the rise in violence.’ (p.206)

‘The region’s idle young men…were ready recruits.’ The young men problem, again, as described in Somalia.

Thought

These kinds of problems are so widespread – Transparency International report that “155 countries have made no significant progress against corruption or have declined since 2012” – that you can’t help wondering whether it is the natural state of affairs. Maybe this is what human beings, and the societies they construct, are just like.

So often the descriptions of modern African shadow states, run by a small cabal who control vast sums of money and run the country by paying off interest groups, tribes, regional leaders and so on – they sound like Dark Age warlords who emerge from wars to control territories, have first dibs on treasure, loot and women, then parcel out the loot to their lieutenants. It sound so primeval, it sounds like the kind of organisation of human groups which has occurred in one form or another throughout history, across all continents.

So maybe it’s the natural state of human societies? And maybe it’s we in the ‘Western’ democracies – we with our obsession with ‘fair’ and ‘democratic’ politics, our reliable civil services, our independent judiciaries, our complex civil societies diffusing centres of power across thousands of scattered nodes, with our ideas of being rewarded for hard work, our concepts of meritocracy – maybe it’s we who are the oddities, the exceptions, the unusual societies which need explaining?

Why give aid?

I don’t really see why we should give aid to any African country given the facts that many of them have enough natural resources to pay for their own development if only their rulers hadn’t a) stolen it or b) signed it over to rapacious extraction companies; and b) those countries which have few resources have already received tens of billions of dollars of aid which corrupt rulers have either i) stolen, ii) spent on huge amounts of arms (vide Ethiopia’s Marxist leaders building up the largest army in Africa while its population died of starvation) iii) wasted on badly conceived megaprojects which turned out to be white elephants / enormous wastes of money.

As the t-shirt slogan says, the definition of insanity is doing the same thing over and over and expecting different results.

 The argument against violence

Burgis reports from the town of Jos in Nigeria where a terrible massacre of villagers was carried out, men, women and children hacked to pieces or burned alive. The antagonists portrayed it as part of the ongoing ‘war’ between Muslims from the north and Christians from the south. But Burgis talks to a local priest, Ignatius Kaigama, who makes a simple point I don’t remember reading before, which is: God is not such a weakling that he needs you to kill in his name (p.188). You do not need to kill anyone in the name of God or Allah or Brahma. If God wanted people killed, don’t you think he’s able to do that for himself? In other words, anyone who kills ‘in the name of God’ is admitting that their idea of God is  of a weakling who needs human help. Anyone who kills in the name of God, thinks God is weak. In other words, they are the ones who blaspheme and insult God, by implying that he needs human help.

Vagabond In Power by Nneka


Credit

The Looting Machine by Tom Burgis was first published by William Collins in 2015. References are to the 2015 paperback edition.

More Africa reviews

RE/SISTERS: A Lens on Gender and Ecology @ the Barbican, version 2

This is a huge, stunning, world-bestriding and often very challenging exhibition. Its 250 photographs (and some films and video installations) cover the subject of women and the environment, providing a wide-ranging survey of the multiple ways the planet is being exploited and degraded, how women too often bearing the brunt of environmental destruction, and the scores of ways women artists and activists are fighting back, often creating a sense of female community in the process – hence the punning title of the show which is designed to promote the work of re-sisters, in the realms of social politics and art.

Huge volume of material

It’s a challenging exhibition to get your head around because the curators interpret the notion of environment in such a wide way as to bring together a huge variety of specific instances and examples of environmental degradation, each one of which is like reading a Sunday supplement feature. You could say it’s like reading about 50 serious magazine articles in a row i.e. quite demanding on your ability to process facts and figures. But it’s challenging in other ways, which I list below.

Environmental stories

Firstly, it’s about such a huge subject, the industrial-scale destruction of the environment, which comes in such a huge variety of forms and prompts some pretty big and scary thoughts.

Eyes and Storms #1 by Simryn Gill (2012)

Some of the subjects, such as vast open-cast mining in places like Australia or Namibia (in photo series by Simryn Gill and Otobong Nkanga), or the catastrophic impact of oil extraction in the Ogoniland area of southern Nigeria (depicted in the photos of Zina Saro-Wiwa), I knew about already.

Similarly, the ruinous pollution of the world’s oceans, as conveyed in a video given a room of its own, A Draught of the Blue by Minerva Cuevas (2013) is a topic I feel I’ve been reading about for years.

But other subjects were completely new to me, such as the ruinous extraction of sand from places like the Mekong Delta in Vietnam (photos by Sim Chi Yin); or the impact of oil extraction in Azerbaijan. Although I knew about Azerbaijan’s historic importance, going as far back as the First World War, I don’t think I’d seen pictures of the area and its culture as evocative as the series of photos on display here by Chloe Dewe Matthews.

From the series Caspian: The Elements by Chloe Dewe Matthews (2010) Courtesy of the artist

I don’t think I’d come across the word extractivism before, which the curators define thus:

‘Extractivism is the exploitation, removal or exhaustion of natural resources on a massive scale. Rural, coastal, riverine, and Indigenous communities are disproportionately impacted by mining and other extractive industries, resulting in severe negative consequences on local livelihoods, community cohesion and the environment.’

There was lots and lots of new information about numerous aspects of environmental destruction to be read, understood and processed.

Women as victims

The curators move on to claim that environmental destruction or ‘ecocide’ particularly targets women, and especially women from Indigenous communities, and they’ve chosen exhibits and stories to back up this claim. Shanay Jhaveri, Head of Visual Arts at the Barbican, is quoted as saying:

‘In this era of deepening ecological crisis, we are proud to present RE/SISTERS which interrogates the disproportionate detrimental effects of extractive capitalism on women and in particular Global Majority groups.’

The curators claim there is a direct link between men’s degradation of the planet and men’s oppression of women. They are part of the same oppressive system. They call for the same kinds of resistance.

Straight men as culprits

Because the exhibition asserts (repeatedly) that the environmental crisis is caused by men, that it derives from male capitalism, from a male colonial and imperial mindset, from masculinism and white supremacism, from male-led multinational corporations, all of which are underpinned by patriarchal, masculinist, cis-heterosexual ideologies.

In the 80 or so very wordy, very theory-laden wall labels and picture captions, the curators claim that only men run ‘the mechanical, patriarchal order that is organised around the exploitation of natural resources’ and deploy the ‘masculine cultural imperialism’ that underpins it.

‘Terms such as Capitalocene, Plantationocene and Anthropocene act as cultural-geological markers that make clear that the violent abuses inflicted upon our ecological processes are inherently gendered, and shine a light on the toxic combination of globalised corporate hegemony and destructive masculinities that characterise the age of capitalism.’ (Catalogue page 16)

‘The violent abuses inflicted upon our ecological processes are inherently gendered’ and that gender is male.

‘Ecofeminist scholars have long critiqued feminised constructions of “nature” while challenging patriarchy, the masculinism of capitalism, and colonial abuses against nature, women and marginalised communities.’

And:

‘Caycedo’s photographs of rivers and waterfalls are remixed into pulsating, fractal, perception-shifting images that invite the viewer to reflect on the fluidity of bodies of water, which consistently resist the phallogocentric logic of extraction.’

The exhibition is based on notion of:

‘the connections between patriarchal domination and the violence perpetrated against women and nature’

The notion that the ongoing destruction of the environment, ravaging of nature, destruction of ecosystems and disruption of traditional ways of life of Indigenous peoples around the globe is a distinctively heterosexual male practice, with which women have no share or responsibility, is obviously controversial and debatable. It may be true in many aspects, and certainly when viewed through the exhibition’s strongly feminist lens, but surely some women somewhere are a bit involved in the capitalist extractive system, buy products, run companies, benefit from consumer capitalism?

Can the destruction of the earth really be blamed on just one gender? That’s what the curators are claiming. Along with the idea that only by overthrowing male power can the world be saved:

‘Critical of the term “revolution”, in 1974 the French ecofeminist Françoise D’Eaubonne proposed the term “mutation”, which, she argued, would enact a “great reversal” of man-centred power. This grand reversal of power does not imply a simple transfer of power from men to women, instead it suggests the radical “destruction of power” by women – the only group capable of executing a successful systemic change, one that could liberate women as well as the planet.’

Women as political resisters

But women aren’t just victims, no feminist would leave it at that. The curators move on to give lots of examples of the way women as individuals or groups are fighting back against all this ecocide. They are, in the curators’ words, practicing ‘a radical and intersectional brand of eco-feminism that is diverse, inclusive, and decolonial’.

I also found this theme challenging to get my head around because the examples of women’s resistance were so varied. For example, there are two big sections devoted to the anti-nuclear weapons protests led by women in the 1980s, one in the UK, one in the US (as documented by American photographer Joan E. Biren). The UK one was the women’s camp at Greenham Common airbase.

Greenham Common Women’s Peace Camp: Embrace the Base action 12/12/1982 by Maggie Murray (1982) © Maggie Murray / Format Photographers Archive at Bishopsgate Institute Courtesy of Bishopsgate Institute

I worked my way along the wall of photographs from the camp’s heyday and the display case of posters and leaflets and badges and was a bit confused. I suppose this is an early example of women very consciously organising as women to resist an obviously destructive technology, but it felt different from protesting the environmental degradation of the mines or oil pollution or ocean pollution. OK, the nuclear missiles imported into the base threatened nuclear armageddon but…It felt slightly askew from the theme of the environment.

Not only that, it felt very old and a bit, well, clichéd. Greenham has been trotted out in umpteen different contexts, in anti-war exhibitions I’ve been to or shows about the 1980s or about political art and, well, it feels like trotting out a tired old favourite. Better to have had much more up-to-date and specifically environment-focused content.

Third World resistance

This was highlighted, somehow, by the series of photos in the same room by Poulomi Basu’s who has been documenting the activities of the People’s Liberation Guerrilla Army who are fighting, with actual guns, against the activities of mining companies in south central India and the Indian security forces. Women take a lead role in the group and are depicted looking very warrior-like. But this obviously jarred with the message that conflict is somehow a very male creation, which emanated from the Greenham Common display.

Untitled from the series Centralia (2010 to 2020) by Poulomi Basu

It was also at odds with the other striking exhibit in the same room, which is a series of black-and-white documentary photos taken by Pamela Singh of the Chipko movement of women from the villages of the Garhwal Hills in the Himalayas in Uttarakhand, northern India. These protesters took to peacefully embracing trees to save them from state- and industry-sanctioned loggers.

Chipko Tree Huggers of the Himalayas number 4 by Pamela Singh © Pamela Singh Courtesy of sepiaEYE

According to the curators, these women ‘became emblematic of an international ecofeminist movement eager to showcase the subordination of women and nature by global multinationals while underscoring women’s environmental consciousness.’

Women artists

So far I’ve given the impression that this is a very political exhibition, and it is, and movements such as Greenham Common or the People’s Liberation Guerrilla Army or the Chipko treehuggers are obviously collective movements or organisations which brought women together to achieve social and political goals.

However, this is an art exhibition in an art gallery and half or more of it has a significantly different feel from the early sections I’ve been describing with their factual, documentary feel.

Interwoven from the start are works by all kinds of artists who interpret the subject of the environment in the widest possible way and generate a very wide range of environment and protest-themed art. So in the early sections about mining and ‘extractivism’ are hung huge long flowing abstract fabrics by Carolina Caycedo.

Installation view of ‘Multiple clitoris’ by Carolina Caycedo (2016) (Photo by the author)

These, we are told, are part of her multidisciplinary project Be Dammed, which critiques the ‘mechanics of flow and control of dams and rivers’ to address ‘the privatisation of waterways and the social and environmental impact of extractive, large-scale infrastructural projects’.

These specific hangings are part of a series titled Water Portraits (2015 to the present), printed on silk, cotton or canvas and portray the water that carves through the long, narrow chasm known as Garganta del Diablo (Devil’s Throat), a canyon in the Iguazú Falls, on the border between Argentina and Brazil.

Now this is conceptually challenging because how are we meant to understand these lovely, colourful, semi-abstract hangings (there are 3 or 4 hanging from the ceiling throughout the show) as in any way really ‘resisting’ the activities of mining companies. They obviously don’t, or not in the same way that the Greenham women or the tree huggers were carrying out ‘direct action’ and explicit protest.

These kinds of works exist purely in the realm of art and art galleries, a realm which is, above all these days, extremely conceptual and intellectual. What I mean is Caycedo’s work is the result of a deep training in modern art and in turn triggers lengthy commentary from the art curators.

It’s a different world and a different type of discourse from that surrounding the political activity of Greenham and the huggers, which itself felt very different from the opening sections about the mining of oil and sand and ore.

What I’m getting at is there’s not just a lot of stuff and stories to read and process, but that they are drastically different types of information, from the kind of engineering stuff about extraction, to the rather nostalgic politics of the 1980s anti-nuke protests, through to something like this, what you could call traditional contemporary art, which asks to be processed and assessed partly for its ‘political’ intent, maybe (addressing ‘the privatisation of waterways and the social and environmental impact of extractive, large-scale infrastructural projects’) but also as works of art i.e. how you react to the size and shape and pattern and design, the fabric and the way it hangs in space. Whether you like it.

This requires activating a different part of your brain, a more floaty open receptive part, than the bit which had just been reading about mining techniques, or the bit which is activated by nostalgic photos from the 1980s.

Art about women’s bodies

But that’s not all. As the name of the work suggests, Multiple Clitoris is also saying something not just about women’s politics but about women’s bodies. According to the curators, Caycedo’s fabrics evoke ‘the feminist, orgasmic energy of our “corporeally connected aqueous community”‘ and are an example of the importance women artists give to their bodies.

It’s a truism of healthcare that women are more aware of, and take better care of, their bodies than men do. This is reflected in much contemporary art where women artists, and especially consciously feminist women artists, often take their own bodies as their subject, finding endless material in reflecting on and depicting their own or other women’s bodies.

This gender difference in attitudes stands out to me, in so many of the art exhibitions I’ve visited, because I’m a typical bloke and think of my body as a dumb machine which I use to carry around my mind, which is the thing which interests me. I consider my body boring. Not so many many many feminist artists.

Thus it is that, as the exhibition develops, the idea of organised political resistance which we encounter in the first few rooms develops into the idea that women’s bodies are themselves somehow a force of resistance or sites of resistance.

Whenever you go to an exhibition of women’s art you are going to read about ‘the male gaze’ and women’s attempts to escape, evade it and reclaim their own bodies, not as objectivised objects for male pleasure, but as the vehicles for their own perceptions and thoughts, to do with as they please. To reclaim ‘agency’ over their bodies.

And so it is that on the upper floor of the show that the visitor comes to a room devoted to feminist body art i.e. women artists who get naked, paint themselves, carry out performances naked, and so on. A good example is ‘Immolation’ from the series ‘Women and Smoke’, where, in the dim distant past of 1972, performance artist Faith Wilding got naked in the Californian desert, painted her body, set off smoke bombs and had herself photographed by artist and photographer Judy Chicago.

Immolation from Women and Smoke. Fireworks performance Performed by Faith Wilding in the California Desert by Judy Chicago (1972) © Judy Chicago/Artists Rights Society (ARS), New York Photo courtesy of Through the Flower Archives Courtesy of the artist; Salon 94, New York; and Jessica Silverman Gallery, San Francisco

The curators explain that:

‘In Immolation Chicago captures the performance artist Faith Wilding sitting cross-legged in the desert, enveloped in orange smoke. This work referenced the ongoing Vietnam War, the self-immolation of Buddhist monks, and similar acts by people in the United States, who were setting themselves alight to protest the war and advocate for peace, while the orange smoke alludes to Agent Orange, the herbicide that was sprayed to devastating effect in Vietnam.’

Women’s bodies and nature

I’ve always been confused by the disagreement among feminists themselves as to whether women – because their bodies are designed to conceive and bear children and they have historically done most if not all of the child care – are uniquely nurturing and caring and, therefore, have a kind of mystical understanding of Mother Nature unavailable to men. Or whether that’s a load of patronising, sexist, stereotyping garbage cooked up by the heteropatriarchy to keep women in their place.

The great universe of feminist thought seems to contain both, completely opposed, points of view. This exhibition seems to lean towards the women-as-nurturing and close-to-nature view. Here’s another example. I include the curator’s commentary in full.

Nature Self-Portrait #5 by Laura Aguilar (1996)

‘For Laura Aguilar, photography was instrumental in visualising her identity, and in the mid-1990s she began creating powerful black-and-white nude self-portraits in nature. In contrast to the heteropatriarchal settler-colonial tradition of landscape photography, Aguila’s portraiture homes in on her identity as a large-bodied, working class, queer Chicana woman. Mirroring the natural forms of the rocky desert landscape of the American Southwest, in her Nature Self-portrait series, Aguilar inserts herself into a “racially stratified landscape” to become a boulder or perform as a tree. As Macarena Gomez-Barris notes, Aguilar seems to want us to “trespass into the territory that feminists have long considered taboo by considering a profound relationship between the body and territory, one that provides a possibility for ecology of being in relation to the natural world. In that sense, her self-portraits provide a way to foreground modes of seeing that move away from capitalism, property and labour altogether, into a more unifying relationality that allows for haptic and sensuous relations with the natural world.” Ultimately, by affiliating her body with the natural beauty of the landscape, Aguilar’s work both empowers and transcends the various categories of her identification.’

Of this specific photo they say:

‘In these works, Aguilar photographs herself resting beside large boulders that seem to echo her curvaceous bodily form. Facing away from the camera, and folding inward, her body emulates the cracks and dents of the boulders while the shadows cast from her body intensify the affinity with the stones before her. In a sense she has “grounded” herself in a landscape that oscillates with “the largeness of her own body”.’

Nature Self-Portrait #5 by Laura Aguilar (1996) © Laura Aguilar Trust of 2016

The sequences of photos of women taking their clothes off and painting themselves in natural settings could be considered as the kind of entry level of the women-and-nature theme. However, some of the artists here have gone one step further to play with the idea of women turning into nature or natural objects; certainly moving beyond the merely human. Here’s what I mean:

The Body Covered with Straw by Fina Miralles (1975)

‘Fina Miralles’s conceptual photo-performance works from the 1970s embody a return to a profound relationship with nature. As she wrote in 1983 following a transformative five-month journey travelling through Argentina, Bolivia and Peru: “I am abandoning bourgeois culture and embracing Indigenous culture. The World Soul, Mother Earth and the protective and creative Pachamama.” Read through this lens, Miralles’s series Relating the Body and Natural Elements, in which the artist cocoons herself in straw, as seen here, or surrenders her body to sand or grass until she disappears, her body merging with the land, illustrates Donna Haraway’s concept of “becoming with” and offers a metaphysics grounded in connection, challenging the illusion of separation – the erroneous belief that it is somehow possible to exempt ourselves from earth’s ecological community.’

Relationship: The Body’s Relationship with Natural Elements. The Body Covered with Straw by Fina Miralles (1975) Courtesy of MACBA

The most striking variation on this theme of women-as-nature is the series of photos by Tee A. Corinne, titled Isis, where she photoshopped large close-up photos of a woman’s vulva into traditional landscape compositions so as to create surreal, disturbing (and beautiful?) juxtapositions.

Isis in the Woods by Tee A. Corinne (1986)

The curators explain that landscape painting has not only long been historically dominated by men, but in its very conception contains the idea of land ownership, precisely the kind of capitalist-colonial mindset which has brought the earth to the brink of ruin. So these ‘vulva landscapes’ are a way of subverting the male tradition of landscape painting and reclaiming it. They’re certainly about as in-your-face as the women-as-nature theme can be.

It is typical of the curators that they can’t explain the purpose of this kind of women’s art without taking a pop at  the men’s equivalent. I was saddened that they have a go at Land art which I love and have always thought of as promoting the value of walking through unsullied nature, leaving environmentally friendly, transient works, like a circle of stones. But, alas, Land art has mostly been created by men and so, in the eyes of the curators, is invalid:

‘In contrast with much Land art, which has staged large-scale and controlled interventions into the natural environment predominantly by men, the ecologically oriented works presented here by women artists place the body in communion with the land.’

Anyway, to go back up a couple of levels, my overall point is that all these women stripping off in the desert have brought us a long, long way from the highly factual documentary items which opened the show and recorded actual political resistance to open cast mines or oil exploitation in Nigeria, to tree felling in India or the deployment of nukes to Britain.

Taking photos of yourself naked in the woods or superimposing the image of a vulva onto landscapes is obviously a different register of information: it’s a different kind of subject matter, treated in a different way, to be processed with a different part of the mind.

It was this continual switching of subject matter, approaches, tones and registers which I found so challenging and exhausting about this exhibition. Which explains why, having read my way through the extensive wall captions on the ground floor, I realised I needed a break. I walked out of the gallery and spent five minutes staring out over the grey Barbican pond at the church of St Giles Cripplegate, trying to let all this information and babel of concepts soak in, before going back in to tackle the 12 further rooms on the first floor.

Other-than-human

Up here, on the first floor of the show, the curators arrive at the idea of the animals who live in these destroyed environments. In fact animals and wildlife in general are surprisingly absent from the exhibition. Maybe wildlife is excluded because the focus is overwhelmingly on women as the endangered species in this narrative.

When plants and trees, animals, birds and fish do crop up, it’s under the slightly odd terms of ‘other-than-human entities’, ‘other-than-human organisms’, ‘other-than-human habitats’, ‘other-than-human communities’ and so on.

The only exhibit which actually focuses on all the animals we’re driving to extinction is a film, ‘Ziggy and the Starfish’ by Anne Duk Hee Jordan (2018) which, characteristically, isn’t about pollution or extinction, but the curators’ number one subject, which is gender and sexuality. The curators turn animals into symbols of the kind of gender-fluid, anti-binary type of sexuality we are all nowadays meant to admire:

‘Taking its name from Ziggy Stardust, the androgynous, extraterrestrial rock star persona that musician David Bowie personified in the early 1970s , Anne Duk Hee Jordan’s sculptural video environment that houses the film Ziggy and the Starfish (2018) celebrates the fluidity of marine sexuality. The film pictures the sexual exploits of various ocean creatures with an exuberance and playful excitement, recalling the earlier work of the French photographer and filmmaker of marine life, Jean Painlevé. The effects of human-made climate change on the hydrosphere have become a key factor impacting the reproductive lives of marine animals, and by focusing on this aspect of the ecosphere Jordan underscores our deep entwinement with our fellow earthly inhabitants. In response to the present ecological crisis, the work offers a portal into the vivid world of our nonhuman cohabitors and looks to their colourful erotic lives as an example of how not only to think against binary dualisms, but to desire the seductively plural.’

Referring to other life forms on earth as other-than-human, defining them solely in terms of the species that is destroying them, feels like an odd conceptual strategy. I doubt whether the feminist curators would like being referred to as other-then-men.

The rights of ice

The theme of the non-human reaches a kind of logical conclusion with Susan Schuppli’s film reflecting on ‘the right of ice to remain cold’, as advocated by the Inuk activist Sheila Watt-Cloutier. Conceptually mind-bending though this sounds, in reality it is a lament for the global warming-triggered melting of sea ice of a pretty conventional, David Attenborough kind.

Queer art

It is axiomatic of contemporary art that the only good man is a gay man, preferably Black. Toxic heterosexual white men have been oppressing women and destroying the planet for centuries so what we need is the opposite; gay Black men. So it is that a handful of men were allowed into this exhibition about women resisters, on the strict condition that they are gay.

This reminded me very much of the last big exhibition I came to here, the ‘Masculinities’ exhibition where, after a sustained and prolonged rubbishing of white heterosexual men, the ideal of masculinity held up by the curators was the writer James Baldwin, American, Black and gay. Same mentality here: white heterosexual men bad; Black gay (ideally American) men good.

Looking for ‘Looking for Langston’ by Ada M. Patterson (2021)

‘Looking for “Looking for Langston” by Ada M. Patterson is both inspired by and directly references Isaac Julien’s eponymous 1989 film, which offers a meditation on the life of the queer poet Langston Hughes and the wider cultural scene of the Harlem Renaissance in 1920s New York. As the title of the work suggests, Patterson, whose quest to learn more about the film ended in failure, constructs her own response that borrows from Hughes’s poetic imaginary as well as fragments she’s gleaned about Julien’s film. The result is a surreal and phantasmagoric exploration of Blackness and desire, using symbols such as the sailor and the sea to explore the fluidity of queerness. Patterson’s film also incorporates allusions to the histories of colonialism extant not only in Barbados (the artist’s birthplace and where this film was mostly shot) but also in Hughes’s United States and Julien’s United Kingdom. The film pays homage to these forebears, connected through oceanic bodies, legacies of Blackness and queerness, and the forever speculative pursuit of desire.’

Looking for ‘Looking for Langston’ by Ada M. Patterson (2021) Courtesy of Maria Korolevskaya and Copperfield

Personal favourite

A lot of the photography, especially the documentary photography, was good, very professional, but didn’t really pull my chain. My favourite image from the whole exhibition was this:

Mud by Uýra (2018)

‘Uýra is an indigenous artist, biologist and educator from Brazil who works in and around the riverine communities of the Amazon region. In these photo-performances, Uýra transforms into multi-species characters, fluidly merging the human and non-human by adorning herself with organic matter. Borrowing from the aesthetic language of drag, and its ability to disrupt the stasis of gender-normativity, Uýra exuberantly shows how other binaries, such as the one between human and nature, can also be understood to be fluid states that are performatively constructed. As an educator, Uýra also uses her works as pedagogical tools to uncover different forms of knowledge about the land that have been suppressed by the logic of Western extractive capitalism. In doing so, the works call for a material and spiritual restoration of the ravaged ecologies to which we belong.’

Lama (Mud) by Uýra (2018) Courtesy of the artist

Last word

Although I of course understand what the curators are getting at, and wouldn’t dispute the claims that women, especially in the developing world, often suffer most from the rapacious activities of multinational extractive corporations and of environmental destruction in general.

(It’s such a sweeping claim, it’s difficult to see how you’d even start to gather the evidence for the other side of the debate. I guess you’d start by pointing out that plenty of countries have or have had women leaders; plenty of multinational companies are run or staffed by women; plenty of women benefit from the products of all this extractivism e.g. cars, airplane flights, cheap clothes, cheap food, digital gizmos, that kind of line of argument).

But granted the truth of a lot of what the curators say, nonetheless, I still think I fundamentally disagree with their premises or, rather, I approach the whole situation from a different, more totalising angle.

For me it is blindingly obvious that it’s not heterosexual white men, it’s humans who are the problem. Whether they’re men or women, gay or straight, white or Black, from the developed or the developing world, humans everywhere are degrading and destroying the environments and ecosystems they live in.

I can see that the curators have a gallery to fill and so need clear, strong propositions to hang their exhibitions on. I appreciate that they are women, and feminists, so naturally see the environmental crisis through their personal and professional biases, through the ‘lens’ of their title. I can understand that women artists, even contemporary ones, might be considered overlooked and under-represented and so an exhibition which pulls together works from half a century by 50 or more women photographers and artists a) redresses the balance b) promotes the specifically womanist point of view and c) creates a sense of community and continuity between them. I think I do understand where this is all coming, and the sizeable merits of a feminist exhibition like this.

But, in my opinion, trying to portray all men as capitalist villains and all women as heroic resisters is not only patronisingly simplistic, it misses the bigger, more obvious point: that it’s people, people of all genders and skin colours who are destroying the world, the Chinese and Indians and Brazilians every bit as much as the wicked white Eurowesterners.

By trying to exempt women from any blame and cast them either as tragic victims or heroic resisters, I think the exhibition seeks to hide a bigger, bleaker truth: If you want to overthrow something, it isn’t the subset of issues to do with the cis-heteropatriarchy or white Western neo-colonialism, it isn’t one particular gender who you can pin everything onto – you should be trying to overthrow the tyranny of Homo sapiens over all the organisms of the world. We have to abolish ourselves.


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