National Museum Director Defends Israeli Artist’s Work Amidst Protest
The National Museum in Oslo, and its director Ingrid Røynesdal, are facing criticism for exhibiting a work by Israeli artist David Eshkol, particularly in light of the ongoing conflict in Gaza. The artwork,a carpet created after a school massacre over 50 years ago,has sparked debate about representation and perspective within the museum’s walls.
Critics argue that showcasing Eshkol’s work, which processes Israeli trauma, without concurrently presenting a Palestinian perspective on the decades-long conflict constitutes a political choice open to legitimate criticism. Ida Blom,in a Facebook post,argued that criticizing this decision doesn’t infringe on artistic freedom – acknowledging Eshkol’s right to artistic expression and the museum’s right to exhibit his work. however, Blom cautioned against using arguments from the “MAGA-right” about politicized art institutions to advocate for institutional neutrality, stating that museums should instead “protect and defend public spaces from disagreement – sometimes strong disagreement.”
Cecilie Nissen, artist and manager of Kunsthall in Kristiansand, questioned the demand for ”balance” in artistic representation. “Does every work of art that touches on a conflict have to be balanced with the opposite perspective? Must the museum than always pair Russian art about the Ukraine war with Ukrainian, Chinese art with Tibetan, American 9/11 art with criticism of US Middle East policy?” she asked. Nissen argued that such a standard is “unfeasible to meet” and would reduce museums to “political editors” making curatorial work “predictable” and “boring.” She further questioned whether the call for balance is specifically directed at Israeli artists.
Despite the controversy, the author of this piece defends the National Museum and Røynesdal, stating that art should provoke thought and reflection, even if it presents messages that are unpopular. The article acknowledges the outrage surrounding the massacres in Gaza and the provocative nature of displaying an Israeli artwork following a school massacre, but ultimately argues that the National Gallery deserves “praise for having the courage to provoke.”
The piece concludes by emphasizing the importance of freedom of expression as the foundation for art’s role in society.
Gunnar Stavrum notes a personal connection: he is married to Kjersti Løken Stavrum.
