Culture Unstained is a research, engagement and campaigning organisation which aims to end fossil fuel sponsorship of culture. We are a not-for-profit workers’ co-operative founded in October 2016, a member of the Art Not Oil coalition and part of the growing international movement for #FossilFreeCulture.
Work we have led includes:
– Mobilising highly respected cultural, scientific, academic and political figures to speak out in favour of ending oil sponsorship, such as through this letter to the new British Museum director, published in the Guardian
– ‘BP’s corrupting influence’ report which revealed, through Freedom of Information requests, BP’s inappropriate influence over the cultural institutions it sponsors.
– Releasing evidence suggesting the British Museum broke its own rules in renewing its sponsorship contract with BP.
We are proud to have signed up to the Oil Sponsorship Free commitment.
Jess Worth, Co-director
Jess is a writer, campaigner, editor and performer who has worked with a wide range of NGOs, independent media organisations and grassroots networks. In 2012 she co-founded BP or not BP? and in 2013 co-founded the Art Not Oil coalition. She has been actively involved in challenging oil sponsorship ever since, which has led to the founding of Culture Unstained. She is a regular guest editor of the award-winning international magazine New Internationalist and has produced special issues on ‘Ending the Oil Age’, the Canadian Tar Sands, the Arctic and the Paris climate talks – which she then covered on the ground for the magazine, reaching an audience of 12 million. In the past she has run campaigns with ActionAid and People & Planet, undertaken research, campaigns and media work for 350.org, Oxfam and SumOfUs, and was co-founder of the UK Tar Sands Network, which works in direct solidarity with Indigenous communities in Canada. She has also advised the government on sustainable development as a Commissioner on the now-defunct Sustainable Development Commission, and her voice appeared in Simon McBurney and Complicité’s award-winning production The Encounter.
Chris Garrard, Co-director
Chris is a composer, researcher and campaigner and holds a doctorate in Music from the University of Oxford, where he also co-directed the MASH Centre for Experimental Music and Performance. He has composed numerous pieces exploring environmental and political themes, such as his chamber opera, ‘The Handmaid’s Tale’, based on Margaret Atwood’s bestselling novel, and his music has been performed by ensembles such as Oxford Philomusica and London Chamber Orchestra. He has also presented research into music and its relationship to photography, the contemporary arts, glaciology and the environment. In 2012, he co-founded Shell Out Sounds, a vocal ensemble that successfully campaigned for the end of Shell’s sponsorship of the Shell Classic International concerts at London’s Southbank Centre and in 2015, was the Music Coordinator for Greenpeace UK’s ‘Requiem for Arctic Ice’, a project involving a month-long series of performances taking place outside Shell’s London HQ during the company’s attempts to drill in the Arctic.
Our Advisory Group
We have an Advisory Group that includes:
Dr Gavin Grindon
Gavin is a curator and lecturer in contemporary art and curating in the University of Essex’s School of Philosophy and Art History. He co-curated The Occupation Museum in Banksy’s Walled Off Hotel in Bethlehem, The Museum of Cruel Designs at Banksy’s Dismaland in Weston-Super-Mare, and Disobedient Objects at the Victoria and Albert Museum, London – the museum’s most visited exhibition since 1946.
His research focuses on political art and curating practices; the history of activist-art; and theories of political aesthetics. He has a related interest in the intellectual history of social movement ideas, especially theories of revolution-as-festival. He was previously visiting research fellow at the Victoria and Albert Museum, and has taught at Manchester, Birkbeck and Goldsmiths universities.
Bridget is based in London, UK, and has 27 years of experience in researching, evaluating and managing museums and arts programmes. Past roles include Education Officer for Tate and Head of Learning for the British Library. She founded Flow Associates in 2006, a consultancy which aims to help cultural organisations thrive, supporting them and their communities to learn, create, connect and flourish. Current projects include evaluating the impacts of the Happy Museum, of Invisible Dust and of Science Gallery London. She is a trustee for the ONCA Gallery in Brighton, and is a Julie’s Bicycle Creative Climate Leader. She has a BA Hons and an MA in History of Art, and two post-grad teaching qualifications. See aboutbridgetmckenzie.wordpress.com
Dr Paula Serafini
Paula is a cultural politics scholar, artist, activist and educator. Her work is concerned with the relationship between aesthetics and politics, particularly in relation to contemporary cultural practice and to environmental and social justice movements. She holds a PhD in Social and Cultural Analysis (King’s College London), and is currently a Research Associate at CAMEo Research Institute for Cultural and Media Economies, University of Leicester.
Paula’s recent publications include the edited collection artWORK: Art, Labour and Activism, co-edited with Alberto Cossu and Jessica Holtaway (Rowman & Littlefield International, 2018) and the monograph Performance Action: The Politics of Art Activism (Routledge, 2018). Her current research project is an exploration of the relationship between culture and extractivism in Argentina, focusing on issues of narrative, power, and decoloniality. In addition to her research she has been part of several social and environmental campaigns and art-activist projects in the UK, has curated projects and exhibitions in London and Bath, and is involved in a number of art and editorial projects in London and Buenos Aires.