Arts Minister Tony Burke made some remarks earlier this week about Creative Australia’s decision to ditch Lebanese Australian artist Khaled Sabsabi as the pick for the 61st Venice Biennale.
They didn’t get much coverage but I can’t get them out of my head.
So here you go.
They didn’t get much coverage but I can’t get them out of my head.
So here you go.
Minister Burke began his answer by saying he was not involved in the decision to endorse - or then dump - Sabsabi.
(He has since admitted to calling the CEO immediately after question time and just hours before Sabsabi was dropped)
(He has since admitted to calling the CEO immediately after question time and just hours before Sabsabi was dropped)
Anyway… Burke then went on to heap praise on Sabsabi, who has spent more than three decades making art that is distinctly from and of Western Sydney.
He said Sabsabi is an “extraordinary and gifted artist”.
He said Sabsabi is an “extraordinary and gifted artist”.
Minister Burke revealed that he has even seen Sabsabi’s work over the years and was looking forward to the seeing the artwork that he’d been commissioned to do at the Venice Biennale in 2026.
He said he doesn’t want people to think that Sabsabi is “anyone other than someone who… has been producing work of great, great, extraordinary quality” adding that his Venice piece would have brought together communities of Western Sydney.
So then, what actually changed?
So then, what actually changed?
It’s worth a reminder at this point that Sabsabi came to Aust as a child. He left Lebanon during the civil war in 78. He went to Granville Boys. He worked as a youth worker, helping people from Arab/Indigenous/Pacific Islander backgrounds while also making art.
From those beginnings, Sabsabi went on to display his work around the world. From the Sydney Biennale to Marrakech. He has a Masters degree from UNSW in art and design. He has won countless fellowships and art prizes over the past 20 years.
A week ago Sabsabi reached the pinnacle of his profession: La Biennale Di Venezia.
He couldn’t believe he’d done it.
“To tell you the truth, I have applied four times and I felt that, in this time and in this space, this wouldn’t happen because of who I am,” he told me.
He couldn’t believe he’d done it.
“To tell you the truth, I have applied four times and I felt that, in this time and in this space, this wouldn’t happen because of who I am,” he told me.
Those words were prophetic, because less than a week later it was yanked away.
To those of us on the outside, it seems all it took was a single article in The Australian and a single question on the floor of parliament from a conservative Tasmanian senator.
To those of us on the outside, it seems all it took was a single article in The Australian and a single question on the floor of parliament from a conservative Tasmanian senator.
Anyway back to minister Burke’s comments…
After praising Sabsabi the minister circles back to why it was appropriate to remove him. He says the concern was about one piece in particular - it was not the Hassan Nasrallah work.
After praising Sabsabi the minister circles back to why it was appropriate to remove him. He says the concern was about one piece in particular - it was not the Hassan Nasrallah work.
But rather a video piece which showed images of 9/11 and a clip of George W Bush saying "thank you very much”.
Minister Burke said “It was on his web page and I understand why Creative Australia took the immediate action that they did”.
Minister Burke said “It was on his web page and I understand why Creative Australia took the immediate action that they did”.
The artwork was made in 2006 - 3 years after the US invaded Iraq under the false claim of WMDs.
Reports at that time put Iraqi civilian deaths at close to 40,000 (in that year alone).
Reports at that time put Iraqi civilian deaths at close to 40,000 (in that year alone).
By this point many were already talking about the distortions and propaganda that allowed the US to launch their invasion.
If this was the supposed problematic artwork - I’m yet to hear anyone explain what exactly about is a problem.
If this was the supposed problematic artwork - I’m yet to hear anyone explain what exactly about is a problem.
How can it be that this almost 20 year old artwork was considered so egregious that a long peer reviewed selection process for a prestigious art show was tossed out the window - and yet nobody has cared to elaborate?
So that brings me to… the other part of Sabsabi’s background that some have taken issue with.
In 2022 he joined a boycott of the Sydney Festival over a funding deal with the Israeli Embassy. Sabsabi has family ties to Palestine and says the cause is close to his heart.
In 2022 he joined a boycott of the Sydney Festival over a funding deal with the Israeli Embassy. Sabsabi has family ties to Palestine and says the cause is close to his heart.
Just yesterday Newscorp published a piece seemingly mocking Sabsabi for his stance.
“What benefit Sabsabi’s solidarity has delivered the Palestinian people is debatable. Certainly things haven’t been going great for them lately.”
“What benefit Sabsabi’s solidarity has delivered the Palestinian people is debatable. Certainly things haven’t been going great for them lately.”
Perhaps one day we will learn more about what transpired over the course of the week. Or what was said in that fateful board meeting - or before it.
For now we are being told both that Sabsabi is a great artist but also that he had to go.
For now we are being told both that Sabsabi is a great artist but also that he had to go.
The irony of this whole debacle is that much of Sabsabi’s body of work has been about precisely this - about the demonisation of Arabs and Muslims in western media.
Sabsabi’s words from a week ago keep replaying in my mind.
“Because of who I am.”
Sabsabi’s words from a week ago keep replaying in my mind.
“Because of who I am.”
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