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Art in an emergency: why we set up a second Cobra committee Art in an emergency: why we set up a second Cobra committee
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The cobra is renowned for its ability to rear up and expand its neck in a performance intended to discourage attack. This power display is created via an extended hood, arched head and swaying body. The British government's emergency committee Cobra (or Cabinet Office briefing room A) attempts the same feat. When a perceived emergency appears, Cobra raises its head, puffs out its white collars and performs the dance of power on multiple media platforms.The cobra is renowned for its ability to rear up and expand its neck in a performance intended to discourage attack. This power display is created via an extended hood, arched head and swaying body. The British government's emergency committee Cobra (or Cabinet Office briefing room A) attempts the same feat. When a perceived emergency appears, Cobra raises its head, puffs out its white collars and performs the dance of power on multiple media platforms.
Cobra has met three times in 2013: first when hostages were being held in an Algerian gas plant; second in response to the killing of Lee Rigby in Woolwich; and only recently after the attack in the Westgate shopping centre in Nairobi. Alongside these three 'emergency' meetings, a collection of artists and writers have also been convening in a small room (read, pub) in Whitehall to discuss their creative responses. Cobra has met three times in 2013: firstly when hostages were being held in an Algerian gas plant; secondly in response to the killing of Lee Rigby in Woolwich; and only recently after the attack in the Westgate shopping centre in Nairobi. Alongside these three 'emergency' meetings, a collection of artists and writers have also been convening in a small room (read, pub) in Whitehall to discuss their response.
This new alternative Cobra committee, using the name Cobra: A Critical Response, was born out of a desire to engage critically and creatively with the increased use of aesthetics and performance by the UK government to promote, explain and justify its labelling of an event as "an emergency". This new alternative Cobra committee, using the name Cobra: A Critical Response, was born out of a desire to engage critically and creatively with the increased use of aesthetics and performance by the UK government to promote, explain and justify its labelling of an event as 'an emergency'.
The UK government's Cobra was set up (as far as we know) in 1984 to respond to perceived national or regional crises. Chaired by the prime minister or home secretary, it met in secret until the late 1990s when, with the election of the media-savvy Tony Blair, Cobra meetings were increasingly announced to the public as a clear signal of a decisive government. The announcement of a Cobra meeting, which holds the power to suspend parliament and restrict public movement, has now become a tool to create a media stopgap, filling the information void while presenting a government in action.The UK government's Cobra was set up (as far as we know) in 1984 to respond to perceived national or regional crises. Chaired by the prime minister or home secretary, it met in secret until the late 1990s when, with the election of the media-savvy Tony Blair, Cobra meetings were increasingly announced to the public as a clear signal of a decisive government. The announcement of a Cobra meeting, which holds the power to suspend parliament and restrict public movement, has now become a tool to create a media stopgap, filling the information void while presenting a government in action.
Reflecting the form of these government meetings, Cobra: A Critical Response gives a changing number of artists and writers nine days from the initial meeting to individually respond to either the committee or the political context in which it has met. The responses are then made public, either via an exhibition, book, film or any other creative medium that might operate as a useful and discursive platform.Reflecting the form of these government meetings, Cobra: A Critical Response gives a changing number of artists and writers nine days from the initial meeting to individually respond to either the committee or the political context in which it has met. The responses are then made public, either via an exhibition, book, film or any other creative medium that might operate as a useful and discursive platform.
This relationship between art and politics not only raises questions about political performance during emergency events (through press conferences, news interviews and, more recently, Twitter), but also pulls art into the spotlight and asks if it can meaningfully engage with issue-based politics? Some suggest the two are best kept far apart. But we want to investigate this odd marriage, challenging art to respond to the political.This relationship between art and politics not only raises questions about political performance during emergency events (through press conferences, news interviews and, more recently, Twitter), but also pulls art into the spotlight and asks if it can meaningfully engage with issue-based politics? Some suggest the two are best kept far apart. But we want to investigate this odd marriage, challenging art to respond to the political.
Art allows a certain freedom to explore and reimagine politics, offering a reflective surface on which to review the distorted image projected by the state in moments of crisis. But in recent years, it is politics that has increased its use of aesthetics to help manipulate and develop – often in a favourable light – its own agenda.Art allows a certain freedom to explore and reimagine politics, offering a reflective surface on which to review the distorted image projected by the state in moments of crisis. But in recent years, it is politics that has increased its use of aesthetics to help manipulate and develop – often in a favourable light – its own agenda.
This image-based politics is a politics of presentation, of appearance and constructed images that tell a certain story, often a moral story of good v evil, of citizen v terrorist. Such morals are created through aesthetic and performative means to convince the general public that not only is the government protecting them, but that new terror legislation is necessary and justified. This approach is not new, but when political spin is used in 'emergency' events, from which new terror legislation may then emerge, surely it is better to deal in fact than gesture.This image-based politics is a politics of presentation, of appearance and constructed images that tell a certain story, often a moral story of good v evil, of citizen v terrorist. Such morals are created through aesthetic and performative means to convince the general public that not only is the government protecting them, but that new terror legislation is necessary and justified. This approach is not new, but when political spin is used in 'emergency' events, from which new terror legislation may then emerge, surely it is better to deal in fact than gesture.
Not all political situations invite an artistic response, but the government's Cobra committee, and the emergencies prompting its meetings, offer a wide array of unknown variables that leave an open space for interpretation and imagination. Often Cobra closes this gap with its publicly announced meeting – we aim to re-open this space for critical investigation. Not all political situations invite an artistic response, but the government's Cobra committee, and the 'emergencies' prompting its meetings, offer a wide array of unknown variables that leave an open space for interpretation and imagination. Often Cobra closes this gap with its publicly announced meeting – we aim to re-open it.
As politics and society become increasingly brand-aware, with digital images and presentation the preferred power-tools to promote a political position, art becomes the obvious medium through which to ask questions. Art can only respond to the world around it and if politics and politicians increasingly attempt to define, promote and manipulate their position by aesthetic and performative means, art must reflect, mimic and respond in kind.As politics and society become increasingly brand-aware, with digital images and presentation the preferred power-tools to promote a political position, art becomes the obvious medium through which to ask questions. Art can only respond to the world around it and if politics and politicians increasingly attempt to define, promote and manipulate their position by aesthetic and performative means, art must reflect, mimic and respond in kind.
Theo Price is an artist, writer and curator Theo Price is an artist, writer and curator. Cobra: A Critical Response 1.1 is published on 3 October – find out more here or follow the group on Twitter @Cobrares
Cobra: A Critical Response 1.1 is published on 3 October – find out more here or follow the group on Twitter @Cobrares
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