Best-selling journalist Antony Loewenstein trav­els across Afghanistan, Pakistan, Haiti, Papua New Guinea, the United States, Britain, Greece, and Australia to witness the reality of disaster capitalism. He discovers how companies such as G4S, Serco, and Halliburton cash in on or­ganized misery in a hidden world of privatized detention centers, militarized private security, aid profiteering, and destructive mining.

Disaster has become big business. Talking to immigrants stuck in limbo in Britain or visiting immigration centers in America, Loewenstein maps the secret networks formed to help cor­porations bleed what profits they can from economic crisis. He debates with Western contractors in Afghanistan, meets the locals in post-earthquake Haiti, and in Greece finds a country at the mercy of vulture profiteers. In Papua New Guinea, he sees a local commu­nity forced to rebel against predatory resource companies and NGOs.

What emerges through Loewenstein’s re­porting is a dark history of multinational corpo­rations that, with the aid of media and political elites, have grown more powerful than national governments. In the twenty-first century, the vulnerable have become the world’s most valu­able commodity. Disaster Capitalism is published by Verso in 2015.

Profits_of_doom_cover_350Vulture capitalism has seen the corporation become more powerful than the state, and yet its work is often done by stealth, supported by political and media elites. The result is privatised wars and outsourced detention centres, mining companies pillaging precious land in developing countries and struggling nations invaded by NGOs and the corporate dollar. Best-selling journalist Antony Loewenstein travels to Afghanistan, Pakistan, Haiti, Papua New Guinea and across Australia to witness the reality of this largely hidden world of privatised detention centres, outsourced aid, destructive resource wars and militarized private security. Who is involved and why? Can it be stopped? What are the alternatives in a globalised world? Profits of Doom, published in 2013 and released in an updated edition in 2014, challenges the fundamentals of our unsustainable way of life and the money-making imperatives driving it. It is released in an updated edition in 2014.
forgodssakecover Four Australian thinkers come together to ask and answer the big questions, such as: What is the nature of the universe? Doesn't religion cause most of the conflict in the world? And Where do we find hope?   We are introduced to different belief systems – Judaism, Christianity, Islam – and to the argument that atheism, like organised religion, has its own compelling logic. And we gain insight into the life events that led each author to their current position.   Jane Caro flirted briefly with spiritual belief, inspired by 19th century literary heroines such as Elizabeth Gaskell and the Bronte sisters. Antony Loewenstein is proudly culturally, yet unconventionally, Jewish. Simon Smart is firmly and resolutely a Christian, but one who has had some of his most profound spiritual moments while surfing. Rachel Woodlock grew up in the alternative embrace of Baha'i belief but became entranced by its older parent religion, Islam.   Provocative, informative and passionately argued, For God's Sakepublished in 2013, encourages us to accept religious differences, but to also challenge more vigorously the beliefs that create discord.  
After Zionism, published in 2012 and 2013 with co-editor Ahmed Moor, brings together some of the world s leading thinkers on the Middle East question to dissect the century-long conflict between Zionism and the Palestinians, and to explore possible forms of a one-state solution. Time has run out for the two-state solution because of the unending and permanent Jewish colonization of Palestinian land. Although deep mistrust exists on both sides of the conflict, growing numbers of Palestinians and Israelis, Jews and Arabs are working together to forge a different, unified future. Progressive and realist ideas are at last gaining a foothold in the discourse, while those influenced by the colonial era have been discredited or abandoned. Whatever the political solution may be, Palestinian and Israeli lives are intertwined, enmeshed, irrevocably. This daring and timely collection includes essays by Omar Barghouti, Jonathan Cook, Joseph Dana, Jeremiah Haber, Jeff Halper, Ghada Karmi, Antony Loewenstein, Saree Makdisi, John Mearsheimer, Ahmed Moor, Ilan Pappe, Sara Roy and Phil Weiss.
The 2008 financial crisis opened the door for a bold, progressive social movement. But despite widespread revulsion at economic inequity and political opportunism, after the crash very little has changed. Has the Left failed? What agenda should progressives pursue? And what alternatives do they dare to imagine? Left Turn, published by Melbourne University Press in 2012 and co-edited with Jeff Sparrow, is aimed at the many Australians disillusioned with the political process. It includes passionate and challenging contributions by a diverse range of writers, thinkers and politicians, from Larissa Berendht and Christos Tsiolkas to Guy Rundle and Lee Rhiannon. These essays offer perspectives largely excluded from the mainstream. They offer possibilities for resistance and for a renewed struggle for change.
The Blogging Revolution, released by Melbourne University Press in 2008, is a colourful and revelatory account of bloggers around the globe why live and write under repressive regimes - many of them risking their lives in doing so. Antony Loewenstein's travels take him to private parties in Iran and Egypt, internet cafes in Saudi Arabia and Damascus, to the homes of Cuban dissidents and into newspaper offices in Beijing, where he discovers the ways in which the internet is threatening the ruld of governments. Through first-hand investigations, he reveals the complicity of Western multinationals in assisting the restriction of information in these countries and how bloggers are leading the charge for change. The blogging revolution is a superb examination about the nature of repression in the twenty-first century and the power of brave individuals to overcome it. It was released in an updated edition in 2011, post the Arab revolutions, and an updated Indian print version in 2011.
The best-selling book on the Israel/Palestine conflict, My Israel Question - on Jewish identity, the Zionist lobby, reporting from Palestine and future Middle East directions - was released by Melbourne University Press in 2006. A new, updated edition was released in 2007 (and reprinted again in 2008). The book was short-listed for the 2007 NSW Premier's Literary Award. Another fully updated, third edition was published in 2009. It was released in all e-book formats in 2011. An updated and translated edition was published in Arabic in 2012.

Dangers of corporate sponsorship for cultural and artistic events

My weekly Guardian column is below:

The 19th Biennale of Sydney opens on 21 March. There will be a range of artists displaying all manners of artistic endeavour. So far, so good.

But a major sponsor is Transfield, a company used by the Australian Federal Government to handle refugee services and which therefore profits from the asylum seeker industry on Nauru and Manus Island. This association has caused refugee activists to call for a boycott of the Biennale.

Sydney design academic, Matthew Kiem, recently penned an open letter to visual arts teachers to send a strong, public message to the Biennale that association with a company like Transfield was ethically unacceptable. He wrote in part:

The most appropriate response to this situation is to boycott the Biennale. While this may feel as though we are giving something up, it is in fact one of the best opportunities we have to make a material impact on the supply chains that permit the detention industry to work. We are in a particularly strong position here given that our decisions could have the effect of redirecting a significant number of students, income, and kudos away from [this event] and towards other kinds of experiences and discussions … A strong response this year is the best way to ensure that future Biennales are not funded through [companies associated with asylum seeker detention].

Kiem told artsHub that “we can and should be putting pressure on the Biennale organisers to find other ways of funding art.”

In the last week I’ve seen countless high profile refugee activists writing on Twitter that they intend to boycott the event and will encourage supporters and the public to follow suit.

Thus far the Biennale has stayed relatively quiet on the matter, though last Friday tweeted:

RE: comments on BOS sponsors: BOS brings attn 2 the ideas & issues of our times – objectors only deny the legitimate voice of BOS artists

— Biennale of Sydney (@biennalesydney) February 6, 2014

Naming and shaming corporate sponsors of cultural events and products has a long and noble history. London’s Tate Modern is backed by BP, causing British activists to stress the corporation’s questionable environmental practices. This year in Australia the Minerals Council, in an attempt to sex up and soften its image, is sponsoring a popular commercial radio program. Online protest was guaranteed.

Actor Scarlett Johansson recently found herself in the crosshairs of pro-Palestine advocates because she backed Sodastream, a company with a factory in an illegal settlement in the West Bank. Her reputation has taken a hit and the role of Palestinian workers under occupation received global attention. Other firms operating in the West Bank, while brazenly saying they don’t fear future boycotts, are naive if they don’t think similar actions will soon affect them.

In America recently the gender equality organisation Catalyst awarded weapons manufacturer Lockheed Martin for “supporting women’s advancement”. I know there were a number of employees at Catalyst who expressed dismay at the tragic irony of praising a corporation that sells technology to some of the worst abusers of women in the world, such as Saudi Arabia. Separating politics from ethics is impossible.

Meanwhile, back in Australia, a critical social media campaign against the Biennale, currently developing organically, has the potential to embarrass the event and highlight the often vexed question of corporate sponsorship of artistic and cultural events. If the boycott grows, it won’t be the first time that these tactics have been employed in Australia over funding.

Tasmania’s Ten Days on the Island festival faced outrage in 2002 when it was announced that Forestry Tasmania would be a sponsor in 2003.Artists boycotted, including novelist Peter Carey, and the move caused a vital debate about the ways in which organisations, often with a problematic public image, aim to alter perceptions by backing arts events. Principled participants have a potential choice; be involved and risk being seen as complicit or remove themselves and remain pure. In the real world, such decisions, especially for artists who need and crave exposure, are not easy matters.

Although it’s true that Transfield has a long history of backing various artistic forms, the last years have seen a conscious choice to enter the world of asylum detention. Both Serco and G4S know how financially beneficial this is.

The exact nature of Transfield’s work is mired in mystery – a press release on 29 January merely referred to Garrison Support Services and Welfare at both Manus Island and Nauru – but it’s clear that management sees further opportunities with Tony Abbott’s government; Canberra has a bottomless pit of money to “stop the boats” and punish refugees.

The links between the Biennale and Transfield are not hidden – the chairman of the Biennale, Luca Belgiorno-Nettis, is also an executive director at Transfield.

Is this really the kind of corporation to which a leading arts event wants to be associated? What message does this send to the wider community? Should it be acceptable to earn money from the grubby business of imprisoning asylum seekers while at the same time backing glittering artistic works?

I’ve asked the Biennale to address these contradictions. “Our understanding”, they write, “is that the detention centres on Manus Island and Nauru are run by the Serco Group, which is not a Biennale sponsor.” This is incorrect; Serco has no known involvement.

“If any sponsor were found to be directly involved in the abuse of refugees, or anyone else for that matter, we would naturally reconsider our relationship.”

The statement continues: “Transfield Services has been a long time supporter of the Biennale. They supply food, clothing and other provisions to a number of industries and government projects. They are a listed company with high ethical standards and a publicly stated code of conduct.”

Addressing the call to boycott the event, “we believe that the campaign is well intentioned but misguided.” I ask about the potential social media campaign against them. “Many of us at the Biennale hold strong views on the refugee issue,” they argue. “We would not knowingly associate with the abuse of a disadvantaged group like the refugees. We believe that any action to hinder the Biennale would damage the ability of 94 artists to exhibit their work and gain exposure for their talent. That would be regrettable.”

How the Biennale and related events are funded should be key public questions, especially in an age where far too many companies want to mask their dirty profit-making with shiny, artistic treats. It is our responsibility to demand better.

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