After facing criticism and an 18-hour sit-in protest by the artists, the Royal Ontario Museum (ROM) decided to reinstate the ‘Death: Life’s Greatest Mystery’ exhibition originally exposed on October 28. The artists had accused the institution of censorship for removing a panel bearing the word ‘Palestine’ off their work without their consent, among other texts and images relating to the same.
The protesting artists began their sit-in at the ROM late Saturday afternoon, which continued through Sunday. They passionately denounced the establishment’s decision on Instagram, stating that the ROM has contributed to the dehumanization of Palestinians in both life and death. The aggression sparked from the removal of a hand-embroidered image of a poppy representative of the Palestinian flag and symbolizing the lives lost due to occupation.
On Sunday, the museum officials clarified that the modifications were suggested only to keep the exhibition’s focus on the cultural, scientific, and ritualistic aspects of life and death, rather than drifting towards current events. According to them, such adjustments are standard museum protocol, especially when attempting to cater the content to the local audience. These changes are always done in consultation with the originating institution.
They assured that the exhibition will be temporarily closed for reinstating the material pertinent to Palestinian Muslim burial practices and Jewish cultural content. These elements were initially showcased at the Field Museum in Chicago. The proposed alterations were discussed with the community advisory members from the Field Museum, leading to a resolution that the institution agreed to.
Although a resolution has been met, the artists are still dissatisfied with their treatment. Jenin Yaseen, one of the impacted artists, stated in an interview with CP24 on Wednesday that the ROM’s proposition to add a disclaimer to the exhibit invalidates her experiences and voice.
Yaseen expressed her hopes that visitors who observe the artwork can recognize Palestinians as more than just statistics. She emphasized on how they are individuals with dreams and aspirations, who are “being completely eradicated”.
The reinstatement of the exhibition can perhaps be seen as a victory for artistic freedom and a step towards emphasizing the reality of the human lives behind the statistics, reminding us all, as Yaseen concludes, “We are all grieving.”
