This past Saturday, the Rijksmuseum, one of Amsterdam’s most iconic cultural institutions, was abruptly forced to close its doors. The reason wasn’t an exhibition malfunction or a curatorial decision, but a blockade orchestrated by Extinction Rebellion (XR), a climate activist group that has, in recent years, become known for its bold and disruptive tactics. Dressed in striking yellow boilersuits and facemasks, XR protestors unfurled clouds of yellow smoke outside the museum’s stately facade.
The target of their protest? Not a controversial artwork, but the museum’s financial relationship with ING Group, a Dutch multinational bank that has long been a significant sponsor of the Rijksmuseum. According to XR, ING plays a considerable role in the financing of industries that exacerbate the climate crisis. “It’s baffling,” an XR representative told the Dutch press, “that the Rijksmuseum would allow itself to be financed by ING, a major contributor to global environmental degradation.” They argued that by accepting sponsorship, the museum was helping ING “hide its face behind masterpieces of Dutch cultural history.”
Several protestors went so far as to chain themselves to the museum’s entrance gates, demanding an end to the sponsorship. The museum, citing concerns for the safety of visitors, staff, and the priceless artworks within, decided to shut down operations until the situation could be resolved. “We cannot allow any actions that threaten the security of our institution,” a Rijksmuseum spokesperson said.
Amsterdam’s police intervened, eventually arresting 33 activists who had refused to relocate their protest to Museumplein, the city’s largest public square. Officers stated that demonstrators were given the opportunity to move but declined, leading to charges under the Public Demonstrations Act.
The protest echoes a rising trend of climate activism targeting cultural institutions. Earlier this year, XR’s subgroup Scientists for Extinction Rebellion occupied London’s Science Museum in protest of its partnership with the coal conglomerate Adani. These actions suggest an intensifying friction between the cultural world and its financial backers, with protestors insisting that institutions like the Rijksmuseum cannot remain neutral in the face of corporate environmental impact.
In a brief response, ING commented that it was open to dialogue but maintained that XR should address their concerns directly with the bank, rather than through the museum.
As institutions increasingly find themselves on the front lines of public debate over climate accountability, the Rijksmuseum protest raises important questions about the intersection of art, culture, and corporate responsibility. Whether the protest will prompt the museum to reconsider its ties with ING remains to be seen, but for now, the smoke has quite literally settled over the hallowed halls of Dutch art history.
