Hot Docs Review: ‘White Balls on Walls’ is surprisingly honest
‘White Balls on Walls’ is a frank portrayal of an organization’s earnest efforts to repair decades of exclusion.
While we strive for equity across all realms, one of the greatest shortcomings that has been identified (because it’s so easily noticeable) is a lack of representation, particularly in decision-making roles. Consequently, a lack of diversity in leadership typically trickles down in ways that range from subtle to overt, whether it’s in policy, hiring practices, end products or advertising. In spite of the feeling that this is a sudden realization for some, it’s been a long time coming for others and they’re ready to start breaking down those barriers. White Balls on Walls documents efforts at a Dutch museum to address issues of inclusion on their staff and in their collection.
Stedelijk Museum Amsterdam is the country’s modern art museum. More than 90 percent of its art collection was created by white men and less than one-fifth of the listed staff appear to be non-white. Charl Landvreugd is the new Head of Research and Curatorial Practice. Knowing he may be viewed as a hire to meet a quota, he emphasizes his extensive qualifications and an awareness of a need to tread carefully in his new position. Sitting down for a meeting, museum director Rein Wolfs and his (all-white) management team discuss the collection’s shortfalls and how to begin incorporating more diverse artists, which to some degree was spurred by funding requirements.
Documentary director Sarah Vos began following the Stedelijk staff in 2019 and it’s quite brave of them to allow the filmmaker to record these sometimes challenging and awkward conversations. There’s a lot of discomfort and uncertainty around the table as they discuss including more works by women and people of colour, and it’s difficult for audiences not to notice the lack of representation during these conversations. Similarly, it’s clear Landvreugd wants to instigate change in “how they’ve always done things,” but is also treading lightly and being careful not to push too hard too quickly, noting he doesn’t want to be viewed as a threat. Consequently, he frequently refers to a 1995 protest at the museum by the Guerrilla Girls that called attention to its inequity and gave this documentary its title. Wolfs also consults with curator-at-large Yvette Mutumba about initiatives he’s considering, and her responses are refreshingly honest and constructive.
This is a surprisingly candid portrayal of an organization striving to be better and recognizing that embracing their discomfort is the only way to move forward — an approach made especially clear when they hire one of their most outspoken critics. Whether they forget the camera is there or are simply fully-immersed in the experience, there are no airs about them. Understanding they are embarking on unfamiliar territory, there are no attempts to conceal their concerns or confusion. However, as a viewer, one hopes those at Stedelijk will watch this film and see the areas for even more improvement.
White Balls on Walls had its North American premiere in the Artscapes programme at the Hot Docs Festival.
Read other reviews from the festival.
Director: Sarah Vos
