Last weekend, an installation by New York photographer Spencer Tunick caused a stir when he photographed 600 volunteers on the Aletsch Glacier to raise awareness of global warming on behalf of Greenpeace. The event was made possible by Greenpeace and Euro RSCG Zurich. «The idea to approach Spencer Tunick came from us,» Frank Bodin, CEO of Euro RSCG Switzerland, told Werbewoche. It wasn’t exactly easy to get Tunick on board: «He’s constantly on the road, hard to reach, and not exactly easy to deal with—just like artists tend to be,» said Bodin. After several attempts, they managed to meet in New York. It helped that Euro RSCG Zurich had already been in contact with Tunick before. The agency served as an intermediary between art and commercial interests. The agency proposed the idea of photographing on the Aletsch Glacier, handled the basic logistics, and managed the contract negotiations. «We drafted 37 different versions before we were finally able to sign the contract with Tunick,» Bodin explained. The decisive factor was that the artist viewed the entire project as a meaningful cause he could get behind. He was also drawn to the idea of working at a location like the Aletsch Glacier. «This glacier is a very clear and compelling symbol of the issues surrounding climate protection,» Bodin explained.
During the campaign, the agency deliberately stayed in the background to give the artist and Greenpeace the space they needed. Bodin himself was not on site. Before last Sunday, however, his agency had its hands full: The campaign was prepared in just half a year. They couldn’t afford to take any more time, because the photographs had to be taken within a specific time frame. In a few weeks, it will already be too cold for the volunteers to pose naked on the glacier.
The campaign generated a huge media response. In Switzerland, the newspapers were full of it, and there was also extensive coverage worldwide. «The subject serves as a hook to spark conversation about climate protection,» said Bodin. He said he hadn’t received any negative reactions: «I believe that the image of naked people, combined with the fragility of nature, works very well to bring global warming to the forefront.».
The image will be used by Greenpeace worldwide. For example, it is planned to be used on the websites of the various chapters and in direct marketing campaigns. In addition, print materials such as posters and advertisements are planned; an exhibition is being considered, as well as an auction of original prints to benefit Greenpeace. The terms under which the images may be used are set forth in a contract.
Euro RSCG will oversee some of the upcoming measures, while Greenpeace will handle others on its own. For the Zurich-based agency, this was its first project for the environmental organization. It was not a purely pro bono project; Euro RSCG had a contractual relationship with Greenpeace, and the agency’s expenses were covered, «albeit with a certain goodwill discount,» as Bodin put it. Tunick also received a fee from Greenpeace. For Bodin, such assignments are appealing: «We handle these kinds of projects under the umbrella of ‚Creative Business Ideas,’ as we call this business unit.» The goal is to generate the widest possible media coverage with a limited budget and a big idea.
Carole Scheidegger