“It is a lot like playing a video game,” admits a former Predator drone operator matter-of-factly to the artist Omer Fast. “But playing the same video game four years straight on the same level.” His bombs kill real people though and, he admits, often not the people he is aiming at.
The remarkable insight into the working life of one of the most modern of military operatives is provided in a 30-minute film which will show at the Imperial War Museum in London from Monday, the first in a new programme of exhibitions under the title IWM Contemporary.
The project is something of a departure for the museum in one way, although it has been commissioning and showing artists since the first world war. “The idea behind this strand is to present a consistent offer,” said Sara Bevan, a curator in the art department. “So people do identify us with contemporary art because it sometimes does get a bit lost.” It will also allow the gallery to perhaps be more provocative and more reactive to contemporary events.
The work by Fast, an Israel-born artist who lives and works in Berlin, is called 5,000 Feet is the Best, which takes its name from the optimum flight altitude of a Predator drone.
Drones are aircraft with no humans on board operated remotely from bases in the country to which they belong. According to data published by the Bureau of Investigative Journalism last December, there have been almost 1,200 drone strikes on suspected terrorists by US and British forces in the past five years on targets in Afghanistan, Libya, Iraq, Yemen and, by the CIA, in Pakistan. Estimates as to how many they have killed vary, although one Republican senator, Lindsey Graham, said in February: “We’ve killed 4,700. Sometimes you hit innocent people, and I hate that, but we’re at war, and we’ve taken out some very senior members of al-Qaida.”
The subject engenders fierce debate and the artist attempts to capture its complexities.
What Fast’s film does brilliantly is evoke the weirdness of people in Nevada endlessly trawling foreign countries for “bad guys” which they then get permission to fire on.
Fast interviews a former US air force drone operator who admits to making mistakes. “You see a lot of death,” he says before pondering why he carries on – perhaps because if it was not him then it might be some “new kid doing it badly”.
Bevan said Fast’s film was “a visually stunning piece of work” which she – and hopefully visitors will too – got something more out of every time she watched it.
Fast advertised online for drone operators to come forward and some did, although the advert was subsequently closed down by the FBI and rather fewer operators were forthcoming.
One was willing. Some of his testimony in the film is the real man, blurred, and more uses an actor playing the operator talking to a journalist in a Las Vegas hotel room.
Bevan said one reason the Fast piece was chosen as the first commission was because drone warfare is such a “pressing, current issue”. The plan is to have three shows a year with two documentary photographers scheduled next.
“Contemporary art is a really good way of dealing with lots of issues around contemporary conflict, such as issues to do with conflict not being confined to geographical boundaries,” she said. “Art can deal better with the more intangible issues.”
The opening of IWM Contemporary coincides with the partial reopening of the museum itself which has been shut for six months while it carries out major internal works including the building of new first world war galleries.
Although the main display spaces and atrium remain closed, the art galleries will reopen on Monday along with a Horrible Histories show on spies and the A Family in Wartime display, the Holocaust exhibition, and Lord Ashcroft’s Victoria Cross gallery. The IWM is scheduled to open fully in summer 2014, coinciding with the centenary events marking the outbreak of the first world war.