When Corporate Audacity Meets Artistic Integrity: AirAsia's Disrespect for Ernest Zacharevic

Art
1 Dec 2024 • 6:00 PM MYT
Mihar Dias
Mihar Dias

A behaviourist by training, a consultant and executive coach by profession

image is not available
The artist working on his painting. Image credit: Bernama/FMT

By Mihar Dias December 2024

When a budget airline as prominent as AirAsia decides to use art to enhance its brand, one would expect a nod of acknowledgment to the artist.

Yet here we are, discussing the blatant disregard of Lithuanian artist Ernest Zacharevic, whose iconic mural Children on a Bicycle has been allegedly plastered on AirAsia aircraft without his permission.

Zacharevic, whose street art helped put George Town, Penang, on the world map, has accused AirAsia of repeatedly using his work without consent.

His murals, including Boy on a Motorbike and Boy on Chair, have become cultural treasures since their creation during the 2012 George Town Festival. Featured in Lonely Planet’s Street Art book, his art has drawn tourists, boosted Penang’s economy, and symbolized Malaysia's vibrant cultural identity.

Yet, instead of honouring his contribution, AirAsia has reportedly taken the liberty of turning his creativity into free advertising.

This isn't the first time the airline has been accused of exploiting Zacharevic's art. According to him, prior attempts to engage with AirAsia yielded no “positive outcome.”

If true, this is a shocking reflection of how corporations like AirAsia view the intellectual property of artists—as mere tools to be commandeered for profit without any obligation to the creators.

The Ethical Question

AirAsia’s alleged actions are not just a matter of legal compliance—they’re a question of ethics. Why is it so difficult for a multi-million-dollar corporation to acknowledge the labour, creativity, and soul poured into an artist’s work?

In Zacharevic’s case, his murals are not just decorative; they are cultural milestones representing Penang’s unique charm. His decision to restore his murals recently underscores his commitment to the community and the value he places on preserving this artistic legacy.

By using Children on a Bicycle without permission, AirAsia undermines the very essence of creative ownership. Worse, it reduces Zacharevic’s work to a marketing gimmick, stripping away its meaning and reducing it to a convenient aesthetic.

The Wider Implications

This incident raises broader questions about how corporations treat art and artists. How many more creatives have to battle these Goliaths just to be seen and respected? AirAsia’s alleged behaviour suggests a troubling precedent: if you are small enough, they can exploit you with impunity.

Such practices not only harm artists but also damage Malaysia’s cultural image. George Town’s murals attract global visitors because of their authenticity. The moment these works are commodified without respect for their origin, their charm is diluted, turning heritage into hollow branding.

Time to Set a Precedent

Zacharevic, for now, has chosen not to pursue legal action, preferring to resolve the matter amicably. But this should not be mistaken for weakness. His restraint is an opportunity for AirAsia to step up and right its wrongs. A public apology, proper compensation, and collaboration with Zacharevic would not only repair trust but also set a positive example for other corporations.

As consumers, we, too, have a role to play. When we accept the exploitation of artists in silence, we enable it. It’s time to ask ourselves whether we should support corporations that profit from cultural theft.

A Call for Accountability

Art should not have to bow to corporate interests. Zacharevic’s work belongs to him, not to AirAsia’s branding team. If we allow one artist’s rights to be trampled, what message are we sending to the next generation of creatives? That their work is valuable only until a corporation decides to appropriate it?

AirAsia owes Zacharevic—and the people of George Town—more than an explanation. It owes them respect. Until then, its red planes may carry the taint of artistic theft, no matter how pretty they look.

Image from: When Corporate Audacity Meets Artistic Integrity: AirAsia's Disrespect for Ernest Zacharevic
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