In late February 2025, Chilean-born artist Marco Evaristti unveiled a provocative art installation in Copenhagen, Denmark, titled “And Now You Care.” The exhibit featured three live piglets confined within a makeshift cage constructed from shopping carts, with the intention of allowing them to starve to death over several days. Evaristti aimed to draw attention to the harsh realities of modern pig farming practices in Denmark, where approximately 25,000 piglets die daily due to inadequate breeding conditions.
Concept and Controversy
Evaristti’s installation sought to confront the public with the suffering endured by animals in the industrial meat production process. By replicating the conditions that lead to the death of thousands of piglets each day, he intended to provoke a visceral reaction and encourage societal reflection on meat consumption and animal welfare. The artist urged individuals to reduce their meat intake and support agricultural practices that prioritize animal well-being.
However, the exhibit quickly became a focal point of intense debate. Animal rights organizations and the general public expressed outrage over the deliberate starvation of the piglets, labeling the act as cruel and unethical. Animal Protection Denmark, the country’s largest and oldest animal welfare organization, acknowledged the importance of highlighting animal suffering but condemned Evaristti’s methods as illegal and abusive. Spokesperson Birgitte Damm stated, “We completely understand the indignation of the artist, but we do not agree that three piglets, three individual living beings, should be starved and prevented from drinking until they die from it.”
Theft and Rescue of the Piglets
The controversy escalated when, a few days into the exhibition, the three piglets—named Lucia, Simon, and Benjamin—were stolen from the gallery. The theft was orchestrated by animal rights activists, including Evaristti’s friend, Caspar Steffensen. Steffensen revealed that his 10-year-old daughter had pleaded with him to save the piglets, prompting him to collaborate with the Organization Against the Suffering of Animals (OASA) to rescue them. He expressed remorse for betraying his friend but felt compelled to act to prevent the piglets from enduring a painful death.
Upon discovering the theft, Evaristti reported the incident to the police and subsequently closed the exhibition. He expressed disappointment over the turn of events but later acknowledged that the piglets would now have a chance at a better life. The Copenhagen police confirmed receiving reports about the stolen animals and initiated an investigation into the matter.
Public Reaction and Ethical Debate
The incident sparked a broader discussion on the ethics of using live animals in art to convey messages about animal cruelty. While some critics argued that Evaristti’s approach amounted to animal abuse, others contended that the shock value of the installation effectively highlighted the often-overlooked suffering within the meat production industry. This dichotomy raised questions about the boundaries of artistic expression and the moral responsibilities of artists when addressing sensitive subjects.
Evaristti is no stranger to controversy. In previous projects, he invited viewers to blend live goldfish and used his own liposuctioned body fat to cook meatballs, challenging societal norms and provoking discussions on consumption and ethics. His latest installation continued this trend, forcing the public to confront uncomfortable truths about industrial farming practices.
Impact on Danish Pig Farming Industry
Denmark’s pig farming industry is one of the largest in the world, producing approximately 28 million pigs annually, with a significant portion exported to countries like Germany and the UK. The industry’s scale has led to concerns about animal welfare, particularly regarding the high mortality rate of piglets. Sows are bred to produce around 20 piglets per litter but possess only 14 teats, leading to competition among piglets for nourishment and resulting in the death of many from starvation or being crushed by the sow.
Evaristti’s exhibition, despite its controversial nature, succeeded in drawing international attention to these issues. The public outcry and subsequent media coverage prompted discussions about the ethical implications of current pig farming practices in Denmark and the need for reforms to improve animal welfare standards.
Future Plans and Reflections
In the aftermath of the piglets’ rescue and the exhibition’s closure, Evaristti began contemplating alternative methods to convey his message without causing harm to live animals. One proposal involved retrieving deceased piglets from meat processing plants and presenting them in future installations. Another idea was to acquire live piglets, not to harm them, but to auction them to individuals who would ensure their well-being, thereby transforming the art piece into a commentary on the value of animal life.
The incident also led to introspection within the art community regarding the use of provocative methods to address social issues. While shock tactics can effectively capture attention, they also risk alienating audiences and overshadowing the intended message. Evaristti’s experience highlighted the delicate balance artists must navigate between raising awareness and adhering to ethical standards.
Conclusion
The theft and rescue of the piglets from Marco Evaristti’s controversial art exhibition underscored the complexities surrounding artistic expression, animal rights, and industrial farming practices. The incident ignited a global conversation about the ethical treatment of animals, both within the context of art and the broader agricultural industry. As society continues to grapple with these issues, the role of art in challenging perceptions and sparking dialogue remains both significant and contentious.
