Workfare: Unexpected Intern in the bagging area

The truth of the matter is that the government cares more about statistics than genuinely tackling unemployment.

Children have a terrifically simple way of exploring the limits of adult knowledge. They do so by asking a question, then responding to each new piece of data with “but, why?” The, almost inevitable, ending to this line of questioning is either “because I said so” or “I don’t know, that’s just how it is”.

James O’Brien on LBC seems to have elicited similarly impatient but illuminating responses from Iain Duncan Smith on the subject of workfare. Talking about Cait Reilly, who was recently successful in challenging the legality of the state compelling her to take an unpaid placement in Poundlad, Smith declared: “She was paid. What do you think the taxpayer was paying, for God’s sake? Job Seeker’s Allowance? That is what we are paying her to do.”

The interview reveals the dark heart of the matter when it comes to Work Experience, Youth Training Schemes, Mandatory Work Activity, Community Action Programmes and the rest of a panoply of such schemes. Smith ended up describing workfare schemes as “us allowing people to continue to earn their JobSeeker’s Allowance, but also to take experience in companies that allow them to do that.” That’s a lot of allowing; a lot of noblesse oblige.

However one chooses to dress it up, at the core of such policies is the idea that by paying a benefit the state (and by extension the taxpayer) assumes part-ownership of the labour of persons in receipt. I find this position irreconcilable with the ideological basis of a party which believes that the state needs to shrink to as small a size as possible and stand out of the way of individuals who wish to “get on”. The action does not match the rhetoric. What the state is actually doing is buying the labour of millions of people, en masse and below market rate, in order to then contract it out to large and profitable businesses for nothing.

Such schemes do not end the “something for nothing culture”. They simply elevate it to the corporate level. It is a paradox for traditional right-wing commentators who object to funding an individual’s benefits, to appear quite happy to cross-subsidise a huge conglomerate with global revenues of $100bn in 2010.

When opposition to the scheme was first gathering pace, Tesco explained that of the 1,400 people who have been made to serve them (because to use the verb “employ” would require some consideration on the part of Tesco), 300 got a job with the company. This means one of three things, all three very worrying. Either:

  1. Tesco were genuinely trying to fill 1,400 positions, but  were only capable of training roughly one in five people to stack shelves in six weeks. Or:
  2. There were only 300 positions in the first place (probably due to natural turnover, which I imagine is quite high), but Tesco decided they might as well conduct six-week interviews on our buck. Or:
  3. There were 1,400 genuine vacancies in the relevant stores, but why on earth would they fill them with paid employees, when they can have a rolling six-weekly army of 1,400 free ones?

The effectiveness of such schemes is also highly contentious. The government commissioned its own research before implementation. It concluded:

There is little evidence that workfare increases the likelihood of finding work. It can even reduce employment chances by limiting the time available for job search and by failing to provide the skills and experience valued by employers. Subsidised (“transitional”) job schemes that pay a wage can be more effective in raising employment levels than “work for benefit” programmes. Workfare is least effective in getting people into jobs in weak labour markets where unemployment is high.

Perhaps most importantly, these schemes are a state-form of denial; a particularly egregious case of ostrichism. We know from an official response to a parliamentary question that the Office for National Statistics includes people on such unpaid schemes in their data as “employed”. Such schemes are being rolled out on a massive scale. 370,000 unemployed were referred to the Work Programme in the first few months of its existence. Over a million people are expected to be caught by Community Action Schemes. The manipulation of statistics at such a scale may go some way to explaining the continuing disparity between rising “employment” and stagnating or contracting GDP.

Policy on these schemes has become axiomatic. It has become the art of “because I said so” or “I don’t know, that’s just how it is”. It has done so in the face of evidence to the contrary, creationist in its resistance to the truth. There is an overwhelmingly idiotic assumption at its basis; that the reason 2.5m jobless will not fit into 500,000 vacancies, is not mathematics, but a lack of willingness on their part. How can the state tackle unemployment if it is unaware of how many people are genuinely unemployed, where they are and which industries they are trying to find work in?

All this lays bare a stark fact: the Government is interested in the figures looking good, rather than genuinely tackling unemployment. For how can one solve a problem by hiding it in dark statistical recesses and denying it exists? With increasing job insecurity, that is something that should concern us all, regardless political persuasion.

 

Photograph: Getty Images

Greek-born, Alex Andreou has a background in law and economics. He runs the Sturdy Beggars Theatre Company and blogs here You can find him on twitter @sturdyalex

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.