Obama: Mr 99%?

The US president needs to recognise the resentments that have sparked the 99% movement.

Just a bunch of "kids and kooks" or the early and messy stirrings of a deeper shift in US politics? That's the question pre-occupying US politicians and assorted commentators from left to right as the one month old occupation of Wall Street spreads to a growing number of cities.

They call themselves the "99 per cent" -- representing, they say, everyone apart from the super-rich and powerful. On the left the nacsent movement has been lionised by Naomi Klein as "the most important thing in the world" with self-conscious comparisons made to the recent uprisings in Tunisa and Egypt, as well as the "indignados" in Madrid and those on the streets in Athens. In contrast, high-brow centre-right commentators view it as inchoate, unimaginative, and amateurish: all slogan, no proposal. Grow up, put on a suit and do some hard policy work is their message.

Meanwhile the Tea Party, scornful though they are of the notion that government should do more to tackle the problems of the 99 per cent, take the protestors a bit more seriously even if they they don't like to say so. Until now Tea Party activists have enjoyed a near monopoloy on grass-roots energy and righteous anger, so they are eyeballing the new competition carefully. They've been prompted to spawn their own counter-movement "the 53 per cent", representing the interests as they see it of the half of the population who are federal tax payers. (Memo to Liberal Democrats seeking to remove ever more low-earners from the UK tax-system: working people who've been taken out of the tax-system are viewed as non-contributors by the populist right). Other voices lament the fact that the cultural chasm between the 99 per cent-ers and the Tea Party is so large that it will not permit common cause to be made on one or two specific issues where there is some populist shared ground.

But perhaps most interesting is that some important establishement and centrist voices are choosing not to dimiss the protestors, which they surely would have done only a few years ago. Hence the likes of the New York Times and the Financial Times have adopted sympathetic, if questioning, stances (indeed the FT even felt moved to invoke the spirit of The Diggers -- which surely must be a first -- in a recent op-ed).

This measured response is prompted in part by the increasingly widespread reconigtion of the scale of mainstream resentment at the explosive growth in rewards going to the richest 1per cent -- and this at a time of continued public outrage about the cost of the last bank bailout (as the next one moves into view). But it's also rooted in a new appreciation of what has been happening to the living standards of most of the other 99 per cent, and a deepening sense of anxiety about what could happen if these trends persist.

There is now indisputable evidence that the US economy isn't working for what are termed middle-class families. The income of the typical American family has seen only aneamic growth for a generation. But from 2000 - 2010 these these trends worsen: the median income of families with children in the US has fallen by more than 11per cent, with a fair chunk of that fall happening before the onset of the recession, though it has deepened since (indeed 11per cent will be an understatement as incomes fell again sharply in 2011). As the chart below shows, this has cut across all racial groups -- always an important factor in US politics -- though some far more than others, with African-American families seeing a staggering 18 per cent drop in their incomes.

 

[Source: US Census Bureau]

Until recently one of the main virtues of the US economy -- often held up in mitigation against these long-term wage trends -- has been its powerful record jobs. Yet employment levels have been crashing over recent years, which will act as a further drag on future wage growth. The "American jobs machine" hasn't just run out of steam; it has broken down.

These challenges leave the Obama administration with little choice but to run against the economic system that it oversees. The President now regularly opines about the bad deal that the middle-class are getting: "a lot of folks who are doing the right thing aren't rewarded and a lot of folks who aren't doing the right thing are rewarded". In another echo of our own politics, Vice President Joe Biden proclaims that "the bargain has been breached."

Yet for all this rhetorical effort the Democratic leadership is nonetheless torn between different strategies for responding to this new vibrancy on the left. On the one hand, the case against embracing the new currents animating US politics is deeply institutionalised: it's been a long time since the Democratic Party successfully mobilised populist political sentiment -- and there are strong grounds for questioning its willingness to do so now, a point Robert Reich has recently made. Moreover, Obama will clearly want to fight from the centre in 2012, doing everything he can to push the Republicans to the right. He is very unlikely to think that standing shoulder to shoulder with unruly street protestors will help this cause. And for all his tough talk about Wall Street, he will also be looking for his own big money donations.

Against this is the obvious appeal of finding a way of tapping into some raw political energy, rekindling idealism and identifying some plausible enemies -- all of which Obama needs -- and which together add up to some of the key driving forces in politics. Clearly this doesn't mean signing up to all the myriad ideas emerging from the 99 per cent movement, but it does mean recognising more directly the resentments and insecurities that have sparked this new force. If handled deftly this approach could also strike a chord with the anxious American middle-classes.

As all sides look to 2012 it is clear that the anger that has surged across US society, well beyond those occupying Wall Street or attending Tea Party meetings, is a highly unpredictable and potent force, especially for an incumbent President. If Obama fails to find a way of riding and successfully steering it, then it is set to turn against him.

Gavin Kelly is a former adviser to Downing Street and the Treasury. He tweets @GavinJKelly1.

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.