What should the Taoiseach say to the Pope?

Enda Kenny must acknowledge the damage done by the Catholic Church to Ireland

Ireland's very own bronze-haired, twinkly-eyed Taoiseach Enda Kenny is today meeting Pope Benedict XVI in Rome. As to what should be on his lips is anyone's guess. One hopes that he is mindful of our history, and that his smile does not take precedence over the articulation of anger felt by our - although economically burdened - still optimistic people and that he makes the Catholic Church acknowledge the irrevocable damage inflicted by them and their institution head-on, face to face.

"A society of albanised peasants," was the damning depiction of 1960s Ireland declared by the late writer, Sean O'Faolain. Run, as he said we were then, by a completely obscurantist, repressive, regressive and uncultivated church, it was theocracy that managed the holy land of Ireland. And it was here, as in other places, that politics and religion have had an incestuous relationship. Ireland is a wicked example of what can go wrong.

While most of the west in the 19th century was industrialised and urbanised, Ireland remained an impoverished Catholic society, shackled with arrested development, where the men of the holy cloth had the last word not only in sermon, but on all sorts of policy, public and social. The Catholic Church was the alpha and the omega. There was deep attachment to land and faith, tradition and ritual. The modernisation of Ireland, however, inevitably would be in opposition to religion. Television, the sexual revolution and globalisation, all contributed fiercely. It was the sex scandals, though, that would be the killer element in the implosion of the church.

The church made expensive effort to hide the rape and torture of children from the relevent authorities, even forcing child victims to put their names to secrecy oaths that prevented them from testifying. A cocktail of fear and naivete enabled the silence to endure. Starting in the 1990s, a series of criminal cases and Irish government inquiries established that hundreds of holy men had acted in the most unholy fashion. In many cases, these men were shifted to other parishes to avoid embarrassment and scandal, assisted by those at a more senior level - an institutional conspiracy. 

Kenny's host, Pope Benedict XVI or Joseph Ratzinger as he was, is closely associated with this obstruction of justice. When promoted to cardinal, he was singularly responsible for the direction of "the congregation for the doctrine of the faith". In 2001, Pope John Paul II assigned Ratzinger's department to manage the investigation of child rape and torture by Catholic priests. Ratzinger promptly penned a letter which he sent swiftly to every bishop, in which he promoted secrecy around inquiries into sexual misconduct. 

Enda Kenny was accurate last year when he said that there was dysfunction, disconnection, elitism and narcissism dominating the culture of the Vatican to this day, and that the rape and torture of Irish children was downplayed or managed to uphold, instead, the primacy of the institution, its power, standing and reputation. All is now under question as its irrelevance gains momentum. A reiteration of this personally to Pope Benedict would be diligent.

He should also address the position of Cardinal Sean Brady, disgraced leader of the Irish Catholic Church, and his information about Father Brendan Smyth. Kenny should demand answers and justice on behalf of the victims who are of his electorate, whom he represents. This is an opportunity for him to gain some public clout, but, also too, an opportunity to show he has some steel behind his words. We can only hope that he acts diligently and addresses these issues, instead of aquiescing to this negligent institution.

Pope Benedict XVI at the Vatican. Credit: Getty Images
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.