Nothing to see here: Athens is now closed to democracy

There are two kinds of deficit that have taken hold in Greece: the economic one, and the democratic deficit created by government spin and five years of austerity and authoritarianism.

The Greek capital will be closed for the day, nothing to see here, move along. From Panepistimio to Mets, two of the borders of the historic center of Athens, it’s about two kilometres in a straight line. From Acropolis to Mouson Avenue, it’s almost six. These are the borders of the area of Athens where a curfew has been declared for today (see map below). To get a sense of the scale, think of an area in London from Westminster to Holborn and from Marble Arch to Bethnal Green Road. 

From nine in the morning till eight at night, the centre of Athens will be under lockdown. No protests or assemblies allowed. This decision (taken by the Chief of the Greek Police no less - not an elected official) was deemed necessary because the German Minister of Finance, Wolfgang Schäuble, will be visiting Athens. To ensure that nothing will hinder Schäuble’s route, or tarnish his eyes with images of dissent, the road that leads from the airport to the Greek Parliament will also be closed while he is on it.

The area of Athens where protests and assemblies are banned today

It is of course not the first time that such measures, which might be called extreme, have been taken in order to provide maximum security for a visiting German official. It was only last October that the Greek capital had to be flooded with riot police, and another curfew imposed, in order for the ungrateful masses of protesting Greeks to be kept at bay for Angela Merkel’s visit. It was the same when riot police were used to stop a small village from protesting the destruction of its natural environment, imprisoning anarchists without trial for longer than the law allows or shutting down public institutions (like say the state broadcaster) on a moment's notice without a vote in parliament. It is not, of course, incompatible with democracy to take away basic rights from a people, in order to show your benefactors (be they businessmen or governments) how grateful you are. The Greek coalition government knows very well where its lifeline comes from. 

But one can’t help but ask - as both the German and the Greek government alike have been declaring lately - if the Greek “success story” is true, why is such protection (usually reserved for dictators and conquerors) needed at all? Wolfgang Schäuble is certainly none of those things. At his very worst, Wolfgang Schäuble might accept the odd DM 100,000 cash donation from the occasional arms dealer and be forced to resign from the leadership of his party, just like he did back in 2000. It is but a flesh-wound.

Maybe it’s because a lot has changed since then. Most of all, the very nature of the political system we call “democracy”. Greece’s Troika of lenders (comprised of the EU, the ECB and the IMF, but spearheaded financially and ideologically by Germany), in their efforts to close the country’s financial deficit, has created and perpetuated a most despicable, and harder to close, deficit: one of democracy. 

Instead of an open forum, like the one my country supposedly gave birth to, where everyone gets a say, the version we’ve been witnessing in Greece is more of the “elections during which German newspapers publish articles in Greek, warning voters not to vote for left-wing SYRIZA” kind. This is the version where meetings need to take place behind closed doors, and visiting politicians need to be kept away from the unruly mobs who seek to stain the beautiful fairytale of hardship, punishment and reward the virtuous Angela Merkel desperately needs on her way to the German elections to be held this September. 

We shouldn’t go very far as to why this protection is needed though. The privatisations programme has brought the Greek government nothing but shame. Unemployment now stands at more than 28 per cent, and an expected drop of more than 70 per cent in tax revenue during the month of June is predicted to blow a hole in the budget of almost a billion euros. All of these things threaten the government’s spin. 

Greek and German politicians refuse to acknowledge this. Yiannis Stournaras, the Greek Minister of Finance, declared in a more than straightforward way that “there is no problem, we’re seeing improvement”, despite the Troika’s damning report on the progress made. A multi-bill that pushes through “necessary” reforms (namely cuts, lay-offs etc) has been rushed through the parliament, and voted by a slim majority of 153 out of 300 MPs. The only success the government has to show from the negotiations with the Troika is a reduction in the VAT on services which will apply from August, but already restaurant owners have said that it won’t change prices, as they have absorbed damages from the 10 per cent hike in previous years.

When faced with these tough questions, ministers of the government, like Nikos Dendias on the BBC’s HARDtalk a couple of weeks ago, stick to their line and claim we’re seeing light at the end of the tunnel. But it takes heavy policing, the closing down of tube stations, the enforcement of a curfew unlike any a democratic country should witness, and tight control of all mainstream media for this spin to take hold. It is this very behaviour by both the Greek and the German governments that provokes the Greek people to take to the streets. A call for a gathering in Panepistimio has already been sent out for this afternoon. 

Greece cannot afford luxuries, both literally and metaphorically. No matter what happens, whether riots, demonstrations or absolutely nothing takes place, the impression left behind in this instance is pretty clear: there is no room for democracy, freedom of expression and democratic procedures in this state of constant emergency. And if the Greek budget shows a primary surplus this year, itself highly unlikely, the democratic deficit created by these past five years of austerity and authoritarianism will take generations to close.

A protester's placard during this week's general strike in Greece. Photograph: Getty Images

Yiannis Baboulias is a Greek investigative journalist. His work on politics, economics and Greece, appears in the New Statesman, Vice UK and others.

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.