We don’t make our country stronger by forcing refugees into desperation

When women come to our shores for help, we owe them a chance to rebuild their lives, writes Natasha Walter.

Today a document was published that contains more misery, line by line, than one can easily comprehend. The report of the Parliamentary Inquiry into Asylum Support for Children and Young People, to give it its full title, shows how families who have come to this country to seek sanctuary find themselves trapped in grinding poverty.

The panel for the inquiry heard from a mother who had to walk home from hospital after giving birth because she had no money for the bus; from mothers who go to bed hungry after giving their children their only food; from mothers who have to sleep on the floors of churches or mosques because they are left homeless.

Alongside many others who work with refugees, I have met women like these and been shocked by their day-to-day struggle to survive. What also shocks me is the way that their suffering is too often entirely invisible. These women and children tend to live as ghosts in our cities, hardly seen or heard by others. To combat that invisibility, Women for Refugee Women has recently been working with mothers who have sought sanctuary in the UK to tell their stories.

One woman who has told her story on our blog, Mariana (not her real name), lived destitute with her child for five years. She fled to this country from persecution in Angola, but was refused asylum here and then was not entitled either to work or to access support.

“When I came out of hospital after having my baby,” she told us, “I went to social services. I walked in holding my son. He was just three months old. The manager of the social services told me that they cannot help failed asylum seekers. She said that the only support they can provide was to take my baby to another family. That made me so frightened that I felt sick. I remember leaving the office and walking down the street, crying and holding my baby and wondering what I should do.

"I could not give my baby son to a stranger. I went to another friend, but she wasn’t really a friend. She told me I could sleep on the floor. It was cold and hard and my son and I were awake much of the night. In the day I didn’t have a key to her home so I was walking the freezing streets. My back hurt very badly from the birth and I still had high blood pressure, so I often felt faint. But I had to walk and walk all day, or sit on a park bench, or maybe in a library for a few hours.”

This story is the Cathy Come Home of our times. Luckily, Mariana does now have leave to remain, but she cannot forget all the days, months and years when she and her son were locked out of normal life.

Another woman, Helen, blogs with us about her day to day life bringing up her three children. Helen fled to this country for safety after being imprisoned in Ethiopia for her political activities. “We get £60 a week to live on, for all four of us,” she has said. “Buying food must come first. I go to the cheapest supermarkets and buy huge bags of pasta and tins of tomatoes. Travel really eats up the money.”

Helen shares stories of what it is like trying to get the children to hospital when one of them is ill, and how they rely on gifts from friends and charities for everything from toys to boots. She longs to be able to contribute herself. “I do dream of getting leave to remain here, so I can work,” she says. “I remember that as a young woman I used to laugh and laugh in a very free way and I don’t hear myself laughing like that anymore. It does feel as if I am stuck somewhere.”

Absurdly, Helen has been waiting 9 years now for leave to remain; an innocent victim of the well-documented chaos in the UK Border Agency.

Mariana and Helen remind me that women who come here seeking refuge may have fled experiences that we can hardly imagine, but they are women just like you and I. They want to protect and nurture their children, they have their own dreams and desires for the future. We don’t make our country stronger and better by forcing women like this into such desperation, we just make it crueller and nastier.

Sarah Teather MP and the others on the panel for today’s report have made sensible recommendations which should be immediately implemented. Asylum support levels are set too low to start with; cashless systems of support are far too restrictive for families and it should never happen that asylum seeking families are prevented from accessing even basic support and end up in complete destitution. Above all we need a change of culture. This is not about opening our borders, but simply ensuring that when people come here fleeing for their lives, we give them a fair hearing and a chance to rebuild their lives, rather than victimising them further.

Photograph: Getty Images

Natasha Walter is the founder of Women for Refugee Women, @4refugeewomen

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.