We Need To Talk About Zimmerman

In reality, nobody alive but George Zimmerman knows exactly what happened the night that Trayvon Martin was shot. In all the speculation, nobody is talking about the real problem: guns.

At Louie's Bar in midtown Miami, about three and a half hours south of the Sanford, Florida courtroom, the verdict in George Zimmerman's trial caused very little storm. As MIA's Paper Planes, with its simulated rhythmic gunfire, played over the bar's sound system, CNN, on silent with subtitles, strove in vain to whip the patrons into a frenzy of something. Outrage, perhaps. Or sadness. Or maybe: excitement. Network news is entertainment, after all. It's a dog-and-pony show.

There have been protests in Sanford, outside the White House in Washington DC, and in Los Angeles, all calling for "justice for Trayvon", the black teenager shot and killed by Zimmerman last February. The Rev Al Sharpton is coordinating around 100 "Justice for Trayvon" marches for this Saturday.

But they all have the wrong word. What they want is something more than mere justice. People want revenge, restitution, closure, and not just for Trayvon, but for the thousands of black kids and young adults killed every year – in 2010 black people constituted 55 per cent of the victims of firearm homicide, according to a recent paper by the PEW Research Center, despite being just 13 percent of the population.

His parents want their son back. They did not get him back this week, and the man who shot him walked free. It is impossible to imagine how that felt for them. But justice, court justice, isn't the opposite of injustice. It is just a process.

After the shooting, campaigners sought their moment in court, and got it. But there simply wasn't enough evidence for a jury to find beyond all reasonable doubt that George Zimmerman had not been acting in self-defence. Witnesses on both sides gave contradictory and confusing testimony, muddying even the shreds of evidence available to the jury. So they did the only thing they could in all conscience do: acquit.

Under Florida's ludicrous Stand Your Ground law, Zimmerman at first was not even charged. A young man lay dead, and Zimmerman had been acquitted without facing trial. But when the – absolutely righteous – outrage at that law, by local civil rights groups and, eventually, even President Obama, led rightfully to a trial, everyone seemed to take the message that it was their right to demand Zimmerman's eventual conviction, too. And it just was not to be.

But the problem is that, in reality, nobody alive but Zimmerman knows exactly what happened that night. He claims to have been acting in self-defence. To assume he is lying is perhaps almost as much an act of prejudice, though of a different sort, as to assume that Martin was attacking him. I am not speculating either way. I do not know. Neither do you. But the burden of proof was not with Zimmerman. He is presumed innocent until proven guilty; and there just wasn't the proof. All else is speculation.

Maybe the jury – on which it is true that no black person sat – acquitted George Zimmerman because they all felt that it is a white man's inalienable right to shoot a black kid. Maybe the system still remains racist to the core.

Maybe. But more likely, faced with the vast responsibility of coming to a decision in full view of the might of the American media, the jury came to the conclusion that there was not enough evidence to convict a man of murder, or even manslaughter, beyond reasonable doubt.

Of course America is a country still riven by racial tension. It would be stupid to pretend otherwise. Perhaps Zimmerman truly was, as many claim, a murderous racist. Perhaps, as his defence claims, he was a scared man under attack. Perhaps the truth lies somewhere inbetween, a man whose racial prejudices led him to read violence and malice into the hooded face of a young black man. But there just wasn't the proof.

The root cause, whether accident or self-defence or racism, is secondary. In the end, Trayvon Martin was killed because Zimmerman had a gun. He had a gun, and he had, as many do, an understanding given of long national experience that the law affords him impunity to use it.

President Obama gave a statement in response to the verdict. He said that people ought to honour Trayvon's memory by asking “if we're doing all we can to stem the tide of gun violence”. The answer is no. The administration's current efforts to impose even small measures of gun control are proving a Sisyphean task, because somehow after each tragic shooting, after a while, America fails to muster the outrage to overcome the gun lobby. Despite the public outcry around the trial, despite the thousands of other shootings this year, and last, and the thousands that there will be next year, few protesting the court's verdict seems to be calling for gun control. Just nebulous "justice".

And at the bar in Miami, the patrons shrugged into their beers. There was baseball on the other screens.

 

A poster about the verdict in midtown Miami. Photograph: Nicky Woolf

Nicky Woolf is a writer for the Guardian based in the US. He tweets @NickyWoolf.

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.