Faced with cuts, Newcastle is fighting for fairness

The leader of Newcastle City Council calls for more honesty and openness in local government funding.

This piece is a response to Andrew Hankinson's blog post, "Nick Forbes: Newcastle’s king of cuts"

Last 20 November was the day when the government’s austerity programme turned from a theoretical national debate into a stark reality for the people of Newcastle. £90m of council cuts over three years, affecting every aspect of public life across the city. I described it as one of the darkest days for public services in Newcastle.

Residents have been shocked. Protesters fighting the closure of 10 of our libraries have accused me of being a Tory poodle, doing the work of David Cameron in a concerted attack on local services. The fact that some of the cuts affected our local cultural institutions pushed us into the national press. I received letters signed by a who’s who of the geordie cultural diaspora: Sting, Bryan Ferry and Robson Green to name a few. Writer Lee Hall is turning a legitimate and welcome campaign against cuts to arts and culture into an increasingly personal campaign against me. The local Liberal Democrats join with Eric Pickles in accusing me of deliberately exaggerating the cuts in order to pass the blame onto government and of megaphone diplomacy. I have been likened to militant firebrand Derek Hatton, who famously defied the Thatcher government by setting an illegal budget. Earlier this month, in a blog post for the New Statesman, Andrew Hankinson leapt on that particular bandwagon, accusing me and the council’s director of finance of making deliberate arithmetic errors to overstate the scale of the cuts for political reasons.

All this talk of politically motivated over-statement of cuts is a ruse to hide the real scandal. The figures are right. They are the inevitable consequence of decisions made in Whitehall and Westminster, not in Newcastle Civic Centre. Newcastle has been honest about the scale of the cuts facing not just our city but communities across the country. And the cuts have been deliberately and systematically loaded  against those communities least able to withstand them.

Unlike most councils, we set our budget for three years instead of the usual one or two. We did this for good reasons. The old method of annually 'salami slicing' budgets was no longer adequate. We needed to take a good hard look at what the council does, and plan over the longer-term. A three year budget gives us more scope to make radical changes. And more time to work with communities and partner organisations to find alternative solutions to avoid closure of the most valued facilities and services, and more time to minimise job losses by helping staff to retrain or redeploy.

But creating a three year budget has been a fearsome task, because it’s exposed the enormity of the challenge facing the whole of local government. We were among the first councils to look in detail at the consequences through to 2016. Since we published our budget, other cities have issued very similar proposals. Liverpool has to save £173m by next year; Leeds, £51m next year; Manchester, £80m by 2015 and Birmingham, £600m by 2017. Councils have cut £5bn and shed 230,000 jobs over two years with some of the deepest cuts yet to come. We are not the only council that is considering closing libraries and cutting funds to the arts. The Conservative-controlled Local Government Association has gone even further in spelling out the consequences of cuts to 2020, by which time local government will have no money left to fund any services beyond its core statutory functions.

And what of the argument that I was exaggerating the cuts back in November? Just before Christmas the government announced a further round of cuts, and our £90m cuts requirement became £100m. So it turns out we were actually under - rather than over - stating the scale of the challenge.

And the greatest scandal of all lies in the judgments made in central government about where these cuts should fall hardest, and how they are hidden in a fog of complex and opaque adjustments and misinformation. The government is making systematic decisions to move the deepest cuts to areas with the highest levels of social and economic need. The five councils with the highest levels of multiple deprivation, on the government’s own figures, are the same five councils facing the highest levels of cuts. During the four years of the Spending Review, £1bn will have been transferred from the North to the South and East, with some inner London boroughs also amongst the worst affected. Millions more have been transferred to shore up the inefficient system of local government in two-tier shire counties.

We need a new approach to restore trust to this broken system. I have led the call for an independent approach to determining the allocation of local government budgets, accountable jointly to local and national government.

In the meantime, I will get on with the job of supporting and improving our city. I will resist the calls for my colleagues to set an illegal budget, to defy the government in the way that Liverpool did in the 1980s. I will maintain constructive relations with ministers, for example with Greg Clark on the delivery of our Newcastle City Deal, and Patrick McLoughlin about the need for investment in transport infrastructure. But what I cannot do is join in a conspiracy to hide the consequences of unfair and unsustainable cuts. I will be honest about the implications for our great city, open to alternative proposals, work day-in, day-out to preserve the services that people have a right to rely on, and continue to fight for a fairer future. I hope the government, too, can bring a bit of honesty into its own decisions.

Nick Forbes is the leader of Newcastle City Council

Nick Forbes is the leader of Newcastle City Council

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.