In the Congo, United Nations peacekeepers stood and watched as Goma fell to rebel forces

Without US support, UN peacekeepers played a passive role.

It was another of those moments that will come back to haunt the United Nations. Just as its forces stood by during the Rwandan genocide of 1994 and in Bosnia’s Srebrenica massacre of 2005, so rebels of the M23 were allowed to walk into the eastern Congolese town of Goma unopposed.

The Congo is the UN’s largest peacekeeping operation in the world, with 19,000 troops and a budget of $1,402,278,300. At the time the town fell, the UN had 1,500 soldiers in Goma, backed by helicopters, artillery and tanks.

Despite having hit M23 with what the UN spokesman, Martin Nesirky, described as "hundreds" of rocket and missile rounds since the M23 attacks on the town began on 15 November, they were unable to prevent it being captured. Nesirky told journalists that the UN force was only there to support the Congolese army. When their poorly paid, ill disciplined troops broke and fled, the UN force commander on the ground decided to stand by as the rebels marched into town.

The real question is why the UN played such a passive role. Here the American position has been critical, particularly in stifling criticism of the Rwandan role in providing troops, weapons and ammunition to the M23. This has been extensively catalogued by UN experts. Their latest report (pdf) could hardly have been more explicit:

The Government of Rwanda continues to violate the arms embargo by providing direct military support to the M23 rebels, facilitating recruitment, encouraging and facilitating desertions from the armed forces of the Democratic Republic of the Congo, and providing arms, ammunition, intelligence and political advice. The de facto chain of command of M23 includes Gen. Bosco Ntaganda and culminates with the Minister of Defence of Rwanda, Gen. James Kabarebe.

Carina Tertsakian of Human Rights Watch told the New Statesman: “The US government has been surprisingly inactive and silent, despite the significant influence they have with the Rwandan government.”

Jason Sterns, a former UN investigator, lays the blame at the door of the Susan Rice, President Obama’s ambassador to the United Nations. Sterns argues that Rice has blocked criticism of the Rwandans. She “…has emerged as a holdout within American foreign policy, a sort of minority report to the prevailing criticism of Rwanda and the M23.” Rice prevented any explicit mention of Rwanda in the latest UN resolution on the Congolese crisis, leaving the text to call instead for “all relevant actors to use their influence on the M23 to bring about an end to attacks.”

Russia, France and – more recently – Britain have been developing a tougher line. This has finally begun to emerge. On 22 November William Hague and Justine Greening put out a joint Foreign Office–DFID press release.

"We judge the overall body of evidence of Rwandan involvement with M23 in the DRC to be credible and compelling,” they said.  “We will be studying the implications of this report in full, but these allegations will necessarily be a key factor in future aid decisions to the Government of Rwanda.” That decision is said to be close to being announced, and could leave Rwanda without British funding – the largest source of foreign aid the country has enjoyed.

Officially, Rwanda, Congo and the Congolese are in agreement on the threat posed by the M23. On 21 November the three presidents met in the Ugandan capital, Kampala. A joint declaration was signed, calling for the M23 to leave Goma.

This was followed by a meeting of the Conference of the Great Lakes, three days later, again in Kampala. This brought together a wider group of leaders, including the presidents of Angola, Tanzania and Kenya.  But on this occasion, significantly, Rwanda’s Paul Kagama was absent. The heads of state again called for the M23 to pull back 20 kilometres from Goma within two days, to allow the deployment of UN peacekeepers and a ‘neutral force.’

If, as the UN group of experts and many others believe, Rwanda, and to a lesser extent Uganda, are behind the M23, what is their long term goal?

This is less than clear, but there are indications that President Paul Kagame has the long-term objective of establishing a buffer state along his western border. Such a state would prevent any further threat from the defeated Hutu Rwandan army that fled into Congo at the end of the Rwandan genocide. They remain an armed presence in the region, in the form of the FDLR. 

There are suggestions that Rwanda plans to establish a "République des Volcans" in the area. This – it is claimed – would be an extension of an ancient Hima-Tutsi empire. Both Paul Kagame of Rwanda and Uganda’s Yoweri Museveni have been portrayed as descendents of this tradition in the past – accusations they have denied.

Certainly it will require an immense effort for anyone to gain control over the Kivus. They are, today, held by a myriad of rebel movements, which fight for the control of the gold, cassiterite, coltan, wolfram, timber and diamonds to be found in profusion. Nor would the step necessarily receive the support of the Tutsi community in eastern Congo – the Banyamulenge.

The inability of the UN to hold Goma and the failure of Congolese government forces in the face of M23 attacks has taken a terrible toll on the local population. Christina Corbett, in Goma for Oxfam, says 140,000 have been displaced by this round of fighting alone. “We are very concerned that human rights violations – including forced labour, rape and illegal taxation – are taking place so regularly; they are not even being reported any more,” she says.

But international attention is scarcely concentrated on Congo. The fighting in Syria and Israeli attacks on Gaza are always more pressing concerns – even though the numbers of killed, injured and displaced are invariably many times higher. Central Africa is likely to remain a cauldron of conflict for many years to come.

A UN peacekeeper stands on the roadside in the east of the Congo. Photograph: Getty Images

Martin Plaut is a fellow at the Institute of Commonwealth Studies, University of London. With Paul Holden, he is the author of Who Rules South Africa?

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.