In times of crisis, UK Jews return to public support for Israel

The diversity of views that has developed has been temporarily obscured by Operation Pillar of Defence.

The image that outsiders often have of the UK Jewish community, and the image that some insiders try to project as well, is one in which the vast majority of Jews are fervent supporters of Israel who will defend the Jewish state come what may. This majority is opposed by a small but vociferous minority – beleaguered heroes or traitors according to taste – who oppose what they see as Israel’s crimes and are attacked and suppressed by the Jewish establishment for their pains.

If this simplistic picture was ever accurate, it has become less so over the last few years as greater number of liberal-left Jews in Britain have begun to question where Israel is going. The "tipping point" was Operation Cast Lead in 2009. Not only was the organisation of the traditional "solidarity rally" in Trafalgar Square that usually accompanies times of war in Israel, accompanied by much behind-the-scenes discomfort among those who were concerned at Israel’s harsh actions in Gaza, but a letter published in the Observer on 11 January by a number of liberally-inclined community leaders expressed deep concern at the consequences of the loss of so many Palestinian lives.

Following Cast Lead, community leaders have begun to talk about a "big tent" that would encompass a diversity of views on Israel, while excluding anti-Zionists and pro-BDS activists. On top of this, the formation of the "pro-Israel pro-peace" group Yachad in 2011, modelled in certain respects on the US lobby group J Street, meant that the UK now had a liberal Zionist voice for those Jews who wanted to defend the increasingly threatened two-state solution.

Operation Pillar of Defence was the first big test for this emerging, guardedly heterogeneous, Jewish polity. It is striking then how far the public response seemed to reflected an earlier era of unanimous public support. On 15 November, just one day after the assassination of Ahmed Jabari, the Jewish Leadership Council sent a public letter of support to the Israeli Ambassador, signed by 71 Jewish leaders from most major UK Jewish organisations.

The letter was a "message of support and solidarity from leaders and key institutions of the UK Jewish community" and claimed that "These sentiments prevail across all sections of our community." It described Operation Pillar of Defence as "an entirely understandable response to the intolerable assault upon the citizens of Southern Israel" and "took pride" in Israel’s commitment to "leave no stone unturned in seeking to avoid civilian casualties."

Just as striking was a statement put out by Yachad on 16 November (not available online) that "We unequivocally support Israel's right to self defence" and that "it is also a guiding principle of every Israeli military operation that it will do all it can to minimise civilian casualties." It was only groups such as Jews For Justice for Palestinians on the left that provided a Jewish voice criticising Israel’s actions.

So does Operation Pillar of Defence indicate a retreat into unequivocal mainstream UK Jewish support for Israel? It’s not that simple. The private conversations and interactions on social media that I’ve had in the last couple of weeks have demonstrated that many liberally-inclined UK Jews were and are deeply disturbed about Palestinian civilian casualties, worried by the drift to the right in Israel and ambivalent about the ultimate results of Pillar of Defence.

Yet during periods of violent conflict, many Jews feel a string sense of connection to Israel and are worried sick about Israeli casualties. This sense of kinship temporarily overrides more critical feelings.

At the same time, solidarity with Israel in time of war stores up credit that can be spent on being more questioning in calmer periods. One signatory to the letter told me that his signing "will allow me to be more critical the rest of the time." A temporary suppression of doubt can pay political dividends later on.

During the next period of relative quiet, the big tent will be erected again and Jews will feel safer to explore their concerns about Israel’s current direction. But is this good enough? What Pillar of Defence has exposed is that the more critical conversations about Israel that have emerged in recent years are still taking place in a political void. There is still great reluctance to actively campaign against Israel, in times of peace or war. Liberal Zionists have constructed a yawning gap between what they want Israel to be and their willingness to fight for it.

But UK Jews are not unique in this. Members of the pro-Palestinian movement are equally prone to suppressing their doubts in the service of solidarity. How many of those on the left who take to the streets in defence of Palestine have private worries about Hamas’s fundamentalism?

This is the pathology of the Israeli-Palestinian conflict: it raises such intense emotions that it overrides genuine idealism in favour of public vehemence.

Keith Kahn-Harris is a sociologist and is the co-author of “Turbulent Times: the British Jewish Community Today” (Continuum, £19.99)

Demonstrators wave Israeli flags outside the Israeli embassy in London on 15 November 2012. Photograph: Getty Images

Keith Kahn-Harris is a sociologist and is the co-author of “Turbulent Times: the British Jewish Community Today”

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.