New media cracks Eritrea’s iron curtain

Isolated in exile, young Eritreans have developed new forms of resistance.

Young Eritreans, who have fled abroad to escape their government’s stifling repression and years of compulsory military service, have turned to new media to attack the regime. Over the last year they have used chat-rooms, phone messaging and flash-mobs to get their message across.

In the last decade, tens of thousands of Eritreans slipped across their country’s heavily guarded borders. After surviving shipwreck in the Mediterranean or banditry, torture and extortion in the Sinai, they are building new lives in Europe, the US and Israel. Many are deeply angry that they have had to flee from their homeland, and looking for a means of attacking President Isaias Afwerki grip on power. But Eritrea is – after North Korea – probably the most inaccessible of regimes.  It accepts almost no foreign aid, has expelled most United Nations agencies and forbids foreign ambassadors from travelling outside the capital, Asmara.

Since the early 1990s, all independent media have been silenced, critics jailed and the university closed. Isolated in exile, young Eritreans have developed new forms of resistance through a campaign group, Eritrean Youth Solidarity for Change.

They began with phone numbers smuggled out of the country. Eritrean towns and villages were targeted for phone calls at random. "We wanted to show Eritreans that they were not isolated," explained Selam Kidane, one of the London organisers. "At first people were very frightened, but gradually that has faded," Selam told me. "Now, when I get through I get passed from person to person."

Next the group turned to robocalls to spread their message.  Automated messages recorded by a priest for use on 29 November, the feast of Saint Mary.  Five thousand calls were made, urging people to go to St Mary’s church in Asmara, to commemorate the disappearance in 2005 of the Patriach of the Eritrean Orthodox Church, Patriach Abune Antonios. The organisers claim that around 5,000 of the 6,800 calls got through. Some were followed up by one to one conversations.

Since then there have been a series of concerted campaigns, focussing on smaller towns. The organising group, called Arbi Harnet or ‘Freedom Friday’, asks Eritreans to remain off the streets, as a mark of solidarity. "The main objective is to penetrate the government’s iron curtain, to reach our people and encourage them to take communal action and link the resistance," says Ahmed Abdelrahim from Melbourne, a singer and song writer who co-founded Arbi Harnet.

Other calls have been used to mark particular events. This month, the ninth anniversary of the detention of Astern Yohannes, a guerrilla fighter was marked with 10,000 calls. She is also the wife of one of Eritrea’s best known imprisoned politician and first minister of defence, Petros Solomon. A video has been produced, explaining how she returned home in December 2003, after studying for three years at University of Phoenix in Arizona, to be with her children. Posters have been sent over the internet, describing the plight of young Eritreans who become held to ransom in the Sinai by people smugglers. Some have been secretly put up in Asmara and covertly filmed on mobile phones.

But perhaps the most powerful weapon has been through chat-rooms like Paltalk. This has enabled young exiles, the majority of whom have few foreign languages and no experience of the outside world, to escape their isolation. Together they have become what they call "the team that never sleeps." Living across the globe, with members in Australia, Europe and California, they plan and co-ordinate their operations. Flash mobs from Switzerland to Scotland have broken up meetings organised by government supporters, and the Eritrean ambassadors now have few opportunities to openly push the official line.

Unlike the first generation of exiled Eritreans, who concentrated on formal organisational structures, the youth are keen to act rather than plot and plan. With no formal structure and no borders, these young men and women are challenging a regime that has been described by Human Rights Watch as one of the most repressive in the world.

Martin Plaut is a senior research fellow at the Institute of Commonwealth Studies

An Eritrean demonstrator waves his national flag whist taking part in a demonstration on Whitehall. 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.