On tour with Imran Khan, Pakistan's wildcard candidate

With Khan laid low by an accident at a rally, Samira Shackle reports on his campaign so far.

It’s 7pm on a hot Sunday evening and I’m standing at a barbed wire barricade. Behind me is crowd of disgruntled but enthusiastic Imran Khan supporters, and in front of me some very uncooperative policeman. I’m in Faisalabad, Pakistan, trying to catch Khan on his whistle-stop tour of Pakistan.

In the preceding eight days, he has appeared at more than 50 jalsas (rallies) across the country, travelling by helicopter so he can visit up to three or four – sometimes more – sites in a day. These barnstorming rallies are the cornerstone of his campaign. Khan, with his celebrity status, charisma, and huge personal fan base, knows that he is the main attraction of his Pakistan Tehreek-e-Insaaf (PTI) party, and he’s making sure he gives the people what they want.

As Khan zooms around the country, his staff are trying, as best they can, to keep up by road, which is no mean feat given the huge distances in Pakistan. On the four hour drive from Islamabad to Faisalabad, his team tells me how security has got tighter and tighter over the course of the campaign. For this particular rally, we’ve had to submit our names and other details to the organisers to facilitate backstage access.

But that information isn’t doing us any good with the police, who seem to be enjoying the power trip. We can see the stage gate, which is about 30 metres from the barbed wire. “No-one goes through without a security pass,” says the policeman, smugly. We try to explain that our passes are at the gate, if someone could just go and check our names, but they are having none of it. The senior PTI workers I’m with are unimpressed, to say the least, but their status is doing nothing to budge the police.

Suddenly, there is a kerfuffle. A man has broken through the side of the barricade and is making a run for it to the gate. People are shouting after him but he’s just a retreating back, like the Roadrunner, cutting a shape through the line of armed security guards. “Who is that?” I ask. The reply comes: the local candidate, who has effectively had to break into his own rally.

The security last Sunday may have been over-zealous, but it is with good reason. According to the Interior Ministry, Khan is high up in the “top five” targets for terrorists, with only Nawaz Sharif, current electoral frontrunner and head of the Pakistan Muslim League – Nawaz (PML-N), facing a greater risk.

While members of the media tend to be on the stage with Khan rather than in the crowd, it’s probably one of the least safe places to be. He is one of the only politicians who refuses to address the crowds from behind a bulletproof glass, although in a concession to security, he has taken to wearing body armour under his trademark salwar kameez. Khan’s frenetic road show across the country has made media access very difficult; journalists have no option but to join on the campaign trail where they can and fight through his army of close supporters to grab 10 minutes with him before he helicopters to his next event.

As it has played out, it was not terrorists that struck Khan down but an unfortunate accident. At a rally in Lahore last night, he fell 10 feet as he was being lifted onto the stage. Luckily, Khan is not in a serious condition, though he is reportedly in considerable pain due to injuries to his skull and back. Images and videos of the incident instantly beamed around the globe. There is a sense of pathos that Khan has been stopped in his tracks, so near the conclusion of his momentum-building tour. In almost every area, the crowds and the energy really have been impressive.

The doctors have advised a week of bed rest. Tomorrow’s huge rally in Islamabad, which was supposed to be the climax of a hectic campaign, will go ahead – but Khan will address the crowds by video link.

This being Pakistan, home of the conspiracy theory, many people are speculating that “external forces” contributed to Khan’s “accident”, and that someone caused it deliberately to sabotage his campaign. Clearly, watching the video, this is absurd. After all, Pakistan is hardly known for its stringent health and safety standards.

More importantly, Khan’s accident may have brought an early end to his rousing public appearances, but it is unlikely that at this stage, it will make much difference. Sharif remains the frontrunner, and Khan remains the wildcard candidate: victory would be a surprise, but it is not totally inconceivable. As Khan said from his hospital bed, in a TV statement released just hours after his fall, it is now up to the voters.

Khan speaks from his hospital bed. Photograph: Getty Images

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

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.