Displaced Palestinians gathered at a makeshift camp inside the Al-Shifa hospital gardens, where Mohammed is being treated. Photo: Getty
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Under fire: what happened next to injured Mohammed and his family

Two weeks ago Donald Macintyre reported from Gaza on the plight of ten-year-old Mohammed Badran, blinded in an Israeli air strike. Here, he gives an update on his treatment. 

It was, said Dr Ghassan Abu-Sitta, one of the most difficult days he had spent in the operating room of the burns unit at Al-Shifa Hospital. It wasn’t just the severity of Mohammed Badran’s facial injuries, nor that, as the doctor soon discovered, the ten-year-old would need complex microsurgery unavailable in Gaza to replace his missing eye with a prosthesis. It wasn’t even that Mohammed did not understand that he had been blinded by the Israeli air strike on his family home in the Nuseirat refugee camp and kept asking the nurses, “Why have you switched the lights off?” It was that when Dr Abu-Sitta looked at the child – as he did for hours, while he carefully reconstructed his upper jaw with tissue from his back – he was continually reminded that Mohammed was the same age as one of his own sons.

That day, amid the chaos at the hospital in Gaza City, Dr Abu-Sitta told me that Mohammed’s whole family had been killed in the air strike. I reported it in this magazine – a single paragraph in a long piece. What neither of us knew then was that the reason Mohammed was alone in the burns unit was not that the rest of his family had been wiped out, but that they were either elsewhere in Shifa or at another hospital in Deir el-Balah.

In Gaza, however, happy endings are always conditional: six of Mohammed’s eight siblings were hurt, four of them critically. His 17-year-old sister, Eman, who had suffered severe leg injuries, was soon moved to the next bed. His mother, Taghreed, was able to stay with both of them.

But the story of the Badrans was not over yet. The day after I filed an update to let readers know the family was alive, it became obsolete: on 9 August, Mohammed’s father, Nidal, was killed in an air strike on a mosque in Nuseirat.

The 44-year-old was a policeman – and therefore on the Hamas payroll, as he had once been on that of the Palestinian Authority. He was killed, his brother claims, while preparing for dawn prayers. Residents near the mosque were warned by the Israel Defence Forces to get out and someone alerted the local imam, who then left. No one warned the other three men in the mosque at the time.

Whatever Nidal Badran was doing that morning, it is now almost certain he and the men killed with him were Hamas activists. Described by the Palestinian Centre for Human Rights as “members of an armed group”, they may have belonged to Hamas’s military wing. Either way, the targeting of the Badrans’ house days earlier was surely no accident.

The unfurling fate of the Badran family goes to the heart of the debate around Israel’s actions in Gaza and the high number of children killed in air strikes there.

The Israeli human rights organisation B’Tselem has identified 72 Gazan families of three or more people that have been killed in their own home in the course of Operation Protective Edge: 547 people in all, including 250 minors, 125 women under the age of 60 and 29 men and women aged 60 or above. Many of these families no doubt included at least one militant from Hamas or another armed group. In other cases, there is no evidence as yet that they did. B’Tselem and other human rights groups, such as al-Mezan and the Palestinian Centre for Human Rights, argue strongly that there is no justification for the high number of casualties among civilian relatives.

In the case of the Badran family, Israel appeared to recognise this. Last weekend it allowed Mohammed, Eman and their badly wounded 13-year-old brother, Ibrahim, out of Gaza through the Erez crossing after two Spanish charities offered to fund their evacuation. Their mother was refused a permit to cross with them; an aunt accompanied them instead. Mohammed has since had surgery at al-Khalidi Hospital in Amman and after two weeks doctors will assess if he still needs to travel to Spain for further treatment.

The Israeli military has repeatedly insisted that it does not target civilians, and it blames Hamas for operating out of civilian areas – which in itself is a violation of international humanitarian law. B’Tselem points out that the attacks on family homes contradict several principles of humanitarian law: the distinction between civilian and military targets; the idea that violation by one party does not reciprocally justify violation of it by the other; and, above all, “proportionality”. Responsibility for the “harsh consequences” of the air strikes policy, B’Tselem argues, rests with “Israel’s government and top military commanders who authorised it, despite the foreseeable horrific results”.

Mohammed Badran appears to be a victim of that policy. But at least he – and most of his family – are alive. 

This article first appeared in the 20 August 2014 issue of the New Statesman, What the Beatles did for Britain

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.