Thousands of people were out on the streets of London Sunday to protest the horrific housing bill which is currently being rushed through parliament (article in the Independent here). As an outsider to the UK nearly three years ago I was initially struck by the institution of social housing which seemed much more vast and ingrained than in other contexts that I knew. Then I began to understand the many ways in which social housing (or council housing as it is known–referring to the local council in charge of each administrative area) in the UK is being steadily undermined. Namely, existing social housing is being sold off for private renting, no new social housing is being built, and discussions now center around “affordable” housing which falls on the whim of private developers to provide, which they usually don’t, and which is allowed to be up to 80% of the market rent. Now, this bill really seems like the nail in the coffin of social housing in the UK, rendering housing even less accessible to both council tenants and private renters. I don’t even understand how such a bill, that caters entirely to ensuring private developers make as much money as possible, has managed to pass so quickly through parliament (detailed explanations of the UK legislative system are most welcome).
The #KilltheHousingBill campaign has produced a great video explaining the housing bill.
Last week the Radical Housing Network also produced a spoof newspaper of the Evening Standard–they call it the ‘Standard Evening’, which was distributed at tube stops all over London. The paper, which detailed what London would be like many years in the future if this housing bill passes, can be accessed online here.
It has been very sad to see the Joiners’ Arms, an iconic LGBT bar/venue on Hackney road, being picked apart to make way for its demolition. Property developers purchased the building to make way for a new block of flats, and the pub, which has been there since 1997, could not afford to stay.This This seems to be an increasingly common occurrence in the area, and is also part of a pattern of independent LGBT venues across London being forced out by the whim of property developers. David Pollard, the owner of the pub, was quoted in a an article in Vice:
“I think London will end up destroying itself…London depends on people moving here that can afford to live here. It’s a big city, but London has always been more than a playground for the super-rich. We mustn’t forget that.”
Haggerston is a neighborhood in the London borough of Hackney, which is classified as one of the most deprived areas of the UK. It is also a rapidly changing area as property values rise in conjunction with the “regeneration” of East London, especially since the 2012 Olympic Games were hosted very nearby. This walk was a preliminary mapping exercise that is part of a university project centering on East London.
The route of my walk:
The London boroughs are huge and so this did not necessarily cover that much ground, but there were still many observations to be made. Most of my Hackney knowledge thus far is based around Hackney Road, which bustles with the sounds of cars, buses, the occasional siren. Veering away from there, however, I was surprised by just how much of Hackney seems to consist of housing. There are a large number of council estates (Britain’s form of social housing), but these have turned increasingly into privately-owned flats in recent years. Hackney was part of London’s urban sprawl in the 19th Century, home to a growing working class that fueled the city’s industry. Hints of the area’s history and current “regeneration” are quite evident when walking around, especially as estates and buildings with boarded-up windows, along with construction sites, are commonplace.
Right on the border of Hackney and Tower Hamlets, this old children’s hospital has been set for demolition and much of the community is in disagreement about the housing development that is to replace it.
Entryway to children’s hospital.
Walking down Hackney Road, the border street between the boroughs of Hackney and Tower Hamlets.
The shell of a building, common sight in the area.
Barrier hiding construction on southside of Hackney Road.
A brand-new estate agent’s office.
Street art on Cremer Street.
Russell Brand in Hoxton.
The overground near Hoxton Station, opened in 2010 to connect Hackney to South London.
Old and new: St Chad’s Church, built 1868, next to a housing estate. The church was described as “part of the massive Victorian effort to bring the workers of East London into the Anglican Church.”
Leaving the noisy bustle of Hackney Road, Appleby Street is utterly silent. I come across a community garden.
Following the sound of a crane at work, I come across a major site of redevelopment in the area. The future “City Mills” will consist of privately-owned apartments.
Playground with demolishing buildings behind.
Flyer posted in the playground.
Though I don’t know for sure, the planned apartments are unlikely to be affordable for working-class Londoners.
“Regeneration” means mobility and better connection to London’s commercial centers.
A “revived” community…is the current one passed out/dead?
Süleymaniye Mosque, opened in 1999, on Kingsland Road. Built with Turkish funding, it includes a function hall, a school and a canteen.
On the other side of the future City Mills site, Laburnum Street.
Haggerston Baths, which have been long closed. The building was supposed to re-open as a community pool but hasn’t due to lack of funding.
A newer building on Queensbridge Road, apparently a mix of private and socially-rented housing, as well as workspaces.
Regent’s canal, which was a commercial waterway until 1950.
An abandoned warehouse with the new boat-like structure of Bridge Academy behind. The school, built in 2008, has won awards for its design, which attempts to provide adaptable classrooms and to deter bullying.
An abandoned lot on Dunston Road.
The Haggerston Estate, which has been due for redevelopment for a few years. An artists’ collective has put up photos of former residents over the boarded windows.
Another angle of the estate with another City Mills site in the background.
A football field off Pownall Road.
Broadway Market, an increasingly gentrified street, where a number of business owners have had to close up shop and move elsewhere.
I imagine that walking into the current Invisible exhibition at London’s Hayward Gallery is a little like what walking into French avant-garde artist Yves Klein’s Le Vide or “The Void” in Paris back in 1958 would have been. For that piece, officially titled The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, 3000 visitors were led into a white-walled room that, apart from a large cabinet, was totally empty. Knowing that the exhibition consisted of “Art about the Unseen,” I walked into Invisible wondering what it was I should be looking for, and whether a gallery full of “invisible” art would be worth the effort it seemed to imply. As I entered the second room of the exhibition, a jaded gallery attendant joked that I should watch out for the invisible door. Humoring him by turning an invisible doorknob, I soon realized that I’d need to experience the art in much the same way—with a little bit of humor and patience. And that is the common thread running through Invisible: works that bring us to acknowledge our pre-conceived notions and limitations about what it means to experience art.
The exhibition—in which pieces are presented chronologically in various rooms—begins with Yves Klein himself, whose art often revolved around a fascination with nothingness and the immaterial. In Zone de Sensibilité Picturale Immatérielle (Zones of Immaterial Pictorial Sensibility), begun in 1959, Klein sold “empty spaces” throughout the city of Paris in exchange for gold. Upon receipt of the gold he gave the buyer a certificate of ownership of the space, though in a second part of the performance he threw half of the gold into the river Seine if the buyer agreed to set fire to the certificate. “Through this act,” states one description of the piece, “a perfect, definitive immaterialization is achieved, as well as the absolute inclusion of the buyer in the immaterial…. Klein presents capitalist trading strategies and illuminates his ideas about the indefinable, incalculable value of art.”* It is a ritual that at once allows the buyer to experience the “Void” that was showcased in his earlier exhibition, and that shows the ultimate impossibility of obtaining ownership over such a space. (Even with a highly valuable material such as gold.)
Other works are more obviously “invisible,” such as American artist Robert Barry’s Electromagnetic Energy Field (1968) in which an electromagnetic energy transmitter sends out invisible waves of energy. We can’t see the energy field, we may not be able to tell that it is there, and yet it unquestionably exists. Inevitably, it made me think of all the other forces in the universe which are invisible to humans, but which have a profound effect on our world regardless. Some are physical, like gravity; others are even less easily categorized, like human emotions. Similarly ambiguous, Tom Friedman’s 1000 hours of staring (medium: “Stare on paper”) appears to consist of a rather large, though utterly blank, white sheet of paper. Of course, seeing this framed and displayed on a museum wall can be a little frustrating. But the more I thought about it, the more the idea of using “stare” as a medium made complete and total sense. Many artists use bodily fluids or other unconventional materials to create works of art; just because you can’t see the effect on paper, why is a stare different? Staring at the paper, glimpsing my own reflection in the glass, immediately evoked the 1,000 hours of intent and focus the artist spent looking at this same sheet of paper, a sheet of paper that will in turn be stared at fleetingly by thousands of people. Love it or hate it—the concept is powerful.
A similar piece consisting of frustratingly-blank paper is by American artist Glenn Ligon. Though in this case, the emotion of frustration is probably central to understanding He tells me I am his own. As the description notes, Ligon, whose work often reflects his experience as an African American gay man, tries to capture the white bias of literature and Hollywood with a photograph of “whiteness.” The blank piece of photo paper reflects the blinding whiteness that pervades the majority of American popular culture; the absent photograph simultaneously brings to mind all the other images that are absent from Hollywood, as the bias of the camera shuts out darker skin tones in favor of glossy all-encompassing whiteness. To me, it seemed staring at this piece was one way to access the complex emotion of being faced with this reality.
“Invisible” art, like any other art form, may evoke a vast array of emotions and concepts. Comments on consumption and the “value” of art, using unseen forces like electromagnetic energy as art media, and highlighting existing racist structures are only a few examples. Though certain aspects of the art in this exhibition are often invisible, they are by no means unperceivable. Quite the opposite, in fact, as exploring what is absent may have endlessly more possibilities for the human imagination than focusing on what is present. As the artist Robert Barry stated in 1968, “Nothing seems to me the most potent thing in the world.”
Invisible is showing at the Hayward Gallery until August 5th.
* Berggruen, Olivier, Max Hollein, and Ingrid Pfeiffer (eds.) Yves Klein. Hatje Cantz, 2004.