We attended the TUC’s Future That Works rally in London at the weekend, to stand with those that oppose the Tories’ relentless austerity measures, and to take a few photos of what went on. Hampered by injuries and fatigue, we maybe weren’t pumped into our usual revolutionary fervor, but I couldn’t help but notice it wasn’t just us that seemed subdued. There can be no doubt that the turnout was good (estimates range from 100,000 to 250,000 participants), there was a lot of good drumming, placards and chants – but that’s where it seemed to end. It’s not that the mood was defeatist, it was more that the methods were conservative and the aims watered-down. While there were many calls for a General Strike amongst protesters on the street, there was little in the way of direct action, anger or real dissent. I’ve noticed that TUC rallies tend to me more populist and ‘middle-of-the-road’ than Occupy and UK Uncut et al, maybe necessarily so, but the real revolutionary contingent seemed missing this time around. What with Ed “One Nation Tory” Milliband speaking at the rally, with what basically amounted to a watered-down version of the Condem’s view on cutting the deficit, and a march that seemed more like a procession – it did appear that the movement had lost a little momentum, and was beginning to settle for ‘the lesser of two evils’.
This seems particularly strange in the current climate, as austerity begins to bite across the globe, with riots, general strikes and murmurs of revolutionary ideas beginning to appear in Greece and other European countries, my initial thought was maybe there just isn’t an appetite for that sort of conflict here in the UK.
But, on doing some reading when I got home, about what went on running up to the march on the 20th of October, it seems that the TUC were complicit in making the march as passive as possible. Read The TUC collaborate with the Met to sew up October 20 for more info on this. Further commentary on how the TUC handed the Met a list of 150 “violent activists” – from Libcom.org
If the trade unions are pushing to get Labour re-elected, and want to improve their image with the powers that be in order to do so, then this sort of conformity is to be expected, and their ‘Future that Works’ amounts to nothing more than ‘we’ll shut up for a promise of slightly less austerity’.
Another good post from Libcom.org, on the ‘state of the movement’ seems to confirm my suspicions that the right wing of the left was laying down the rules of engagement on the 20th of October. Read it here.
Just read a really interesting interview with sculptor Antony Gormley (in New Scientist magazine, of all places) that had a surprisingly political slant.
His recent installation Clay and the Collective Body explores “conversations between people – through objects or through the process of creating” by locking 100 random people in a stark white environment, with only a monolithic block of clay for entertainment. This “gave rise to an extraordinary and explosive outpouring of, you could say, collective unconciousness.”
This alien place seemed to trigger something in the participants, something primal that if I was more of a “yogurt-weaver”, I may be tempted to call a universal human connection – certainly the only familiar sight were other people, and the only way of killing time was to create.
“What’s absolutely beautiful is the way that people have occupied that space and become the absolute opposite of what capitalism wants us to be – passive consumers of spectacle, of information, of entertainment, of objects of desire – they become participatory and productive and cross-fertilising.” I thought it was particularly apt that Gormley chose to use the word occupy in that context.
Although Gormley goes on to state that he never intends to make overt political statements with his work, he lets slip that “…there’s no question that many of my works, in different ways, are asking about the connection between humans and our environment. And I think that all my installations in cities of the naked human animal in effigy form – surrogate fossils, industrialised fossils – are asking, where does humankind fit? Now that we seem to be well into the sixth great extinction, how long are we going to contribute to the evolution of life? Those are very big issues” – and undoubtedly political ones.
Another subject that Gormley brings up in the interview, that is also a favourite of my own, is that of Easter Island.
This ‘ghost island’ captured my imagination from a very young age, as it seems to encapsulate the power that art and iconography can hold over people, our self-destructive tendencies, the damage that can be caused by a flawed belief system and the folly of excess that human civilization seems prone to follow.
“What was in the mind of the man or woman on Rapa Nui who cut down the last tree? It seems the answer to that question is “Well, I cut down this tree because that was what my father did and that was what my father’s father did.” I think we’re in the same position, but we are running on the myth of progress. My work is there to ask pretty serious questions about how we can shift our perception of what constitutes viable human actions or viable human behaviour.”
I always thought there was an eerie connection between Gormley’s sculpture and the statues on Easter Island, and I’m pleased to learn my instincts were close to the mark. Both signify mankind’s strange detachment from the world that bore him, and the lonely marks left on the land after he has gone.
Gormley also goes on to criticise elitism and the determinism of scientific progress – it is a thoroughly thought provoking and enlightened article, that has once again piqued my enthusiasm for art’s potential to induce change, by making us take a long, hard, look in the collective mirror.