So, a few of us went for a walk the other day. The London Column was there, though we have not exactly been infused with alacrity in putting our pictures up. But we were a bit tired, the day after the march. It had all been rather emotional.
If this seems overblown, consider why we were marching, and who the marchers were. They were our fellow countrymen, women, and children. Many of them were elderly, walking with sticks, and many, many were in wheelchairs. They were marching for their lives, for our lives, for our NHS and schools, for our libraries and jobs.
In the time-honoured tradition, England became – if just for the day – a populace. The crowd filled both sides of the Strand, a street the London Column has always had a soft spot for, and took almost two hours to walk past, singing and blowing horns and chanting and laughing and dealing with their kids. That’s five miles of people.
And what people. They poured in from all over the country. They carried People’s Assembly signs, and banners from everywhere you can think of: Rotherham, Newcastle, Devon, Surrey, the Midlands; from the Trades Council of the Cities of London and Westminster. They came from Wales. The Rhyl Youth Group was there. They were Feminists Against Austerity. Deaf People Against the Cuts. Economists Against Austerity. Musicians, mothers, teachers, retired university professors, the Indian Workers’ Association. The Fire Brigades Union drove a fire engine blaring out eighties hits, and people were literally dancing in the street in front of it as it went past. No one who remembers the men weeping as they were forced out of Clerkenwell Fire Station for the last time could fail to find this joyfulness particularly moving.
in fact, the people, this populace, showed the qualities England is so noted for – all except perhaps shopkeeping, although in truth London was full of tourists and other consumers who were just out shopping; we don’t know what their problem is, but we support their right to it. The real business of the country that day was right here.
This populace was noisy, cheerful, vulgar. They were ribald and profane, they were angry, they were proud, they were together in solidarity. They were in solidarity with the political prisoners in Egypt, and with Greece (‘Give Greece a chance’). They showed scant respect for those who do not respect them (‘Cameron is a cock’). They were peaceful. They were well-informed, good-humoured, witty. And they were funny: slogans referenced Monty Python, Father Ted, Marx (“I warned you this would happen’). They were exuberant. Some had dressed up, some had dressed down, some had cross-dressed. They were beaten but not bowed, and definitely not defeated. And they knew the government wasn’t going to listen to them, and they came together and engaged in their democratic right to assemble in protest anyway.
The London Column fell in love with them all, every one.
Remember that old 70s movie, Network? It’s mainly famous for its catchphrase – ‘I’m as mad as hell and I’m not going to take it any more!’ – and for Peter Finch’s bravura performance (which earned him a posthumous Oscar) as Howard Beale, the newscaster who has a meltdown on television and gets the whole country saying it. On Saturday night I went to a private reading of a stage adaptation of the film, scripted by my friend Chris Brand (a fine actor as well as a writer) and produced by another friend, Peter Finch’s nephew Dallas Campbell. There are several reasons why it was a brilliant evening, and the first of them – before the evening even began – was the surprise of the surroundings.
We were in the old Water Board building in Rosebery Avenue in Clerkenwell. This sounds boring enough, and indeed we had only been told it was going to be in a ‘board room’. But this is grand municipal architecture, and this particular example harbours a secret at its heart.
The Water Board building was built on the site of a previous water company building – the old New River Company building, Water House. The New River is the river you can see a bit of, running through Clissold Park in Stoke Newington; it’s technically more of a canal; built by one Hugh Myddleton to bring water from Hertfordshire to a rapidly growing London. It was completed in 1613. Water House, built in the same year, was originally a ‘cestern house’ adjoining the reservoir, and included accommodation for the site manager.Many people had use of its residential accommodation (including Edward Sadler, who was also probably the founder of next-door Sadler’s Wells). This building grew over the decades to reflect the massive success of the New River company (King James, a key funder, lost money on it, and Hugh Myddelton was created a baronet). It grew larger and larger, and more and more respectable until finally it was a large house. In about 1693, one Sir John Grene, a wealthy shareholder of the New River Company, was living in Water house, and he commissioned an ornately carved set of pannelling for a room that became known as the Oak Room… You can read a long and intensely interesting account on British History Online.
In 1914, London’s water was municipalised and Water House had to go. Work on the new Water Board building began in 1915 – stopping between 1916 and 1919 due to the War – and the building, on a scale commensurate with the ambition of its civic status, was finished in 1920. For the past twenty years it’s been flats. When you walk in through its large stone-clad entrance, it feels plausibly Edwardian – but then the first thing you are confronted with is a grand, glorious, light-filled, pink-painted Art Deco ballroom. (This, however, is the former Rental Ledger Room, and used to host ranks of large oak desks.) The building is awash with light.
Turn left and through large glass doors to a wide, high, sweeping staircase with huge windows. At the top, back through the doors, turn down a little corridor, open another door, and you are suddenly in a rather unexpected time-warp: an oak-carved antechamber, which is the mirror of another oak antechamber, at the two ends of a dark, oak-panelled room. A marble fireplace looms in the middle of the long wall, with bookshelves in the alcoves on the sides, and intricate carvings above. Pride of place belongs to a magnificent lion and unicorn panel, where the unicorn’s horn stands free of the carving.
This is Sir John Grene’s Oak Room – given new ceiling joists in the 1860s, and then carefully dismantled and reassembled in the new Water Board building – a nod to the history of the site. The room was dismantled again in the War and the panelling taken away for safe-keeping, but the ceiling could not be moved again and the central painting had to be restored again after the War. The room is very dark – it makes more sense when you know that in its day it had glorious windows on three sides, giving panoramic views over the Round Pond that was the New River reservoir, and its filter beds. It was even open to the public.
Accommodations had to be made when it was transplanted into the new building; in one corner we found a door which, opened, revealed only brick. It was on the outside wall of the building. It’s been not-a-door for almost a century, but for two and a half centuries before that, it was a door and people walked through it. And the doorways into the antechambers – two on each end of the room, with a central panel – will have been its other windows.
You could write a whole blog post just about the notion of civic pride and historical awareness, the respect for the past and sense of beauty and historical decency that made a company spend £2,000, back when that was proper money, to keep this in situ. Nowadays, they would more likely put it on display in an airlocked vault under perspex.
In the middle of the room is a giant black oval table. When we were there it was littered with scripts, plates of chocolate biscuits, and numerous large white candles. The room has electric light, too, of course, but the three-dimensional black walls seem to just absorb it. Those three walls of windows have been a bit of a loss, in fact.
So there we were. Friends on chairs around the walls of the room, with glasses of wine or gin & tonics. Around the table sat the actors. And the reading, in due course, began…
(See more here … )
Tarling Estate, Shadwell:
Located immediately to the east of Watney Street Market, Shadwell, the Tarling Estate was built c. 1950 to replace overcrowded slums and reduce the population density by half.
The run-down estate was demolished in 2003 and replaced by a higher density mixed-use development intended to both regenerate the area and create what the developer, Toynbee Housing Association, described as ‘a more mixed and balanced community’.
Samuda Estate, Isle of Dogs:
The Samuda Estate, completed by the Greater London Council in 1967, is mainly comprised of four and six story blocks arranged around a traffic-free square. There is also a 25-storey tower block of maisonettes – Kelson House – situated on a prime site by the river. The estate is in need of refurbishment and some residents believe that the estate’s owner, One Housing Group, are deliberately running it down so it can be demolished to make way for private housing.
St John’s Estate, Isle of Dogs:
Planned in 1952 by Poplar Borough Council and described by John Betjeman as ‘one of the best post-war housing estates I have seen’, St John’s Estate was intended as a new self-contained neighbourhood along the lines of the award-winning Lansbury Estate in Poplar. In this it has largely succeeded but One Housing Group, owner of this and three other estates on the island, are considering the possibility of demolition and replacement by new high-density housing which might include several tower blocks of 50+ storeys.
Kingsbridge Estate, Isle of Dogs:
Originally known as the Millwall Estate, Kingsbridge was built by the London County Council in 1936-7, with an additional block being added in 1958-60. Despite their age, the blocks are structurally sound and are liked by many of the residents. However, their riverside location means that the value of the land they occupy is very high. The estate’s owner, One Housing Group, is currently consulting on ideas for the future, which may involve replacing the blocks with new housing for private sale.
Photos and text by Mike Seaborne, taken from Estates of Mind, photographs documenting 20th Century social housing by the Transition Group. Twitter feed: @TransitionLDN #TransitionProject. The pictures below are by Michael Mulcahy. Thanks to Mike and Michael.
Boulez and Womble, West Ham Central Mission, 1975. Photographer unknown.
Edward Greenfield, writing in High Fidelity and Musical America, March 1975:
The Wombles, in their Disney-esque costumes, are an enormous success on television with children of all ages, and their signature tune was an enormous pop hit for CBS. Needless to say, Boulez had never heard of the Wombles but with a patience rarely given to such formidably intense artists, he willingly joined in the joke.
These photos from High Fidelity form part of a report on the recording of two monumental Schoenberg works by the BBC Symphony Orchestra under Pierre Boulez. The recordings, for CBS – now Sony – were made in West Ham Central Mission – now the Memorial Community Church, Plaistow – which enjoyed a brief spell as a recording venue for orchestral music in the 1970s, until the interior of the building was altered and its spacious acoustic properties lost for good. Boulez was there to record Schoenberg’s Gurrelieder and Moses und Aron.
Someone at CBS thought it was a good idea to send a Womble along to hug Boulez for a photo, and thus Orinoco (or is it Great Uncle Bulgaria?) greets the composer of Le Marteau sans Maitre. Just as one doesn’t expect to see Michel Foucault cosying up to Roland Rat, or Gore Vidal doing a turn on The Basil Brush Show, the sight of Boulez in such company is slightly disturbing. Apart from the CBS connection, Boulez happened to be chief conductor of the BBC Symphony Orchestra at the time, and The Wombles were being relentlessly plugged by the BBC as a sort of corporate emblem; hence, the photo is a souvenir of a poorly thought-out PR opportunity, as well as a reminder of the mysterious reach of the Wombles and their co-creator Mike Batt. Inside one of the Womble suits was Chris Spedding, a virtuoso rock guitarist who was once (allegedly) considered as Mick Taylor’s replacement in The Rolling Stones, and who went on to produce records for The Sex Pistols; one would like to think that it is Spedding himself who is Wombling next to Boulez on the podium, but it probably isn’t. Apart from The Wombles, Batt also gave the world Bright Eyes, produced the likes of Steeleye Span and Cliff Richard, was sued by the estate of Boulez’s one-time friend John Cage for a joke at the expense of 4’33”, and who – in the imagination of Chris Morris – co-wrote the musical Sutcliffe!. Ultimately, however, he is bound to be remembered for this …
Anyway, Pierre Boulez turns 90 this week, so this is The London Column’s opportunity to offer the maestro a modest tribute. Your correspondent was a regular at Boulez’s concerts in London in the 80s and 90s; he represented a personal link to Stravinsky, Varese and the post-war avant-garde, and in today’s denuded cultural landscape it is hard to see who will ever replace him. Here is Yvonne Minton singing the Song of the Wood Dove from Boulez’s magnificent recording of Gurrelieder, the same one he was working on when Batt’s creature showed up. D.S.
NOT RESTING by Andy Secombe:
The address is a unit on an industrial estate in West London in the shadow of a mouldering brutalist tower block that would have looked ugly in Soviet-era East Berlin. Even though it’s a Sunday, 747s on final approach to Heathrow growl endlessly overhead and the traffic on the North Circular rumbles incessantly across a flyover not a hundred yards away. The unit’s door is locked and, after some minutes trying to get a response from the intercom entry system, you lose patience. You try several tactics: shouting, pressing the buzzer for sustained periods of time, eventually succumbing to violence, smashing the already broken intercom unit with your fist and, finally, your face. At last, as if by magic, the door opens. It’s a young chap in full evening dress.
‘Oh, hello. Bloody thing’s broken,’ he says, cheerily, indicating the now cracked and bloodied intercom. ‘Go on in – everyone’s in the green room.’ He pulls out a packet of cigarettes. ‘You all right? You’ve cut your forehead.’
You stare at him for a moment in disbelief. ‘You’re wearing a tuxedo.’
‘Oh, yeah.’ He looks a little sheepish. ‘Well, you know, I thought, James Bond…’
‘Thought it might help me get into character.’
‘For the recording.’
The approach, as ever, was last minute:
‘Andy, mate, hi! I was wondering if you were available tomorrow. I know it’s short notice and, unfortunately, we can only offer expenses, but I’ve been lumbered. I don’t think you’ve met Terry – the guy who owns the studio – but he’s been asked to tender for a string of idents for a new commercial radio station. I wouldn’t usually ask, but things are pretty tight at the moment and we really need this. I mean, no one’s being paid – Terry’s taking a loss on this. The thing is, we’re in competition with a few other studios for this gig, so it’s got to sound classy and for that, of course, we need top talent, hence: this phone call. The thing is, if they like what we do, they’ll put a lot more work our way. It could be a regular little earner. It’s a James Bond spoof – should be fun.’
Let’s deconstruct this a little.
The upfront “Are You Available?” from “Mate” is designed to grab your attention; the promise of work sets any actor’s heart beating just that little bit faster. All hopes are immediately dashed, however, by the word “tomorrow”, which could not state more clearly that his first second, third and possibly fourth choices have turned him down. But as your capacity for dealing with disappointment and ignoring tactlessness has been honed by years of practice, you think, Hey, it’s a job, let’s not be too precious.
Then he hits you with, “We can only offer expenses”. The beautiful dawn of hope just risen in your breast – complete with birdsong and the gentle plashing of heavenly fountains – not to mention the wonderful vision of you striding manfully into your local NatWest with a large cheque (or even a small one) is replaced by a feeling akin to leaping from a hot air balloon clutching an anvil. This feeling, however, is short-lived as, almost immediately, with the realisation you’re being taken advantage of, pressure builds in the magma chamber of rage called your heart, which, swollen by years of poor pay, poor conditions, and being taken advantage of by ‘Mates’, searches for release. Knowing this, and anxious not to have his eardrums blown out by your pyroclastic fury, he follows up almost immediately with the “I’ve Been Lumbered” ploy, designed to both deflect blame away from him and to prevent you from venting your molten rage which you must now swallow.
After all, it’s not his fault, but the fault of someone higher up the pecking order, in this case, the “Studio Owner”. This tactic implies that Mate’s hands are tied: that uncaring management is breathing down his neck and you are his only hope of salvation. This is not true. Mate – the studio recording engineer – and the studio owner are, in all probability, business partners and this little plan was no doubt hatched over a three-bottle-lunch at the local gastropub. And finally, the icing on the cake, the promise of future and regular work. This, both you and he know, is a myth but, paradoxically, is almost always the clincher.
You consider your options for a few moments.
‘When you say, expenses..?’ you ask.
‘We’ll pay your rail fare, petrol money… Tell us how much you need.’
Translation: We’ll give you a tenner.
‘When do you need to know?
This is what’s known as the rush, designed to leave you no time to think or to talk things over with your spouse. And yet, however many times you hear this tired old argument and, despite knowing it’s all bollocks, you somehow still find yourself saying,
After all, it might not be a bad way to pass the morning: there’s bound to be someone you know there and it’s always nice meeting old friends. Besides, the studio – on Greek Street – has got leather sofas, a coffee machine, free Wi-Fi and Sky Television in the green room.
‘Oh, by the way, our studio’s being refurbished – so we’ve had to relocate temporarily. We’re on an industrial estate near Acton – I’ll email you the address.’
You put the phone down, feeling used and slightly soiled. Nevertheless, somewhere between the phone and the kitchen, you somehow manage to convince yourself that allowing yourself to be exploited by people well able to pay you is a noble calling.
Spouse sits at the kitchen table, elbow deep in bank statements and bills, and immediately you have one of those tingly, out-of-body experiences, born of the sudden recollection that tomorrow you promised to look after the kids while Spouse’s rich best friend – who has a lead part in a long-running soap – was going to treat her to lunch at the Ivy: a long looked-forward to treat; a little oasis of glamour in the otherwise endless grey desert of child-centred domesticity.
‘You’ve done what?’
‘Well…’ you begin unsurely, ‘As you said yourself, I can’t really afford to turn anything down at the moment and…’ You find yourself reiterating the lies Mate has just fed to you. They sound even more ridiculous in your own mouth. You talk of the future: although there’s no money this time, who knows what may happen further on down the line? It could lead to more work… I could be in on the ground floor of something huge!
The rest of the day passes in tight-lipped silence and, following the unwritten laws that underpin marriage, you cover yourself in ashes and pay penance. You take out the rubbish, you walk the dog, you rush to change every shit-soiled nappy, you cook supper – her favourite: seared tofu in quinoa with grated raw celeriac – you eschew watching the final episode of Breaking Bad in favour of Strictly Come Dancing and, when it seems you can sink no lower, you find yourself phoning her mother to thank her for the fingerless gloves she sent you for your birthday and allow her to tell you the details of her recent hysterectomy.
You push past the Moss Bross-suited youth and find yourself standing on a thin, water-stained carpet in a dank reception area smelling slightly of damp – hardly the womb-like, leather-clad, luxury experience you were looking forward to. Following the sound of voices, you pass down a small corridor which eventually opens out into a sort of green room, equipped with the latest in used Styrofoam cups and melted plastic spoons. The instant coffee jar is empty because most of it’s in the sugar bowl and the only tea bags on offer are the squeezed-out ones lined up by the kettle. The young cast lounge on a selection of ancient, mismatched furniture of indeterminate colour. The sofa, as specified in the standard non-Equity contract, is mouldy, stained and leaks stuffing like a squashed cockroach. On a small table in front of it is a large foil dish on which are the remains of lunch – your lunch. In a tangle of Clingfilm lie half a tomato, a green smudge of mustard and cress, a dollop of egg mayonnaise and half a sausage roll. You search in vain for a familiar face, then feel a slap on the back as someone bellows in your ear,
‘Andy, my old darling, how are you?’
You turn and find yourself staring into the face of a man you hoped you would never see again. Indeed, after the last time you worked together, you told yourself you would rather eat your own liver than repeat the experience. To the list of people one should never work with, just after animals, small children and, of course, amateurs, should be added, The Desperate.
‘Michael,’ you say, attempting to replace your look of horror with something approaching friendliness. You can’t. Your face is beyond your control, like an alien clamped to your head it refuses to obey your commands and draws itself instead into a half-scowl, your lip curling upwards while your eyes narrow beneath knotted brows. You end up looking like a dodgy impersonation of Bert Kwouk.
Michael grabs your arm and pushes you into a corner. ‘So, how are things?’ Without waiting for an answer, Michael leans in, too close, and mutters ‘I haven’t worked for nine months,’ as his fingers crush your forearm, his stale breath brushing your cheek like the stench from a recently-opened tomb. After twenty minutes or so, when Michael draws breath in the middle of a deeply disturbing anecdote about a dresser, a pasty and a tube of KY, you ask if there’s a script. Michael, momentarily wrong footed, pauses long enough for you to free yourself from his iron grip and go off in search of what are known in the business as ‘sides’: the loose leaves of script that are usually provided on these occasions. Your eye lights on a pile of tea- and tomato-stained pages on the table.
As you read, your heart sinks even further – it’s beyond execrable. You consider walking out the door. But you can’t. Mate sometimes does pull you in for the odd paid job, and, despite his unforgivable exploitation of you on this occasion, you want to keep in his good books.
When you look up from the script, Michael catches your eye again, so you hide in the loo.
Twenty minutes later, Mate comes and finds you, asks if you’ve had everything you need, whether you had lunch, if you’ve had a coffee.
‘No,’ you say.
‘Great,’ says Mate. ‘Have you seen the script?’
‘Well…’ you begin.
‘Great,’ says Mate again, ‘I was up all night working on it. I’m rather pleased with it. You’re playing Q – you know the sort of stuff, lots of jargon. It’s just the one scene, with Moneypenny and Bond, should be very funny.’
One scene, you think – how long can that take?
Thankfully – as Michael is likely to argue with anyone who will listen about the interpretation, pace, volume and intensity of every word – your scene is not with him; it is with the evening-suited youth and the blonde ingénue playing Moneypenny.
At last, the cast is assembled around the microphone, scripts in hand.
‘OK,’ says ‘Mate’ over the headphones, or, ‘cans’ as they’re known in the business. ‘I’ll give you a green.’
The green light just under the microphone blinks on and off. Nothing happens. “Moneypenny” has the first line, but remains dumb, frowning intently at the script as if it’s one of Kierkegaard’s knottier propositions.
Mate comes over the cans. ‘Anything wrong?’
You realise what the problem is: “Moneypenny” is not wearing cans. ‘Hang on,’ you say, taking a pair of headphones hanging from the mic stand and passing them to her.
She looks at you as if you’re something stuck to her shoe. ‘Do I have to wear those? They’ll ruin my hair.’
‘Yes, you have to wear them, otherwise the recording engineer won’t be able to communicate with you.’
She grabs them bad-naturedly, placing them deliberately but delicately over her expensively-coiffed hair.
‘Right, can everybody hear me now?’
“Moneypenny” scowls up at Mate beaming through the glass window of the control box. ‘OK, yah.’
Mate gives a thumbs up. ‘Let’s try that again. Green coming.’
The cue light blinks on again. Nothing, again.
‘What’s that little green light for?’
As patiently as rage will allow, you answer: ‘It’s a cue light. When it blinks, you speak.’
‘Oh, right. Yah.’
‘One more time. Green coming.’
The cue light blinks. She speaks. ‘Right, now look here, zero-zero seven…’
Mate’s voice crackles in your ear. ‘Um, sorry, Matilda, it’s “Double-O Seven”.’
‘Well it’s written, zero-zero seven.’
‘Um… yes, I suppose it is, but it’s pronounced, Double-O Seven.’
‘Look I got a 2:1 in Third Century Middle Eastern Ceramics, so I can read. There are three figures here: two noughts and a seven. In my book that’s zero-zero-seven.’
This dents even Mate’s ever-cheerful carapace. ‘Er… Good point, but the thing is, as Double-O Seven is the name he usually goes by, we’re going to stick with that.’
‘The name who usually goes by?’
You stare at her incredulously. Even “Bond” is aghast.
‘Er… Ian Fleming? You know – Goldfinger, From Russia with Love, Dr. No…?’
‘Have you never seen the films?’
‘Is this from a film?’
You can sense Mate’s patience wearing thin. It’s the only enjoyable moment of the day so far.
‘Ah,’ says Mate, ‘It’s like this: Moneypenny is M’s secretary, and-’
‘Yeah, um… er… Andy, you can probably explain better than me…’
‘OK, er, Matilda, is it?’
She stares at you like you’ve just dropped your trousers.
‘It’s like this…’ You explain, as succinctly as possible, the set up, the history, the mores and quirks of a franchise that has been running for nigh-on sixty years, at the end of which she gawps at you incredulously.
‘Sounds like something my grandfather might have watched.’
‘He probably did.’
‘Well how am I supposed to know about it then?’
‘Well, it is common knowledge amongst most people who haven’t spent the past decade studying Persian ceramics.’
‘Assyrian, actually. Are you taking the piss?’
When you finally leave the studio it’s dark. Managing to avoid Michael and his inevitable invitation to go for a drink (you’d be paying), you melt away into the night. Trying as best you can to purge your mind of the memory of the day, you pick up a bottle of Chateau Londis on the way home. In your mind’s eye, Spouse greets you at the door, sees past the wilting offering to the thought behind the gesture and beams her gratitude.
‘Oh, you poor thing,’ she says, ‘Your day sounds awful. Well, don’t worry, Matthew’s asleep, I’ve made a chilli and we can settle down in front of the TV with a film.’
The reality doesn’t live up to expectation. You walk through the front door to World War Three – the baby is screaming, a smell of burning pervades the kitchen and your flowers look even worse in the cold light of disdain. Now, you reckon, is not the moment to tell her that you’ve blown the tenner you were paid on wine and flowers.
Spouse orders you to take charge of the kitchen while she puts the baby to sleep – again; you open the wine and are halfway through the bottle by the time dinner – slightly singed – is ready.
Finally, settling down on the sofa in front of the news, with a steaming bowl of what might have once been minced meat, but now has the consistency of grit, you ask your beloved how her day has been. Compared to your day, she has been through the equivalent of the Anzacs’ landing on Gallipoli. With an attempt at levity, you say, ‘Well, it’s better than working…’ This is not wise.
Dawn slants in through the venetian blinds and worms its way under your eyelids and you wonder, not for the first time, when you last spent the night sleeping on the sofa.
Never again, you promise yourself. From now on I will value myself and my talent and on no condition let myself be exploited by unscrupulous “Mates”.
Happy with your resolve, you roll over and try to move your body into a position where the sofa’s broken spring is not poking you in the back. Then, just as you are drifting back to sleep, the phone rings.
‘Hi, Andy, mate. Look, I feel really bad about asking you this…’
But this time, you tell yourself, things will be different…
… for The London Column.
Marketa Luskacova is a Czech photographer who has been largely resident in London since the early 1970s. She first made her name in the late 1960s, with a project documenting religious pilgrims in central Europe and a series of photographs of life in Sumiac, a remote village in Slovakia. These images show life rooted in a barely-changed medieval past, the realities of the 20th century banished by the sheer force of history. This subject matter might seem distinctly eastern European; but when she came to live in London in the early 1970s, she brought her unique sensibility (which I would characterize as a balance of grace, empathy and visual power) to the street markets of the east end.
This milieu is recognisable to us from Don McCullin’s pictures of down and outs, the footage of drunks in The London Nobody Knows, and from other photographers and film-makers who have covered the same turf: the lost and dispossessed in the dark heart of the east end. But the crucial difference between these familiar images and Marketa’s photographs of the same territory is that she wasn’t there as a social anthropologist with a Leica; she was there to buy food. The traders shown in these photographs were the ones she saw every week; they were her friends. Her pictures might be a document of a time and place, but they are also a memoir of a life.
Marketa’s images of London stand as some of the most poetic and heartbreaking photographs ever made of the city. As with all her work, these photographs exhibit an almost supernatural gift for faces. They are also an evocation of a London irretrievably lost to us; these are not scenes you will see in today’s east end. Marketa’s hawkers and street musicians are receding from us, as lost in time as the peasants of pre-industrial Europe. Marketa’s photographs of Whitechapel show a world as remote as the rituals of Sumiac.
Marketa Luskacova’s work has been in some ways neglected in comparison with other photographers of the same generation who have covered the same sorts of material. That said, her work has been widely exhibited and championed by the likes of Roy Strong, Bruce Bernard and John Berger – not to mention erstwhile Magnum colleagues such as Rene Burri, Josef Koudelka, Eve Arnold and Henri Cartier-Bresson, who selected one of her pictures for La Choix d’HCB, an exhibition of his favourite photographs. Her eye is unflinching, but her photographs brim over with feeling that never tips into sentimentality. The final picture here is, for me, one of those photographs which renders any attempt to analyse it utterly trite: I will say that it manages to be as funny as it is sad, and as mysterious as it is beautiful. True greatness. D.S.
2nd of January and we are just waking up … Here’s to 2015. DS