Tate Modern, Bankside, 2002. © David Secombe.
A Londoner writes, 4 June, 2017:
Obligatory Post-Terrorism Status
Last night I felt some level of fear for the first time with these attacks, simply because I knew a lot of people within the direct vicinity of where an attack was apparently occurring at the time. It was a weird feeling, and I resent that I was made to feel it, but I think while it’s normal for people to feel fear in these situations (well-founded or not), the important thing is the interpretation of, and reaction to, said fear.
There are a myriad of threats far greater than terrorism, including mundane things like the fact that around 40 people die every year from TVs falling on them. However, the nature of these events and the subsequent media frenzy sends people into a state of panic. I’ve already seen enough people online calling for all muslims to be deported, or sent to Guantanamo Bay, or to close our borders. These people are terrified – they fear for their lives, and they are letting that fear drive them to these statements about urgent action and retaliation. This is the manifestation of the “terror” caused by terrorism. It means it was a success, when by all measures it really shouldn’t be. These people are fragile little flowers, quivering in the hot winds of the tabloid.
Banksy stencil, Park St., SE1, 2003. © David Secombe.
The way to deal with this shit is to carry on with your life as normal. Disregard the absurd actions of a handful of fucking nutters as exactly that. Don’t be a fucking pussy. Go buy a grilled cheese sandwich in Borough Market. Take a walk along London Bridge, hold your head high and realise there’s nothing to be afraid of, since the simple act of walking down the street is literally more dangerous than terrorists. You’re a fucking daredevil.
London Bridge Station, 2003. © David Secombe.
Text © Emil Smith. Special thanks to Katy Evans Bush.
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.
As a counterweight to David Hoffman’s images of urban protest which we ran last week, here are a few of David’s pictures of a more peaceful London. Peaceful and largely vanished … these photographs have an elegiac quality to them, glimpses of a city that seems almost as remote as the one pictured by Thomson or A.L. Coburn. In any case, they require no further comment from me … D.S.
As part of East London Photomonth, David’s images are on display until the end of this month at a variety of cafes forming the ‘Roman Road Cafe Crawl’. David’s show at Muxima cafe runs until 27th of November. More details here.
A London street artist writes:
I remember living in Hackney Wick around six years ago, just as it was being transformed from a barren industrial area into a ‘funky’ neighbourhood full of vegan coffee shops and ‘warehouse raves’ that had guest lists and cocktails, interspersed with re-purposed plant hire buildings that had been turned into artists’ studio spaces.
I had been a graffiti writer for about four or five years before moving there, and at that point in time I was spending a lot of time utilising the easy access to train tracks from Hackney Wick station to go painting at night. The thing was, Hackney Wick was full of ‘street artists’, yet I never saw any of them on my nightly overground rail missions. The reason for this was that they were mostly drinking chai tea in their studios, plastering canvases with stencilled pop-culture icons or images connoting cunning political/social commentary… But it was still ‘street art’. All the courtyards of the shared warehouse living spaces were covered in pieces, yet the streets surrounding them were bare.
This was the crest of the wave of socially acceptable, tongue-in-cheek street art. It was naughty, but only when it was allowed to be. It was rarely painted illegally, and rarely in places where lots of people could see it; inside the living room of a sandal-clad nut-loaf artisan, or on a peaceful stretch of canal. While the original breed of London graffiti writers tried to paint busy train lines and rooftops, these ‘street artists’ prefer to hit up Tumblr, Flickr and Twitter with photos of their work. ‘Getting up’ has been integral to graffiti culture since the beginning – it is the pure manifestation of the territorial roots of the art form, except now the art form is becoming gentrified, intellectualised and critiqued by Guardian columnists, and ‘getting up’ has turned into social media marketing. While all this is happening, grass-roots graffiti writers are still being locked up with criminal damage charges, sitting in police cells around the corner from a perspex-enclosed stencil that may or may not have been painted by Banksy.
Two street artists, Boe and Irony, recently painted a four story chihuahua on the side of a tower block. They suggest in an interview to have pulled this off without alerting anyone as to their activity. I mean, granted, the piece is nice. It’s a definite improvement over the old, plain brick wall, However, as someone who has spent their fair share of time crawling around on rooftops and side streets with buckets of paint, I don’t buy it. All credit to them if they actually managed to walk around the streets with their faces covered from the cameras, holding a fuck off ladder and the 20+ cans of spray paint they would have needed, set up shop on a residential building for 4+ hours and paint an entire face of said building without anyone even knowing they were there. That would be fucking impressive. There are writers who have been painting in this city for decades, who know all the dark secrets of how to get into train yards undetected and have hit up at least one rooftop in every borough in the city, who wouldn’t attempt a stunt like that.
Street art has always had its own lines of communication. Taggers, know each other by tag and reputation and possibly on the tracks. It’s territorial. Now, the territory is worldwide. The territory is in the bank. The artists get cash, the local authorities who pay them get kudos, and global gentrification accelerates week by week. ‘Street art’ is becoming just another kind of civic prettification – even the Southbank Centre has commissioned some to make itself appear more relevant. Individual neighbourhoods may get brightened up, but the work is mainly for the portfolio and the commercial opportunity.
The big street animals are unobjectionable. Even the Daily Mail likes them. People didn’t want Hackney Council to paint over the rabbit in Hackney Road a few years back – it’s inoffensive and it got a reprieve (and no-one likes Hackney Council). But now you get big animals wherever business is moving in on an ‘up and coming’ area. I see a giant bird or squirrel or fox and all I see is money.
… for The London Column.