40 years ago today – Red Saunders recollects the RAR Victoria Park Carnival:
On Sunday 30 April 1978, 80,0000 people gathered in Trafalgar Square, and danced their way through the East End to Victoria Park in Hackney for the first big Rock Against Racism Carnival Against the Nazis. RAR had emerged in reaction to an alarming rise in racist attacks on the streets, and support for the neo-Nazi National Front at the ballot box. Mainstays of the UK pop scene such as Eric Clapton and David Bowie – white musicians capitalising on black music – made statements that further inflamed racial tension. A letter to the music press, written by Red Saunders and signed by a group of fans, voicing their horror at such hypocrisy, quickly gained widespread support. RAR was part of a broader anti-racism movement in the late 1970s, but it has become a symbol of the role that people-led movements and popular culture can play in shaping and influencing attitudes.
From Pop Art to Community Arts in Hackney and beyond
If you did not have a chance to attend last week screening at the 2018 East End Film Festival, the film is available to watch online.
From memories of meeting Andy Warhol to the visuals of Chats Palace and Lenthall Road Printshops, See Red Women’s Workshop and Rock Against Racism movement, the film explores the influence of screen-printing on the Community Arts Movement in Hackney and beyond.
Join us at Pushkin House, London on November 14 for a special evening of imagery, history, words and music with London resident Asya Gefter, who has just launched the ‘Fragments of Memory’ project in Lviv, and Lviv resident Mark Tokar, double bass player and a key figure in the Ukrainian free jazz scene.
Over the past two years, Asya Gefter and Olesya Zdorovetska had been on a journey to discover Debora Vogel, an overlooked intellectual, writer, art critic, the Gertrude Stein of inter-war Lviv. They walked the places Vogel inhabited, exhibited and wrote about. They met people who survived the war and went on living, or were born long after and reconnected with the vanished world. They encountered the story of the former Lviv Jewish museum, a derelict building presently at risk. The work that resulted from this voyage is concerned with the presence and absence of people, with a discontinuous perception of poetic and physical spaces, with personal stories pointing to Lemberg/Lwow/Lviv for present and future generations.
Vogel’s experimental poetry, all written in the 1920s-30s, was, in the spirit of early 20th century European literature, radically avant-garde and attuned to all the modernist minimalisms. Being skilled in Hebrew, Yiddish and Polish, she published essays covering Lviv’s intellectual life and urban landscape, the role of women in society and art. Yet, her name has always been connected with the Polish prose stylist Bruno Schulz. Vogel’s own work received little attention during her life and after her death in Lviv ghetto in 1942.
The multimedia exhibition was launched at the Lviv Museum of Ideas during the International Book Forum in September 2017. Project research and Lviv exhibition were supported by A-n Travel bursary (UK), Asylum Arts ‘Small Grant’ (US), Kickstarter Crowdfunding campaign, Lviv Book Forum and Lviv Museum of Ideas. The plan is to tour the exhibition and develop a website with project material in English, Polish, Russian, Ukrainian, and Yiddish.
Lviv is not only about the past but also about the present. Mark Tokar will play and talk about contemporary music scene in Ukraine, his collaborations in Ukraine and internationally, including the multi-genre projects (visualisations, literature, performance) with Yuri Andrukhovych, one of the leading Ukrainian authors writing today. Among these projects: Endless Journey or Aeneid (multimedia collage based on Yuri Andrukhovych-Ivan Kotliarevskiy with the elements of lecture, concert and banquet). Albert, or the Highest Form of Execution (Albert was created on the base of eponymous story written by Yuri Andrukhovych. In the center of action there is the story of ingenious cheater Albert Vyrozemskiy who agrees to sell his soul to the devil to avoid death penalty. However, the agreement signed with blood did not work. One autumn day in 1641, he was publicly burned in the middle of the Rynok Square in Lviv.
Thanks to the continuing support of the Charles and Lynn Schusterman Family Foundation, I organised a Sukkot meal and live performance event in Dublin on October 16, 2016. The Quartet (Olesya Zdorovetska – voice, Nick Roth – saxophones, Olie Brice – double bass, Matthew Jacobson – percussion) performed Seeds II, a study of plant genetics composed by Nick Roth, followed by a free improvisation. The visuals for the performance were created from the material I collected in Ukraine during my 2016 research trip funded by the Asylum Arts (US) and a-n Travel Bursary (UK).
The Festival of Sukkot begins on Tishri 15, the fifth day after Yom Kippur. It is quite a drastic transition, from one of the most solemn holidays of the year to one of the most joyous. Sukkot is so unreservedly joyful that it is commonly referred to as Z’man Simchateinu (זְמַן שִׂמְחָתֵנוּ), the Season of Rejoicing.
The origins of Sukkot are both historical and agricultural. Historically, Sukkot commemorates the forty-year period during which the children of Israel were wandering in the desert, living in temporary shelters. Agriculturally, Sukkot celebrates the gathering of the harvest.
Sukkot foods are all about the autumn harvest – apples, pears, sweet potatoes, carrots, and other root vegetables that are readily available this time of year. On each day of the holiday it is mandatory to perform a waving ceremony with the Four Species: fronds from the myrtle, date, willow trees, along with a yellow etrog (the citron fruit).
Happiness doubles when you share it. Joined by people from Australia, England, Finland, Iran, Ireland, Poland, Russia, and Ukraine we had a memorable evening full of music, visuals, food, conversations and singing.
Today is August 24 and Ukraine celebrates 25th anniversary of Independence Day. On a personal note, my grandfather was born on this day 98 years ago, in 1918. Interestingly, The Ukrainian People’s Republic, a predecessor of modern Ukraine, proclaimed its independence on 25 January 1918 (simple maths means he was a 2months baby in the womb then). His grandparents were from Kherson and so was his mother and uncles. Though my granddad was born in Crimea. His mother, cousin and uncle were tragically killed, by Nazis in Crimea and by Soviets in Moscow. I will never tire of repeating my graddad’s words – Holocaust is a genocide against everyone (Холокост это геноцид против всех).
Having just spent 5 weeks in Ukraine with most wonderful people, I would like to thank all those on the pictures below and those whom I was too shy to photograph. There was no single time that my Moscow Russian dialect (accent) made anyone frown. Everyone was so patient with my misunderstandings (or often complete lack of understanding) of beautiful Ukrainian language. And so many people helped me and Olesya in our research of Debora Vogel. I will be back in Lviv in a couple of weeks and today I will go to the Armenian cemetery in Moscow where half of my Jewish family is buried. Those, who once lived in Mariupol, Simferopol, Dnepropetrovsk, Kyiv and ended up in Moscow. And I’m so grateful to be able to be here today with my dad.
This post is about my involvement in the Obsolete & Discontinued project driven every step of the way by Mike Crawford, London based photographer and expert printer. O&D has just had its first exhibition in the former textile plant warehouse Can Manyer at the Releva-T analogue photography festival in Vilassar de Dalt, Spain.
I met Mike Crawford a few years ago at PhotoChats darkroom where I have been involved in the archival project about the history of Chats Palace and the community arts in East London. Last year I was fixing the darkroom in the basement of what used be the Nevill Arms pub in Stoke Newington, and asked Mike to pop over. That chilly day in March I discovered a few packets of old photographic paper and was printing some tests.
And here comes Mike saying he has been been given boxes of expired paper (at least 20 or 30 years old) by a client from his late uncle’s darkroom. Mike shows me his first test prints to investigate the condition of the paper – some are in fine condition, others have heavy fog. The latter turn out to be amenable to lith developer – something that I later try with the foggy paper I found at the Nevill.
Mike says that he is currently having discussions with the London Alternative Photography Collective to share out the paper amongst the members. After seeing these results and putting together a comprehensive proposal, Mike unveils the idea at the LAPC meeting to give out batches of paper to photographic artists with an open brief to produce any type of work they wish. The idea is immediately appealing and many sign up to participate in the project, myself included. The rest is history!
My Crimea In Autumn 2010 I am visiting a friend in Crimea. I go for long walks in the mountains overlooking the sea. Here and then I photograph and think about my grandfather who was born and grew up near by. What was it like? I know so little about his early years and so my imagination fills the void.
A few years later I am sitting in my uncle’s house going through the family archives. I find postcards sent by my great-grandmother in Summer 1941. In the last one she writes about not wanting to leave her home and part with the piano. I also find a letter from which I learn that in 1940 during his summer break from uni my grandfather came to visit his mother together with his then girl-friend (who then became his wife and my grandmother). It was the last time he saw his mother who was tragically killed a year later when Crimea was occupied. It is the first time that I hear that my great-grandmother was a piano teacher and that she was murdered. From what I know my grandfather never talked about his past with his sons. I ask my dad – he thinks that for my grandfather there was life ‘before’ and life ‘after’.
Mike mentions Kodak Bromide Grade 2 is possibly of military issue and so I decide to print the Crimea photograph taken in 2010 at the time when I did not know about my family past nor what was to come between Russia and Ukraine.
I am contributing a video piece for the 24h Hackney film as well as the Hackney archive showreel to the Open Cinema film festival on Saturday November 21 at Open School East, 43 De Beauvoir Rd, N1 5SQ. Do come along if free and up for some quirky, serious, funny, contemporary and historical footage about Hackney.
The London Radical Bookfair 2015 in their second year running championed radical publishing – from its independent bookshops and publishers to its DIY-ers; the small press, self-publishers, and zinesters.
The LRB took over Bishopsgate Institute last year as the first event of its kind to bring together UK’s radical publishing and self-publishing communities. It was a joy and a privilege to be asked by Nik Górecki from Housmans Bookshop to document the fair once again, this time in a renovated Victorian warehouse at 47/49 Tanner Street near Tower Bridge.
Alan Gilbey, curator/guide, BAFTA Award-winning writer and East End guru: ‘Tales From The Ditch’ is an anthology of tales less told from London’s ‘little bit of rough’, as narrated by an eclectic selection of local authors, historians, storytellers and musicians, who were hidden in all the nooks and crannies of the basement of Shoreditch Town Hall. Each of these performances is a miniature, lasting five minutes, before bells are rung and you have to move on to find the next one. It’s a bit like speed dating, except you don’t have an awkward bit at the end where London history tries to get your phone number.
There was a pub and a bit of a sing-song. An opium den clouded with myth. A musical melodrama about ‘A Child Of The Jago.’ A clinic where you could feel the health giving powers of electricity and sunlight.
Who created the Ditch? Perhaps Shoreditch Council just sheered the tops off a lot of Victorian houses and dumped an Edwardian Town Hall on top? With its winding corridors and sudden dead ends, secret staircases and non-sequiter windows, it is the perfect geophysical venue for a myth defying night of Eastside stories.
‘It’s the rich wot get the pleasure and the poor wot get the rich. All of us are lying in the gutter, but some of us are dreaming of The Ditch.’