Tuesday, 15 November 2011

Land of Lost Content

OK, a few more pictures from this bonkers, and disturbing, museum: some of the racist stuff really bothers me. See the full set here. Click these to enlarge.

Hugely popular free gifts from Robertson's Marmalade: golliwogs

Deeply racist postcard

Another terrifying doll: this Girl's World one's hair grows, I gather

Spacehopper box

Mansell's Gay Panties. 

Cushions of Wham! and Kylie and Jason

Hilda Ogden (Coronation Street) bust

9/11 rug. 

What I did on my field trip (1)

OK, we left The Dark Place and headed west through the beautiful, autumnal Shropshire countryside and arrived at the Land of Lost Content. It's a massive warehouse literally piled high with the things we throw away: toys, games, clothes, office equipment, kitchen gear, packaging, bottles, postcards, luggage, electrical items, magazines: almost everything except for (interestingly) much on politics, sex or religion.

It's mind-boggling. The cultural choices made in archiving are fascinating and often troubling. The proprietor framed the collection as an art installation. You might see it as junk. Some of it really bothers me: there's an awful lot of racist material, particularly golliwogs. The museum's stance isn't clear: is this a fair representation of a past culture which simply didn't care about minority races, or is this material collected for other reasons?

I think the students enjoyed themselves, and learned a lot about past and material culture.

Here's a selection (click to enlarge): full set here.

WW2 Jobs for the Girls poster

Plastic Sweat Yourself Thin clothes (ugh)

50s Horlicks sign

Well-Meaning Guardian Readers Against The Bomb (that's me!)

Actual Subbuteo streakers!

Terrifying, freakish crawling doll

Enid Blyton merchandising

A romantic cigarette from Craven "A"

Tretchikoff's 'Chinese Girl' - hugely popular in the 1950s/60s

Official Girl Scout Camera

Occupy again, occupy smarter

Overnight, the New York police smashed up Occupy Wall Street's main base in Zuccotti Park, fulfilling their traditional role as the armed wing of the hegemonic élite.

It's to be expected: the occupation is simply the latest in an American tradition of dignified subaltern camps: it's a more middle-class version of the Hoovervilles of the 1930s, in which thousands of people erected shanty towns in parks and waste grounds, for shelter and protection, but also to make visible the effects of the Depression. No doubt some of them were dystopian hell-holes, but many were vibrant, egalitarian, racially harmonious, leftwing communities which posed a challenge - perhaps a threat - to the status quo: which is why many were violently razed to the ground by the authorities.

This is always the way. OWS was in many ways a carnivalesque space, in Bakhtinian terms: tolerated by the authorities for a period as a safety valve, then shut down when it showed signs of offering a serious alternative to the current system. The challenge is to avoid being tamed, or silenced, while offering more than a brief breathing space for those excluded or revolted by the system.

Where now? I think the various occupations should start drawing on the lessons of the late 1980s-1990s roads protesters. In the UK, this was the strongest and most successful of the countercultures: travellers, crusts, ravers and eco-activists successfully led governments on a merry dance around the country. Draconian laws and tabloid thunderclaps demonstrated the real threat to the Establishment posed by a mobile, creative, strategically clever, fluid and above all disdainful group. I'm no fan of rave, New Age Bollocks, the Levellers (the band: I admire the Civil War group) or dreadlocks, but the sheer weight of heavy-handed legal and police action demonstrated government's failure to comprehend their opponents' tactics or beliefs. It's hard to evoke the public mood of the time: on one side scruffy E-necking ravers who managed to combine fierce idealism with dedicated pursuit of hedonism. On the other, the shrieking newspapers, hysterical tabloids and a police force which treated the travellers like plague-spreaders.



My favourite group was Critical Mass: radical cyclists who got together once a month or so in major cities to cycle really slowly to demonstrate that our urban planning was both dangerous and inhuman. I only managed to join them once or twice, in Birmingham, but it was a wonderful feeling. It's still alive, but the edge has gone. Perhaps I'll get back to them. Other favourites: the wonderful, crazy ways in which road-building was halted and sometimes even defeated, and the Guerrilla Gardening movement: turning concrete into jungle.




The travellers and ravers used to defeat police planning by only announcing locations at the last minute, passed on through temporary phone numbers picked up by eager participants cruising the M25 waiting of the word: Twitter is the ideal successor. It all ended when the rave side of things came to dominate - the individualism of these mobile parties, and the drug aspect, made it an ideal situation for the entrepreneurially-minded amongst them to commodify the scene by reducing it to commercial events, and the energy was inevitably lost.



But Occupy can still learn from them. They can harness the decentralised, fluid, fast-moving aspects of the Summer of Love: they can be one step ahead of the authorities, they can stress the theatrical aspects of protest. Pop up unexpectedly with a dramatic action, then melt away, only to coalesce somewhere else.

One of the things I regret about the British education system is its total silence on the country's brilliant history of rebellion and protest: the Peasants' Revolt of 1381, the Civil War, the Diggers, the Levellers, the Pilgrimage of Grace, the Monmouth Rebellion, the Luddites, Captain Swing, the Rebecca Rioters, the Chartists, the NUWM, the Jarrow March, the Suffragists, the Radical Clubs, CND and Pugwash…, the Miners' Strike and all their supporters… the list is endless. Let's recapture that irreverence, that refusal to blindly accept what we're given.

Blue remembered hills

Hurrah! My reward for being in the office for 11 and a half hours yesterday (and back in 10 hours later) is a day out: a field trip to Shropshire's Land of Lost Content, no less. It's a barkingly mad place, half museum, half junk shop. I can never tell whether it's hugely reactionary (there's a strong whiff of an idealised British past) or unsettlingly radical through its obsessive, seemingly unselective piling-up of the kind of things a more staid establ
ishment wouldn't collect: odd board games next to a vintage telephone exchange, uniforms and bed pans, the lot. Even the website is rather retro - perhaps accidentally so:


There's certainly an air of determined Tory individualism in the owners' bloody-minded individualism, and of the Daily Mail in their racial insensitivity: the Black History Cupboard is  simply disgraceful, but there's also something anarchic about an undiscriminating collection of disposable - and disposed - items. I also love the name: what an excellent pun. It will be fascinating to see what the students make of it all. Pictures later.


Monday, 14 November 2011

Troglodytic Vole

Finally this weekend, I visited Poole's Cavern in Buxton, a magical wonderland of stalagmites and stalactites (-mites grow up, -tites come down). It was a prehistoric, Roman and Saxon mining/factory area, religious site and resort of outlaws and scoundrels. Highly recommended.

The 'Flitch of Bacon' stalactite


Remains of the Victorian gas lamp

Not a single person giggled at these on the tour I took. The guides claim they're called 'poached egg' stalagmites. A likely story.




Stalactites reflected in a pool of water

Autumnal copper beech leaves


My first attempt at a 'zoom burst' shot. Should have used a tripod, but not bad. 

Talking of decay

One of the other things I did this weekend was visit the last day of the British Ceramics Biennial, held partly in the abandoned, decaying Spode Works in Stoke. The idea, I guess, is to prove that there's still life in the industry, but the effect was double-edged. Much of the art ceramic referenced postmodernism and deconstruction: 'impossible' angles and loops - beautiful in many ways, but somewhat mocking of a town which lost hundreds of thousands of jobs when mass British pottery died. Deconstruction's all very witty when you're an art student - not so funny when you're out of a job. Much of the show's effect was derived from setting new artisan work against the smashed remains of a mass industry.

But I shouldn't cavil: my photographic hobby of finding beauty in post-industrial wreckage is equally decadent, and as I said, much of the artistic work is simply lovely. Full set of photos here, click these samples to enlarge.

I do love a bit of typography - this from Staffordshire University's Flux studio




'Human Relations'

On the scrapheap…




Restoration!

You may (though why should you) remember that a year or so ago, I visited Stoke's Bethesda Chapel, the grandest of the Methodist Connexion's places of worship. Having featured on the BBC's Restoration show, it attracted enough money to start rebuilding. I saw it in a pretty derelict condition - enough to make an atheist like me mourn.

I went back this weekend - the chapel was open to show the public how far on they were. Structurally, this fine building is now solid and safe once more. It's got a ceiling, and only a year and a couple of million £s will finish the job.

Here are some of the latest photos I took - the rest are here. Click on these to enlarge.









I'll miss the dereliction when it's finished: I do like a good bit of decay.