Virtual War: Kosovo and beyond by Michael Ignatieff (2000)

Michael Ignatieff (born 1947) is a public intellectual, academic, journalist and, at one point, back in his native Canada, a high profile politician. Back when I was a student in the 1980s he was all over the British media, fronting thoughtful documentaries and high-end discussion programmes on Channel 4.

Ignatieff’s written a lot – novels, memoirs, histories, countless articles. One consistent strand of his output has been a series of books meditating on the nature and meaning of contemporary warfare. This began in 1993 with Blood and Belonging: Journeys into the New Nationalism and was followed by The Warrior’s Honour: Ethnic War and the Modern Conscience in 1998.

In the introduction to this volume, written in December 1999, Ignatieff says Virtual War is, in effect, the third in a trilogy about the nature of modern war – but this statement has been rendered redundant by the fact that he’s gone on to publish several more. As far as I can make out the sequence now runs:

  1. 1993: Blood and Belonging: Journeys into the New Nationalism
  2. 1998: The Warrior’s Honour: Ethnic War and the Modern Conscience
  3. 2000: Virtual War: Kosovo and Beyond
  4. 2003: Empire Lite: Nation-Building in Bosnia, Kosovo and Afghanistan
  5. 2004: The Lesser Evil: Political Ethics in an Age of Terror
  6. 2017: The Ordinary Virtues: Moral Order in a Divided World

His books contain extensive descriptions of contemporary conflict zones, fighting, wars and aftermaths. The first book in the series (‘Blood and Belonging’) contains riveting eye-witness reporting from the conflicts in former Yugoslavia; the second one has a chapter where he accompanies the head of the United Nations to Rwanda, Zaire and Angola; and the fourth one adds scenes from the conflict in Afghanistan. This one contains reportage from a Kosovar refugee camp and a description of a Kosovar village, Celine, where a disgusting massacre was carried out by Serb paramilitaries.

But Ignatieff is not a war reporter; there are plenty of those, filing daily reports from the front line of conflicts around the world. And similarly, he is not a military analyst; there are thousands of those, publishing papers in specialist journals analysing this or that aspect of the hardware or strategy involved in the world’s many conflicts.

Ignatieff stands aside from both those genres because his stance can perhaps best be summarised as ‘a moral philosopher considers modern conflict’. He goes into military and technical detail where necessary – for example, in this book he gives a detailed description of the command and control centres running the NATO bombing of Serbia in 1999, an extended explanation of how targets were established, confirmed and then the complex bureaucracy planners had to go through in order to get permission to bomb them. Very detailed, very informative.

But that isn’t where Ignatieff’s interest lies. He is interested in what this kind of conflict tells us about the nature of modern warfare and, above all, about the moral and political attitudes of the West – what it tells us about ourselves and the modern societies we live in. He is interested in trying to unpick the complex moral issues which the conflicts he covers raise or have created or are evolving or distorting. His aim is:

exploring the new technology of war and the emerging morality governing its use. (p.7)

Maybe it’ll help if I summarise the short introduction in which Ignatieff unpacks the different senses of the word ‘virtual’ which underpin this book and give it its title.

(If you want to know the historic and geopolitical background to the war in Kosovo read the relevant section of my review of Anthony Loyd’s book, Another Bloody Love Letter. Ignatieff devotes a fascinating chapter, ‘Balkan Physics’, to a detailed account of the recent history and complex power politics which led up to the conflict, paying special attention to the failure of American diplomacy in the region and then to the change of tone brought by new Secretary of State, Madeline Allbright, pages 39 to 67.)

Virtual warfare

Ignatieff thinks the Big New Thing about the war in Kosovo was that it was a virtual war. What does he mean? Well, he uses the word ‘virtual’ in quite a few senses or contexts.

1. The public

It was a war which most people in the West watched on their screens, in which they had little or no investment or commitment. For Ignatieff this is a worrying new development. For example, will ‘war’ slowly morph into a particularly gruesome spectator sport? Does this mean that the populations of the West no longer believe in their causes enough to slug it out face to face? Will this, over the long run, weaken our resolve to mount wars when we need to?

2. Air force screens

It was a ‘virtual war’ in at least two further senses. The ‘war’ consisted mostly of NATO’s 78-day-long bombing campaign carried out against Serbian forces inside Kosovo and against crucial infrastructure in Serbia itself, especially in the capital Belgrade. No ground forces were sent into Kosovo and this, apparently, confused NATO’s air force, whose doctrine and training leads all of them, from air commodores down to pilots, to be expect to co-ordinate air attacks with ground forces, to be called in by radio to support ground attacks. They were unused to an army-less war.

Instead, the pilots, and their controllers back in control and command centres in locations in the West (Italy, Germany, Belgium, the US, the UK) worked via computer readouts of target information and then by sharing the view of the in-plane cameras which the pilots were using.

Thus the people choosing the targets and guiding the pilots towards them had pretty much the same view as the viewers at home (who got to see selected plane or missile-based footage which NATO released to the press). Obviously they were deeply involved in actually making it happen, identifying, assessing, instructing and so on. But nonetheless, it was, for these technicians, also a ‘virtual’ war, fought or, more accurately, experienced, via screens.

3. No army

Let’s go back to that point about no army. There was no NATO presence at all in Kosovo during the 78-day bombing campaign. There had been Western observers and peacekeepers in Kosovo but overnight they became enemies of Serbia, liable to be arrested and used as hostages, and so they were all withdrawn. So there were no NATO soldiers on the ground at all. Which is why Ignatieff very reasonably asks, What kind of war is it which involves no army at all on our side?

And furthermore, no casualties. None of the pilots of the thousand or so NATO planes which flew nearly 100,000 sorties were lost. A couple were downed by ejected. So Ignatieff further asks, What does it mean that the West can now go to war without fielding an army and without risking the life of a single combatant? Surely this is the kind of war fought by people who don’t want any casualties, a kind of war without the physical risk.

Previously, wars have involved loss of life on both sides. Western leaders have been slow to commit to war (British Prime Minister Neville Chamberlain being maybe the most famous example) because they knew the bloody horror it entailed. But now there is no bloody horror. There is no risk. What, Ignatieff asks, does that do to the very definition and concept of war?

How does that change everyone’s perception of what a war is? How does it effect:

1. Policy makers Does it make them more liable to intervene if they think they’re risking less – financially, but above all in terms of casualties, with consequent minimal damage to their domestic reputation and ratings?

2. The public in Western nations Will it teach the public to become so risk-averse that as and when a serious commitment of soldiers on the ground is required, it will be unacceptably unpopular? Will old-style fighting become less and less acceptable to a public acculturated to watching everything happen on a video screen? Will we refuse to countenance any conflict in which we lose soldiers?

3. The enemy On the face of it, the use of laser-guided precision weapons ought to scare adversaries so much that they are put off ever triggering the intervention of the West and its high-tech weapons. In fact, as he reports in detail, the reality in Kosovo turned out to be the exact opposite: President of Serbia, Slobodan Milošević, cannily triggered the West and then, in defiance of all our best efforts, carried out his nation-scale ethnic cleansing.

Because Milošević knew that as soon as the bombing started NATO would withdraw its ground forces and so he would be free to do what he wanted to the Kosovar population. He intended to drive them right out of their own country using exemplary terror i.e. using his army and paramilitaries to massacre entire villages and burn them to the ground, thus terrorising populations nearby to flee across the border into Macedonia or Albania – and that is exactly what happened. Hundreds of thousands of Kosovar refugees were harried out of their own country, even as the NATO bombing campaign proceeded. According to Human Rights Watch, by early June 1999, more than 80 percent of the entire population of Kosovo and 90 percent of Kosovar Albanians had been displaced from their homes. Amnesty International estimated that nearly one million people were forced to flee Kosovo by the Serb terror campaign.

On the face of it, then, this new kind of hi-tech gee-whiz ‘virtual’ war let the bad guys get away with it, with genocide and ethnic cleansing. In other words, the first ‘virtual’ war undermined its own rationale: it seemed very much as if what was needed to force the Serbs to end their ethnic cleansing was precisely what had been so carefully avoided i.e. face-to-face clashes between NATO forces and Serb forces. In other words, traditional warfare.

4. No mandate

Lastly, Ignatieff claims it was also a virtual war in the sense that the forces involved weren’t technically at war. The NATO forces who bombed the Serbs for 78 days never actually declared war on Serbia, no UN resolution was passed to justify this attack on a sovereign state, and none of the legislatures of the European countries who went to war were called on to vote for it.

NATO lawyers cobbled together a justification in law but, like everything to do with the law, it is subject to endless interpretation and debate. Even the outcome was unorthodox, a so-called ‘military technical agreement’ which didn’t settle any of the issues but merely allowed the entrance of NATO ground forces into Kosovo to protect the population while the diplomats went back to the negotiating table. But the fundamental issue is simple: Was NATO’s bombing campaign against Serbia legal or illegal under international law?

I’m no lawyer but what I took from Ignatieff’s account was that the campaign was technically illegal but was morally and politically justified. NATO used force as a last resort, after all attempts at mediation and conflict resolution – mainly at the talks held between NATO, the Kosovo Liberation Army and Milošević at Rambouillet in France – failed to find a solution.

NATO’s aim was to save lives, to put an end to Serbia’s low-level policy of massacre and ethnic cleansing. But does a worthy aim – saving the lives of a defenceless population – justify breaking one of the fundamental principles of the UN and the post-war international consensus, namely that the integrity of the nation state is sacrosanct; that nobody has a right to intervene militarily in the affairs of another state. This is one of the central moral-political-legal questions which Ignatieff returns to again and again.

To intervene or not intervene?

Like its two predecessors and its successor, Virtual War is a) short and b) not so much one consistent through-written book, but a collection of articles, published at different times in different magazines, but with enough thematic unity to work as a book. And each article or chapter focuses on particular aspects of the Kosovo war which I’ve itemised above.

Thus the issue I just described – whether the West was justified in attacking Serbia – is dealt with in chapter three, which consists entirely of an exchange of letters between Ignatieff and the British lawyer and politician, Robert Skidelsky, three from each of them.

The chapter may be short (16 pages) but it gets straight to the point and is packed with argumentation on both sides. Skidelsky argues that respecting the integrity of states has (more or less) kept the peace since the Second World War. If we alter that fundamental premise, if – like UK Prime Minister Tony Blair – we argue that we are so convinced of our moral rectitude and our case that we are justified in intervening in other countries wherever minorities are threatened by oppressive governments – then the world will descend into chaos.

Ignatieff politely but firmly disagrees. He describes himself as an ‘internationalist’, meaning that he agrees that the basis of the international system is the integrity of the nation state, but he also believes in the human rights of individuals and of communities, and that this second principle can clash with the first and, in Kosovo, trumps it.

He’s our author, so the weight of evidence from the other chapters tends to bolster Ignatieff’s argument. But Ignatieff tries to present a fair fight, giving Skidelsky’s objections as much air time as his own views. I very much took Skidelsky’s point that the notion Tony Blair was promoting in various public speeches (particularly, apparently, one given in Chicago on 22 April 1999, pages 72 and 74), that the West not only has the power to intervene in rogue regimes, but is obligated to intervene, is a terrible precedent. The road to hell is paved with good intentions (p.73).

And indeed, we know what happened next, which is that, after the 9/11 attacks, the US, under President George W. Bush, bolstered by Tony Blair and his interventionist stance, decided to intervene in both Afghanistan and Iraq. Overthrowing the absolutely awful dictator, Saddam Hussein, sounded like a great idea. Liberating Iraq and rebuilding it as a modern democracy sounded like a great idea. And how did those interventions turn out? Catastrophic wastes of time, money and lives, which left the region more unstable than before.

In this respect, Virtual War is a snapshot in time, capturing a moment when the interventionist mindset was new and still being explored and worked through. This is a fancy way of saying that quite a lot of it feels out of date. Ignatieff’s subtle premonitions about a new type of warfare have been completely superseded by subsequent events in Afghanistan and Iraq.

Content

As mentioned, the book consists of chapters which bear a strong resemblance to standalone magazine articles. In his previous books these had each been based around particular issues or countries. Here each chapter revolves around a central figure. These are:

  • Richard Holbrooke, impresario of the 1995 Dayton Agreement which ended the Bosnian War, architect of US policy in the Balkans, who Ignatieff follows and interviews as he mounts frantic shuttle diplomacy in the runup to the outbreak of hostilities (December 1998).
  • Robert Skidelsky, British economic historian, crossbench peer in the House of Lords, and vocal opponent of the bombing campaign against Serbia who Ignatieff debates the legality of the NATO bombing offensive with (May 1999).
  • General Wesley Clark, Supreme Allied Commander Europe (SACEUR) from 1997 to 2000, who commanded Operation Allied Force during the Kosovo War, and is profiled as part of an extended description of how the bombing campaign was managed, not only technically in terms of selecting targets etc but at a diplomatic level (June 1999).
  • Louise Arbour, a Canadian, who was Chief Prosecutor of the International Criminal Tribunal for Rwanda in Arusha, and of the International Criminal Tribunal for the former Yugoslavia (ICTY) in The Hague. In this role she indicted then-Serbian President Slobodan Milošević for war crimes on 27 May 1999, the first time a serving head of state was called to account before an international court. Ignatieff interviews her at length on the tribulations of setting up the Tribunal and especially of getting enough evidence to prosecute Milošević (July 1999).
  • Aleksa Djilas, Yugoslav writer and dissident, friend of Ignatieff’s, opponent of the bombing campaign not only on general humane grounds but because he is a Serb and so imprisoned by the propaganda of the regime. He flatly denies that the massacres of civilians, whose bodies Ignatieff saw with his own eyes, were carried out by Serbs. claiming they must have been caught in the crossfire of battles with the KLA. He couldn’t accept the fact that his nation was carrying out a genocide using Nazi tactics. Refusal. Denial.

As in The Warrior’s Code, Ignatieff has fantastic access to the top dogs: he accompanies leading figures such as Holbrook and his cohort of other US negotiators (ambassador Richard Miles; liaison officer with the KLA fighters, Shaun Byrnes) in the fraught weeks leading up to the bombing campaign; he has lunch with US ambassador to Macedonia, Chris Hill; he is part of the press pack covering a visit of Arbour’s to the Kosovar village of Celine, scene of a typical Serb massacre of unarmed civilians (lined up and machine gunned in cold blood). He interviews Arbour at her headquarters in the Hague, a conversation he reports at length.

Ignatieff vividly conveys what life is like for these jet-setting international politicians and lawyers: 1) the hectic lives, the endless mobile phone calls, dashing for planes or helicopters, setting up meetings, taking more calls. He 2) acutely dissects the issues they have to grapple with. But where Ignatieff comes into his own is with his 3) insightful analysis of the themes or issues or moral problems arising from the challenges they face; the general issues which arise from trying to resolve ethnic conflict, from intervening in a sovereign state, from trying to achieve some kind of justice for the victims.

Critique

1. The idea of a screen war not so novel

For me the weakest part of the book was Ignatieff’s claim that watching a war via a TV screen was somehow a) new, b) morally degrading, c) fraught with perilous consequences. It shares the same tone of moral panic as the chapter in The Warrior’s Code about the ever-increasing power of television. Looking back from 2023 both concerns seem out of date and overblown. Since Ignatieff was writing (in 1999) screens have come to dominate our lives to an unimaginable extent, and this has had many social consequences which impact Ignatieff’s ideas and interpretations.

But I disagree that watching a war on the telly was something radically new in 1999. People in the UK had been watching war footage on telly at teatime ever since the TV news was established in the 1960s. I remember listening to punk songs taking the mickey out of it in the 1970s (5.45 by Gang of Four, 1979).

And, of course, in the UK we had a war of our own, in Northern Ireland, which was on the TV news almost every night for decades before Ignatieff started worrying about it. So I question Ignatieff’s claim that watching the Kosovo conflict on the telly was a radically new departure with worrying social implications.

2. Kosovo’s ‘virtual’ war in no way replaced conventional conflict

At a more serious level, the ‘virtuality’ Ignatieff wants to make such an innovation of Kosovo hasn’t changed the face of war as much as he claims. In his long final chapter Ignatieff claims the West is living through a revolution in warfare, and that the new technology of cruise missiles, laser-guided bombs, and remote control will change warfare for good, and he sets off worrying about the implications for all of us.

But it wasn’t true. The American invasion of Iraq in 2003 wasn’t carried out entirely by remote control, it required a conventional army with tanks and armoured cars and all the rest of it, and then degenerated into a counterinsurgency which was even less remote, very much requiring boots on the ground (as described in excruciating detail in Thomas E. Ricks’s two books about the Iraq War, Fiasco and The Gamble).

OK, so was Iraq just a blip, have other wars continued the radical new ‘virtual’ path worries about? No. Take the war in the Ukraine. A conventional army (accompanied by its disgusting mercenaries) has invaded a neighbouring country and is being repelled by an entirely conventional army and air force. No doubt lots of screens are being used by everyone involved, maybe drones are being deployed and maybe some of the missiles are cleverly targeted, but most are not, and the whole thing feels like a traditional boots-on-the-ground conflict.

So not only have a lot of his concerns about war and society been superseded by the events of the last 23 years, but his central concern about the perilous consequences of ‘virtual war’ can now be seen to be exaggerated and unwarranted. He worries that war via screens will end up being no more than a spectator sport, emptied of meaning, and lacking engagement or understanding by the wider population. That is not at all what happened with the wars in Afghanistan and Iraq.

Anticipations of ‘Empire Lite’

In scattered remarks through the book, and then more pithily in the introduction, Ignatieff draws the central conclusion which will go on to underpin the next book in the sequence, 2003’s ‘Empire Lite’.

It is based on the run of events during the 1990s in which the UN and the so-called ‘international community’ performed so abysmally. They let down the Marsh Arabs who revolted against Saddam Hussein in 1991 and were very slow to support the Kurds who Saddam drove up into the mountains to die of exposure. They abandoned the mission to Somalia after the Black Hawk Down incident in 1994; in the same year the member states of the UN failed to cough up enough troops to enable the peacekeeping force in Rwanda to prevent the fastest genocide in history. Then in July 1995 UN peacekeepers once again stood by helplessly while Serb militia rounded up some 7,000 boys and men in the Bosnian town of Srebrenica and murdered them all.

In his earlier books Ignatieff visited the sites of mass murder in Rwanda and of massacres in Bosnia. This book gives a stomach-turning description of the massacre of unarmed Kosovar women and children carried out by Serb paramilitaries at a village called Celine. Did those Serb soldiers think it was serving their country to shoot unarmed women and children point blank in the head? Did they think this is what soldiers do? That this is what makes you a man – murdering little children?

These experiences drive Ignatieff to his Big Conclusion, which is that the West needs to intervene more, more deeply, more extensively, with more troops and resources, and for longer, than it has hitherto done.

Sitting above the Stankovec 2 refugee camp, packed with Albanian Kosovars who have been hounded from their homes by the Serbian army, and reviewing the West’s dismal record of failing to prevent ethnic cleansing in Yugoslavia, Ignatieff’s conclusion is surprisingly blunt:

This must be stopped. Now. By persistent and precise military force. (p.45)

His humanitarian principles, his concern to protect the vulnerable, lead him to believe that the intervention of the West is vitally required, as here in Kosovo, to prevent yet another crime against humanity, and this is the nexus of his argument with Robert Skidelsky.

But he goes further. Ignatieff thinks that the only way to prevent these crimes happening in the first place is to help developing countries build stronger states. And the only way this can be done is by major intervention, supervisions and investment in failing states by the West. And that means, in practice, America. He shares the view he attributes to the roving American diplomat Richard Holbrook, that:

the Americans are the only people capable of replacing the Ottomans and the Austro-Hungarians – the only people with the character required for an imperial vocation. (p.35)

America needs to be more imperial, more prepared to intervene to stop states failing, to prevent genocides, to create more stable polities. And it’s this idea which was to be the central theme of the book which followed this one, Empire Lite, arguing for greater American commitment to places like Afghanistan and written on the eve of the US invasion of Iraq in March 2003.

In other words, Ignatieff’s fine and subtle humanitarian principles led him to support George Bush’s illegal invasion of Iraq, support he later came to bitterly regret. Seen from this perspective, Ignatieff’s books on foreign affairs are almost like a tragic novel, about a highly intelligent and deeply philosophical man who argues himself into supporting Bush and Blair’s idiotic invasion of Iraq.

The scale of the waste

Alongside Ignatieff’s brilliant descriptions and fascinating insights, one aspect which comes over really strongly is how extremely expensive it is to wage this, or any kind, of conflict in the modern world. The cost of one jet. The cost of maintaining it. The cost of training one pilot. The cost of training the small army of technicians and engineers required to maintenance the jets. The cost of housing and feeding them all somewhere far from home. And then the cost of the munitions, up to a million dollars per missile.

One of the problems which the bombing campaign encountered was that the Serbs turned out to be very good indeed at hiding from the planes. They were expert at camouflage, deception and the use of decoys. They learned to turn off the radar on their anti-aircraft guns so as not to be detected. They hid all their real armour and created fake tanks and trucks made of wood and canvas. Hence the accusation that NATO was dropping million-dollar missiles to blow up ten-thousand-dollar decoys (p.105).

But stepping back, for a moment, from the geopolitical, historical, military and diplomatic contexts which Ignatieff explains so well…My God, what a colossal, colossal waste of money! If a fragment of what the war cost had been invested in the economy of Kosovo and its million-strong population it could have been rich as Luxemberg by now. I know the waste of war is a cliché but given the extortionate cost of modern equipment, arms and infrastructure, modern war amounts to the expense of hyperwaste in a sea of need.

Pleasure

Hopefully, by now you can see where Ignatieff is coming from. As I said above, he is not a war reporter or a military analyst or a commentator on international affairs. He is fascinated by the moral issues thrown up by conflict in the modern age and by the way our understanding of those issues and their implications were changing and evolving during the 1990s and into the Noughties.

He is also a really beautiful writer. Ignatieff writes a clear, deceptively simple prose which fluently embodies his continual stream of sharp observations and acute analysis. The combination of lucid prose with measured analysis and thoughtful reflection makes him a tremendous pleasure to read.


Credit

Virtual War: Kosovo and Beyond by Michael Ignatieff was published by Chatto and Windus in 2000. References are to the 2001 paperback edition.

New world disorder reviews

Turner prize 2018 @ Tate Britain

The Turner Prize has been running since 1984. It is awarded annually to an artist born or based in Britain. Each year four artists are shortlisted by a jury for an outstanding exhibition or public presentation of their work in the previous year. This year, for the first time since its inception, all four finalists are video film-makers, namely the organisation Forensic Architecture, and three individual artists: Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson.

You go through the exhibition glass doors into a big light lounge-type space dominated by a big square table ringed by grey sofas. On the table are books for visitors to read on the exhibition’s themes. These are gender and identity, race and sexuality, politics, repression and resistance. Pretty standard, down the line, mainstream art school stuff ideology, then.

Turner Prize lounge, sofas, table and books

Turner Prize lounge, sofas, table and books

From this comfortable if antiseptic space four black doorways lead off. Beside each is a set of wall panels explaining the work and biography of each artist. You read about them, then walk into the black space which, in each case is in fact a short corridor which leads to a corner, turning into a pitch-black projection space, the corridor and turn being to ensure the projection space is as dark as a cinema.

1. Naeem Mohaiemen

Mohaiemen was born in 1969 in London and grew up in Bangladesh. Now, inevitably, he lives and works in New York. In the opinion of the jury his works ‘explore post-colonial identity, migration, exile and refuge’. He presents three works

Tripoli Cancelled is a fictional film which follows the daily routine of a man who has lived alone in an abandoned airport for a decade. It is 93 minutes long.

Two Meetings and a Funeral recreates key meetings from 1973 and 1974 during which the Non-Aligned Movement, set up after the Second World War to represent newly independent former colonial countries, began to reject socialism and move towards religion as a uniting force. It is 89 minutes long.

Still from Two Meetings and a Funeral by Naeem Mohaiemen

Still from Two Meetings and a Funeral by Naeem Mohaiemen

Volume eleven (flaw in the algorithm of cosmopolitanism) is a pamphlet.

2. Luke Willis Thompson

Thompson lives and works in London. He makes silent 35mm films which are projected by an enormous and noisy film projector onto a huge wall, rather than a screen. In the words of the jury, he ‘investigates the treatment of minority communities and the way objects, places and people can be imbued with violence.’

He presents a trilogy of films which ‘reframe histories of violence enacted against certain bodies, and offers counter-images to the media spectacle of our digital age.’

Cemetery of uniforms and liveries (2016) is 9 minutes 10 seconds long and features doleful portraits of the descendants of two women hurt in London by the police. Brandon is the grandson of Dorothy ‘Cherry’ Groce, who was shot by Metropolitan Police in 1985 when they raided her home looking for her son Michael. The shooting, which left Dorothy Groce paralysed, led to the 1985 Brixton riot. Graeme is the son of Joy Gardner, a 40-year-old Jamaican mature student living who died as the result of being bound and gagged by police who had raided her home intending to deport her in 1983. None of the officers involved in these women’s deaths were convicted. Brandon and Graeme face the camera in stark black and white, unmoving, unspeaking, with serious, grim, maybe mournful expressions.

Still from Cemetery of Uniforms and Liveries (2016) by Luke Willis Thompson

Still from Cemetery of Uniforms and Liveries (2016) by Luke Willis Thompson

autoportrait (2017, 8’50”) I saw this at the Photographers’ Gallery where it had won the Deutsche Börse photography prize in May of this year. In July 2016 Diamond Reynolds filmed and live-streamed the moments after the fatal shooting of her partner Philandro Castile by American police, the footage of her then and subsequently distributed round the world being of a hysterical crying woman. Thompson approached her with the idea of recording her image as she chose to present it, in clothes of her choosing, expressionless, aloof, in control.

Still from autoportrait by Luke Willis Thompson © the artist

Still from autoportrait by Luke Willis Thompson © the artist

_Human (2018, 9’30”) There is a long essay about this film on the Frieze website:

It examines the small sculpture the late British artist Donald Rodney made, using scraps of his own shed skin, and held together with dressmaking pins, as he lay ill with sickle cell anaemia.

3. Forensic Architecture

Unlike the other three entries, Forensic Architecture is not an individual: it is an international research agency that uses innovative technological and architectural processes to investigate allegations of state violence. It’s a well-funded and organised body, with members including architects, archaeologists, artists, filmmakers, journalists, lawyers, scientists, software developers and theorists.

They work with internationally reputable charities such as Human Rights Watch, the United Nations and Amnesty International. You might well ask yourself what they are doing in an art exhibition.

Well, their typical working method is to be called in when deaths have occurred, often caused by state actors, and to investigate the events using state of the art techniques they have pioneered.

The big example here relates to an incident which took place on 18 January 2017, when Israeli police attempted to clear an unrecognised Bedouin village so the area could have an Israeli settlement built on it. During the confused armed confrontation between the villagers and the police, local Yakub Musa Abu al-Qi’an and a Israeli policeman Erez Levi were killed.

The Israeli police at first claimed he was a terrorist, amid a set of evidence which presented a narrative justifying the police behaviour. But pro-Bedouin Israeli activists were present and filmed some of the events and took photos.

Drone footage incorporated in The long duration of a split second by Forensic Architecture

Drone footage incorporated in The long duration of a split second by Forensic Architecture

Bringing to bear the full panoply of modern forensic reconstructive technology, the agency’s experts were able to assemble a detailed timeline into which the scrambled footage, scattered audio, stills taken by the activists and the police themselves could be used to reconstruct what really happened. The Forensic Architecture website gives a detailed breakdown of the series of events as they eventually established and proved them.

As a visitor what you experience is: 1. in a dark room the hectic hand held footage captured by a reporter who, at the sound of shots falls to the ground, and you get a lot of scrabbled shots of the rocky ground. 2. But you can walk through the projection room and into a normal white gallery space: along one wall is the timeline of events I’ve just linked to, and then a separate, related work, Traces of Bedouin Inhabitation, which is a really characteristic piece of Forensic Architecture. The Israeli government claims it has the right to move Bedouin off the land since they are only temporary settlements. However Forensic Architecture experts have gone back and found the original aerial maps of the area produced by the British in 1945, and been able to prove that Bedouin settlements existed then, i.e. are older than the state of Israel.

Installation view of Traces of Bedouin habitation 1945-present showing headphones which give commentary and explanation

Installation view of Traces of Bedouin habitation 1945-present showing headphones which give commentary and explanation

This is fascinating, worthwhile and cutting edge forensic, legal, scientific and image manipulation work being done by an international team of experts. The installation also includes details of workshops the organisation held where people could go along and find out more about aspects of their work (and maybe get involved).

I’ve left till last the fourth installation which, on 4 December, was announced as the winner of the 2018 Turner Prize.

4. Charlotte Prodger’s Bridgit

Prodger is a Scottish lesbian. She has been working with the moving image for over 20 years during which time she has experimented with the changing technologies we use to capture images. In the words of the jury, she ‘deals with identity politics, particularly from a queer perspective. Using a range of technologies from old camcorders to iPhones, Prodger’s films build a complex narrative exploring relationships between queer bodies, landscape, language, technology and time.’

Bridgit is her most autobiographical work to date. It was shot on her iphone over the course of a year, capturing scenes around her including (the ones I saw) her cat lying on her bed, some impressive standing stones in a field with a mountain in the background, and the back of a ferry recording the white wake continually unfurling across the sea behind.

Over this are ‘found’ sounds like the radio on in the background, cars, planes, the rain. But also Prodger reading out excerpts from her journal in which she talks about coming out, working in a care home, and the experience of going under anaesthetic.

The work’s title comes from the neolithic goddess, Bridgit, whose name and associations have altered across time and location. She is not only a sort of presiding spirit over some of the Scottish locations Prodger films, but an example of the way ‘identity’ is unstable and fissiparous.

Still from Bridgit by Charlotte Prodger

Still from Bridgit by Charlotte Prodger

I walked in just as Prodger was reading part of her journal:

Names themselves weren’t codified as personal descriptors until the Domesday book. The idea behind taking a name appropriate to one’s current circumstance was that identity isn’t static. The concept of one’s public and private self, separately or together, changes with age or experience (as do the definitions of public and private); and the name or label or the identity package is an expression of that concept.

Now, 1. I’m not sure that’s true about Domesday. I just happen to have been looking at the Domesday book a few weeks ago in the British Library’s fabulous exhibitions about the Anglo-Saxons and whereas Anglo-Saxon churls may not have recorded names, I’m pretty sure the Norman aristocracy had very clearly defined names, and names, and nicknames, which often defined their roles. William the Conqueror.

And 2. It was just like being back at school with a teacher at the front of the room lecturing me. Or in a lecture hall back at college, and being lectured about the ideology of queerness and identity politics.

It always amuses me how the more PC art curators and artists will accuse the Victorians of heavy-handed moralising – but then praise to the skies the kind of art included in this show as radical and subversive when, quite clearly, it is equally committed as the Victorians to promoting, sustaining and forwarding the values of the day, the ideologies of our era – jam packed with ‘important’ and urgent social and moral messages.

The content may change but the Urge To Preach is an enduring feature of a certain kind of art, and is lapped up by a certain type of critic.

Thoughts

The most obvious conclusion from the show is that ‘art’ is being swallowed by ‘news’.

What was once the specialist field of news and current affairs journalism is now slap bang centre stage in three of the four works shortlisted for Britain’s biggest art prize.

The judges and some critics I’ve read called this ‘a political show’, maybe ‘the most political selection the Turner has ever made’.

I think that flatters both artists and jury. They can attend their gala champagne prize-winning dinner, funded by Banque National Paris (the eighth largest bank in the world), hand out the cheques for twenty-five grand, and still be under the flattering delusion that they are ‘radicals’ who are ‘changing the world’.

But there is a very big difference indeed between politics and news. News flashes onto our TV screens, laptop and mobile phone screens in a blizzard of outrage and anger. Twitter storms. Social media hurricanes. Trump says something stupid. Corbyn says something sexist. Black man shot in Los Angeles. Riots in Paris. Brexit latest. Ukraine latest. Jose Mourinho latest.

News is about making a big splash with sensational or tricksy coverage of essentially ephemeral incidents. News is here in a great flurry of excitement and then… gone, forgotten, yesterday’s tittle-tattle, only good for wrapping up chips.

Politics, on the other hand, is defined as:

the activities associated with the governance of a country or area, especially the debate between parties seeking or trying to maintain power

Politics requires long-term planning to organise large bodies of people behind mass movements working for well defined social and economic ends, usually laid out in a manifesto or campaign pledges. It takes a lot of planning and involves mobilising millions of people.

If there is a spectrum with news at one end and serious, mass movement politics at the other, all the exhibits in this show are at the news end.

Moreover, when it comes to the use of video as a medium, the movement of news reporting away from newspapers and magazines, and its dominance by television coverage, has been one of the notable aspects of the past fifty years (with much lamentation from old-school journalists). Flashy footage of missiles taking off or people rioting has, during my lifetime, replaced the more sober analysis of events which you used to get in newspapers and news magazines. (They still exist, obviously, but their readerships have steadily declined.)

In this respect too – by virtue of the simple fact that all four entries consisted almost entirely of video footage – the Turner Prize hasn’t become more political – it has become more like the news.

Therefore, for what it’s worth, in my opinion this year was not particularly political. It was intensely newsy. It made big headlines with tricksy and inventive ways of covering essentially ephemeral stories.

In fact, even as news, the stories fall short.

The subjects tackled in these videos may epitomise long-running political issues – American police are racist, refugees have a hard time, the Israeli security forces can get away with killing unarmed Arabs – but none of these stories actually is news. They are the opposite of news. They are in fact very old stories. They were well-established tropes when I was growing up in the 1970s.

Given all this, you could sum up the Turner Prize exhibition as a selection of yesterday’s news.

Even though there are good moments in all the presentations, even though Thompson’s hauntingly silent black victims, or Forensic Architecture’s amazingly detailed and techno-savvy reconstructions, or Naeem Mohaiemen’s airport man or Charlotte Prodger’s standing stones all have their moments – there’s something about the medium of video itself which feels insubstantial, cheap, and unrewarding.

It may be all-consuming while you watch it — but then is almost immediately forgotten. Just like the TV news. Watch it, be horrified by this, scandalised by that, chuckle at the final comedy item, go to bed – forget all about it.

Prodger’s very personal film was the exception, so maybe that’s why she won. Footage of beautiful Scottish scenery. Footage of her cat. Footage of a sea ferry. All shot very badly with her fingers over the lens half the time. Edited deliberately clumsily. And with a voiceover telling us identity is flexible and fluid and that people have to be free to express themselves.

Maybe it was the very familiarity of these tropes which made the piece seem so already-seen, like a hundred other home-made art-school efforts lecturing us about queer identity – which gave the judges such a reassuring sense of familiarity. The stretches of it which I watched were certainly very restful.

Videos of the four finalists

There are short videos devoted to each of the four finalists.

Naeem Mohaiemen

Forensic Architecture

Luke Willis Thompson

Charlotte Prodger

A brief promo video for the whole show.


Related links

More Tate Britain reviews

%d bloggers like this: