Investment in Blood: The True Cost of Britain’s Afghan War by Frank Ledwidge (2013)

Before the British burst onto the scene, Helmand was ‘stable’ in the sense that there was almost no Taliban presence and little prospect of any. After three years of British presence, the province was the most savage combat zone in the world. With British forces and their commanders out of their depth, it was only the intervention of a powerful US force of marines that brought some level of control to the situation.
(Investment in Blood, page 217)

This is by way of being the sequel to Ledwidge’s critically acclaimed book Losing Small Wars: British Military Failure in the 9/11 Wars (2011). Ledwidge is formidably well qualified to discuss the issues. He has had an impressively wide-ranging career both in and outside the military. He started life as a barrister, then served as an intelligence officer in the naval reserve in Iraq before going on to act as a civilian justice adviser in Afghanistan. These days he’s an academic.

The true cost

Nowadays you can just google ‘cost of Afghan war’ and get a host of topline figures. Delve into a few articles and you quickly get a sense of the quagmire of conflicting estimates and figures.

According to the top result, from Brown University, as of 2023, since invading Afghanistan in 2001, the United States has spent $2.313 trillion on the war, which includes operations in both Afghanistan and Pakistan.

As to the UK, I came across this BBC page ‘Afghan withdrawal a dark chapter for UK, says Defence Committee chair‘ which puts the cost to Britain of its Afghan adventure at nearly £30 billion. Everyone has an axe to grind, everyone has an angle.

So why read a book about a subject so readily available on the internet? Well, for two reasons: 1) because books give context, angles, interpretations and, above all, ideas, in ways which ‘objective’ sources like the BBC, Wikipedia, newspaper articles, generally don’t. And 2) for the style and personality and character of the author, enjoyable, fluent, enlightening or dim and patronising, as they may be.

Investment in Blood is in three parts.

Part 1. Casualties

Chapter 1. Why we went there

And why a small peacekeeping force found itself thrown into a full-scale war. For Ledwidge a leading reason the heads of the British Army wanted to deploy to Afghanistan had nothing to do with peacekeeping or tackling the opium trade, it was a self-interested wish to keep Treasury funding coming, to bolster the business case for maintaining the army the size it was, to hang on to battalions which were threatened with being disbanded, on the principle of ‘use them or lose them’ (pages 21 and 120).

Chapter 2. The human cost i.e. army casualties

Starting with the 454 British dead, then the thousands who suffered life-changing injuries, especially amputations, and then the psychological impact, especially the much-vaunted post-traumatic stress disorder.

Chapter 3. Afghan civilian casualties

Abdul Zia has been living for six years in the dirt-poor camp of Nasaji Baghrami, set in sea of mud, excrement and pathetic tarpaulins…It is located in Kabul’s particularly dirty and unpleasant fifth police district…There was a time when life for Mr Zia was much better: he used to have a small farm and seven children. That farm was in the Lashkar Gah district of Helmand. But then one day in 2006, shortly after the British entry into Helmand, for no reason that he can fathom his house was hit by a missile or a bomb from a NATO plane. Whatever it was, it killed six of his children. (p.94)

Afghan dead

Ledwidge explains his methodology which restricts itself to Afghan civilians killed by NATO forces according to reliable, certifiable sources then proceeds through each year, carefully accrediting the numbers. He reaches a total of at least 542 Afghan civilians killed by NATO forces. Compare and contrast with these figures from the US Institute of Peace: 70,000 Afghan military and police deaths, 46,319 Afghan civilians (probably a significant underestimation) and some 53,000 opposition fighters.

Afghan wounded (p.91).

He has no figures and so gives anecdotal evidence of the number of wounded civilians attending the NGO-run civilian hospitals. Other sources claim numbers to be in the hundreds of thousands.

Afghan refugees

Then there are the refugees forced to flee their homes (p.93). According to the UN Refugee Agency, as of December 2021, the total number of people displaced by conflict inside Afghanistan is 3.5 million.

Part 2. Financial costs

Chapter 4. The cost of the vast logistical effort of installing and maintaining a brigade in Afghanistan

The American government is admirably open about the money it spends on its military campaigns, the British government is secretive and hostile to researchers.

This turns out to be impossible to ascertain because of the byzantine and different methodologies used by the Ministry of Defence and the Treasury. Ledwidge quotes several army officers and civil servants saying nobody really knows the cost of a war like this. Instead there is a confusing range of estimates depending on accounting methods and definitions, but some of the figures cited are staggering.

According to the MoD’s own figures it costs about £400,000 to keep one soldier in the field for one year, plus about £60,000. In 2012 a parliamentary question revealed the ‘net additional cost’ of military operations since 2001 as £17.3 billion. Between 2006 and 2012 it cost about £15 million per day to maintain the UK’s presence in Afghanistan.

The most gobsmacking fact, for me, was the chief of logistics to General Petraeus saying the cost of air conditioning alone to all US army bases in Iraq and Afghanistan was over $20 billion.

He has a passage describing the scale of the vast Camp Bastion in Helmand which, at its peak, was home to 22,000 troops and support personnel for 12 different nations.

The blackly Catch-22 aspect of the war is that most of the supplies are not flown in but driven into landlocked Afghanistan by brave lorry drives, much of it contracted out to security companies. Much of this is through Taliban-held territory so many of the security companies have come to arrangements with local tribal and Taliban leaders, paying them retainers not to attack their convoys. So UK taxpayers money goes to the Taliban to bribe them into not attacking the supplies being sent to the British Army so they can carry on fighting them (p.113).

Billions of pounds were spent on kit – transport, guns, ammunition – which we handed over to the Afghan police and army and which, in 2021, they handed over to the Taliban without a fight. Ledwidge predicted this would happen in 2012 (p.117).

Chapter 5. The cost of caring for the wounded and the role of charities

There used to be a number of hospitals run by the armed forces solely for military casualties. One by one these have been closed due to government cuts and now there are none. Instead there are Ministry of Defence Hospital Units, or MDHUs, embedded within civilian National Health Service hospitals. Ledwidge explains why it is quite a loss in security and psychological well-being for veterans not to be treated in units entirely staffed by their own people, who understand what they’ve been through. Ledwidge repeats reports that some wounded veterans have been barracked by other patients in NHS hospitals.

A lot of care for wounded soldiers, whether physical or mental, has been funded by charities, especially the high profile and successful Help for Heroes, founded in 2007, which complements the work of older service charities such as the Royal British Legion.

In his Afterword, written in March 2014, Ledwidge explains his methodology for calculating that the cost of supporting the nearly 3,000 troops who were evacuated from Afghanistan and the thousands more who will apply for medical and psychiatric help, for the rest of their lives, will probably cost some £10 billion (p.238).

Chapter 6. The civilian efforts i.e. the cost of development: has it really gone to help ‘the poorest of the poor’?

An eye-opening account of the work of the Department for International Development which Ledwidge calculates to have spent over £2 billion in Afghanistan. The obvious problems are that the majority of that has gone to the Afghan government, which is a byword, both among its population and internationally, for corruption. In fact it’s debatable whether it is even a government at all in the normal sense of the word or a collection of regional warlords and narco-bosses (of ‘gangsters and warlords’, in Ledwidge’s words, p.170). So that, in the words or a security officer:

‘The only Afghan lives I’ve seen transformed by western aid agencies are warlords who’ve used siphoned funds to build mansions, amass huge overseas property portfolios and arm private militias.’ (p.148)

The other thing about aid money is the surprising amount of it which is spent on freelance aid consultants, earning £500 to £1,000 a day. Whenever these leave a fortified camp i.e. Camp Bastion, they must be accompanied by armed security guards who cost much the same amount, per guard, per day. The fatuousness of so many misguided ‘development’ projects is brought out by the next chapter.

Neocolonialism not colonialist enough

Ledwidge makes a point also made by Jack Fairweather, and quotes Rory Stewart among others making the same point: which is that, in imperial times, imperial administrators of a province would make it their life’s work, often stayed in post for a decade or more, learned the language, got to really know the local people, culture, religion, economy and maze of feuds and tribal allegiances. Slowly they built up a sense of what is possible and how to do things with the locals’ consent.

That entire approach has been lost. In modern ‘nation building’, advisers and consultants and experts are flown in for short-term placements, often with little understanding of the local culture, to implement off-the-peg ‘development projects’ which they’ve applied in Sierra Leone or Uruguay or some other completely different culture (p.157).

Thus Ledwidge gives the comic anecdote of a senior British woman official instructing a provincial governor what to do in front of his Pashtun colleagues, which amounted – in their culture – to a public humiliation and guaranteed that he would not do what she was telling him (p.153).

He also hints that so-called ‘experts’ hired for development and nation building don’t know what they’re talking about. He met experts in his own specialist subject, international law, who had never done a day’s work abroad i.e. hadn’t a clue (p.157).

To return to the first point: we laugh at them, we criticise them, we abhor them; but our imperial forebears were much, much better at this kind of thing than we are. The British government spent £40 billion, lost 440 soldiers and killed thousands of civilians and…for nothing.

Part 3. Assessment of what was won or lost

Chapter 7. What was achieved in Helmand?

Did the British Army presence bring peace and security? Did it eliminate the Taliban threat? Is the improvement, if any, sustainable? Did we eliminate opium as the mainstay of the economy, as Tony Blair promised we would? The answer to all these questions is a resounding no.

At the time of writing, Afghanistan had received tens of billions of dollars in international development assistance plus at least $900 billion from the international community and yet: according to the UN development index the country was ranked 181 out of 182; it was the poorest country for which reliable figures exist; it came bottom on lists for access to safe water and enrolment in all stages of education. It had the third highest infant mortality rate in the world and the lowest life expectancy, at 43.6 years. 42% of the population live on less than a dollar a day (p.168).

More importantly, the relentless focus on finding a military solution i.e. fighting the Taliban, has led to a new level of the militarisation of society.

The executive director of the charity War on Want believes that ‘Western intervention has managed to produce a country which, even after the 20 years of civil war which preceded it, is even more fractured and militarised than it was before’. (p.170).

One of the many reasons for the failure of Western efforts is because they were built around the idea that the central government was ‘elected’ and therefore had a ‘democratic mandate’, and all efforts flowed from this premise, two leading ones being a) training the Afghan police force and b) giving the majority of aid money to this government and training them how to run a country and disburse it responsibly.

Unfortunately, the ‘democratically elected’ government is little more than a bunch of ‘gangsters and warlords’ (p.170), who sent their aid money straight on to their Swiss bank accounts or to buy real estate in Europe or to pay their tribal supporters, while the Afghan police continued to be a byword for uselessness and corruption with a lot of rape and child abuse thrown in.

Afghan legal officers – Ledwidge’s area of expertise – had a habit of being assassinated (p.172). In practice, lots of local legal officers and enforcers quietly made deals with the Taliban about what they were or weren’t allowed to do i.e. in effect, the Taliban ran law and order (p.172).

Ledwidge says policy makers in theses nation building efforts bang on about building schools and hospitals to win over hearts and minds, but this policy has two very obvious flaws: 1) it’s relatively easy to build the buildings, but then who staffs them? Training doctors and teachers will take years and years. In fact, the allies had to stop building schools and hospitals in Afghanistan because there was no-one to man them, a problem euphemistically referred to as ‘overbuilding’ (p.173).

2) Northern Ireland had an insurgency for 30 years and it had all the schools and hospitals you can imagine. That wasn’t what the people needed. What they needed was a political settlement which would offer security for all. That’s what the people in all these trouble spots want first and foremost. Security. And that’s what the coalition forces failed to provide in either Iraq or Afghanistan (p.173).

Fascinatingly, the Soviets did understand the long-term nature of this kind of commitment and took tens of thousands of Afghan doctors, lawyers, soldiers, policemen, prison officers and so on back to Russia and trained them over many years. With the result that many of the current Afghan officials Ledwidge met as part of his work spoke fluent Russian. But none of the occupying powers were prepared to make that kind of commitment (p.174).

He tells a funny story about UK Foreign Secretary David Miliband visiting Helmand and inviting two Afghan ministers for dinner. In all innocence he asked these ministers how long he thought central government officials, civilian and military, would remain in the provincial capital, Lashkar Gah, after the NATO forces withdrew, and they replied…about 24 hours (p.174). Exactly. And this is indeed what happened when the Americans withdrew their last forces in August 2021. The security forces fled or melted away and the Talinan was back in power within days.

Opium

The Taliban almost completely banned Afghan farmers from growing opium (p.176). As the incoming NATO forces pushed the Taliban out, opium growing returned and, Ledwidge asserts, this time around the Taliban allowed it to and took a cut to pay for their weapons.

By 2007 Helmand, just one of Afghanistan’s 34 provinces, supplied over half the world’s poppy crop. He makes the basic point that, at the time of writing, a hectare of wheat was worth £475 to an Afghan farmer, whereas the same area of opium might be worth £6,500 (p.177).

Ledwidge has a good handle on this because when he served as a ‘justice adviser’ in Afghanistan he was actually paid out of the UK’s counter-narcotics budget (p.178).

Women’s rights

After the Soviet Union invaded Afghanistan they attempted to develop its economy and modernise its society. A key aspect was promoting women’s rights in this fantastically conservative, patriarchal society. By the time they quit the country in 1989, some 70% of teachers, 50% of government workers and 40% of doctors were women (p.184). The point is, the West armed the mujahideen for ten long years in order to overthrow the Soviet occupation and eventually succeeded. Whereupon the country collapsed into civil war, from which chaos emerged the Taliban who, as we all know, plunged the country back into the Dark Ages, part of which was sacking all women from all jobs and banning them from leaving the house unless accompanied by a male relative.

Which regime was better for women, Soviet rule or Taliban rule? Their Afghan adventure was seen as the Soviets’ Vietnam, and the long drag on their national resources, and the social unrest it caused contributed, maybe, to the final collapse of the Soviet Union. Still. It makes you wonder whether life for many Afghans, and pretty much all Afghan girls and women, would have been immeasurably better if the Soviets had been allowed to continue their rule of the country.

By the end of this withering chapter it’s hard to avoid the thought that Afghanistan exists as a kind of mockery of all notions of international development, state building, foreign aid and so on. Or, as Ledwidge puts it:

The attempt to impose Western-style government and legal systems on a country that has no real inclination to adopt either – and to do it a matter of a decade or so – was always doomed to failure. (p.187)

Poll results

Ledwidge shares the hilarious results of opinion polls which have been from time to time carried out on the Afghan population. In one just 8% of Afghans living in Helmand Province (Helmandis) had even heard of the 9/11 attacks in New York. This is really important because it indicates the way that hardly any of the population understood why the NATO forces were there; most of the population thought they were just the latest in a long line of murderous invaders. Further, only 30% believed that NATO protected the population from attack, while 65% believed NATO killed more of the population that the Taliban did. When informed that the main aim of NATO forces was to introduce democratic values, 72% of those polled couldn’t explain what that meant (p.188).

These and other stats help explain why so many young Afghan men didn’t understand any of our high-falutin’ ambitions about nation building and development and democracy and all the rest of it, and just thought of themselves as patriotic heroes combating the latest wave of brutal, destructive invaders, like their fathers and their grandfathers before them.

Chapter 8. Have we in Britain been made safer by both wars?

Are we ‘safer’ as a result of Britain’s involvement in the invasions of Iraq and Afghanistan, as Tony Blair and Defence Secretary John Reid claimed? Was it ever in out best interests to pursue these wars?

No. Ledwidge claims that most army officers know the simple truth: that both the wars, in Iraq and Afghanistan, were fought primarily to satisfy Tony Blair’s misguided wish to keep in with the Americans (p.205). The second campaign, in Afghanistan, was mainly fought because the army desperately wanted to rehabilitate itself in the eyes of our American masters after ballsing up big time in Basra. Neither had any relevance at all to Britain’s actual, present or future security needs. Fighting the Taliban was always a stupid, stupid thing to do. Ledwidge quotes a former NATO official at the time:

‘[The Taliban] pose no threat to Britain and not one Afghan has ever been involved in any terror attack in Europe or the US. It is simply rubbish to assert that British soldiers are fighting impoverished opium farmers and $10 a day gun-for-hire insurgents in Helmand Province to protect the British people from terror attacks. These Afghans are fighting our soldiers because they just don’t like foreigners and never will.’ (quoted page 198)

In the event, both Ledgwidge and Jack Fairweather give plenty of evidence that the British Army’s dismal failures in Basra and Helmand irreparably damaged the so-called ‘special relationship’ with America. Ledwidge cites former Chief of Staff of the US army, General Jack Keane, addressing a conference at the Royal Military Academy Sandhurst in 2013:

‘Gentlemen, you let us down; you let us down badly’ (quoted page 233)

And this is the view widely held in the US military. Then again this may be no bad thing if it forces the UK political and defence establishments to distance ourselves from America and think through our likely defence threats and strategies from a purely British position. Don’t hold your breath, though. The ludicrous embarrassment of Brexit was proposed partly by Conservative politicians convinced that our future lies with America, 4,000 miles away, rather than with the continent just 20 miles away.

The people who run the British establishments, in politics, the military, the arts and media and many other sectors, will continue to kiss American arse for the foreseeable future. As Ledwidge puts it: ‘The results of this are toxic and go far beyond the military’ (p.206).

The so-called ‘special relationship’ has led Britain into the invasion of two Islamic countries. Her confused and inconsistent strategy (or the lack of any strategy) in the ensuing wars and her over-enthusiastic and totally uncritical following of US policy have been intensely damaging to British (and Afghan) interests. The policies pursued have been entirely counter-productive and literally self-defeating. (p.208)

As a result of tagging along behind America on these two misguided interventions we in Britain have been made less safe in two ways. 1) We have generated a home-grown generation of angry young men here in the UK, outraged by our invasion of Muslim countries and killing of Muslim civilians. Some of these have carried out terrorist attacks on our own soil as a result of British intervention in Iraq and Afghanistan. As Pakistan and security expert Anatol Lieven puts it:

‘UK policy has been an absolute disaster in the perception of the Muslim population and has produced a significantly increased terrorism threat.’ (quoted page 210)

The second way in which these disastrous wars have made us less safe is we have wasted billions investing in the wrong kind of armed forces. In particular all the money has gone to the army (which, it turned out, was incapable of supplying its soldiers with the kind of equipment they needed) at the expense of the other two branches of the armed service, the navy and air force.

This explains why, when NATO wanted to support the anti-Gaddafi forces in Libya, it was the French who led the attacks – because they have a fully functioning aircraft carrier and lots of planes; we don’t.

By emasculating the Royal Navy to pay for the army and its operations in the Afghan desert, the UK has jeopardised the defence of our island nation’s vital interests. (p.213)

All the time, intellect, energy, money, material and resources ploughed into fighting badly organised peasants 5,000 miles away have completely distracted attention from the very real threats we face from a) larger, more conventional armies i.e. Russia, fighting in Europe and b) the serious emerging threat of cyber-attacks.

Thoughts

Out of date

The most obvious point is the book is fabulous as far as it goes, but is now out of date. Ledwidge wrote it in late 2012-to-early 2013 i.e 10 long years ago. Since then, residual units of the British Army racked up more time in Afghanistan alongside the much bigger US presence, and the fight against the Taliban ground on, with accompanying NATO losses and civilian collateral damage, for another 8 years. And it all led up, of course, to the humiliating US withdrawal which concluded in August 2021.

So most if not all Ledwidge’s figures are out of date. What remains valuable, though, on a procedural level, is his careful structuring of the entire subject and his explanations of the methodologies he used; and on a conceptual level, the questions he asks and the searingly critical conclusions he comes to. All of these shed new light and angles on the story of the war.

Slow starting, ferocious ending

The second point is that, at least to begin with, this is a less impressive book than its predecessor. It feels more hurried. In the first book he took the reader with him, his points were carefully argued, we shared his slowly growing sense of disgust and horror, so there was a dynamic aspect to the narrative.

In this book he takes his anti-war attitude for granted and so doesn’t so much take us on a journey but just restates his disgust. An example of this is the way he uses the same small number of negative quotes from people involved in the wars not as the punchline of extended arguments, but as short-hand, as quick reminders, and uses them repetitively. So he tells us more than once that the former UK ambassador to Afghanistan Sir Sharrard Cowper-Coles thought the war was a waste of time. These kind of quotes are used as a kind of shorthand, summarising the more extended forms of the arguments he gave us in the preceding book.

That said, the final two chapters, 7 and 8, finally become really angry, rising to the level of evidence-based excoriation found in the first book and leaving you shaking with fury at the idiocy and incompetence of British politicians and army leaders. What a shambles. As an Afghan friend of Ledwidge puts it:

‘We were promised good governance: where is it? We were promised economic growth: where is it? We were promised stability: where is it? (p.190)

454 British troops killed, thousands badly injured and crippled. Tens of thousands of Afghan dead. Tens of billions of pounds wasted. And a week after we left, the Taliban rolled back in and took power again, as if nothing had happened. It’s hard to think of a more complete definition of futility.


Credit

Investment in Blood: The True Cost of Britain’s Afghan War by Frank Ledwidge was published in 2013 by Yale University Press. References are to the 2014 YUP paperback.

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Lee Bul: Crashing @ Hayward Gallery

This is a major retrospective of the art of the (female) Korean artist Lee Bul, born in 1964 and still going strong, so something of a mid-career snapshot. It brings together over 100 works in the five enormous exhibition rooms of Hayward Gallery, plus some work located outside.

Installation view of Lee Bul: Crashing at Hayward Gallery © Lee Bul 2018. Photo by Linda Nylind

Installation view of Lee Bul: Crashing showing Monster Pink (left) and Civitas Solis II (in the background) © Lee Bul 2018. Photo by Linda Nylind

Oh for a life of Sensations rather than of Thoughts!

As you walk into room one, you immediately realise that much of Lee’s art is big, involving costumes, installations, mannequins and dummies.

You also realise that it is done to a high degree of finish. Everything looks very professional and seamless. It comes as no surprise to learn that much of her recent work is conceived by her but created by a studio of craftspeople and technicians.

I’m always a little envious of my teenage kids. When they come to art exhibitions like this, they roam at will, attracted by whatever is big and brash, rarely bothering with the boring wall labels or grown-up ‘issues’, enjoying things purely for what they look like and how much fun they are. They would certainly find lots to admire here, from the point of view of the spectacular and dramatic.

Monster Pink, pictured above, is accompanied by Monster White both of which look like assemblages of wriggling worms, like some mutant aliens from Dr Who. The same sci-fi vibe attaches to what look like fragments of space suits dangling from the ceiling. On closer examination you can see that these are life-size depictions of the human body in the style of Japanese manga comics, in which both men and women have sleek, perfect bodies, often encased in futuristic body armour.

Lee has produced dismembered versions of these, half a sleek, armoured torso, or combinations of limbs and extremities, moulded into striking but disconcerting fragments of mannequins. Soft pink sacks hang next to sleek machine-tooled silhouettes.

Installation view of Lee Bul at Hayward Gallery (photo by the author)

Installation view of Lee Bul at Hayward Gallery showing Cyborg WI on the left (photo by the author)

Up the concrete ramp, in room three, there’s what seems to be a model of a futuristic city, held up by thin scaffolding, some kind of hyper-freeway emerging from a tall plastic mountain, complete with a massive neon sign clicking on and off.

Installation view of Lee Bul at Hayward Gallery (photo by the author)

Installation view of Lee Bul at Hayward Gallery showing Mon grand récit – Weep into stones… (2005) Photo by the author

Nearby is a big ‘cave’ made of shiny plastic, with a ‘door’ to go in through, a ‘window’ to look out of, and walls decorated with a mosaic of mirror fragments.

Installation view of Lee Bul at Hayward Gallery (photo by the author)

Installation view of Lee Bul at Hayward Gallery showing Bunker (M. Bakhtin) (photo by the author)

Best of all, from an excitable teenager’s point of view, are two big transport machines.

Downstairs in long, low room two, is what appears to be a space-age hovercar not unlike the one Luke Skywalker and Obi-Wan Kenobi use to go to the city of Mos Eisley to look for Han Solo in the first Star Wars movie.

Installation view of Lee Bul at Hayward Gallery (photo by the author)

Installation view of Lee Bul at Hayward Gallery showing Live Forever III (photo by the author)

To my amazement, visitors are actually encouraged to get into this device (once they’ve slipped on some protective plastic bags to go over their shoes). As I was saying to myself the immortal line ‘These are not the droids you’re looking for’, the gallery assistant lowered the roof and sealed me in.

You’re forced to lie quite low in the beautifully upholstered leather chair and watch a TV monitor placed right in front of you. If only I could have flicked the ignition, heard the engine roar, made a secret tunnel door open up and slid down a chute into the nearby River Thames to begin a high-speed boat chase against the baddies who’d just blown up the MI6 building.

Alas, all that actually happens is that the screen hanging in front of your face plays tacky Korean karaoke videos. You’re invited to put on headphones, pick up the handy microphone and join in which I was far too intimidated to do.

Finally, up the Hayward’s heavy concrete stairwell to gallery four where a) the entire floor has been covered in futuristic reflective silver plastic, giving it a Dr Who-TV set appearance, and b) and in which floats one of Lee Bul’s most iconic works, a huge model of a zeppelin made from shiny reflective silver foil.

Installation view of Lee Bul showing Willing To Be Vulnerable - Metalized Balloon (2015-2016) at Hayward Gallery © Lee Bul 2018. Photo: Linda Nylind

Installation view of Lee Bul showing Willing To Be Vulnerable: Metalized Balloon (2015 to 2016) at Hayward Gallery © Lee Bul 2018. Photo by Linda Nylind

And thus the native hue of resolution is sicklied o’er with the pale cast of thought…

My son, a big fan of manga, animé, graphic novels and sci-fi, would have loved all this, consumed purely as spectacle, as weird and wonderful objects of fantasy and imagination.

However, art is rarely this simple or free. The artists themselves, and certainly their curators and critics, are all too ready to catch the butterfly of fantasy in a net of explanations, drag it back down to earth, and pin it to a board next to all the other specimens in their collection. For example, when you look up the Wikipedia article about Lee, it begins:

Lee’s work questions patriarchal authority and the marginalization of women by revealing ideologies that permeate our cultural and political spheres

firmly dragging Lee’s art into contemporary art discourse with its all-too-familiar obsessions of gender, race, ideology and politics.

The free exhibition handout and the wall labels are where you go for more information about Lee, and they certainly are extremely informative and illuminating. In addition, there are two timelines printed on walls – one telling the history of South Korea since the 1950-53 war to the present, and one describing the development of modern art in Korea from the time of Lee’s birth (1964) to the present day, with a special emphasis on women’s art and issues.

All very interesting, but the more you read, the more you become weighed down by interpretations of art which see it all in terms of ponderous ‘issues’ – of ‘challenges’ and ‘subversions’ and ‘questionings’ – the more it feels like you are sitting through a dreary two-hour-long sociology lecture.

Korea

The South Korea Lee was born into was ruled by a right-wing dictator who had come to power in a military coup, General Park Chung-hee, who ruled with an iron fist from 1963 to 1979. Park inaugurated a series of five year plans designed to modernise Korean society and the economy at breakneck speed.

But Lee’s parents were left-wing dissidents and, although they weren’t arrested, were subjected to harassment, periodic house searches, banned from government employment and hassled into keeping on the move, never settling long in one place.

Thus Lee’s childhood memories are of often cold and bleak makeshift homes and the oppressiveness of the authorities set against a vista of brave new towns, cities, motorways and buildings built quickly of shoddy cement, destined soon to crumble and become seedy and derelict.

The failure of utopias

Amidst all the other ‘issues’ addressed in the art, it was this latter notion – the failure of utopianism – which interested me most. It seems to me that we are currently living through just such an epoch of failure, the slow-motion failure of the dream of a digital future.

Having worked in four British government departments or agencies on their websites and IT projects for the past eight years I have seen all manner of cock-ups and mismanagement – the collapse of the unified NHS project, the likely failure of the system for Universal Credit which was launched in 2010 and still doesn’t work properly, let alone the regular bank failures like the recent TSB collapse. All this before you consider the sinister implications of the recent Facebook-Cambridge Analytica-U.S. Presidential elections debacle.

I have also observed the negative impact of phones and laptops on my own children i.e. they have both become phone addicts. As a result of all this I have very strong, and generally negative, opinions about ‘the Digital Future’.

That’s why I warmed to this aspect of the work of Chinese art superstar, Ai Weiwei, as displayed at the 2015 Royal Academy retrospective of his work. Twitter, Facebook and all the rest of them sell themselves as agents of ‘liberation’ whereas they are, quite obviously in my opinion, implements of a new kind of surveillance society, instruments of turbo-charged consumerism, and the tools of Russian hackers and any number of other unknown forces.

Yet people love them, ignore the scandals, can’t give up their phones or Facebook accounts, and big corporation, banks and governments carry on piling all their services online as if nothing could possibly go wrong with this technology.

With all this in mind I was surprised that there was no mention anywhere of the digital utopia, of digital technology, of phones and screens and big data anywhere in this big exhibition. Instead the utopias Lee Bul is concerned with seemed to me very dated. People wearing futuristic (manga) outfits or living in futuristic cities – this all seemed very Flash Gordon to me, very old tech, a very 1950s and 60s definition of what the future is going to look like.

This feeling that her art is very retro in its vision was crystallised by one of her most iconic works, which was a star feature of the 20th Sydney Biennale in 2016 – the enormous foil zeppelin – Willing To Be Vulnerable: Metalized Balloon.

I’m perfectly aware that the Hindenburg Zeppelin is an enduring symbol of technological hubris and disaster – that it burst into flames and crashed to the ground in 1937. I’ve seen the black and white film footage many times, I’ve even watched the terrible 1975 disaster movie they made about it.

Willing To Be Vulnerable is one of Lee’s most recent works and yet… isn’t it a very old reference to a long-ago event. It would be like discussing the rise of right-wing populism by reference to Adolf Hitler (German Chancellor when the Hindenburg crashed). It’s a plausible reference, sort of, but it’s not very up to date, is it? It’s not where we are now.

And then again, it isn’t even a detailed or accurate model of the Hindenburg. It’s just a big shiny balloon. An awesomely big shiny balloon. My kids would love it. I couldn’t really see it interrogating or questioning anything.

Architecture

The grandiose rhetoric of Korean President Park Chung-hee’s regime, and its relative failure to build the utopia it promised, also explain the strong theme of architecture throughout the exhibition.

When you look closer, you realise that the big model of the kind-of super highway emerging from a phallic mountain – Mon grand récit – Weep into stones… – pictured above, is accompanied by a series of paintings and sketches on the walls showing aspects of architecture, visions and fantasies of architecture which come to ruin.

They are subtler, quieter work which would be easy to overlook in the first impact of all the big models and installations. I particularly liked one collage painting which gives an impression of some kind of disaster involving a glass and chrome skyscraper. The idea – urban apocalypse, skyscrapers in ruins – has been done thousands of times – but I admired the layout and design of it, the shape of the main image with its ‘feeler’-like hairs at the left, and the way the small fragment floats freely above it.

Untitled (Willing to be vulnerable - Velvet #6 DDRG240C) 2017 by Lee Bul

Untitled (Willing to be vulnerable: Velvet #6 DDRG240C) 2017 by Lee Bul

Political criticism

Again, it’s only if you read the wall labels and exhibition guide quite carefully that you realise there is a thread of political satire running through the show. In room one, in between the more striking cyborgs hanging from the ceiling, are a couple of small mannequin models of President Park, naked, in full anatomical detail (reminiscent in the way they’re less than life size and so somehow feeble and vulnerable, of Ron Mueck’s mannequins of his naked dead dad, back in the 1997 Sensation exhibition).

Next to the ‘bat cave’ installation (Bunker), which I described above, is what at first seems like an enormous ‘rock’, made out of some kind of plastic. It’s titled Thaw and if you look closer you just about see another model of President Park, wearing his trademark dark sunglasses, as if he’s been frozen in ice in some alternative science fiction history, and is only waiting to thaw out and rise again…

Thaw (2007) by Lee Bul

Thaw (2007) by Lee Bul

Next to this is a very big installation of a bath. Unusually, you are allowed to walk across the tiled floor which makes up a good part of the installation, towards the bath itself – a big rectangular affair as if in a sauna or maybe in the bath rooms of some kind of collective housing – to discover that it is ringed with what looks like white meringue tips, and that the bath itself is full of black ink.

This is Heaven and Hell and without the exhibition guide there’s no way you’d be able to guess that it commemorates Park Jong-chul, a student protester who was tortured and killed by the South Korean security services in a bathtub in 1987.

Installation view of Lee Bul at Hayward Gallery showing Heaven and Hell (1987) Photo by the author

Installation view of Lee Bul at Hayward Gallery showing Heaven and Hell (1987) Photo by the author

Thinking about political art, Peter Kennard’s blistering photomontages flaying political leaders such as Mrs Thatcher, Ronald Reagan and Tony Blair come to mind, for example the enormous photomontage of Tony Blair plastered with images of atrocities from the Iraq War which was on display at the recent Age of Terror exhibition at the Imperial war Museum.

Installation view of Age of Terror at Imperial War Museum London showing Head of State by Cat Phillipps and Peter Kennard, with a marble sculpture of a CCTV camera by Ai Weiwei

Installation view of Age of Terror at Imperial War Museum London showing Head of State, a photomontage by Cat Phillipps and Peter Kennard, and a marble sculpture of a CCTV camera by Ai Weiwei

There is nothing that overt or emotional here. Everything is much more controlled, inflected, allusive. Given that Lee Bul is sometimes referred to as a ‘political’ artist, there’s nothing at all that – for me anyway – packed any kind of real political punch.

Women’s bodies / desire

With a certain inevitability, what the exhibition probably showcases most consistently is Lee Bul’s identity as a woman artist coming from a society which was extremely repressive, not only of political dissent, but of any form of feminism or gender politics.

The historical timeline tells us that a women’s movement only got going in Korea in the later 1980s and that Lee Bul was an enthusiastic part of it. It tells us that her earliest work went beyond sculpture to explore the possibilities of performance art.

Thus room two contains six screens on which we see some of Lee’s performances – ‘provocative performance works involving her own body’, as the commentary describes them – which she carried out between 1989 and 1996.

In Abortion (1989) she suspended herself from the ceiling of an auditorium for two hours and entertained the audience with lines from poems and pop songs as well as a description of her own abortion, a medical procedure which is still, to this day, apparently, illegal in South Korea.

The Monsters at the start of the show, the wriggly worm creations, turn out to be costumes which Lee wore either writhing around on the ground or walking the streets in order to question received ideas about X and subvert assumptions about Y.

Throughout the exhibition the ‘issue’ of gender and the ‘problematics’ of the female body are reiterated. For example, the timeline of women in Korean society describes ‘the rise of a generation of artists concerned with the representation of the female body‘ who also began ‘subverting the way that women are depicted in the media’.

The guide explains that

at the core of Lee’s recent work is an investigation into landscape, which for the artist includes the intimate landscape of the body

It turns out the her interest in the manga-style cyborgs comes less from a feeling for science fiction tropes or ideas around artificial intelligence and the possibility of improving human bodies by combining them with machine parts (from pacemakers to prosthetic limbs), no, she

is interested in what the figure of the cyborg – a transhuman hybrid of flesh and machine – can tell us about desire, our relationship to technology, and cultural attitudes towards the female body.

Or, as the press release puts it:

Shaped by her experience of growing up in South Korea during a period of political upheaval, much of Lee Bul’s work is concerned with trauma, and the way that idealism or the pursuit of perfection – bodily, political or aesthetic – might lead to failure, or disaster. Questioning women’s place in society, particularly Korean society, she also addresses the ways in which popular culture – in both the East and West – informs and shapes our idea of ‘feminine’ beauty.

Actually, rather like the so-called ‘political’ works (Thaw and Heaven and Hell) I only discovered that Lee was addressing the ways popular culture shapes our idea of femininity or questions cultural attitudes towards the female body by reading the guidebook. It really wasn’t that obvious from just seeing the works themselves. The three or four cyborg fragments hanging from the ceiling are probably, but not very obviously, female. They could belong to any gender, and be about anything.

Later on there are a couple of ‘busts’ made of lurid plastic of human thoraxes encased in cyber-armour but they aren’t very obviously female. The fact that they’re made of garish pink plastic and the design of the manga-style armour is the striking thing about them.

In one or two of the videos, the artist is seen naked or semi-naked, which even I picked up on as probably a reference to the female body, although I’ve never understood how young, nubile women artists stripping off is meant to subvert anything. To me it plays directly to society’s expectation that the most important or interesting thing about nubile young women is their nubile young bodies.

But if you hadn’t been told by the exhibition website, press release, guide and wall labels that her work ‘questions ideas of femininity’ I’m not sure you’d particularly notice.

I was, for example, surprised to learn that the silver zeppelin ‘addresses the ways in which popular culture – in both the East and West – informs and shapes our idea of feminine beauty’. Really?

Willing To Be Vulnerable by Lee Bul (photo by the author)

Willing To Be Vulnerable by Lee Bul (photo by the author)

Via Negativa II

I haven’t yet mentioned another of the really impressive installations, Via Negativa II (2014) which is a maze made out of metal sheets suspended on stands, a bit like the stands you get at conferences but arranged to create an entrance into a convoluted labyrinth of shiny metal plates.

It’s not a very big maze – only three people are allowed in at a time. The ‘justification’ or ‘idea’ behind it? Well, the walls are covered with a text by an American psychologist, Julian Jaynes, in which he argued that early humans experienced a split consciousness when messages from one hemisphere of the brain to the other were experienced as auditory hallucinations. To make it art, the text is printed in a mirror image of itself i.e you can’t actually read it. You’d need to hold up a mirror to the text to see it printed properly.

I suppose this small metal maze is designed to recreate that sense of mild hallucination that Jaynes describes. At its heart there is certainly a great experience when you find yourself in a cubicle dominated by grids of yellow lights reflected to infinity in parallel mirrors. The other two visitors and I all jostled for the best position to take photos from. Maybe it’s meant to make you think about something, but it’s also just a great tourist photo opportunity.

Installation view of Lee Bul showing Via Negativa II (2014) (interior detail) © Lee Bul 2018. Photo by Mark Blower

Installation view of Lee Bul showing Via Negativa II (2014) (interior detail) © Lee Bul 2018. Photo by Mark Blower

This is all great fun, but is it ‘questioning the limits of the human’ or ‘interrogating cultural ideas of the female’? Not really.

The international language of art

In fact, you don’t learn very much about the art or culture or history of Korea from this exhibition nor even – surprisingly – about feminism.

What comes over loud and clear is that this is now the international language of art – the same kind of brash, confident, well-manufactured, high concept work which you also see being produced by (the workshops of) Ai Weiwei, Damien Hirst, and numerous other superstars.

(Hirst sprang to mind as soon as I saw Lee Bul’s Majestic Splendour, a work consisting of rows of decomposing fish with sequins on, from 1997 which, of course, echoes Hirst’s A Thousand Years, a vitrine containing a cow’s decomposing head which he displayed in 1990. Great minds think alike.)

Not long ago I visited the fascinating exhibition of everyday products from North Korea held at the House of Illustration behind King’s Cross station. There I learned about the unique political system, the Cult of the Leader and the special economic policy (Juche) of North Korea. I learned about the importance of opera, theatre and enormous public performance in their culture, about the way the Korean language lends itself to blocky futuristic design, and about their fondness for a much brighter, more acid colour palette than we in the West are used to.

In Lee Bul’s exhibition I don’t think I learned anything at all about South Korea apart from being reminded of the name of its military dictator, and that its repressive military dictatorship was, well, repressive.

For me this exhibition shows that whatever her origins, whatever her personal biography may have been (the difficult childhood, the early anti-establishment and feminist performances), Lee Bul is now – in 2018 – on a par with Ai and Hirst in creating aroma-less, origin-free, international objets d’art for the delectation of equally rootless, cosmopolitan art critics, and for transnational buyers and billionaire investors.

I went to the press launch where the show was introduced by the director of Hayward Gallery – the American Ralph Rugoff – and the show’s curator – the German Stephanie Rosenthal. As they spoke I was struck by how all three of the people behind the microphones were members of an international art élite, a cosmopolitan, transnational art world which seems impossibly glamorous to those of us forced to earn our livings in the country of our birth and unable to jet off to international biennales in Venice and Sydney, to visit art shows at the Met in New York or the Foundation Cartier in Paris or the Mori Gallery in Tokyo or the Museum of Contemporary Art in Seoul (all places where Lee has exhibited). Wow. What a glamorous jet-setting life!

Summary

This is a very well-put together overview of the career to date of one of the world’s most successful and distinctive artists. It’s packed with big, bold, funky, cool objects and installations.

If you think art needs to be ‘about’ something, then you will enjoy the way the commentary invokes issues around the female body, around social utopias, about architecture and landscape, about the interface of technology and humans, to explain Lee’s work.

Or, like me, you may come to the conclusion that these issues, ideas and texts may well be important to motivate and inspire the artist, to get her juices flowing – but that most of the works can just be enjoyed in and of themselves, as highly inventive three-dimensional objects – fun, strange, colourful, jokey – without requiring any sort of ‘meaning’ or ‘interpretation’.


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