The Imaginary Institution of India

Barbican – Friday 21 December 2024

After a sustained period of talking, followed by an equally long period of procrastination and then a short period of faff I’ve finally booked flights back to New Zealand in March 2025, stopping for eight days in Delhi and Chandigarh on the return to London. I will be away a month, which is all I can really take as annual leave. Eleanor is coming with me to New Zealand, where a London friend will join us for a few days before I go to India and they return to London via Sydney and Tokyo. With today being the shortest day of year and constant grey skies, drizzling rain and cold it is properly nice to have something to look forward to.

Ever since the aborted trip to India in 2016 I’ve been determined to go back and see some more of that fabulous, maddening country. When starting to think about this trip I’d planned on spending some time in Delhi before heading south-west, returning to the state of Rajasthan to visit some of the historic towns I didn’t get to in 2016. However, I recently discovered the town of Chandigarh in the Punjab to the north of Delhi. Chandigarh was planned in the 50s as a new town to replace Delhi as India’s capital city and move the country on from British rule after independence in 1947. Renowned French architect le Corbusier was engaged to draft a plan for the entire town and the delivery of that plan was eventually entrusted to English and Indian architects (more on this when I visit). It didn’t become the capital, much as Prime Minister Nehru wanted it to, but it is, apparently, a wonderful modernist town and I’m very much looking forward to visiting.

Conveniently, soon after I decided on Chandigarh as a place to visit, the V&A Museum had a small, though perfectly formed, exhibition – ‘Tropical Modernism’, which addressed the idea behind the building of Chandigarh and the city of Accra in Ghana and the importance of modernist architecture to the story of both India and Ghana’s independence from Britain. I bought the book.

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The Barbican is currently holding an exhibition of Indian art from 1977-1998, ‘The Imaginary Institution of India’ which I went to visit today, a non-working Friday. I took the camera with the intention of doing a walk around the Barbican estate before my 3:00 o’clock booking at the gallery. It was drizzly and cold out and I wasn’t in the photography mood so after a desultory and largely uninspired wander I had a glass of wine while I waited instead.

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I enjoyed the exhibition, particularly the photographic works, though some of the paintings were fabulous, with my favourite being the second piece you see when you walk in. The space is fabulous, it’s my first visit to the Barbican Gallery, so wasn’t sure what to expect from the venue; I will be going back.

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Gieve Patel – Two men with a hand cart.

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Gulammohammed Sheikh – Speechless City (my favourite).

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The exhibition documents one of the many periods of upheaval in Indian history, between 1977 and 1998, a period of massive social change in the country with a burgeoning middle class and rapid urbanisation as rural incomes dropped and people flooded into the cities. Heightened awareness of social issues and demands for fairness and equal rights for women and the LGBTQ+ community are out in the open and these were captured in the art of the time and well represented here. I loved the photos on show, particularly a series from Delhi in the 1970s of members of the artistic community. It isn’t how I saw India in those days. One of the things I love about art and travel is having my perceptions challenged and changed.

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It was also a time of political unrest (again) with violent clashes between Muslim and Hindu communities in the north of the country and the unlawful killing of political activists including Safdar Hashmi in 1989, painted by the artist M. F. Husain, who had to flee the country in 2006 after threats on his life.

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Ending on that happy note and with a date with Eleanor and some friends ahead I left the Barbican and walked the hour to Soho where we had a quick early dinner before going to see comedian Stewart Lee in Leicester Square, something that is becoming an enjoyable annual event.

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It was a lovely day and evening out and something I should do more of, more often.

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A bit of Berlin concrete

Berlin 03 – 08 October 2024

As longer-term followers will have observed, in the last few years, particularly during and post-Covid, the blog took a massive swerve from photographs of landscapes and trees to photographs of cityscapes. I’m not sure if that change of focus was a reaction to the pandemic or how it affected me and my view of the world. I don’t think I’ve become more insular; and this isn’t the sort of place for any kind of diagnosis, self or otherwise. However, it’s still true; trees and nature walking have largely disappeared from my feed and architecture and urban walking has replaced it; especially the more ‘brutal’ type of modernist building that I’ve sort of fallen in love with. So, maybe after saying all that it’s possible I have become more insular and my world view has reduced at the same time as expanding. I must stop the self-diagnosis. I’m fine.

As our last visit to Berlin was with friends and it had a packed schedule there was no opportunity for me to disappear for a few hours and look at some raw concrete, or beton brut as the French would have it. When we planned this trip I factored in a visit to a classic Le Corbusier building on the way to Spandau on the Saturday, as well as a few hours of solo travel to see a couple of other ‘brutalist’ buildings. There will be more on the Spandau visit in the next post; but spoiler alert – it wasn’t worth it…

Unité d’Habitation of Berlin aka Corbusierhaus

Completed in 1957 it was the third building in Le Corbusier’s Habitation ‘series’. The first and best known block is in Marseilles, France. The phrase ‘beton brut’ has been attributed to Le Corb, and it has morphed in its English translation to Brutalism. It describes buildings largely made of unfinished concrete, rather than the harsh, ‘brutal’, often militaristic design generally think of when people think of brutalism. Some buildings obviously conform to that harshness, but the Corbusierhaus does not, it is just a 50s concrete apartment block outside the city centre with some very colourful panelling. It is lovely and is a tourist attraction in its own right. The only quibble I had was half the front was covered over by scaffold and cloth; oh well. If I come back it will be mid-winter when all those interfering trees are shorn of their leaves.

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Bierpinsel

We had put Monday morning aside as ‘do our own thing’ time as I wanted to get out and look at buildings and while Eleanor tolerates this with a smile it seemed unfair to schelp about looking for buildings on holiday. Inconveniently the best ones are out of town and in no way where they close to each other. There was a small wrinkle in my original plan as one of the train lines was closed for engineering works. I made some rapid plan changes and set off to visit the ‘Café Exil’ record cover; The Steglitz Tower Restaurant, AKA the Bierpinsel (Beer Brush). And wow, what a building it is! It is as mad and as glorious as I hoped it would be. Sadly it’s been closed since 2007, but achieved listed status in 2017 and more recent owners have plans to renovate the building. I certainly hope they do. It is properly fantastic and I would love to see it back in garish Café Exil red. I had a go at emulating the record cover, with limited success. I loved it…

Cafe exil Cover

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Wilhelmstrasse 150

With my plans now changed, I caught another couple of trains to WilhelmStrasse 150. A nice looking apartment block with some magnificent curving concrete painted a fetching pink. This has not been on any record cover that has passed my way.

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Band of the Covenant Buildings

With less time in the day due to some poor public transport choices (read this as me missing stations as I was reading my book on the train) and then misunderstanding some messaging about closed lines on the Berlin transport network I headed back towards Alexanderplatz and our hotel to meet up with Eleanor for some afternoon roaming. We had a loose plan that involved walking to a record shop, a photography gallery and whatever else took our fancy, as long as it ended up in a cocktail bar come late afternoon. It was our last day in the city and there is still so much to see, just around the inner north east were we are staying.

When we visited Berlin in June one of the places I was keen to visit was the concrete ‘circle building’ I’d seen photos of on Instagram. I’d spotted it from the train heading west towards the fantastic Teufelsberg on the woody outskirts of the city so had a pretty good idea where it was located. It was only when we ventured into the city centre, near to the Brandenburg Gate and the Reichstag Building, that I nailed down its exact location; right behind the ‘no entry’ tape blocking off a bit of the city sacrificed to the pending European Championship football competition. Oh well, it was something to save for next time; i.e. this time.

And this time there were no restrictive lines of tape or armed coppers making sure no one crossed those lines of tape. In fact, for a series of government buildings there was very little visible security. As a New Zealander and a Brit I still find armed police unnerving, and I work in Whitehall where all the police carry guns, not seeing them here in this almost sterile, yet serene location, was verging on a relief.

I think this small block of buildings on either side of the River Spree is utterly beautiful and not because of the concrete, the design is just so fresh and free and walking around looking at them genuinely made me happy. I think the complex is called ‘Marie-Elisabeth-Lüders-Haus’ and it is made up of an art gallery and the government library, among other probably less public parts of the German government. Construction was mostly completed in 2003 so these are not the post-war concrete rebuilds you see in other cities.

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The ‘gun thing’, and yeah I will put it out there. I fucking hate guns, and everything they represent and really don’t understand this fascination so many have with them. I understand the US is just obsessed with arming everyone, seemingly to keep those who make weapons and all the bollocks that goes with that in the lifestyle they have become accustomed to, but why do the rest of us have to support that? Why do we have to see guns on our streets?

This was brought into stark relief on the opposite side of the river to the buildings above. There are four white memorial crosses wired to a low fence in remembrance of four, mostly young people, who were shot and killed by East German guards as they tried to flee to West Germany, the youngest was 18 and she was shot in 1984. Like the memorial plaques outside of the houses were Jews lived pre World War Two which I mentioned in the previous post, I didn’t take photos of these poignant reminders of humanities capability to be utterly evil.

I can’t possibly imagine what it was like for the Jewish and Roma people, the LGBTQ, disabled and other communities before and during WW2 and for those East Germans who wanted to go west to be so savagely betrayed, persecuted and murdered by their own countrymen. How fucked up was that? And the saddest thing of all is that for many around the world that hasn’t changed.