Insiders/Outsiders: Refugees from Nazi Europe and their Contribution to British Culture

Monica Bohm-Duchen from Birkbeck’s Department of History of Art discusses the ideas that formed the start of the Insiders/Outsiders arts festival and the events taking place nationwide to document the experiences of refugees from Nazi Europe and their contribution to British culture.

Image credit: Josef Herman, Refugees, c.1941 © Josef Herman Estate, with kind permission, Ben Uri collection.

As Associate Lecturer at Birkbeck since 2005, I’ve devised and taught a number of deliberately unsettling BA special subject courses, among them Art and War: 1914 to the Present and Art and Scandal in the Modern Period. In 2016-17, I chose to teach a course entitled The Immigrant Experience in Modern British Art, in some ways a natural if belated sequel to earlier projects I’ve been involved with – above all, the exhibition Art in Exile in Great Britain 1933-45, shown at the Camden Arts Centre in 1986.

As the child of parents who both found refuge in this country just in time, the theme of the ambitious cultural project I initiated some two years ago, a nationwide arts festival called Insiders/Outsiders: Refugees from Nazi Europe and their Contribution to British Culture, is understandably close to my heart. But I have little doubt that it was devising the new course mentioned above and realizing the level of student interest in the topic, that also prompted me to undertake this project.

From the germ of an idea, the Insiders/Outsiders Festival has grown beyond my wildest expectations to become an umbrella for approximately 100 events in a wide range of different media at venues across the UK. Clearly, the theme of the festival has struck the right note at the right time. Not only is the cultural terrain richly rewarding in its own right, and the stories of the individual protagonists fascinating and often deeply poignant; but the relevance of these émigrés’ experiences to a world in which debates around immigration are rife and racism is once again rearing its ugly head is unquestionable.

Although the festival is ultimately affirmative and celebratory, its purpose is also to alert today’s public both to these refugees’ experience of profound loss, dispossession and displacement and to the complex challenges – not to say obstacles – they encountered on arrival in Britain.

To my delight, many of my colleagues at Birkbeck have embraced the premises of the festival with enthusiasm. As many readers of this blog will know, the college has a proud history of welcoming refugees as both teachers and students, past and present. Thus, on 9 and 15 March the Birkbeck Institute for the Moving Image (BIMI) is to play host to screenings of essay films by children of refugees from Nazi Europe and Holocaust survivors.

Furthermore, over the summer there is to be an exhibition in the Peltz Gallery curated by Mike Berlin, which will focus on the pioneering photojournalistic magazine Picture Post and its coverage of key moments in the history of immigration to this country: from the Jewish child refugees who came to England in the late 1930s as part of the Kindertransport scheme to the arrival in the UK of increasing numbers of West Indian immigrants from the late 1940s onwards.

Other institutions forming part of the University of London are also participating in the festival. The Research Centre for German and Austrian Exile Studies is running a series of public lectures on relevant topics throughout 2019; while the summer term of the Courtauld Institute’s Showcasing Art History lecture series will be devoted to topics relevant to the theme of the festival.

More academic events currently in the festival pipeline include a symposium being organised by QMUL on the topic of the émigré art historians’ incalculable influence on the discipline in this country. There are also plans for an event focussing on the early history of the Warburg Institute, closely bound up with that of the Council for At-Risk Academics (CARA), which was founded in 1933 as the Academic Assistance Council expressly to help refugees from Nazi Europe – a perfect example of the intimate links between past and present that underpin the Insiders/Outsiders project.

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Photography and identity

Lorna Robertson, graduate in MA History of Art with Photography, discusses the representation of women in visual culture as explored in the Jo Spence Memorial Library.

The Jo Spence Memorial Library (JSML) holds a range of visual material that Jo Spence had collected, which includes photographs, greeting cards and cartoons. I have found the collection valuable for research into the relationship between photography and identity and also the ways that Spence used existing visual material in her work.

Much of the material in the JSML explores the representation of women in visual culture, and the collection includes photographs that Spence took of women’s magazines during Britain in the 1970s and 1980s. I was initially struck by the number of advertisements that used images of heterosexual courtship to sell products, from tights to kettles.

Other materials, such as greeting cards, highlight the way that children are represented from a young age in heterosexual gender roles.I also began to see how these magazines used photography to reinforce tradition values around the family, and with this in mind, I began to consider issues around the representation of domesticity. Here, the image of woman as sex object is joined by a domesticated image of wife and mother, both of which may be used to sell domestic products.

In these contexts, the white, affluent, heterosexual family is presented as an aspirational lifestyle, but Spence also noted the way that other adverts play on the fear of not living up to these roles in order to sell medication for anxiety and depression.

The JSML collection also holds a collection of newspaper cartoons and I found that when looking at the cartoons in conjunction with magazine images, the cartoons often undermined the ideologies of the magazines.

Issues on the visual representation of men are also addressed in the collection, for instance the materialism of advertisements is countered by the suggestion that consumerism may be a financial strain on married men.

This issue of consumerism in relation to the family also developed my sense of Spence’s engagement with class, which I explored by juxtaposing different images in the collection. For example, the advertisements for a spacious, fully equipped kitchen appears unviable and economically detached from the photograph of Spence standing in front of a small terraced house.

The collection does, however, always underscore the role that photography plays in constructing and maintaining ideologies in Western society. The material points to the frameworks behind a range of photographic practices, such as the male members of the Islington Photographic Society photographing two female models in a studio.

Or how the family album is influenced by the photographic styles of companies such as Kodak and high street photographers, who privilege posed portraits of occasions such as marriage, births and the family get together.

Other materials in the collection also indicate that Spence was concerned with image construction in relation to the wider history of photography, such as images of carte de visite and vintage advertisements for photography equipment.

Spence was clearly an accumulator of visual material and a photograph in the JSML collection gave me an idea of how Spence used the material in her work. The photograph is Spence holding a book, in which she has assembled images associated with female childhood.

Here, Spence has used a school photograph of herself as a child from 1939 (which I identified through cross-referencing with books in the JSML), and placed it alongside an advert for the Miss Pears competition and two stickers of the cartoon character Wonder Woman. However, Spence has made visible a disjuncture between these aspirational images of childhood and her actual experience growing up as a working class child in Britain during the Second World War, through a snap shot of a child standing in front of another small terraced house and the hand written text ‘I HAD A NICE TIME MOST OF THE TIME’.

The process of investigating each of the components in this photograph illustrated to me that Spence had constructed this image. Not only had she assembled the found images in the album, but Spence had also assembled the situation of herself sitting on a chair, holding the album, looking at the camera, the artificiality of which is further emphasised by the back drop of the white wall and poster, which echoes the set-up of studio portraiture. This montaging, like the JSML collection as a whole, touches on discussion presented by Spence in articles from the 1980s on the slippage between images from our personal lives, images of popular culture and the construction of our identity.

Find out more: History and Theory of Photography Research Centre

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A strange irony: How the EU withdrawal process ended up saving the Human Rights Act

Dr Frederick Cowell, Lecturer in Law, argues that the UK’s exiting the EU may have saved the Human Rights Act and secured Britain’s long term future as party to the European Convention on Human Rights (ECHR).

The Brexit process has, in short, pushed the UK government away from what was, until recently, a clearly stated policy – to repeal the Human Rights Act 1998 (HRA), replace it with a British Bill of Rights and eventually withdraw from the ECHR. Both a referendum on Britain’s membership of the EU and HRA repeal, were in the Conservative Manifesto for the 2015 General Election. Repeal of the HRA, which brings the ECHR into UK law and requires UK judges to take the decisions of the European Court of Human Rights into account, has been a stated aim of the Conservative Party since 2006. In fact, its position on the HRA was clearer in its 2010 manifesto than its commitment to EU withdrawal. Coalition with the Liberal Democrats and the creation of the Commission on a British Bill of Rights appeared to kill the idea but, in 2014, the Conservative Party Published its proposals for a British Bill of Rights to replace the HRA.

Entitled Protecting Human Rights in the UK, it proposed breaking the link between UK courts and the European Court of Human Rights, and withdrawing from the ECHR if that was not possible. If implemented, this would have left the UK the only nation in continental Europe (apart from Belarus) that was outside the ECHR. It would likely have been incompatible with the Treaty on the European Union, which commits EU member states to respecting human rights, as defined by the ECHR, as a core EU value. However, as the 2014 policy document went onto note, ‘our relationship with the EU will be renegotiated in the next parliament’ and if there were any problems with the UK’s new bespoke human rights agreement this would be addressed ‘as part of the renegotiation.’ Linking leaving the EU with ECHR withdrawal made sense in terms of political framing. Although being outside the EU has no bearing on ECHR membership – Norway and Switzerland are not EU member states but have been party to the ECHR for almost half a century – the European Court of Human Rights was considered another ‘foreign court’ in the newspapers and political circles that would go onto become the most enthusiastic Brexit supporters.

There is no evidence that renegotiating EU values so as to allow the UK to withdraw from the ECHR but remain in the EU was ever seriously discussed during David Cameron’s attempted renegotiation of EU membership in late 2015. Given that both the EU Justice Commissioner and the President of the European Commission had indicated a few years earlier that any member state attempting to withdraw from the ECHR would raise concerns ‘as regards the effective protection of fundamental rights’, it is highly unlikely that Cameron would have been successful even if he had tried. After winning the 2015 General Election the entire project appeared to slow down; the then Justice Secretary Michael Gove promised proposals on a British Bill of Rights to repeal the HRA within months but, by the end of 2015, nothing had been published. By then academics and legal commentators had started to highlight the constitutional difficulties of HRA repeal, especially in relation to devolution, but the government continued to signal they were fully committed to HRA repeal.

In June 2016, when Theresa May became Prime Minister, she was expected to continue with the policy – she was a long-time opponent of the HRA from her days as Home Secretary, when she infamously and incorrectly claimed that HRA had blocked her from deporting someone because of their pet cat. But, in December 2016, the Attorney-General Jeremy Wright announced that HRA repeal was delayed until after the conclusion of Brexit. In the 2017 Conservative General Election Manifesto HRA repeal and ECHR withdrawal was effectively cancelled for the duration of the next parliament. This was far from popular among the Conservative Brexit supporters but the numbers in the 2015-2017 parliament made repeal difficult (a problem which worsened after the 2017 election). Also, with all of the constitutional difficulties over Brexit, there was little appetite to create an additional set of constitutional problems.

Since the autumn of 2017, the European Parliament has been clear that an important component of a future EU-UK relationship would be the UK’s continued ECHR membership. In the summer of 2018, the European commission draft report on future security cooperation again made membership of the ECHR an essential condition. Theorists of international relations and international law have argued that one of the core reasons for states joining the ECHR was to create a form of democratic lock-in, where the rights contained in it and the frameworks designed to protect them would be locked in place, in part because it would be hard for states to leave the Convention. Although it is superficially easy for a country to leave the ECHR, an exit mechanism is contained in Article 58 of the Convention and there are no direct economic consequences to a state for doing so, the ECHR’s interconnection with other European institutions creates a layer of political restraints constraining exit. The prospect of an exit agreement was clearly used as a lever by the European Parliament in their March 2018 resolution, which required any future trade agreement to be in “strict accordance” with EU values, effectively keeping the UK in the ECHR.

This could be important for securing the HRA’s future because there remains a significant political appetite for its repeal. Human Rights campaigners in the UK are often reassured by polling showing that HRA repeal is not a high public priority. But polling taken over a number of years in response to controversial or high profile decisions from the European Court of Human Rights has identified a significant degree of sympathy for the arguments advanced by the ECHR’s critics. Many of the arguments ranged against both the EU and the ECHR deploy what Fiona de Londras calls the ‘new sovereigntism’ argument – the idea that states should only engage and comply with international courts as and when they want to. Dominic Cummings, the leading political strategist for the Vote Leave campaign, announced earlier this year that he wants a referendum on the ECHR, noting that many leave voters would be ‘mad’ when they realise the UK was still party to it. Given this context, the external economic and political forces locking the UK into being a party to the ECHR as part of the Brexit process have probably secured the HRA’s future – for now.

This piece was first published on LSE’s blog

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Cool views of molecular machines

Carolyn Moores, Professor of Structural Biology, writes about how academics in the Institute of Structural and Molecular Biology (ISMB) are using their new cryo-electron microscope to address big questions about antibiotic resistance, disease and life itself.

The state-of-the-art cryo-electron microscope at Birkbeck

Tucked discreetly in a corner of the Malet Street Extension building, a new state-of-the-art microscope is generating Terabytes of high-resolution imaging data. This £4M cryo-electron microscope (cryo-EM) is using Nobel Prize-winning technology to address a wide range of biologically and biomedically important questions. Researchers in the Institute of Structural and Molecular Biology (ISMB) are using it to study the molecular machines that are found within all living cells and that are essential for life. The ISMB – a joint research institute between Birkbeck and UCL – is internationally recognised as a centre of excellence for cryo-EM and for our research focused on diverse molecular machines.

In 2016, we were thrilled to be awarded a grant by Wellcome which, together with contributions from Birkbeck and UCL, funded the purchase of our Titan Krios microscope. Delivery day, earlier this year, was a big moment for the whole team. Prior to its arrival, we had been working hard with colleagues from Estates and external contractors to prepare a high-spec room for its arrival. Our microscope travelled in its own juggernaut from the Thermo Fisher factory in The Netherlands, with its ~3,300 parts carefully catalogued and packed in 21 crates. With nerves jangling, we all held our breath as the largest and heaviest part of the microscope was squeezed into the lift, travelled one floor to the basement without mishap, and edged its way out again. Constructed by dedicated engineers over the course of 8 weeks like a very big ship in a bottle, this 4.5 tonne, 4m tall monolith is now steadily producing up to 4TB of data a day.

Christmas came early – delivery of the cyro-electron microscope

Since its invention in the 1930s, electron microscopy has steadily improved in power and sophistication, and recent advances have moved this method to the forefront of structural biology. In particular, rapid freezing of samples to liquid nitrogen temperatures (~-195°C) allows sample preservation to be maintained inside the microscope, and provides some cryo-protection from the otherwise damaging effects of the electrons that are used for sample imaging. The cryo-EM field has undergone a technological revolution in the last ~5 years such that the application of this methodology has expanded enormously. The 2017 Nobel Prize in Chemistry was awarded to three pioneers in the field.

Our new microscope brings many benefits. First, it is very stable: since the ultimate goal of our experiments is to visualize the position and organization of all the atoms from which molecular machinery is built, microscope stability is vital. Coupled to this, the Titan Krios is designed to allow automated data collection such that, after a few hours of set up, data collection experiments can be left to run for several days without user intervention. Previous generation equipment required trained microscopists to sit at the microscope for as many hours as they could manage. Since our structural experiments require many thousands of sample images to be computationally combined to reveal their 3D structure, this is gruelling. Implementation of sophisticated data collection software is much more efficient and strongly preferred by the microscopists! In addition, although still requiring expertise and training, the Titan Krios is user-friendly while not compromising on its high-end capabilities. Around a dozen ISMB researchers have already received training and are busy collecting data for studies on topics as diverse as cancer, dementia, antibiotic resistance and malaria. Understanding the structures of biological molecules and assemblies reveals how they work and makes it possible to design drugs or treatments for diseases.

Installation in Birkbeck’s Malet Street building

With new opportunities come fresh challenges. Because the new microscope produces high-quality data – and a lot of it – so efficiently, our focus has now shifted to the problem of producing high-quality samples that can be fed into the Titan Krios imaging pipeline. This now represents a major bottleneck for many projects, both because of the time intrinsic to sample optimisation and because researchers need to learn the skills in order to undertake this optimisation. We are now focusing on ways to allow more projects and more researchers at UCL and Birkbeck to benefit from the cryo-EM “resolution revolution”.

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