100+ garages were annexed to build a #fashionhub, ahead of planned estate demolition, with Poplar Harca claiming 86% resident support, for the demolition of a purpose built estate, where flats cost up to £577 per week.
Meet Paul Augarde, Director of Placemaking @poplarharca. Paul recently won an award for "placemaking". Here he is actually meeting residents where he is removed by police for his own safety. This is social cleansing. pic.twitter.com/511ftwvghD
— PplRism Pt. 2: 2019-25 the Neoliberal years (@PplRism) November 10, 2017
Please RT to let @TheTrampery, @Car0lus & @LCFLondon know that we don't need a fashion hub in Poplar, we need social housing.
Apparently 86% of the residents of Teviot Estate voted for its demolition.
Thats 86% of residents, on a purpose-built council estate, stolen from the taxpayer, voted to have their homes demolished, where ex-RTB flats cost up to £577 per WEEK.
That’s right. EIGHTY-SIX PERCENT.
These flats available for rent on Teviot Estate, site of annexation of over 100 residents garages to build a fashion hub for The Trampery & London College of Fashion.
“The ballot concluded with residents giving a clear mandate to Poplar HARCA to proceed with the estate regeneration proposals – with a turnout of 81% and a positive majority of 86% of voters supporting the plans.”
So, a massive THANKS to all the housing activists, community, Labour Party, journalists, academics & everybody else involved in another landgrab on social housing, that YOU ALL COMPLETELY IGNORED.
First comes the fashion hub, then comes the evictions, then the bulldozers.
Perhaps if Anna Minton & co had actually done any real community based work, instead of ripping off the work of others & doing deals with Harca, people like Gavin, featured in @paulsng‘s Dispossession wouldn’t face being kicked out of their homes again.
Here’s Gavin, in Dispossession, talking about how he was homeless and moved into Balfron Tower. Then they kicked him out and put him on Teviot Estate. Now they’re kicking him out of there too, as they demolish the estate to build homes for rich people.
Balfron Social Club has been writing about social cleansing of Teviot Estate since 2015.
Read Brutalism {Redacted}- Social Art Practice and You exploring the role Hannah Nicklin subsequently took on Teviot Estate, which has now led to its demolition.
Read Brutalism [redacted] – Social Art Practice and You
Hannah Nicklin responded to our criticism, but ultimately admitted that the role she played was artwash for Poplar Harca. Now the Teviot Estate is facing demolition (with a claimed 86% approval), we can see exactly what was being artwashed, and why.
In May 2018, we asked The Trampery some questions. They have never answered.
We would like to ask @TheTrampery whether they consulted any residents of the Teviot Estate before they helped annexe part of their estate, in order to build an unwanted "fashion hub" to raise property prices, so more social tenants can be displaced?
— Balfron Social Club (@BalfronSocial) May 18, 2018
@LBTHArchives have become a politically-motivated & funded propaganda wing for the social cleansing of Tower Hamlets.
James Lander at a screening of Inversion/Reflection:Turning Balfron Tower Inside Out at University of East London, hosted by Alberto Duman, 2015
James Lander, whose PhD was believed to be funded by Bow Arts, looks on longingly at my work, & wishes he had any talent whatsoever.
Meow, right? During this talk Lander claimed to be commissioned by Poplar Harca to create an archive in Balfron Tower.
He later denied it.
😼🙀
A visibly nervous Lander stuttered through his talk, gestured at me suggesting I had failed to negotiate with Bow Arts.
There was no negotiating with Bow Arts.
They’d no interest in art, or community, just money, & they used revenge eviction against me as a 1st resort… Lander came on board the Bow Arts gravy train when he was a property guardian in Balfron Tower.
Simon Terrill engaged him onto the building & Bow Arts took him under their wing, buying themselves a critical voice on the artwash of Balfron Tower…
The photograph above was taken at a talk hosted by Alberto Duman at University of East London in 2015.
James Lander and Alberto Duman appeared together recently at TACO, in Thamesmead.
It seems that fraud, social cleansing, vicious attacks on working class communities and the theft of Balfron Tower, during which social several long-term social housing residents died, so that their homes could be socially cleansed and sold off as luxury flats, is not enough to stop James Lander and Alberto Duman helping Bow Arts with their artwash programme.
Thamesmead is currently being artwashed & socially cleansed for Peabody. Nobody has ever been held to account for the charity tax fraud, revenge eviction, & sabotage of my residency at UCL.
Financial penalties aren’t enough, & Bow Arts still owe me £4k, taken illegally from my rent & donated to themselves without my permission.
If you missed @paulageraghty brilliant thread on the integrity of the archive, check it out here…
Let this be a message to all with archives, me included, that our archives are valuable. With the recent interest in collecting photography & political ephemera, we need to have a conversation about how the public/private sector should engage with archives we produce. (1) https://t.co/5FwyUeYnGP
Which leads me onto my interactions & experience of @LBTHArchives…
I went to visit the London Borough of Tower Hamlets Library & archives in 2011, to talk to them about my work in Balfron Tower.
They were friendly & gave me a copy of 9th Floor: a History of Social Housing in Tower Hamlets. I have never had any other interactions with them… If anybody has ever had the misfortune to watch 9th Floor: a History of Social Housing then I am sorry for you.
The film was an incorrectly-titled propaganda film for Bow Arts & their artwash agenda. I knew the director. He was embarrassed by it…
LBTH Library & Archive were clearly in the grip of Bow Arts propaganda, however bad, and their agenda of artwash & social cleansing.
In the years since, the Tower Hamlets Library & Archive have repeatedly exhibited & promoted all sorts of propaganda being funded by Bow Arts…
Interspersed with exhibition after exhibition about the radical HISTORY of Tower Hamlets, plus unwavering support for Bow Arts, including artwashing patsy James Lander.
@LBTHArchives have become a politically-motivated & funded propaganda wing for the social cleansing of Tower Hamlets.
I guess they’re not open to a critique then.
Lol, right?
btw, the Bow Arts propaganda film may have been called 15th floor, or something.
The director lived on the 9th floor of Balfron Tower, so thats what I always called it that.
Rab Harling
Balfron Social Club
Poplar, 21st November 2019
This thread originated on Twitter. Thanks to @threadreader for the unroll.
I thoroughly agree that Owen Hatherley, and many of his ethically-challenged self-entitled chums, are certainly to blame for the gentrification of Balfron Tower, and also for the overall dismantlement of social housing in the United Kingdom in general, during a housing crisis.
But they are not the people that have to live with the consequences of what they support, or apologise for; they are not displaced from their communities, they have not been thrown out of their homes so they can be sold off to rich people who have come into Poplar and brutally attacked our working class community, following Poplar Harca’s CEO Steve Strides proclamation of “doing God’s work in Poplar” to create “a new Shoreditch”, brutally displacing working class communities and demolishing our social housing, dismantling the social tenancy system to build part-ownership models, financially out of the reach of almost everybody in our community, whilst their advertising hoardings boast of “affordable” housing that is being delivered in such small numbers it cannot be considered anything more than tokenism. Most of these people do not even live in the communities that they are waging class war against.
Nobody ever voted for Poplar Harca to operate as a local authority, yet they operate in this exact way. Nobody ever voted for them to operate or control parks, schools, markets, housing, transport, police, pubs, arts centres, community centres or to brand their name across every school child in Poplar.
Welcome to socialism in 21st Century Britain.
A few social housing tenants and leaseholders did get to vote for Poplar Harca, in a ballot transfer many years ago, where billions of pounds of publicly-owned housing stock was transferred, mostly free of charge, to a “Housing Association and Regeneration Communities Association”, who then mortgaged our entire community, via Bernadette Conroy, a Poplar Harca board member and a Vice President of HSBC, all with full liability firmly placed upon the Tower Hamlets tax payer.
But these tenants were lied to, they voted for Poplar Harca because they were told that they would be given new windows, new kitchens and new bathrooms. They were not told the truth that they would be brutally and ruthlessly thrown out of Balfron Tower, or their estate demolished and their family displaced, so Poplar Harca could do sleazy deals with sleazy property developers, like Londonewcastle.
I wrote a short thread on twitter, exploring some more of the people who are “all to blame”, read not to blame, for the social cleansing of Balfron Tower, from the blatant eugenics-like hatred of the working classes from Arts Council England funded Bow Arts, to apologists for social cleansing such as Anna Minton of the University of East London and Owen Hatherley.
Here's HawkinsBrowns (failed) pitch for the regeneration of Balfron Tower, including hipsters & bankers in bowler hats.
What's going on in architecture that the ethics of its practitioners have sunk so low? Is it regulation? Education? @RIBA#ukhousinghttps://t.co/inIpKl6Xvd
— Balfron Social Club (@BalfronSocial) June 3, 2019
Here's another, Architects for Social Housing: @RIBA registered architect Geraldine Dening & Dr. Simon Elmer, who has a PhD from @UCL.
More architects with a sociopathic approach to social housing; claiming to represent estates they're not connected to.https://t.co/0g0SwfUbwV
— Balfron Social Club (@BalfronSocial) June 3, 2019
From @RIBAJournal, a celebration of Brutalist Playgrounds.
Created by Assemble & Simon Terrill, specialists in helping developers artwash the social cleansing of working class communities.
— Balfron Social Club (@BalfronSocial) June 3, 2019
Owen Hatherley tells us we're all to blame for the artwash & social cleansing of Balfron Tower. He spoke with Simon Terill at Bow Arts in 2010 & was booed off stage.
— Balfron Social Club (@BalfronSocial) June 3, 2019
I interviewed for this in FT last January.
Before publication, they approached me to try & license my images to accompany the story.
I wrote a clause that my work couldn't be used in an advertorial for the sale of Balfron Tower. They never replied…https://t.co/DqwZp9L4fb
— Balfron Social Club (@BalfronSocial) June 3, 2019
Here's another one, this time in @Wallpaper. Another paid advertorial to present Balfron Tower as future of brutalist luxury living, completely glossing over the 10 years of brutal social cleansing & 100% dismantlement of Balfron Towers social housing.https://t.co/708bDQItIC
— Balfron Social Club (@BalfronSocial) June 3, 2019
It will all be ok though, they'll do a great job on the restoration & save a historic building, right?
No. They completely screwed that up too.
Balfron Tower is a Grade II* listed & utterly destroyed by greed & social cleaning, during a housing crisis.https://t.co/x3z0gpEiza
— Balfron Social Club (@BalfronSocial) June 3, 2019
Hey, but the 20th Century Society did a great job in condemning Egret Wests appalling breach of heritage regulations by describing it as "awful", right?
Here they are in 2012 celebrating Bow Arts artwash & social cleansing of Balfron Tower.https://t.co/Ru2AT5mfHr
— Balfron Social Club (@BalfronSocial) June 3, 2019
What about the ethics of the people involved, when they're not dismantling purpose-built social housing during a housing crisis?
Here's what Balfron Towers developers Londonewcastle get up to when not attacking & dismantling working-class communities…https://t.co/9orAVbP3ft
— Balfron Social Club (@BalfronSocial) June 3, 2019
If a working class artist stumbles upon brutal dismantling of purpose-built social housing being stolen from the community, & questions artwash, social cleansing & charity tax fraud?
— Balfron Social Club (@BalfronSocial) June 3, 2019
Here's my own personal experience of the social cleansing of Balfron Tower, published in a peer-reviewed journal (despite not being an academic), where 100% of its flats will be sold privately, unanimously supported by @UKLabour, during a housing crisis.https://t.co/VjgERLpg4X
— Balfron Social Club (@BalfronSocial) June 3, 2019
What about @InsideHousing? Surely following a bandwagon campaign against cladding following murder of 76 people at Grenfell Tower, they'd be against 100% removal of social housing from Balfron Tower?
— Balfron Social Club (@BalfronSocial) June 3, 2019
Giving awards to Harca isn't a surprise. They're not real awards. They're bought PR, used to defend their ethics to simple-minded journo's, happy to support attacks on working class communities.
— Balfron Social Club (@BalfronSocial) June 3, 2019
More astroturf, this time in @Placesjournal by @UEL_News "academic" Anna Minton. Minton did nothing to support the working class community of Balfron Tower, but here she is with an in-depth piece on the subject. Where did her research come from?https://t.co/iaU5qt1oAZ
— Balfron Social Club (@BalfronSocial) June 3, 2019
Was Anna Mintons astroturf more PR for social cleansing? She also had her name all over farcical, & deeply offensive, exhibition of Robin Hood Gardens by the V&A in Venice.
— Balfron Social Club (@BalfronSocial) June 3, 2019
But it's all good right? A few working class people lost their homes in a tower block that needed investment, right?
Collateral damage, right? Lessons were learned, right?
Here's Bow Arts Case Study on the artwash of Balfron Tower. This is now being imposed on an entire town. pic.twitter.com/00I17TaY5r
— Balfron Social Club (@BalfronSocial) June 3, 2019
This is the reality of social cleansing & dismantling of purpose-built social housing, during a housing crisis.
People are sleeping in tents in the shadow of Balfron Tower.
This is deeply shameful stuff, & those responsible are buying themselves awards, when they deserve jail. pic.twitter.com/Mam7dpWERb
— Balfron Social Club (@BalfronSocial) June 3, 2019
We are not “all to blame” for the social cleansing of Balfron Tower. But a lot of people are; from property developers, journalists, politicians (all Labour), artists, arts organisations, Arts Council England, Historic England, National Trust, British Council, University of East London and University of the Arts, amongst many others.
It is not now, nor will it ever be acceptable to invest in, or live, in a regenerated Balfron Tower that has 0% social housing. The experiment in privatising our social housing has not worked, and it’s time to nationalise all housing built with public funds, or housing that as been built to replace it. The attacks on our working class communities have gone too far and people must be held to account. Owen Hatherley’s defence of Studio Egret West, and the vandalism done to both the building and the community will not be forgotten.
Balfron Social Club has campaigned since 2014 to retain 50% social housing in a refurbished Balfron Tower. The current amount being offered is zero. This is not good enough. My advice for those considering purchasing or living in the all new-improved Balfron Tower, would be to familiarise yourself with High Rise by JG Ballard.
It is beyond question that Doreen Fletcher is a talented painter,
and her paintings display a nostalgic sentimentality for a rapidly changing
east London, an east London whose communities have faced a turbulent time over
the past 20 years, as the east end is changed beyond recognition.
Bartlett Park by Doreen Fletcher. Bartlett Park in Poplar has seen heavy residential development, and now houses an arts organisation under the control of Poplar Harca.
Fletcher has been adopted by the East London Group, which promote the works of painters such as Albert Turpin and Harold Steggles, “mostly working class, realist painters whose formal education had often stopped at elementary school”, they portrayed a grimy smoke-filled vision of the east end. Doreen has been promoted as a “lost artist”, an artist previously ignored by the art establishment, whose work is now being brought to the attention of the public by Paul Godfrey, aka The Gentle Author. Godfrey has published the monograph Doreen Fletcher: Paintings under his own Spitalfields Life publishing house. The book is published to accompany her exhibition with Bow Arts at The Nunnery.
Doreen’s paintings at best visually fit the canon, and at worst are derivative of the East London Group, who primarily worked in the first half of the 20th century. At the same time as the East London Group were painting the streets of east London, a wider revolution was happening in British society. In Poplar, a rates rebellion had led George Lansbury, a Labour Councillor that fought and was jailed for fighting for the rights of the working classes in his community, to become MP for Bow and Bromley and Chairman of the Labour Party. The horror that had been the 1st World War led to a boom in the building of social housing for working class communities, and the fallout from the 2nd World War led to the creation of the welfare state; free medical coverage, free education and most importantly, a safety net for those who fell through the cracks.
Shakey’s Yard in Winter by Albert Turpin
However, in post-Thatcher austerity Britain, a neoliberal agenda
is being pursued by everybody from government, education to the arts. In the current
turbulent political climate, comfort can be found in a romantic painting of an
east end long since vanished, and Doreen provides plenty of comfort for us to reminisce
over the past.
Godfrey’s claims that Fletcher is a lost artist however are all part of a smokescreen, an illusion that preaches community and integrity and celebrates the working class artisan, whilst imposing its singular view upon us; that of white, middle-class gentrification.
Fletcher’s CV reveals she is far from that of a lost artist, with paintings held in the collections of many civic and financial institutions. The lost artist claim serves to build up Fletcher’s mythology; to sell books, to sell paintings, but even more sinister: to sell the east end to an affluent class of investor, for them to romanticise its history; nostalgia for displaced communities that they themselves are replacing.
Stop the Blocks campaign poster featuring Balfron Social Club
Paul Godfrey, aka the Gentle Author, first came to my attention in 2015 over his involvement in the Stop the Blocks movement. Stop the Blocks first appeared in June 2015 and disappeared just a few months later. Stop the Blocks campaigned to “save Shoreditch from the shadows” and a well attended rally was held and glossy leaflets and a large poster were produced. The poster featured local activist campaigns, including Balfron Social Club and Save Chrisp Street, accompanied by hand drawn pictures of the territory we were fighting for, including Balfron Tower.
Godfrey wrote about Balfron Tower:
Built as council housing, designed by Erno Goldfinger in 1963 and made a Grade II listed building in 1996, Balfron Tower is now being sold off by Poplar Housing & Regeneration Association. Current long-term residents are being forced to sell and moved out while the famous block is being fetishised in a sixties-style marketing campaign to attract private owners. The circumstances at Balfron Tower are a prime example of how social restructuring is devastating London’s working-class communities. Another layer of social division was added when artists renting emptied properties were co-opted tacitly into PR for the sell-off – a process that has become known as ‘art wash.’
And he wrote about the campaign to Save Chrisp Street
Market:
‘Save Chrisp St Market’ is campaigning to inform local residents and traders about the proposed ‘regeneration’ of Chrisp St Market by Poplar Housing & Regeneration Association (HARCA). The plans include ‘luxury’ housing and stores, at the expense of shops and accommodation affordable for local people. Traders will be booted out for the period of redevelopment, or longer – if they cannot afford the increased rents. Traders say they have been left in the dark about the future of the market. Save Chrisp St intends to do their own consultation in parallel with Poplar HARCA’s, by going door-to-door asking people about what they would like to see for the area. So far, many people have said they want the market to be improved, but not at the cost of their ability to live there. Save Chrisp St are working to make sure that the community has a proper voice.
Stop the Blocks, August 2015 (pic: Rab Harling)
Despite involvement in two of the campaigns featured, no contact was ever received from Godfrey, or any of his associates before publishing the Stop the Blocks campaign poster. Stop the Blocks claimed to be a “network of grassroots Tower Hamlets campaigns fighting gentrification and social cleansing,” but seemed to be co-opting other groups, many grateful for the exposure for their campaign, for their own short-lived cause. So, it later came as no surprise to discover Godfrey had joined forces with Bow Arts.
Bow Arts had been at the forefront of the recent trend of
using artists to help property developers displace communities. Their poorly
managed occupation of a number of estates managed by the housing association
Poplar Harca had imposed arts-led gentrification across a number of sites in
the process of being socially cleansed in the London Borough of Tower Hamlets.
The Albion Public House by Doreen Fletcher
The use of artists as the foot soldiers of gentrification had various levels of success, depending upon who you asked. The Bow Arts Balfron Tower Case Study, which was no doubt lapped up without question by housing association Peabody when choosing Bow Arts to help artwash their social cleansing program in the London suburb of Thamesmead, told of a fantasy that existed inside the head of Bow Arts CEO Marcel Baettig, a fantasy where artists benefitted from targeted harassment, monitoring of their social media accounts and happily donated their landlord, a registered charity, thousands of pounds a year as a donation, taken illegally from their rent.
Bow Arts purpose was clear: it was, and remains, a
publicly-funded charity who supply artists to property developers to help
artwash the social cleansing and the dismantlement of social housing. Their
involvement in the artwash and social cleansing of the infamous Balfron Tower
serves to remind us of the direction being taken by Arts Council England, to
take the lottery receipts from the Heritage Lottery ticket customers, and use
it to artwash the dismantlement of our social assets.
Coming soon to The Nunnery:
BOW ARTS PRESENTS
Doreen Fletcher: Art for Councillors & Property Developers.
Come and mingle at the private view. Learn more about the revolving door (wink-wink) and plan which working class communities to "regenerate" next.#artwashpic.twitter.com/baFDP2RRar
So, is Fletcher innocent for turning a blind-eye to how Bow
Arts operate? I certainly made Fletcher aware of how Bow Arts operate many
months ago, but like so many artists, she chose to ignore the behaviour of who
she is working with, giving them her endorsement, as well as the endorsement of
the East London Group. Godfrey’s prior co-optation of sites of contestation in
the east end, such as Balfron Tower suggest he was already fully aware of Bow
Arts controversial role in the artwash of the east end, but chose to collaborate
with them regardless. No support was ever received by Godfrey in our campaigns
to save Balfron Tower or Chrisp Street Market from gentrification.
It disheartens me that artists allow their art to be
deployed as a weapon against society, artwashing the reputation of some
thoroughly greedy individuals and organisations, and there is no doubt that
this is what Fletcher’s retrospective at Bow Arts does. Fletcher’s baby-boomer
narcissism may allow her to ignore, support or collaborate in the social
cleansing of the communities that she painted, but the rest of the East London
Group, now deceased, have now had her ethics imposed upon them. This
association with Bow Arts damages the legacy of the East London Group of painters;
painters unable to object.