The old heave-ho

The Story of Work: A New History of Humankind by Jan Lucassen, reviewed for the Telegraph 14 August 2021

“How,” asks Dutch social historian Jan Lucassen, “could people accept that the work of one person was rewarded less than that of another, that one might even be able to force the other to do certain work?”

The Story of Work is just that: a history of work (paid or otherwise, ritual or for a wage, in the home or out of it) from peasant farming in the first agrarian societies to gig-work in the post-Covid ruins of the high street, and spanning the historical experiences of working people on all five inhabited continents. The writing is, on the whole, much better than the sentence you just read, but no less exhausting. At worst, it put me in mind of the work of English social historian David Kynaston; super-precise prose stitched together to create an unreadably compacted narrative.

For all its abstractions, contractions and signposting, however, The Story of Work is full of colour, surprise and human warmth. What other social history do you know writes off the Industrial Revolution as a net loss to music? “Just think of the noise from rattling machines that made it impossible to talk,” Lucassen writes, “in contrast to small workplaces or among larger troupes of workers who mollified work in the open air by singing shanties and other work songs.”

For 98 per cent of our species’ history we lived lives of reciprocal altruism in hunting-and-gathering clan groups. With the advent of farming and the formation of the first towns came surpluses and, for the first time, the feasibility of distributing resources unequally.

At first, conspicuous generosity ameliorated the unfairnesses. As the sixteenth-century French judge Étienne de la Boétie wrote: “theatres, games, plays, spectacles, marvellous beasts, medals, tableaux, and other such drugs were for the people of antiquity the allurements of serfdom, the price of their freedom, the tools of tyranny.” (The Story of Work is full of riches of this sort: strip off the narrative, and there’s a cracking miscellany still to enjoy.)

Lucassen diverges from the popular narrative (in which the invention of agriculture is the fount of all our ills) on several points. First, agricultural societies do not inevitably become marketplaces. Bantu-speaking agriculturalists spread across central, eastern and southern Africa between 3500 BCE and 500 CE, while maintaining perfect equality. “Agriculture and egalitarianism are compatible,“ says Lucassen.

It’s not the crops, but the livestock, that are to blame for our expulsion from hunter-gatherer Eden. If notions of private property had to arise anywhere, they surely arose, Lucassen argues, among those innocent-looking shepherds and shepherdesses, whose waterholes may have been held in common but whose livestock most certainly were not. Animals were owned by individuals or households, whose success depended on them knowing every single individual in their herd.

Having dispatched the idea that agriculture made markets, Lucassen then demolishes the idea that markets made inequality. Inequality came first. It does not take much specialism to arise within a group before some acquire more resources than others. Managing this inequality doesn’t need anything so complex as a market. All it needs is an agreement. Lucassen turns to India, and the social ideologies that gave rise, from about 600 BC, to the Upanishads and the later commentaries on the Vedas: the evolving caste system, he says, is a textbook example of how human suffering can be explained to an entire culture’s satisfaction ”without victims or perpetrators being able to or needing to change anything about the situation”.

Markets, by this light, become a way of subverting the iniquitous rhetorics cooked up by rulers and their priests. Why, then, have markets not ushered in a post-political Utopia? The problem is not to do with power. It’s to do with knowledge. Jobs used to be *hard*. They used to be intellectually demanding. Never mind the seven-year apprenticeships of Medieval Europe, what about the jobs a few are still alive to remember? Everything, from chipping slate out of a Welsh quarry to unloading a cargo boat while maintaining its trim, took what seem now to be unfeasible amounts of concentration, experience and skill.

Now, though — and even as they are getting fed rather more, and rather more fairly, than at any other time in world history — the global proletariat are being starved, by automation, of the meaning of their labour. The bloodlessness of this future is not a subject Lucassen spends a great many words on, but it informs his central and abiding worry, which is that slavery — a depressing constant in his deep history of labour — remains a constant threat and a strong future possibility. The logics of a slave economy run frighteningly close to the skin in many cultures: witness the wrinkle in the 13th Amendment of the US constitution that legalises the indentured servitude of (largely black) convicts, or the profits generated for the global garment industry by interned Uighurs in China. Automation, and its ugly sister machine surveillance, seem only to encourage such experiments in carceral capitalism.

But if workers of the world are to unite, around what banner should they gather? Lucassen identifies only two forms of social agreement that have ever reconciled us to the unfair distribution of reward. One is redistributive theocracy. “Think of classical Egypt and the pre-Columbian civilizations,” he writes, “but also of an ‘ideal state’ like the Soviet Union.”

The other is the welfare state. But while theocracies have been sustained for centuries or even millennia, the welfare state, thus far, has a shelf life of only a few decades, and is easily threatened.

Exhausted yet enlightened, any reader reaching the end of Lucassen’s marathon will understand that the problem of work runs far deeper than politics, and that the grail of a fair society will only come nearer if we pay attention to real experiences, and resist the lure of utopias.

Langlands & Bell move the furniture

Talking with Ben Langlands and Nikki Bell for the Financial Times, 29 September 2020

Ben Langlands and Nikki Bell have spent forty years making architecturally inspired art: meticulous cardboard models of real buildings hung in hardwood frames, or inset under glass in the seats of sculptural kitchen chairs you cannot sit on.

What’s at the centre of their work? What have they done with its heart?

Langlands and Bell split their time between Whitechapel and their studio in Kent. In person, they are warm and funny and garrulous. But just as their house (called Untitled) is designed to melt unobtrusively into the landscape, so their art has a tendency to vanish into the warp and weft of things. This is literally true of their show “Degrees of Truth”, which opened at Sir John Soane’s Museum in London just days before the Coronavirus lockdown. On 1 October, when the museum reopens, visitors may need a minute or two to adjust to the fiendish way the partnership’s new and old work has hidden itself among the eighteenth-century architect’s eclectic collection of stones, carvings, statues, curios and models.

“Soane liked models; we like models,” Langlands says. “But while Soane used models for understanding how to build something, we use them for understanding how and why it was built.”

The couple’s investigative process invites comparisons with Trevor Paglen (who tilts at surveillance systems) and Forensic Architecture (who rebuild erased moments in history using point-clouds and plaster). But while they are known for tackling big political themes, their preferred environment is the domestic interior. They renovated houses for money when they were students; days before the lockdown they invited me to their place in Kent, a self-built house-studio-gallery they designed themselves. No-one at the time imagined they would soon find themselves marooned there. (“We got a lot done over the summer”, Ben Langlands admits over the phone, “but the virtual and the real are different places. It’s unreasonable to expect that you’ll get real-world inspiration off the internet.”)

They say they are neither architects, nor designers, and in the same breath they say their work is about the relationships people establish with each other through their buildings and their furniture. The first work they ever collaborated on, as students at Middlesex Polytechnic (the former Hornsey College of Art) was a pair of kitchens: through a window let in to the wall of the worn, grimy old one, you got a fleeting glimpse the brand-spanking new one. They believe (rightly) that it is possible to read a world of social relations into, say, the position of chairs around a table.

Not all architectures are material, and this may be why the point of their work sometimes vanishes from sight. Globe Table (2020) is a piece made for the show which now languishes behind the locked doors of Sir John Soane’s Museum. It is a giant white marble laced with black lines, marking the world’s major air routes. Nearby, in a case that once held a pistol that supposedly belonged to Napoleon, Virtual World, Medal of Dishonour (2008) is a disc whose enamel rings combine three categories of codes; codes for airports, like LHR or JFK or LAX, then for NGOs involved in reconstruction or disaster relief like UN WHO or USAID; finally the acronyms of geopolitical players: IRA, CIA, ETA, ISIS.

A bit of a jump, that, from seating arrangements to airline schedules and security agencies. But this is the territory Langlands and Bell have staked out. Since 1990 they have been exploring the space where physical structures, images, logos and acronyms bleed into each other. Their next show, opening at CCA Kitakyushu in Japan on 16 November, is a museological skit built around the signatures of curators they’ve run into over a 45 year career.

They began from a place of high seriousness. Logoworks (1990), modelled the new corporate offices rising in Frankfurt, and they garnered headlines again when they tackled some iconic West Coast companies in Internet Giants: Masters of the Universe (2018) showing how, in Bell’s words, “companies subliminally bring their identity to the forms of their buildings”.

And the seriousness becomes positively deadly in an upcoming show at Gallery 1957 in Accra. “The Past is Never Dead…” brings to the slave forts of the Ghanaian ‘Gold Coast’ the same forensic eye the artists applied to the “campuses” of Apple and Facebook. There’s the same consistency in typology on show, only this time the buildings’ spiny, angular forms are driven, not by brand marketing, but by the need to defend against sea-borne cannon attack.

“I think architecture is changing,” says Nikki Bell, “in that it’s becoming more object-based.” Algorithmic design encourages planners and architects to treat buildings like scaleless objects, like those vector graphics that expand endlessly without loss of resolution. Some of the most ambitious buildings of our age are, architecturally speaking, simply scaled-up logos.

And, says Ben Langlands, there is another, even more powerful force eroding architecture. “Up until now the most profound influences exercised on us culturally have come from architecture,” he says, “so tangible, so enduring, so powerful, so massive, so complicated and expensive, that it has huge effects on us that last for centuries. ” Today, however, those relations are being shaped much more powerfully by social media, “a new kind of architecture which is much more stealthy and hidden.”

Langlands and Bell are committed to studying the world in aesthetic terms, and everything else they might feel or think or say follows from their way of seeing. Once I stop ransacking their work for ideological Easter eggs (are they dystopian? are they anti-capitalist? are they neo-Luddite?), I begin to see what they’re up to. They are looking for beauty, sincere in their conviction that through beauty they will find truth.

Between Logoworks and Internet Giants, and in the shadow of the first Gulf War, the artists began making reliefs, “two-and-a-half-dimensional” wall sculptures that reflected how reconnaissance planes at high altitude saw structures tens of thousands of feet below. “You would get these collapsed views at very compressed angles which now appear very typical of that time.”

Marseille, Cité Radieuse (2001), for example, presents a distorted view of the facade of Le Corbusier’s Unité d’Habitation in Marseille. It’s a model made from a photograph taken at an angle, a meticulous white sculpture that depends almost entirely on the way it’s lit to be at all comprehensible.

Developments in photography and in architecture since the 1990s have replaced those evocative compressed-angle images with drone footage, and this has in its turn informed the tiresome surveillance typology of umpteen videogames — though not before Langlands and Bell earned a Turner Prize nomination for The House of Osama bin Laden. which included a virtual render, explorable via joystick, of a lake-side house bin Laden once occupied.

Forty years into their career, Langlands and Bell continue to chip away at the world with tools that Sir John Soane would have recognised: a sense of form, light, movement and beauty. They say they like new things to investigate. They say they are always travelling, always exploring. But what else can an architecturally minded artist do, once the very idea of architecture has begun to dissolve?

“Langlands & Bell: Degrees of Truth” at Sir John Soane’s Museum, 13 Lincoln’s Inn Fields, London WC2A 3BP, from 1 October 2020.

“Curators Signatures” at CCA Kitakyushu from 16 November 2020 to 22 January 2021.

“’The Past is Never Dead…’ the architecture of the Slave Castles of the Ghanaian Gold Coast”, at Gallery 1957, Accra, Ghana, will open in 2021.