Picket Line

Photography: @JStadnicki 2018

I wanna protest

against Trump but mama says

I’ve got eczema,

there’s ironing left

to do,

the lawn, the beds,

bleach,

scrub the stairlift,

move the mouse-trap from A to B

once I’ve finished with that I should

make a start at

boiling jam.

Seventy-quid-train-fare should feed us all

the week after the picket.

I wanna protest

against mama but Trump

turned the noise right up

in my slum we think

earmuffs should do

she has a whole load of washing

my homework needs checking

for subversive context

a neighbour lost a cat and

she’s now on the phone with 111.

I am not heard.

 

@Maria Stadnicka, 2018

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The Politics of Inevitability and the Art Education

Photograph: ©JStadnicki, 2018

There is no way one can observe the social transformations within a community and society without resorting to strong political clues in order to understand the sources of those transformations. And clearly, when things go wrong, we blame the politics, the legislators, the government. But when the political sphere moves away from the reality of the working and the middle classes, the laws and the policies have no real impact on the wide majority. The decision-making groups have little will to support change and the economic downturn Britain has been experiencing for over a decade seems to move towards a silent collapse. And nobody appears to take responsibility. The blame placed on the government rules like a shadow, hiding underneath the roots of bad financial decisions, personal greed and managerial incompetence.

Let’s consider the situation the art sector is in at the moment.  The issue came into focus with the news of the devastating fire which, this second time, damaged the Glasgow School of Art beyond repair. There you have £35m down the drain, or rather turned to ashes, and everybody is powerlessly looking at the building asking, with disbelief, ‘how could this be possible’. The fate of the Glasgow School of Art seems, for now at least, sealed by confusion and uncertainty. Who is to blame this time?

Extrapolating the Glasgow tragedy, who is to blame for the uncertain fate of hundreds of art schools across the country slowly but surely decapitated by unachievable targets and percentages? We are looking at another type of devastating fire slowly cooking to ashes the art sector, in general, and the art education, in particular. The drive to achieve the funding targets, the attendance and the achievement rates, the literacy and the numeracy benchmarks. What do they all mean? Certainly, they mean nothing to those involved in the art sector (students, artists, writers, musicians, teachers) but mean everything to those in charge to justify the bureaucracy which supports their livelihoods and to satisfy the pleiades of regulators and inspectors. The focus of this type of education is not the youth’s creativity but to produce a nation of self-absorbed adults ready to slot into whatever social square has been allocated to them as soon as they joined the education system.

And here we face again another type of politics. The ‘politics of inevitability’ as Snyder eloquently describes it, which makes the art education vulnerable and a victim of the constantly expanding globalisation. Since the mid ‘80s, the way we talk about art has fundamentally changed as well as the way the education system works to serve the economy, under the bright colours of neoliberalism.  And, one would say, what is the problem with that? The education and the arts remain the essential social institutions within a healthy society and preserve what we call our ‘decency’. They remain our ‘sane barometer’ if you like, which support the configuration of our future and the values this future will act upon.

I remember a recent conversation I had with a head of school who recognised that things have taken a turn for the worse, with the Brexit uncertainty looming, but, as he said, ‘what can one do against a whole government, with a mortgage to pay?’ And here we are again in the blaming game equation. The well-suited head back in his leather chair, the young artist back revising for another maths test. New financial cuts are drowning the hope of an economic recovery and the silence of those suffering its effects sounds more and more like a resigned agreement. Not once we feel that the history allows us to see patterns and to understand that action is a possibility. History permits us, ‘to be responsible; not for everything, but for something’ as the poet Czeslaw Milosz said. This responsibility has always worked against loneliness and indifference.

©Maria Stadnicka, June 2018, Gloucestershire, UK

 

Takeaway

Photography: ©International Times, 2018

(to Aidan Semmens)

Hello. I am a feature
on a CCTV camera, with
private resonance. At
the top floor, I
can barely sleep for the sound of gunfire.
I hear the poetry when I order a pizza.

Still there, are you?
…‘yeah, […published in ‘International Times’ to read click] here

Landscape

Photograph ©John Stadnicki

 

 

 

 

 

 

Another midnight storm washes away the cold poetry
born at the top floor.
I balance my whole weight
on long words;
frozen stones on my tongue.

I count the mistakes god has done with me,
just to pass the time.

The violent rain hid a blind dog
inside my very bone.
Here, upstairs, both of us in the same body,
awake and hungry,
listen.

 

©Maria Stadnicka, MMXVII

published in ‘Stride’ magazine, available here

Movement

Photograph ©John Stadnicki 2017

 

If we want the world to move forward,

we must hold hands. Documenting the pain and the joy,

on the same page,

with water, with fire, with ashes

not with ink.

 

Freedom means nothing when the healthy and the sick

eat at separate tables.

Even the trees sit together. They know that life is actually simple.

But once people renounced their entitlement,

it will take more than a revolution

to reclaim such a right.

 

For too long we took the wrong turn.

 

What kind of world is this if

the madman tells us that

we should be ashamed of ourselves?

©Maria Stadnicka, 2017

 

Published today in International Times with illustration produced by Nick Victor.

‘Plastic’ politics. In ‘International Times’

http://internationaltimes.it/plastic-2/

Illustration by Nick Victor copyright Published in International Times

The local MP came to visit today.
He played with his tie, in the half-empty boiling hot classroom.
Nobody offered him water.
He looked outside at the summery fog and
chewed his nails for an hour or so.
I tried to think of a question.
But all of them were already answered.
He paused and smiled at the camera.
I had a name badge around my neck.
He had nothing.
I sat on a tree-legged small plastic chair.
He sat on a piece of cake.

 

Plastic

The local MP came to visit today.

He played with his tie, in the half-empty boiling hot working class room.

Nobody offered him water.

He looked outside at the summery breeze and chewed his nails for an hour or so.

I tried to think of a question.

But all of them were already answered.

He paused and smiled at the camera.

I had a name-tag around my neck.

He had nothing.

I sat on a tree-legged small plastic chair.

He sat on a piece of cake.

Photograph: @John Stadnicki