post-IKEA and indeed post-furniture

Quiggin is discussing why some things are neo- and others are post-. How do we deal with the current revival of high modernism (see Owen Hatherley’s blog and indeed his career, the proliferating Mid-Century Modern groups on Flickr, the wave of preservation campaigns for mid-20th century landmarks)? It’s obviously silly to call it post-modernism and in any case it’s explicitly opposed to it. I’ve heard post-postmodernism but that’s more of an admission that it hasn’t got a proper name yet than a solution.

Neo-modernism? I can’t help but feel there’s some stylistic problem with calling something both new and modern in the same word. I guess you could call it the New New, like the science fiction world’s New Weird, but that would get irritating quickly. But the vaguely pejorative sense of neo- might work. Modernism was always half in love and sometimes quite a bit more with either fascism or communism. To say nothing of the times it was involved in a bizarre love triangle with both of them, or its repeated flings with developmental dictatorship, urban corruption, Gaullism, liberal technocracy, and really anyone with the keys to the planning office, when the other two weren’t in town. Then, architecture is the slut of the arts, almost as much as journalism, and always has been. It can be no other way; somebody has to build something and that takes serious amounts of money. (So what’s the journos’ excuse?)

I would guess that a camp revival of it would enjoy the trains-running-on-time/white concrete rostrum aspect even more. Of course the revivers would furiously deny this, and indeed that there was anything camp or revivalist about it, thus inadvertently confirming it. In fact, I suspect they’d prefer just to insist that it is continuous with earlier modernism and that it’s just modernism, dammit. At this point I see the nightmarish academic plural lunging from the flank and sidestep.

Or perhaps it should get a -punk suffix. As it goes with nostalgia for the great compression and the era of giving us the fucking money, I would suggest we call it something like reasonablepunk. (After all, punk itself began very near to the historic peak of economic egalitarianism in the UK.) Because social democracy is basically reasonable. It’s the other side who want the moon on a stick. This reminds me a bit of Hasek’s Party of Measured Progress within the Limits of the Law, but then again that’s too long. Perhaps it was snappier in Czech.

There’s obviously a resonance with what Paul Mason calls “gut Labour” here. It’s worth remembering that although Tony Blair talked a good game, in practice he was just as horrified as Prince Charles at the suggestion that he might have an aesthetic hidden away somewhere on his person, so I would argue that this is unequivocally a good thing. We’ve already got gut Labour wanktanks so we may as well have an aesthetic. (Although, who’s going to feed the bugger?)

Elsewhere, I read this weekend that IKEA is going to adjust its product line for the UK to be more “British”. This turns out to be a question of function. The Swedish designers have apparently been struggling to grasp the problems involved with fitting their products between the chimney breast, the bay window, and the landlord’s washing machine sticking out of its chipboard kennel by 10-14 cm depending on which end you measure. As a result, one of the new products is a wardrobe that’s only 35 cm deep. I am looking forward to their next lineup, which will include a table whose legs can be removed quickly to beat your relatives senseless over the last tin of catfood, a bookcase that doubles as a coffin, and a range of products designed to be easily converted into firewood.




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