Vienna Zocalo Critical Crafting as a postcolonial strategy Acknowledgments This project would not have begun if not for Yosi Anaya's invitation. The Vienna Zocalo is grateful for the advise of Soma Ahmad, April Bojorquez, Sabeth Buchmann, Nayari Castillo, Rafael Donnadío, Christian Feest, Tamara Friebel, Matthew Garcia, Viktor Garcia, Siria Gastelum, Jens Kastner, Jakob Lena Knebl, Christa Kreuzwieser, Silvia Eisenburger-Kunz, Irene Lucas, Wolfgang Meisinger, Österreichische HochschülerInnenschaft, Adrian Ancira Ortega, Marion von Osten, Barbara Plankensteiner, Andreas Pasqualini, Anna Pritz, Susanna Rostas, Rosario Granados Salinas, Eva Schöfer, Gabriele Reinharter-Schrammel, Alexander Schweder La, Dolores L. Taileres, Isabel Segrelles Vaello, Saúl Lopéz Velarde and Tom Waibel (c) of the edition: 2011, Academy of Fine Arts Vienna, Department for Fashion and Styles. (c) of the contributions: 2011, the authors. (c) of the images/illustrations: 2011, the authors, artists, labels and photographers. Editors: Lisbeth Freiß and Elke Gaugele Managing Editors: Khadija Carroll La, Sabina Muriale and Ruby Sircar No part of this publication may be reproduced without the prior written authorization from the publisher: Academy of Fine Arts Vienna, Department for Fashion and Styles http://viennazocalo.blogspot.com With contributions by: Marlies Brommer, Sabeth Buchmann, Veronika Burger, Oliver Cmyral, Lisbeth Freiß, Dolores L. Trailere, Elke Gaugele, Eva Greisberger, Claudia Harich, Jens Kastner, Aino Korvensyrjä, Khadija Carroll La, Katharina Luksch, Martin Martinsen, Johanna Meßner, Stephanie Misa, Sabina Muriale, Diana Nenning, Katharina Petru, Julia Riederer, Ruby Sircar, Julischka Stengele, Mario Strk, Marianne Sorge, Tom Waibel and Klemens Waldhuber Font: Eureka by Peter Bilak Distribution: Academy of Fine Arts Vienna Institute for Education in the Arts Department for Fashion and Styles Karl-Schweighofer-Gasse 3 1070 Vienna Austria Director: Elke Gaugele Project Managers: Khadija Carroll La, Sabina Muriale and Ruby Sircar With contributions by: Claudia Harich, Katharina Luksch and Diana Nenning (curatorial and art work); Marlies Brommer (blog, press, workshops), Eva Greisberger (blog, press, and art work); Johanna Meßner (art work); Julia Riederer (organisation, workshops and art work); Oliver Cmyral (architecture and art work); Marianne Sorge (graphic design, publication and art work); Amy Croft (editorial work); Katharina Petru (publication and art work); Veronika Burger, Aino Korvensyrjä, Martin Martinsen, Stephanie Misa and Julischka Stengele (art work); Mario Strk and Klemens Waldhuber (art work and workshops), Elena Cooke and Luiza Margan (art-research); Verena Krems (curator and organisation); Stephanie Böhm (curatorial); Veronika Geiger (publication, artistic concepts); Veronika Schramek (organisational assistance). imprint · 4 vienna zocalo · 4 Coordination, design, type setting: Marianne Sorge The project "THE VIENNA ZOCALO. Critical Crafting as a postcolonial strategy" was presented at the "VI. International Biennial of Textile Art Mexico 2011" at the Galería Carlos Fuentes, J.J Herrera No. 6, Zona Centro, Xalapa. Elke Gaugele 7 Thoughts on decolonizing Fashion and Textile Studies Stephanie Misa A Colony of a Colony: an excerpt Katharina Petru Khadija Carroll La 68 10 77 Mexikoplatz is lying Virtual Zocalo Klemens Waldhuber Veronika Burger 13 81 Thin air Veiling Multiply-ism Oliver Cmyral & Stephanie Misa Veronika Burger & Edwarda Gurolla 29 85 A Colony of a Colony Telenovelas Eva Greisberger & Johanna Messner Claudia Harich 36 I am here. Those three words contain all that can be said. 45 Claudia Harich 87 53 Embassy of the Free World Republic 'United Utopia' Multifunctional Poncho 89 Riot and Revolution Safety Air-dress 90 Die ELZN Aino Korvensyrjä Primitivist Productions Katharina Luksch Regarding the Script of Others Martin Martinsen Introducing the pineapple 86 62 Diana Nenning 91 Layers of History Julia Alexandra Soteris Riederer 92 Sabina Muriale 123 Afterwords 93 kitsch 'n' veil Julischka Stengele 117 Claims on Mexico "no longer – not yet" Marianne Sorge Lisbeth Freiß Ruby Sincar 127 From Kakanien to Mexico and back 94 Language Sabeth Buchmann Mario Strk From Antropofagia to Tropicalism 99 129 How to love a little cactus? Jens Kastner biographies 100 Praktiken der Diskrepanz Khadija Carroll La 108 Dolores L. Trailere Die weiße Schürze Khadija Carroll La Piñatas Made in Vienna 136 150 From hats to polos 112 Tom Waibel 153 Metaphysical Assertions picture credits 161 ... to be continued. Elke Gaugele Thoughts on decolonizing Fashion and Studies Textile decolonise specific colonial, imperial, national and inter- also applied towards European self-ethnicising and colonial textures in Germany and Austria. Historically to inter-differenciate racial/social/regional bodies speaking not only Fashion Theory, but Costume History in Austria and Germany. During the 19th century’s and fashion magazines are an integral part of political last third those anthropometric body measurements and social space production. Fashion was pivotal for also govern the academic discourse on clothing and Western colonial “culturalisation” strategies. In his body(ideals). In the mid of the 19th century Gottfried 1792 essay “On Fashions” philosopher Christian Garve Semper (1860/63) linked space and textile by defining defined fashion as a signifier of “culture of advanced textile as architecture’s origin: “culture’s usual and nations”. In 1806 the fashion magazine Charis wrote that verified development” (Semper, §60). Textiles, cloth and clothing are a media through ‘mind and cultural sense’; their clothing would be static, which nations were constructed. Textile material and they... would not ‘be able to name fashion’”(Charis, 10). handicraft have been symbolically charged and linked Mignolo states that “Modernity”, “Occidentalism” and with semantics of origin, originality and authenticity. “Reason” were the tools implemented in colonialization, At the same time textiles became constituting signs that defined the coloniality of power and produced of Western middle-class femininity and had been also the colonial difference (Mignolo, 29). Late 18th and part of the colonial strategies of white colonial women 1. How does the Department for Fashion and 19th century’s Costume History created cartographies settlers. The essentialising and gendering of textiles was Styles practice postcolonialism? for a colonial world order and thus became a political also pushed by differential feminism, coopted by the instrument for a spatial order. In Austria the Novara first and second feminist waves. In German-speaking countries Fashion and Textile Studies Expeditions (1857-59) mark a paradigmatic change Modern western art theory drew new borders between are just beginning to discuss postcolonial questions. To towards a Darwinistic, scientific classification of the visual art and applied art, as well as art and textile. The work on the decolonisation of the research field’s “white non-European world. Henceforward the anthropometric modernist genre involved a reductive, self-enclosing epistemology” (Mignolo) we began – parallel to “Vienna body measuring of “individuals of various human races” process and a paring down by each art of its medium to Zocalo” - to research a further project: “The Regime of (Weisbach, X) becomes the new normative standard. its essential qualities and the logic of its idom (Maharaj, Materialization” which tries to critically and historically Those measurement techniques and classifications are 92). As textile productions were excluded from visual · elke gaugele thoughts on decolonizing fashion and textiles studies 7 vienna zocalo · 7 “backward people might be recognisable through their art classification this was also projected onto colonial is the practice of engaged creativity, especially regarding mechanisms of exclusion towards productions of non- political or social causes.“ (Greer) Western countries. Therefore textiles play an integral How to construct “Vienna Zocalo” and “Critical Crafting” as “Contact Zone” (Clifford; Pratt), as a space for postcolonial relations which allows the discussion part in today‘s art discourse, when renegotiating a Referring to these processes we operate at the Department of differences and governance within the relation of postcolonial art field. How the arts have been hunted for Fashion and Styles at the Academy of Fine Arts Vienna various agents: “spaces of colonial encounters, the back too their mediums, isolated, concentrated and with the concept of Critical Crafting. Critical Crafting space in which peoples geographically and historically defined by western modernism has been analysed by means to reflect social processes in artistic productions separated come into contact with each other and Sarat Maharaj at the beginning of the 1990s. His essay and to design agency through artistic techniques, thus establish ongoing relations, usually involving conditions “Arachne‘s Genre: Towards Inter-Cultural Studies in actively designing social participation. of coercion, radical inequality and intractable conflict.“ Textiles” sketches a postcolonial perspective on textile (Clifford 1997, 192) art productions. In 2002 Maharaj was co-curator of And: we see an advanced postcolonial practice as central Documenta 11, which, under Okwui Enwezor, negotiated perspective of teaching textile design in schools, as we In regard to Benedict Anderson’s statement that mechanisms of Western art discourse. Based on the art educate future teachers. nationalism is based on “Imagined Communities” we discourses lead by Documenta 11+12 in 2002/07 it is possible propose, that textiles are central for the imaginations of to see that especially the re-negotiations of a Critique of national identities, concepts of culture and narrations: Modernism and postcolonial art discourse are lead along a 2. On which basic questions was the Vienna multiplicity of textile objects: “… as placed both between Zocalo project based? What role do textiles play in the Austro-Mexican the world of ‘genre tranchè’ and that of a ‘mélange des colonial history? In a way “Vienna Zocalo” it is a response to the host’s, beginning of the 21rst century the historic differentiation Yosi Anaya’s, interest in ethnographic/ethnologic Which Mexican/Latin American textiles are parts between art and textile has become obsolete. collections; due to her own postcolonial artistic-academic of Austrian museum collections – how were they At the same time third wave feminism created research on a “Museo del Imaginaria“ in Mexico. This collected? Which are the host museums? How/as what raises the questions: are they classified? “Craftivism”. Yarn bombing, guerilla knitting, subversive stitching and D.I.Y. turned textile handicrafts into media of political activism and networking: “Craftivism How to inscribe “Textile Art” and “Critical Crafting” into a postcolonial discourse? · elke gaugele thoughts on decolonizing fashion and textiles studies 8 vienna zocalo · 8 genres’- and beyond them.” (Maharaj, 93) Thus, at the How were Austrian “Imagined Communities” and their influenced by Latin American/non-European textiles during the times of nation-state building; what are the associated artistic and cultural classifications and performances? How were these objects instrumental for a national Austrian “culturalisation”; for dividing the fields of art and textile or establishing “textile art” or for the development of Costume History and Textile Studies in Austria? References · Anderson, Bendedict: Imagined Communities: Reflections on the Origin and Spread of Nationalism London: Verso 1991 · Clifford, James: Museums as Contact Zones, in: James Clifford : Routes. Travel and Translation in the Late Twentieth Century. Cambridge Mass., London: Havard University Press 1997, pp. 188-214. · Garve, Christian: Über die Moden, ed. by Thomas Pittrof, Frankfurt am Main: Insel 1987. · Greer, Betsy: “Craftivism.” Encyclopedia of Activism and Social Justice. SAGE Publications 2007. · Maharaj, Sarat: Arachne’s Genre: Towards Inter-Cultural Studies in Textiles. In: Journal of Design History Vol.4 No.2 1991, pp. 75-96. · Mignolo, Walter/ Delgado, Luisa Elena/Romero, Rolando J.: Local Histories and Global Designs: An Interview with Walter Mignolo, in: Discourse, 22.3, Fall 2000, pp. 7-33. · Pratt, Mary Louise: Arts of the Contact Zone, in: Profession 91. New York: MLA, 1991, pp. 33-40. · Weisbach, Albin: Körpervermessungen verschiedener Menschenrassen. Europäischer Rassenwahn und Anthropometrie im 19. Jahrhundert, ed. by Reihnard Krüger, Berlin: Weidler Buchverlag 2002. Elke Gaugele is a cultural anthropologist, writer, curator and as a professor head of the Dept. for Fashion and Styles at the Academy of Fine Arts Vienna. · elke gaugele thoughts on decolonizing fashion and textiles studies 9 vienna zocalo · 9 · Semper, Gottfried: Die Textile Kunst für sich betrachtet und in Beziehung zur Baukunst. Frankfurt am Main: Verlag für Kunst und Wissenschaft 1860 to the Independence of Mexico, which didn’t come (yet). Instead the significance of the public space ‘of the Zocalo’ accrued. It is the accretion of meanings, which Khadija Carroll La Carlos Monsivais and Francis Alys also describe, that Virtual Zocalo: An empty pedestal led to my identification of a Vienna Zocalo. The name come public space. also recalls The Vienna Circle, which further suited the project of presenting a young circle of artists emerging in Vienna. My teaching at the Academy in Vienna has in a broad sense taken the Vienna Circle’s Wittgensteinian approach to language and things. Specifically the essays in this book seek to find a language for particular pieces of material culture. My title, The Vienna Zocalo, also refers to a place where the group represented in this book developed the typology of the Zocalo in Vienna, with a view to an exhibition in Xalapa. Like Vienna, Xalapa is a city without a Zocalo square, that place where everything social in Mexico typically happens. So with our research, writing, curatorial practice, performances, vienna zocalo · 10 “Being in the Zocalo is to feel happy and proudly local and as such, in the post-modern era […] a more complex sentiment, that springs from panoramic views of the past glimpsed unwittingly. Storeroom of nostalgia, site of protests, seas of (some) powers, confederation of out-andout decline and of reshaped fears, the Zocalo is a must, the space that cannot be dispensed with. The work and daily life of the vast majority of Mexicans takes place far away from the Zocalo, but the same does not stand for the meaning of symbolic life, a monopoly that will prevail until the avenging distribution of a virtual Zocalo.”1 workshops, and exhibition we hoped to produce a place as open and vibrant as a Zocalo. Much of the material for in this book was produced in The name Zocalo comes from the Socle, Sockel, or the Vienna Zocalo, which especially looked to engage pedestal: an empty base awaiting the work of art. An ur- postcolonial discourses in Mexico. We considered place in Socle was installed in Mexico City in 1843 in the center various ways, our place in the textile department of the of the square, and waited for a monumental sculpture Vienna Academy meant all of us focused on fiber art as 1 Carlos Monsivais, The Historic Center of Mexico City, Artes Graficas Palermo, Madrid, 2006, 32-33 · khadija carroll la virtual zocalo 10 a strategy with which to engage postcolonial discourses From the very concrete history of Maximillian, Austria’s and sound sculpture is based on a mytho-poetic alpine in Latin America. As medium, fiber art is defined here brief monarch of Mexico in 1864-1867, to the imagination narrative that links the Austrian landscape he grew up in its broadest sense to include textiles and ‘TEXTiles’, of young artists at the Academy in Vienna today, in in with the ancient and mystically charged mountains paper, documentation and representation of fabric in its the following essays Vienna Zocalo represents a broad of Mexico. social and cultural instrumentation. range of temporalities and discourses about Mexico. An interrogation of the farcically tragic establishment of One question I grappled with as I designed the courses A second strain of strategies strongly represented an Austrian monarch in Mexico following the invitation that preceded this book was, how is a group of Vienna- in the group repurposes pop-culture and fashion to from Napoleon III of France is another strategy the based artists going to constitute a postcolonial strategy engage contemporary political debates about gender, international group of artists working in the Vienna based on what they know about colonial Mexico? immigration and migration, surveillance, exoticism, Zocalo took on. The Swedish artist Martin Martinsen The first and perhaps most obvious strategy was to do celebrity, and power. builds a meta-museum dedicated to the pineapple as that research, to develop tactics from performance, meta- fruit-symbol of the exoticism of Mexico for the European Early on in our collaborative planning of the seminars aristocracy. Maximillian von Mexico for instance used realism, appropriation, cross-cultural translation, Ruby Sircar put together a section on anthropofagia or the pineapple as his imperial textile motif to which participation and relational aesthetics, which are the cultural cannibalism, which became a leitmotif. In an Martinsen gives a tongue-in-cheek homage. theories and practices displayed in the Vienna Zocalo. essay that analyses Stephanova in relation to Oswald de As we developed our site-specific interventions further Andrade, Aino Korvensyrjä writes critically about the There is a playfulness with which Martin Martinsen artistic strategies emerged. One set of these might be long history cannibalism has in the Western fantasy and Veronika Burger treat serious representations of said to construct alternative histories by intervening in of Mexico, one that we reflected on in readings by power that characterizes their responses as subversive archives to reveal their inconsistencies. In critical and Montaigne, Rousseau, and others. and highly entertaining. Martinsen’s short history of poetic installations, the Vienna Zocalo thus rewrites the pineapple’s introduction to Mexico by Maximillian colonial history. Those are in turn reflected in the The mystical ritual of blood sacrifice is recast in Klemens casts him as “obsessed” with the exotic fruit. Farcical contributions to this book, which holds much of the Walhuber’s story Thin Air. In the classically Latin as it sounds this is both historically argued and research done by the individuals and groups working in American genre of Magic Realism Walhuber’s short story sympathetically portrayed as it is finally revealed to the the Vienna Zocalo. is written from a delirious and almost astral or out-of- reader that Martinsen identifies pineapple obsession in body perspective. Waldhuber’s short story in this book himself. · khadija carroll la virtual zocalo 11 vienna zocalo · 11 museology, Latin American literary genres like magic Comparably Veronika Burger becomes a telenovela ‘text’ collected by Cortes. Digitized for the first time and character called Vérorose, based on a Mexican narrative digitally repatriated during the exhibition, the codex’s There are other art works included from the Vienna formula. Her array of references for the genre in her course as a gift between the powerful in Europe since Zocalo that are not represented in this collection of contribution give a dizzying insight into her telenovela Cortes is diagrammed by Luksch in a pendant drawing. essays. Mario Strk’s sound piece is based on the absurd teaser, film stills, posters, and autograph cards. Using but provocative question of how to love a little cactus? the work of Frantz Fanon and Erika Segre she parodies The colony of a colony that the Philippines was to Mexico It thereby generated a revealing set of responses from Austrian stereotypes in location and costuming and is the locus of cultural exchanges that artist-architect both Viennese and Mexican participants, a process that plays with formulas of fame and feminine heroism. duo Stephanie Misa and Oliver Cmyral research and he will continue in further field recordings and public represent in prints of these as yet largely undocumented programming during the course of the exhibition. The art-research of the Vienna Zocalo read history against histories. Through their prints and a live distillery of the Performance artist Julischka Stengele also presents a the grain of typical commentary on Maximilian and Filipino-Mexican ‘Tuba Fresca’ drink that they operate new work based on communication with the body and Charlotte of Mexico. Researching the botany collection in the gallery Cmyral and Misa invite the visitors to with language across cultures. made by the scientists who followed Maximilian on his taste what is broadly taken as “the hispanization of The individual projects presented in this section were journeys, fibre artist Diana Nenning screen printed the colonies” and reflect on the specific diasporas that developed over a year of art-research, in which these drawings of Mexican plants named by Austrians and the galleon and migration brought along the Filipino- close readings of historical texts and objects provided other archival visual material and suspends it in layer Mexican axis. the springboard for the site-specific interventions that of semi transparent material. each of these authors made for the WTA biennale. In her essay on the reception history of a pre-contact Harich’s ‘Riot and Revolution Safety-airdress’ and ‚multi- Codex held in the Vienna Library Katherina Luksch functional poncho’ (i.e. the poncho can be worn, as a leads the reader through the incommensurability faced banner or skirt, anti-surveillance device or umbrella), by cross-cultural reading. In the exhibition Luksch’s are wearable devices to demonstrate resistance to Khadija Carroll La is a writer, academic, ‘translation’ of the Codex Vindobonensis conflates it into migration laws. Opening ‘Embassy of United Utopia’ in and artist who taught courses in preparation for this a conceptual art work using the ready-made printers’ the Vienna Zocalo Harich invites the visitors to become exhibition in the Department of Fashion and Styles type-case. She thereby questions the nature of this visual identified citizens of her United Utopia. at the Academy of Fine Arts Vienna. · khadija carroll la virtual zocalo 12 vienna zocalo · 12 Engaging with political activism in Mexico, Claudia and the conventions of the veil in Mexico. Her research focuses on the features of self-confidence and power. Frantz Fanon was a psychiatrist and philosopher, whose works remain influential in the fields of postcolonial studies and critical theory. He published various papers on the veil's political instrumentation and used the political situation of Algeria to illustrate Veronika Burger Veiling Multiplyismen his conclusions. In relation to Erica Segre, he seems not to be able to go further than displaying the veil as an erotized object and as a political tool. Katrina Daschner, a feminist Austrian artist, uses the veil as an important tool in her art and dance by playing with its power and by transforming and pushing the boundaries Multitply-ismen of its connotations as an object. The main focus of this paper lies in my rereading of these three positions. In addition to that, I give examples from Hollywood films, The veil is a piece of clothing, worn almost exclusively excerpts of artists' statements, and discuss works from by women that is intended to cover some parts of the Austria and Mexico. vienna zocalo · 13 All the isms head, face, neck and shoulders. However, I will show how it is also a social, political and artistic instrument. Political instrumentation of the veil It is a symbol, an erotized object, a statement and a tool The political instrumentation and multiplicity of of communication, seen and used in everyday life as symbolic uses for the veil is well described by Frantz well as in shows, films, happenings and so on for over Fanon in "Algeria Unveiled". The French invaded hundreds of years. Erica Segre, theorist of Hispanic and captured Algeria in 1830. Between 1825 and 1847 visual culture, investigates the use, understanding, 50.000 French people immigrated to Algeria, but the · veronika burger veiling multiply-ismen 13 conquest was slow because of intense resistance from Revolution, then more and more women became the Algerian people. The French made Algeria an involved in the war and in the revolutionary actions. integral part of France. The influence of the French Every veiled woman, every Algerian woman, became colonization in Algeria especially impacted Algerian from this point on suspect. As a rebellion strategy, they women. The veils worn by the women appeared to the learned how to hide grenades, guns, weapons under colonists as a characteristic of Arab society. their veil and haik. The colonial administration defined their tactic as In the beginning the veil was a mechanism of rescuing the women and eliminating the tradition of resistance, but its social value also remained very wearing the veil, which was a political symbol: strong. The veil was worn because tradition demanded "Let's win over the women and the rest will follow. If we want to destroy the structure of Algerian society, its capacity for resistance, we must first of all conquer the women; we must go and find them behind the veil where they hide themselves and in the houses where the men keep them out of sight." Algeria Unveiled- Frantz Fanon (p. 163) a rigid separation of the sexes, but also because the occupier was bent on unveiling Algeria so the cloth rose to become a statement against colonialism. The colonists were incapable of grasping the motivations of the colonized. Beyond that of a political tactic, in imperial circumstances, the dominant attitude appears to be a unveiling, thus celebrating the "rescue" of women romantic exoticism, strongly tinged with sensuality publically. The occupying forces saw the psychological and sexuality of third world women. The sexualized power vested in the veil worn by Algerian women. colonial view of women wearing the veil is masked in After each success, the authorities were strengthened their liberation and in turn this is just a political tool, in their conviction that Algerian woman would support a paltry excuse to promise freedom and the opportunity Western penetration into native society. In fact, until of the rights of women. vienna zocalo · 14 At the beginning they used the strategy of public 1955 only men were active elements in the Algerian · veronika burger veiling multiply-ismen 14 In Fanons Text, the shifting positions of the veil reveal it as another instrument for oppression at the beginning of the French conquest of Algeria and in the end, as a statement of the Algerian rebellion. In 1962 women suffrage became the law and in the same year the Algerian war ended with independence. Fanon does not document the rural areas where women are often unveiled for example: the Kabyle woman, who except in large cities, never use the veil. Hollywood, the Golden Age of Arabic Musicalsand Dancefilms of the 40s and 50s – exotic imaginations, spectacles and ways of looking "In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/ female. The determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. Woman displayed as sexual object is the leitmotif of erotic spectacle: from pin-ups to striptease, she holds the look, and plays to and signifies male desire. Mainstream film neatly combines spectacle and narrative. How in musical song-and-dance numbers interrupt the flow of the action. The presence of women is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story-line, to freeze the flow of action in moments of erotic contemplation." Laura Mulvey in Visual Pleasure and narrative cinema, p. 19 Salomé (USA 1953) veils (running time: 01:33:23 - 01:40:00) Carmelita Tropicana vienna zocalo · 15 Director: William Dieterle Stars: Rita Hayworth, Stewart Granger, Charles Laughton, Judith Anderson Dance staged by Valerie Bettis Ritaís gowns by Jean Louis Color, 103 min. running time Dancing scene: Salomé dance with the seven What is left out in Laura Mulveys Visual Pleasure and Narrative Cinema? "Comedy is your weapon: Performance Artist Carmelita Tropicanaís oppostional strategies." Melanie Dorson As an example of what is left out in Mulveyís Visual Pleasure and Narrative Cinema, I will describe a scene · veronika burger veiling multiply-ismen 15 from Carmelita Tropicana, where she is dancing with attempting to halt the rise of television by offering a veil. Carmelita, who is a cultural production herself, movie patrons these lavish Technicolor spectacles that always appearing in character, defies notions of a fixed allowed for eye-appealing sets and period costumes. The subjectivity. Her queer and cubana body is unstable and stage settings looked hand made and were not historical fragmented and appears in various forms of media (film, as they used buildings that werenít even from that time. theater, more experimental performances), and is not Salomé doesn't make any effort of showing research in limited to an one-performance persona in favor of queer local dance or music. It is an imaginary view the West self-making practices. She is using drag and is female, has of the East. Latina, and alternative affirmative and doesn't fit into the Hollywood standard female beauty formula. The Rita Hayworth dances the dance of the seven veils in the spectator can't identify with it and is left with a spectacle most famous scene. It is a dance more reminiscent of that affirms self-subjectivities that are both Latina and ballet with modern dance movement than the original, queer. These productions show us that identity politics which is rooted in belly dancing. What is more bizarre does not need only to be rooted in essentializ notions of is that Rita Hayworth is trying to look exotic and erotic the self and simplistic understandings of resistance, but and she is obviously from the West, having blond hair rather that it is essentially a politics of hybridity that and blue eyes. works within and outside the dominant public view, Filling in the background dancers with exotic looking class strictures. women that were black, from the east or even from other vienna zocalo · 16 and in doing so contests the ascendant racial, sexual and countries that had tall blondes was typical of Hollywood Salomé productions of that time. Dancing with the veil was more a new invention from the Western (Hollywood What is seen in Salomé? screenplay) than the way it really was in the original Hollywood was producing a lot of biblical epics and Orient scene. The veil dance was traditionally used just for the fantasies at the time Salomé was made. The studios were entrance dancer. · veronika burger veiling multiply-ismen 16 The dance with the seven veils is fictional and is not and lust. It demonstrates, in the same moment, an rooted in any particular dance that it refers to. You see empowerment of their audience about their situation in this short clip an Eastern fantasy or better a Western and the awareness of being desired. Finally, it teases or fantasy about Eastern dance. The music in this part flirts with this special moment in a humorous way while sounds more like a Flamenco inspired sound piece than remaining completely aware of the situation. Arabic folkloristic music. The dance scene doesn't develop I think that the awareness makes a difference in the the movie, and stands alone as a spectacle. For a moment performance. And in the way the camera frames a of the dance (the sexual impact of the performing) the portrait of a dance scene, or in this case a woman. It woman takes the film into a no manís land outside its also causes an overthinking of the representation of own time and space and demonstrates a good example women by male desire and a desiring of spectatorship of an erotic and sexualized view of women in classical in the cinema. So I question what strategies are left to Hollywood productions in the 1940s and 1950s. work with or against these structures and frames. And Traditionally, the women were displayed in two different how are the possibilites to use these excursions into no ways: as erotic objects for the characters within the manís land in a productive way and a more self-reflected screen story (in Salomé: Salome and Marcellus Fabius), and comedian way. What possibilites can be open with and as an erotic object for the spectator within the singing and dancing to influence the narrative and how audience, with a shifting tension between the looks on to get over spectacle and narrative things happen und either side of the screen. but them together as a narrative structure? In Salomé for example, it s not a dance of someone Hollywood, Musicals, Dance, Dance, Dance! who is self confident of how she looks and appeals, it Singing and dancing brings out how people are related, functions just as an desirable object itself. There is no it questions their friendship, it asks how they are living direct glance or eye contact with the camera, which together, what relationship problems they might have you often see in performances with erotic elements and finally it delves into the subjects of sexuality and vienna zocalo · 17 any change or any influence on the main story telling of · veronika burger veiling multiply-ismen 17 with regular conventions, such as heteronomality. The golden age of Arabic dance and musical films It can also tell a different story, or even a plot from a happened at the same time as the classic Hollywood co-existing reality while offering you possibilities to period with all of its stars and starlets in the 1940s create a new order. It can question stability of viewing and 1950s. It is obvious that the Arabic Dance Film was and expectations of gender and queerness as you see in influenced by the big Hollywood movies and adopted Katrina Daschner's works. She is an artist that lives in costumes, topics and imagination of dances from the Vienna and plays with the elements of Musicals and uses West. The famous women dance stars from this period veils and masks as tools, in order to de-construct them were Tahiya Kâriôka, Naîma Akef, Sâmya Gamâl, Nagwa and connote them new in a humorous and glamorous Fuâd, Liz & Lyn, Hoda Shamseddîn, Hâgar Hamid and way. She acts in her videos with awareness of the camera, so on. the view and her tools. Why is the West especially fascinated with belly dance? usually used to escape reality. They all show seriousness about their business and present a constructed reality of themselves with well-calculated processes, failures and rehearsals. The beyond the scene-play in musical film is a good example of it. For me they all have in common a playfulness with reality and a teasing or flirting element. Telenovelas show more the impact of events on the characters, never what happens afterwards. What is very interesting for me is that in Latin America, very popular telenovelas become musicals afterwards. I think singing and dancing in film, TV or in performances vienna zocalo · 18 can be used as tool to push the boundaries and break "A nominalist catachresis. I have admiration for that bold effort, especially for the ways in which it is linked with that other nominalist catachresis: value. To check psychologism. Anti-Oedipus uses the concept-metaphor of machines: Desire does not lack anything; it does not lack ist object. It is, rather, the subject that is lacking in desire, or desire that lacks a fixed subject; there is no fixed subject except by repression. Desire and ist object are a unity: it is the machine, as a machine of machine. Desire is machine, the object of desire also a connected machine, so that the product is lifted from the process of producing, and something detaches itself from producing to product and gives a leftover to the vagabond, nomad subject." Gayatri Chakraroty Spivak, Can the Subaltern Speak? Reflections on the History of an Idea, p. 25 money. Musical scenes in films or even in telenovelas are How did the dance get to Europe and the USA? What · veronika burger veiling multiply-ismen 18 influence did belly dance have on the Western dance They were more in the direction of fantasies and desire scene? than based on site research (for example the movie How was the dance visualized in Hollywood and Egypt poster of 1950s). The gossip surrounding the love life of during the Golden Age of the Arabic Dance Films in the Naima Akef was often discussed in the same way as Rita 1940s and 50s? Hayworth's. Many stars from musicals as well as stars from Musicals, Hollywood, Dance Film, the Golden telenovelas have failed to develop their skills in movies Age of the Arabic Dance Films, Telenovelas or other genres or are not accepted by the audience to One can often see the use of the 2-piece glamour cabaret play different roles or characters that don't fit to the costume in European and Amercian dance scenes. The viewer's perception of their 'real roles' at the start of dance with the veil which is a very young form of belly the play. On the other side it could be a starting point, dancing, is also quite popular. It used to be used only for example Selma Hayek in Teresa. They could also be for the entrée for shows but now has become a popular branded to one fixed role. The anti-reality of musical centerpiece in many routines. film appears for us not so dangerous in some ways. It offers you fairy tales and well-known illusions. It doesnít offer you solutions of conflicts or functions vanished (one of the last productions: Khalli bâlak min often as a censorship of homosexuality and focuses on Zûzû ñ Pass auf Susu auf, 1971 with Tahiya Kâriôka). the show business and capital itself. vienna zocalo · 19 Since the 1970s the genre of Egyptian musical film Since the 1960s, television has influenced the cinema. On one side the Arabian films of the Golden Age were very Even if you see rehearsals that are all well choreographed, influenced from American mainstream cinema. On the the audience doesn't see something not planned or other side Hollywood cinema was very inspired by their embarrassing. There is also a logic to making a film out imagination of the Orient and as a result, produced a lot of progress. For example, you will never see the slip of of films with Orient touch in the first years. dancer during a routine if its not planned. Even the force of gravity functions differently. What qualities · veronika burger veiling multiply-ismen 19 or influences do musicals have on narrative have on musical cinema? Singing and dancing in movies gives the audience illusionistic, fantastic and utopian moments in the story, especially when movements, voices and bodies included with costumes and glamorous settings a video having the queer desire as a theme: here a dancer and asailor are flirting intensly - in reality they are however identical. For this Daschner has looped a clip from a film shot in Egypt in the forties - in the relevant scene the actress Naima Akef plays the woman as well as the man." Press review written by Nina Schedlmayer come together in one single or solo number. In musicals and telenovelas the spectator can escape the reality. Singing and dancing brings up the question of who is "Es geht darum, die Bilder zu verändern!" "I want to change the particpation of pictures!" Katrina Daschner related to who. It questions friendship, living situations, relationship problems and money. Her characters are costumed in a cabaret costume and Lucha Libre mummery, or with handmade masks or Katrina Daschner Naima and Naima (video 2006) performing gender in movement, belly dancing and posing in an apparently beautiful and calm nature doing crazy or weird things that doesn't fit at all with In the Video Naima and Naima, she sets up a few views of the environment. In relation to the figures, the nature an Egyptian dance film from the 1940s (with the popular or normal acting environment/setting becomes strange dance star Naîma Akef). Here Naîma plays a double role and weird or even inappropriate. The figures (with veils in original film as a belly dancer and a sailor Katrina or with a belly dance costume and masquerade of the Daschner has looped a clip from a film shot in Eqypt in face) are aware of the camera and confront the spectator the forties – in the scene the actress Naima Akef plays with desire that doesn't fit to what we expected and the woman as well as the man. donít fit to our heteronormality understandings. "They represent platforms for projections in a world beyond heteronormative structures of relationships - in the literal sense. On one of her three map - pictures Daschner projects vienna zocalo · 20 Katrina Daschner: abscene and prescene The disharmony of the veil in the text of Erica Segre ñ shifts between ingratiating self-mortification and · veronika burger veiling multiply-ismen 20 the embodied and the immaterial, the liminal and the "Photography has been rehearsing this false unveiling from its inception as an offshoot of the graphic arts, ghosting specular expectations and spectating within the spectacle itself." Erica Segre, Intersected Identities: Strategies of Visualisation in Nineteenth- and Twentieth-century Mexican Culture: universal, essence and appearance, the temporal and Strategies of Visualisation in 19th- and 20th-century Mexico alluring evasion, chaste modestry and carnal effrontery. It gives a completely different perspective on this cloth. The veil as sudarium, shroud and evelope/wrap signifies revelation and concealment, transparency and opacity, the timeless, depth and ephemerality, tacitlity and the intangible, the enclosed and the limitless – in a surfeit The strengths of this study are Segre's visual and of always inferred but also always deferred content. hermeneutical examinations that cover the problematic discourses ascribed to visual technology as well as a discussion of photography's poetical associations as an of sacred speech (lienzo of Veronica) and metaphysical archeological fragment, a veil, and as a metaphor for exegeses, turning the commonplace cloth ñ the sábana human skin and space itself. Segre takes as its subject, (sheet), mantel (tablecloth), huipil and rebozo ñ into photographic representations of objects, which form part something with a different meaning. An example can of everyday life in Mexico such as in the photography be found in the description in Fanon's text. The veil of the veil and similar items such as the lienzo, rebozo, is a common cloth and is used as architecture in the huipil, and sábana. The observations in this about Mexican photography of the 19th and 20th centuary, the relationship between medium and content are for structuring the space and the interplaying between particularly insightful as Segre shows Mexican Visual presence and absence of the human body. Curtains Culture. It shows how the aforementioned cloths have and drapery are used as scenic tools and barriers to become a motif in Mexican photography, which also conjure up the transport of illusions and functions as a refers and relates to the medium of photography and simulation of the human body and performs as itself or shows that the veil is part of everyday life. She shows it even as a sculpture in the photography. in a sensual way, not only as just a spectacle of a piece of vienna zocalo · 21 In this study, the veil stretches from the periphrases lust and eroticness. · veronika burger veiling multiply-ismen 21 Examples: that empties ontological form and disturbs habitual Antonio Reynoso's moving sculpture on hanging lines. analogic thinking. Mariana carapace Lienzo ("canvas") is a sheet of cloth painted with Fantasma is a facsimile in absentia of an eye-catching indigenous Mesoamerican pictorial writing. The disappearance. photography of Francisco de Zurbarán's Veronicas and Manuel Álvàrez Bravo's Las lavanderas sobreentendidas their anonymous Mexican imitations has transposed (the washerwomen implied), sheets hung out to dry the dialectic between deception and disillusionment of over giant agaves overlay the monument-defining, death visionary painting. The privileged return of the motif of defying drapery of neo-classical sculpture. the Veil of the Veronica and is variation, the lienzo of the Yolanda Andrade's El martirio (the martydom) 1987 Guadalupana, it intersects for Segre the photography's El velo negro (the black Veil/1975): with humorous epistemology of appearance and the secular and religious portentousness, the swollen semi-permeable veil darkens dramaturgy of the immaterial and marvellous. Yampolsky's nebulous bridal the frame with the secret terror of an unknown thing. With its fine mesh, the veil bends and closes upon what The lienzo of the Veronica, a consecrated relic carrying it wants as the shadow of death precedes and envelops the material imprint of the divine visage, served in the subjects of photographyís roving apprehensions. theological discourse to legitmize the production of images in opposition of Reformation iconoclasts. For example instead of the visage of a suffering Christ with huipil, heavy with child, helps to imagine the inside out. half-closed eyes we see Zapataís death mask, which is This reminds us of the veil's double: the membrane and a reproduction of a newspaper image on a lienzo. This photography's contemplation of its own membranous mortuary shot of the rebellion leader has become a holy adhesion to the surface of things. Mexican photography relic and a myth woven into cloth and bears the identity introduces a point of incongruity as regards to the stamp Hecho en México (Made in Mexico) and shows evidentiary exposure supposedly afforded by mechanical how myths shift and are made in daily life. vienna zocalo · 22 In Marina Yampolskyís ÑMadreì (1980), the gauze-like reproduction. In other words, it points to the black spot · veronika burger veiling multiply-ismen 22 soldaderas are flat rebozos with no design, and are only one colour. The rebozo-shawl, which has become a subject of Often, rebozos with red, green, and white stripes are historical interest because of the doubts about it's worn for Fiestas Patrias (Aniversario de la Consitución, origins, was an obligatory garment for women since Natalicio de Benito Juárez, Día Del Trabajo, Grito de Dolores, the sixteenth century. It is a mantle, which is used to Aniversario de la Indepencia, Aniversario de la Revolución). cover the head and shoulders and to partially conceal the face. The photographs of Augustín Casasola depict soldaderas, Rectangular in shape, rebozos vary in size from 1.5 meters the female soldiers of the Mexican Revolution, wearing to upwards of three meters, and can be made of cotton, rebozos de bolita. wool, silk, or articela. They can be worn as scarves or As a distinctly Mexican garment, the rebozo has been and shoping goods. It is a garment accessory women celebrated in the arts. The rebozo has been the subject of wear over their shoulders (over the dress or blouse). song and poem, and for example Frida Kahlo frequently They range in value from inexpensive to hundreds of painted portraits of herself wearing rebozos. It has also dollars. Rebozos are product of the intermingling of been used in Chicana arts: for exemple, it serves as the the cultures colonized by Spain. It is unknown whether central metaphor of Sandra Cisneros's bildungsroman the indigenous people of Mexico used them before the (education novel) Caramelo. And due to its folkloric arrival of the Spanish, but the word does not appear in nature, the rebozo is often used as part of the costume the Spanish language until the year 1562. They are made for performing Mexican folk dances. vienna zocalo · 23 shawls, and women often use them to carry children all over Mexico, but the rebozos of Michoacán, Oaxaca, Querétaro and San Luis Potosí are particularly prized. San Luis Potosí itís he home of the Otomí, people which are very famous for their weaving technique, and it is in Santa María del Río, San Luis Potosí that the Rebozo "Once Eleuterio even accompanied an indecent version of the jarabe tapatio performed with a Tenancingo rebozo the colors of the Mexican flag, a hermaphrodite, and a burro – a filfthy finale that brought down the house." Sandra Cisneros Caramelo p. 162 Carmelo, the most expensive rebozos are made. Chalinas · veronika burger veiling multiply-ismen 23 After the revolution the rebozo undergoes a rehabilitation and the salutary properties of the ordinary rebozo are celebrated in a kind of patriotic statement or a holy relic. huipil, Tehuana = tehuana women A huipil (blouse, dress) is a form of a Maya textile and tunic or blouse worn by indigenous Mayan, Zapotec and other women in Central to Southern Mexico, Guatemala, Belize, El Salvador, and western Honduras, in the Nothern part of Central America. The elaborate design and patterns of traditional woman's huipil may convey the wearer's village, martial status, and personal beliefs. They are usually made from two or three woven panels joined with decorative stitching, then doubled over and a hole is cut in the center panel for the hips (unless woven in during the weaving) and decorated with stitches. The sides are joined together with more vienna zocalo · 24 "Just like a good fotonovela or telenovela. Because she didn't know what else to do, Soledad chewed on the fringe of her rebozo. Oh, if only her mother were alive. She could have told her how to speak with her rebozo. How, for example, if a woman dips the fringe of her rebozo at the fountain when fetching water, this means – I am thinking of you. Or, how if she gathers her rebozo like a basket, and walks in front of the one she loves and accidentally lets the contents fall, if an orange and a piece of sugarance tumble out, that means, Yes, I accept you as my novio. Or if a woman allows a man to take up the left end of her reobozo, she is saying, I agree to run away with you. How in some parts of Mexico, when the rebozo is worn with the two tipps over her back, crossed over her head, she is telling the world, I am a widow. If she allows it to fall loose to her feet, - I am a woman of the street and my love must be paid with coins. Or knotted at the ends, - I wish to marry. And when she does marry, how her mother would place a pale blue rebozo on her head, meaning, This daughter of mine is a virgin, I can vouch for it. But if she had her lady friend do it for her in her name, this meant, Unused merchandise, well, who can say? Or perhaps in her old age she might instruct a daughter, Now, donít forget, when I'm dead and my body is wrapped in my rebozos, it's a blue one on top, the black one beneath, because that's how it's done, my girl, But who was there to interpret the language of the rebozo to Soledad?" Sandra Cisneros Caramelo, p. 105 decorative stitching allowing openings for the arms and in the more ceremonial pieces, ribbons run down the length of the sides of the middle panel, sometimes with the ribbon forming a serrated collar ornament with two loose lengths or ribbons in the front, often in two colors. The length of the huipil varies from a simple sleeveless top extending to the waist or slightly below · veronika burger veiling multiply-ismen 24 to knee- or calf-length tunic forming draping scapular and Isabel Villasenor shared this project by assuming sleeves of the width. Sometimes the cotton is heavy traditional dress. Within this urban milieu, the Zapotec and coarse, sometimes so finely spun as to be filmy and culture of Tehantepec's isthmus occupied a significant semi-transparent. When the cloth is woven with a gauze place. The isthmus was considered a region where post- technique, it is frequently net-like. contact Mesoamerican civilization had escaped some of Spanish imperalism's pathological effects; and the Tehuana = the tehuana women gender conventions that structured economic and sexual Tehuántepec is also a film from Manuel Álvarez Bravo relations were believed to have been particulary resistent which is focusing on the Southern region's matriachal to the systematic social reorganization undertaken by Zapotec Indian culture. This was a region, which had Ibero-Catholic colonization. been favoured by hunters of spectacular autochthony in the Mexican arts. The Tehuana women, in particular, When Kahlo does the Tehuantepec dress, she alludes became a paragon of native seduction, mystery and to a resilient indigenous tradition where women cultural fecundity. The celebrated costume of the were believed to have maintained a strong economic Tehuana included a nimbus-like huipil grande, a white and sexual autonomy, in spite of colonial history. Her headdress of lace resembling an inverted petticoat. presentation as a Tehuana straddling the borderland between national assertion and transnational exoticism is also inextricably entangled within the specific history elements of her self-presentation, in her everyday dress of her husband Diego Rivera who scripted her role as and in her work. Her self-presentation in the costume a revolutionary Tehuana. Her integration with the of Isthmus of Tehuantepec's Zapotec women was a part Mexican people is evidenced by the fact that she had of more generalized practice in which urban women not worn a 'foreign' dress for twenty-two years. But her who moved in Mexico City's cosmopolitan intellectual relationship to the Tehuantec costume seems far more and artistic environments identified themselves with complex. Instead of Rievera's transhistorical emphasizes Mexico's regional popular cultures. Also Rosa Covarrubias the fact that her public identity is both performative vienna zocalo · 25 Kahlo took up the Tehuantepec costume as one of the key · veronika burger veiling multiply-ismen 25 and mutable, and critizes the tension between national de Maíz, Las Comadres Artistas, and L.A. Coyotas assertation and transnational exoticism. Indeed, she are informed by third-world feminist theory. Their shuttles between cross-dressing as a man and dressing understanding of new "subject configurations" is well up as a Tehuana. Alternative manners of dress become explained by theorist Chela Sandovalís statement: metaphoric vehicles for articulating the conflicting structures of performative social identity in Kahlo's life word. L.A. Coyotas The veil represents and symbolizes her solidarity with the Chiapas movement. In representing, themselves as a fighter, women display the power of the returned gaze, as fully active agents. In these selected illustrations, women have chosen the veil as a means of focusing attention on their power. "What U.S. third world feminism demands is a new subjectivity, a political revision that denies any one ideology as the final answer, while instead positing a tactical, indeed a performative, subjectivity with the capacity to de- and re-center depending upon the kinds of opression to be confronted, depending upon the history of the moment. This is what is required in the shift from enacting a hegemonic oppositional theory and practice to engaging in differential social movement, as performed, however unrecognized, over the last thirty years under U.S. third world feminist praxis." Chela Sandoval, p. 117 Gender on the Borderland No longer simply objects to be gazed upon, they (for example L.A. Coyotas) take up strong subject positions, vienna zocalo · 26 challenging who speaks and what gets said about the object. These artists are very aware and sensitive about the colonizing strategies and pointing out what political lines have been drawn through definitions like multiplicity of cultural identities. They seek and perform new identites appropriate for their political practice. The art-making practices of the women of Mujeres · veronika burger veiling multiply-ismen 26 Online resources · Research Telenovelas: http://www.tele-novela.de/faszination.htm · Vivir un Poco (Entrada) http://www.youtube.com/watch?v=s-5jU50v49g http://www.youtube.com/watch?v=2OAwOH0WlM0&NR=1 · Gabriel y Gabriela (1982) Entrada: http://www.youtube.com/watch?v=79dhAiNoXTk · Los Ricos Tambien Lloran (1979)//Entrada - Teaser http://www.youtube.com/watch?v=TIXevytPUXA · Teresa: (with Salma Hayek) http://www.youtube.com/watch?v=7N32Ux9ZYqc http://www.youtube.com/watch?v=FAGwM6gLUak&NR=1 · Edwarda Flur Gurolla http://www.youtube.com/watch?v=FurbD4pzD20 · Salome ñ Dance of the seven veils (dancing scene) with Rita Hayworth http://www.youtube.com/watch?v=JjI8G6gA65w · My fair Lady http://www.youtube.com/watch?v=Z3DBFiJisc4 why cant be woman more like a man? http://www.youtube.com/watch?v=U6iktQ2y1Rs&feature=r elated · my fair lady (es grünt so grün wenn Spaniens blüten blühen) http://www.youtube.com/watch?v=u2Uyip04e6Q · · Dschunglbook: http://www.youtube.com/watch?v=uBAku3Cwsgk Kitty/Dr. teach Mowgli (The Jungle Book action) http://www.youtube.com/watch?v=flq68dJg8kI&feature=re lated · Salomé: http://www.youtube.com/watch?v=3zGP-jd75bw TV-Sender: Internetkanäle http://www.passion.de/ http://www.dramahome.net/ http://www.lateinamerikanachrichten.de/index.php?/ artikel/1029.html Torre de Babel: http://www.youtube.com/watch?v=385HtO9r3BU http://www.youtube.com/watch?v=u7HHudluCc4&feature=related (6.23min death!) http://www.youtube.com/watch?v=6FZ1w3pdjnc&feature=related · Mulheres Apaixonadas http://www.youtube.com/watch?v=WWy_170FYqw · · Mata Hari: Greta Garbo( Dancing Scene) http://www.youtube.com/watch?v=PR0AbDuvIVc&playnext= 1&list=PL1B794ADBB3B1F966&index=2 · Kybele Women http://mak.makabylie.info/Declaration-of-Kamira-Nait-Sid http://www.second-congress-matriarchal-studies.com/grasshoff.html Selma Hayek Dancing Scene From Dusk till Dawn http://www.youtube.com/watch?v=RVVGKiYZ0SM · From Dusk til Dawn Bar Fight Scene - Selma goes mad http://www.youtube.com/watch?v=aOGfN4gkv_I&playnext=1 &list=PLBBF5B7C0E96D071D&index=59 · Carmelita Tropicana http://carmelitatropicana.com/ http://www.youtube.com/watch?v=iHcgTSK2ygE&feature=r elated http://www.youtube.com/watch?v=4je2tajoPW0 http://www.youtube.com/watch?v=jgDOqhCkkZw http://www.youtube.com/watch?v=N3auUk7RMtM&feature =related · Tanzverein ISIS http://www.sumaya-tanz.de http://tanzverein-isis.de · Majida Malak http://www.majidamalak.com/bienvenido.htm · Bahara http://www.bahara.at/ · lifting the veil at cnn http://www.youtube.com/watch?v=fFn9ZpWn7SM · brut Wien http://www.brut-wien.at/start.php · Mexican huipils http://www.flickr.com/photos/citlali/4579588376/in/set72157594380025164/ · veronika burger veiling multiply-ismen 27 vienna zocalo · 27 · Sound of Music: Trailer http://www.youtube.com/watch?v=KuWsQSntFf0 http://www.youtube.com/watch?v=KuWsQSntFf0 · · Tehuana http://www.flickr.com/photos/citlali/2076462584/ · Katrina Daschner http://www.katrinadaschner.net References · Armida De La Garza: Mexiko on Film, National Identity & International Relations, 2006 Arena Books, Great Britain & USA, ISBN: 0-9543161-6-9 · Andrea Pollach, Isabella Reicher & Tanja Widmann: Singen und Tanzen im Film Zsolnay/Kino, Österreichisches Filmmuseum, Wien 2003, ISBN: 3-552-05272-0 · Vasif Vortun, Erden Kosova: Szene Türkei: Abseits, aber Tor, Verlag der Buchhandlung Walther König, Köln 2004, ISBN: 3-88375-889-2 · Gülsün Karamustafa: Güllerim Tahayyüllerim, My Roses My Reveries, 2007 Istanbul, ISBN: 978-975-08-1249-1 · Roland Barthes: Die Sprache der Mode, edition suhrkamp, 1. Auflage 1985 Frankfurt, ISBN: 978-3-518-11318-9 · Jose Esteban Munoz: Disidentifications: Queers of Color and the Performance of Politics (Cultural Studies of the Americas), 1999 University of Minnesota Press, ISBN: 978-08166-3015-8 · Sandra Cisneros: Caramelo,Vintage Contemporaries, 2002, · Hayden Herrera: Frieda Kahlo: die Gemälde, Schirmer/ Mosel, München-Paris-London 1992, ISBN: 3-88814-469-8 2000 Hamburg, ISBN: 3-88619-260-1, 3. Auflage 2004 · · Stuart Hall: Ideologie, Identität, Repräsentation, Ausgewählte Schriften 4, Argument Verlag, 2004 Hamburg, ISBN 978-3-88619-326-4, 2. Auflage 2008 · Barbara Lüscher: Die Geschichte des Orientalischen Tanzes in Ägypten, Diwan Verlag Zürich, Schweiz, ISBN: 3-908547-28-8 Frida Kahlo: Jetzt, wo Du mich verlässt, liebe ich Dich mehr denn je, SchirmerGraf, 1. Auflage 2007, ISBN: 978-386555-048-4 Ernst Jandl: Liebesgedichte, insel taschenbuch, 1. Auflage 2009, Frankfurt, ISBN 978-3-458-35129-0 · · Frantz Fanon: "Algeria Unveiled" Joachim Michael: Telenovelas und kulturelle Zäsur: Intermediale Gattungspassagen in Lateinamerika, transcript Verlag, Medienanalysen, 2010 Bielefeld, ISBN: 978-3-8376-1387-2 · Erica Segre: Intersected Identities: Strategies of Visualisation in Nineteenth- and Twentieth-century Mexican Culture: Strategies of Visualisation in 19th- and 20th-century Mexico (Mapping Cultural History)ì, 2007 Berghahn Books, ISBN: 1845452917 · Laura Mulvey: Visual and other Pleasures, Indiana University Press Bloomington and Indianapolis, 1989, ISBN: 0-253-36226-1, Visual Pleasure and Narrative Cinema* written in 1973 and published in 1975 in Screen · Antonia Castaneda: Gender on the Borderlands ñ The Frontiers Reader, University of Nebraska Press, 2007 USA, ISBN: 978-0-8032-5986-7 · Stuart Hall: Rassismus und kulturelle Identität, Ausgewählte Schriften 2, Argument Verlag, 1994 Hamburg, ISBN: 978-3-88619-226-7, 4. Auflage 2008 · Stuart Hall: Cultural Studies: Ein politisches Theorieprojekt, Ausgewählte Schriften 3, Argument Verlag, · · Uma Narayan & Sandra Harding: Decentering the Center: Philosophy for a multicutural, postcolonial and feminist world, Hypatia Book, Indiana University Press Bloomington and Indianapolis, ISBN: 0-253-21384-3 · Doris Guth, Heide Hammer: Love me or leave me: Liebeskonstruke in der Populärkultur, Campus Verlag, ISBN: 978-3-593-39023-9 · Parkett NO 81-2007: Ai WEIWEI, COSIMA VON BONIN, CHRISTIAN JANKOWSKI · · Ilan Stavan: Telenovelas, Santa Barbara: Greenwood, 2010. Gisela Klindworth: Ich habë so schön geweint: Telenovelas in Mexiko. Saarbrücken: Verlag für Entwicklungspolitik Breitenbach, 1995. · Heidi Noel Nariman: Soap operas for social change: toward a methodology for entertainment-education television,Westport: Praeger, 1993. · Carola Dertnig & Stefanie Seibold: Letës Twist Again: über was man nicht sprechen kann, soll man tanzen, Performance in Vienna from 1960 until today, D.E.A. Buchund Kunstverlag, Vienna 2006, ISBN: 3-901867-16-2 · veronika burger veiling multiply-ismen 28 vienna zocalo · 28 · Jose Esteban Munoz: Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures), 2009 New York University, ISBN: 978-0-8147-5728-4 Vintage Books, ISBN: 978-0-679-74258-6 Telenovelas V = Veronika Sabine Burger W = Edwarda Flor Gurolla Interview at Dondrine, Kirchengasse 20, 1070 Vienna (Austria) Tuesday, 07.12.2010, 18.00 - 19.15 V: ... So I was like Aahhh. I have seen you on show "Who shot the princess" on monday. And I thought, I know her, but I don't from where but I have seen her before... Ahhh W: Doleres. This was the first time. Because I am friends with Katrina since ten years. She proposed that project to me. And it was so good to work with her. Also Katja is on it. The one who is also in the play. Who plays the subcommandete. V: Who is dressed like a Wrestler? W: I started the connection. I have been here only for two months. V: How long do you live here? You said that you have a flat... W: It's so funny. She is the anti-hero-heroine. She was realy bad. Really bitchy. She cheated on an older man. And than her life was awful, because of what she did. It was really big in Latin America. V: How do you manage to have this jump? I read that you have played in 3 or 4 telenovelas. W: No. First I started with my father. My father was a director at the theater. I was always around serious theater things. At one point he decided to make a play for children. What was really arty and crazy. V: I saw the picture. W: So i started acting. I started doing short films and stuff for school. W: My first job as an actress. If they needed a girl. I was there. From there I went to castings. From there... vienna zocalo · 29 W: And the subcommadante. The one I got married to at the end. She is also a performer and she was in Katrinaís video as well. V: I read it. You see everything is connected. 18.17 V: It's the same in musicals. You can't play serious roles afterwards. That it is actually one of my questions. There is Selma Hayek. She did it. She managed the jump and went to the States. I have seen her in Teresa. Which is really awful.... V: Yes W: Si W: Actually, to do what my father hated the most. He wouldn't let me do the commercial stuff. That was all too commercial for him. So I went that way. So I just telenovelas · 29 fucked a bit with him and played in a lot telenovelas. So there were 800 children at the casting and they need only twelve children to play in that. I got it. So I did Carrusel, when I was eight. From eight to ten I played in the first season and from ten to twelve, thirteen in the second season. I played what was called a pre-teen telenovela. V: So afterwards you could chose what you want to play? W: It was more. It was natural. Not all the children who started went to in the second one. The first director started to be the producer of the second one. We start doing telenovelas. It is very funny. When we started, children telenovelas were not very common. V: So do mean you are playing a kind of theater? W: Yeah, a musical! V: Oh yeah, musical stuff. W: And then you have the musical. V: Then you have (or must) the opportunity to go an musical tour? So to play in real as a musical. W: We went to Brasil, Santa Domingo, Puerto Rico. We were in the Mayovell Stadium in front of 25.ooo people. 9000 People were waiting at the airport of us. V: So does it often happend that can't make it out that you are different person? Or identify you as a character? That you are a private person? Is it really so hard? W: Yeah, it is. You are in there own concious as your character. They relate to you, they cry with you. I was in a position of being a growing up teenager in front of the audience. They see me growing up. They believe more and more that they know me. Completly. Even now... V: Is it always like Schicksal? What is Schicksal in English? The Fate? The Destiny? Is it the destiny of a children star? Maybe? W: And also to become drug addict. And to be off. vienna zocalo · 30 W: There had been one with children just one in the 1970s. Carrusel was in 1988. So it's funny, because there is this circle that televisa does. First Televisa produced the telenovela for tv and afterwards they made a live play out of it. It was a very weird kind of thing. There is the need from the audience to see you (the telenovela stars) in flesh. No. It doesnt really matter what the play is about. Just the same actors of the telenovela are going in a tour. You know... V: So okay. First you have the telenovela and ... V: And then she comes back again. And is beautiful and sing songs. W: Exaclty. It's often like that. And also since Televisa announces that every Mexicans watches four or five hours daily. They have televisions while you eat you see the televisions when you go to bed. W: Musical stuff telenovelas · 30 V: When are the usually times when telenovelas are screened, on tv? So is it in the morning? Or is it everytime? Or is it a fixed scheudle? Or is it everytime? W: Telenovelas? For children? They start like at four after school and lunch. So from four to ten. So six telenovelas going on or even half an hour once. There are two main channels: Televisa and the other one is Teviasteka. V: That I heard. I just read about Televisa. W: Televisa comes even from the 40s. It was developed from the radio. Televisa is much more powerful than Teviasteka. And i did all these two and with thirteen I said, I had enough and I went to England and I studied there. V: Okay. What did you study? W: I studied at school. Just normal school. In a boardingschool. V: With your family? Or without? V: Is it true that you didn't know they play before? W: It depends on what you want to know. You can read the script for the next the day in the evening before or just come and pop in your microphone and the apuntadores 18:43 W: With Artists. With Katrina I started these projects. Also I started working with some writers. There is a novel that was written for me. That's called Maude. I dont know if it's written in Germany. But I think it is, by Farinelli. So all that happened togehter before I did this play. To do this play for me was great I don't know why there is this boom of Telenovela everywhere? W: They donít know much about. It's a phenomen. It all started with Radionovela. And then people just got used to it. There is either people who watch Televisa or Teviasteka. Televisa is cheaper. Its much more cheaper. V: Is it more on public tv? Or is it in private tv? Is Teviasteka a private channel? W: It's in public. Both are public. Television is such a shame that it is not used as an educational tool. Five minutes of Telenovela. Five minutes of Commercial. Five Minutes. Five Minutes. Actually you look at 25 minutes telenovela out of an hour. vienna zocalo · 31 W: No in a boardingschool. Si. Then I came back with seventeen or eigthteen. And worked with Teviasteka. Because Teviasteka does sometimes more filmic things and have a kind of way with this apparat with the ella apuntadores. I used it a lot. tells you were to go, what to say and what to feel... (...) V: It's like here. W: Again and again and again. No. So yeah... V: Gini invited you for this project (Who shot the princess?) How did they find you? W: I met her. She was my partner with Katrina, when telenovelas · 31 we did Doleres. I met her. We did Doleres in Oaxaca. And we travel a little bit and we got to know each other a little and they seperated but we kept doing it. And also we did V: Did you see them performing in a band? They were great! W: Yeah, SV Damenkraft came to Mexico. V: They came to Mexico? Great. W: Yeah, Great! I loved it! V: Super! They had awesome short performances! W: Super! It was like: what!? And Sabina, Tomka, Gini, Katrina and Christina.... V: It was not like she is better or she. It was like that I felt that all together were super! It was non-hierarchic. (...) talked a lot about my father and talked with people who worked with him. And also we came here and actually we went... V: Katka told me you wanted to arrange an exhibition here? And that it didnít work out? W: Yeah, and so we did something here with the sisters of Bernhard and there is one man in Mexico that knew Bernhard and knew my father and more the differences of them and the points of view of Bernhard and Gurolla in the context theatre and the topics of death, women overacting, genius man, loco and misunderstood. There were five topics we worked on. Nils also worked on with us. So we started our project. After we finished our project, I really said,"I would like to work in theater with you, but I knew it would be so far away. Spanish, German..." V: I have to figure out that Spanish thing. (laughter) W: But then I told her I would love to do a piece about Jelinek. And she said like you know Jelinek is so in right now and so difficult. So we wanted to do Schneewittchen. So we didn't get the rights for the script to play it. V: Yes, sure. V: The script? W: We did Theatermachen, Simplementy kompliziert and started with Minetti. We didn't finish it. Actually that was the last play of my father. So we were talking about working together and what topics between Austria and Mexico could come. And we did this documentary. I can give it to you or Gini can. Which is theatro (?) and we W: Often the theaters are not allowed by the editors. But then it was so much better (laugh) because then we had to create a project. Of course we have to adapt it, because there is so hard text and stuff. vienna zocalo · 32 19:02 W: So with Gini we start doing this documentary. Because my father was one of the first, who brought Thomas Bernhard to Mexico. You know Thomas Bernhard? W: And then she told me about Martin Plattner, who telenovelas · 32 made the first three scenes of the play: the Snowhite déjà vu, the infanta, the Charlotta and Maximilliam from Mexico and the Taco Shop with Frida Kahlo. That was really interesting for me, to talk about myself, some parts were really fiction some were not. To find out, Gini was actually the one who wrote the backbone of them and then we added the story telling, the part were I came out from the black scene to talk with the audience. No. We call them the story telling, because of the fairy tales. So interesting. So from that on we thought, we need a Mexico part in it. So we found Yoshua Buhorkez who is a great slam spoken word poet and a political activist. And also he needed work, so he started doing song scripts for telenovelas. (laugh) recognized it because (together with Warda) so much to see... W: Really. Like Ah Ah Ah V: Really. It was not so easy to see everything, you really have to concentrate yourself. You have to work when you see it. W: Yeah, I really like that when you have to work and to interact. You can't like be handed and cottoned on their mouth. No? I think... V: I think you have to work with your brain. You have to see it. It's a lot to see there. I love the costumes and all the setting stuff. It was all so trashy and nice. V: (laugh) Perfect. W: Si Si W: (laugh) Perfect. He was perfect for our project. It was like, nothing more could be more perfect. So we worked a little with him. So he sent staff and we adapted it. And so also Sabine speaks in Spanish in the play, which is so so so great, because she doesnít know one word in Spanish. V: And I always like the fact when the players are all equal. So in a way all equal. So, no... V: So how did she manage it? With cards? V: It's true. W: No, she is such a great musician. V: I know. W: Our identities and our personalities are so strong and so diffrent that of though I carried the weight of the boot in a way like... W: So that's how we managed it. So great, that I actually think about it that I want to come back here and work more. V: I loved it, because the time passed and I didnít V: But you did it in a very what is called sympahtic way. It was really good. It was not so overload, you played in a very natural way. Like you were just teasing or flirting W: Yeah. V: So, nobody falling apart or nobody is weak or so. W: So the princess is each of us. Each of us. vienna zocalo · 33 telenovelas · 33 with this story-telling character. Yeah. (laugh) That's what I liked. It was very natural. It was not so over over played. W: Yeah. Super. V: It doesnít build up a hierarchy. W: Ahhaa. Okay. Like I am the boss.... V: Thatís what I like. W: And each of us did different stuff. Chris the hunter, the deathman was also doing the pyrotechnic stuff. Sabine arranged the music stuff. Katja was involved with the costumes. And Philippe was just being Philippe. (laugh) With this super... V: So, how long do you rehearse for the play? Two months? Did you also do the plot in this time? V: Yeah. W: We did that in summer... W: Yeah, that I loved! When we worked there, we had so much fun. Itís the best way to work very hard in somewhere else. Itís the best thing ever. Yeah, so we did that and then little by little people came on. We started from the beginning with the hunter and than with Maximiliamo and then with Sabine and Katja. Actually Katja came just a month ago, Sabine also. So we were just every week people were coming in together. I also was kind of wondering with kind of these, and the cold party in Spanish. W: The Spanish thing was the last of the whole thing, also to be translated for everyone and work with the subtitles. And also I find such a great way that you have here in a more German kind of work. The director has a dramaturg around him that can help him. Not an assistent. A dramaturg also helps him. I don't know what's going on there. Martin Zissler was the dramaturg with Gini that really help me. Not that Gini and I get into that look that so and so. So that we could get more opinions because you couldn't have an oppion if you didnít see the work. So they came to the rehearls and work with us about the story tellings a lot. For example, about the way of saying it, is not clear enough or I don't understand your English enough in this part or you have to have this pose, because they knew the material so well. So, that was very interesting to work with a director that isn't mighty or that he is saying that he is the best thing going on. It was great to have this other vienna zocalo · 34 W: No, the story tellings we have more than six months, but I learned them but we completly changed them. (laugh) But in a way it was like for me to excercise memory, because I have also playing theater, Tschechow text, but I think this is the hardest part for me in textwise. The memory. Because there lots and lots of things, changing characters very quickly and do it like entertaining. But also like a bit honestly, I started when we were there we were also recording the whole day the jungle and the beach stuff, which you see in the videos. V: There this house, castle, villa,... telenovelas · 34 W: And you put other stuff in your work, that arty party stuff don't know. Hopefully ;) 2006 Los hacedores de teatro (TV series documentary by Edwarda Flor Gurolla) V: Yeah, I am a tailor as well. Itís great. I lost it already and it come back. V: (laugh) 2010 Performance at Brut (27.11./29.11./30.11/01.12. 2010) Gin/i Müller, Flor Edwarda Gurrola, Nils Olger u.a. Who shot the Princess? Boxstop Telenovelas Inspired by Latin-American Telenovelas and Elfriede Jelinekís Princess Plays, Who shot the Princess? Boxstop Telenovelas unveils a broad array of princess-projections of classic fairytale and historian figures, film divas, artists and rebels. At the centre of the piece is Mexican actress Flor Edwarda Gurrola who became a LatinAmerican TV star as a child with Telenovelas. She wanders through the different stages of her acting career in Mexico changing into various (un)dead princesses: As Infanta she will experience a Snow White déjà vu in the woods, as Carlota of Mexico she celebrates a fatal comeback with Emperor Maximilian, and as Frida Kahlo she actually doesnít want to be a part of it anymore. On the run from the TV business, she finally falls in love with a true rebel in a melodramatic ìPasión Rebeldeî... Dimensions between Melodrama and Militancy are shifting, authors and languages are changing, death and the undead are moving along... W: Yeah? W: (laugh) W: So I have to run. But let's keep on mailing. V: Yeah, I lost it in New York and it came back to Austria. W: Super. I just recently lost the ring Katka gave me and I found it today. And I was almost about it to vaccuum clean it. You know, I was vaccuum cleaning. W: Hey, Que bien? Super. To talk about these means a lot to me. Because when you talk about these stuff that made you kind of unadequate in a way of. What am I? What I am not? To do theater, to do film or not. I've been doing this for twentythree years and I still donít know yet who takes me to different places. But I do feel that this is a point of ... Because of all I have done yet brings me to this point to do this. A combination of all kind of stuff that I have been doing. (...) I hope itís more. V: I see it from the other part of it. You don't have to hide it or refuse it in some ways. I donít know yet. So for me it's like, I am an artist but I donít have an arty background or something like that. So, I have to work. A while ago I was very ashamed of that, not ashamed but in some way somebody could recognize it that I am from a worker background and not so much born into these arty things or could not talk like an artist or so. But you learn a lot. Edwarda Flor Gurolla was and is an Mexican telenovela star. Since ten years she works in collaboration with artists as a performer or actress and plays in various short films and performances (for example Dolores from Katrina Daschner, or on the side of Arnold Schwarzenegger in Collatoral Damage) in national and international projects. Soy tu fan (TV series Vanessa), 2010 El infierno (Gloria), 2010 Cefalópodo (Roberta), 2009 Música de ambulancia (short), 2008 Reminiscencias (short), 2006 Sexo, amor y otras perversiones Hermana (segment ÑRecompensaì), 2003 Ligerita (short), 2002 Collateral Damage (Mexican Girl), 2001 ¿Y cómo es ÉL? (short film/Julia), 2001 Me la debes (short/ Marce), 1999 Der süsse Duft des Todes (Amiga),1999 Santitos (Paloma),1999 La vida en el espejo (TV series/ Diana Román Franco),1999 Perriférico (short), 1998 El evangelio de las Maravillas (Tomasa), 1994 Mujer, casos de la vida real (TV series), Perdon por amor (1994), 1992 El abuelo y yo (TV series/Yoya), 1989 Carrusel (TV series/ Carmen) (Episode #1.1 (1989) Ö Carmen as Edwina) 2005 Dolores, video from Katrina Daschner (as Dolores) Regie, Text, Musik Gin/i Müller Schauspiel Flor Edwarda Gurrola Videobild Nils Olger Schauspiel, Musik Sabine Marte Schauspiel Katia Tirado Schauspiel Chris Thaler Schauspiel Philipp Eisenmann Bühne Rupert Müller Text Martin Plattner, Tiosha Bojorquez Stimme Elfriede Jelinek Produktion Malin Brewi Dramaturgische Beratung Martin Zistler, Chris Standfest Assistenz Katka Csanyiova, Paula Pfoser telenovelas · 35 vienna zocalo · 35 oppion. By the way I love you (pointing at my scissor earring). Supernice! I love it. Aushängeschild und wichtigster Repräsentant der EZLN. Doch in diesem Artikel soll nicht nur die Claudia Harich Überfülle an Reden und Schriften des charismatischen Die– ihr EZLN Kampf Revolutionärs rezitiert und dadurch ein Bild der libertären, antikapitalistischen Befreiungsbewegung skizziert werden. Ziel ist es, die Organisation vor allem und die Frauen von der oftmals verborgenen weiblichen Perspektive zu betrachten. Pazifistische RebellInnen, nationalistische Gueriller@s, gewalttätige TerroristInnen oder einfach nur „Es gibt einen Zeitpunkt um zu bitten, einen anderen zu fordern und einen, um zur Tat zu schreiten.“3 instrumentalisierende PopulistInnen und utopische „¡Ya basta!“ Am 1. Jänner 1994 erreichte die Stimme der TräumerInnen – die EZLN1 und ihre Mitglieder wurden EZLN nach mehreren friedlichen Versuchen erstmals von diversen Medien oftmals ambivalent verhandelt. eine breite Öffentlichkeit, als sie in einer Kriegserklärung Eines ist jedoch sicher: die Organisation hat zur an die mexikanische Bundesregierung dazu aufrief, die Sichtbarmachung sozialer Probleme beigetragen und Waffen für „Freiheit, Demokratie und Gerechtigkeit“ zu marginalisierten Gruppen zu internationalem Gehör erheben. Die bereits 1983 begründete ‚Zapatistische Armee 1 verholfen. Sie wurde zum offiziellen ‚Sprachrohr der Nationalen Befreiung‘ verfolgt seitdem das Ziel, die (Zapatistische Armee der Nationalen Befreiung) der Unterdrückten‘ – der indigenen Bevölkerung Lebensbedingungen der Armen, insbesondere der im 2 Mexikos, der, dort dreifach benachteiligten Frauen, mexikanischen Staat seit 500 Jahren unterdrückten der, den Machisten verhassten Transgenderpersonen indigenen Bevölkerung, zu verbessern. Dazu Mayor Ana und Homosexuellen sowie der Ausgebeuteten und Maria (1994): „Als wir friedlich kämpften, gab es schon Besitzlosen. Der pfeifenrauchende, stets besturmhaubte viele Tote in den Dörfern, viele Indigenas sterben an Marcos‘2 Hunger oder Krankheit. Es ist, als wäre schon immer Ejército Zapatista de Liberación Nacional 3 Identitätsverschleierer ‚Subcomandante galt aufgrund unzähliger Publikationen lange als Krieg.“ (zit. n. Siller 2009: 43) Marcos (auch: ‚Delgado Cero‘) wurde dadurch ungewollt zur Ikone der Zapatistas, was im Widerspruch zu seinem Anspruch steht, austauschbarer Sprecher zu sein. · claudia harich die elzn 36 vienna zocalo · 36 Marcos (auch: ‚Delgado Cero‘) wurde dadurch ungewollt zur Ikone der Zapatistas, was im Widerspruch zu seinem Anspruch steht, austauschbarer Sprecher zu sein. Gefordert wurden und werden unter anderem Land, Frauen und mit Jugendlichen Vorrang“5 zu geben. Nahrung, Unterkunft, Gesundheitsfürsorge, Bildung, „Kanäle (…) weben, damit die Worte auf allen Straßen des Widerstands reisen mögen“6. Unabhängigkeit, Frieden, Kultur und das Recht auf Information für alle Menschen, ungeachtet klassifizierender Attribute. Zum ersten Mal in der Um postkolonialen Geschichte Mexikos sahen sich indigene Kommunikationsstrukturen Tzotziles, Tzeltales, Tojolabales, Choles, Mames und Intentionen der EZLN zu verbreiten, wurden sowohl Zoques mit MestizInnen und andere Benachteiligte – bürgerliche Medien genutzt als auch Alternativen dazu Frauen wie auch Männer – vereint, um für „eine bessere hervorgebracht – 2002 wurde etwa das klandestine Welt“ einzustehen. ‚Radio Insurgente‘ ins Leben gerufen und 2003 die Zu Anfang wurde unter anderem der Dialog mit der Zeitschrift ‚rebeldía‘ gegründet. Zudem diente das Bundesregierung gesucht, wenn auch seit Beginn die Internet seit Anbeginn als Plattform, oftmals kam es Strategie mit der (Zivil)Gesellschaft zu kommunizieren auch zu direkten Kontakten mit der Zivilgesellschaft. und deren Anliegen durchzusetzen, als wichtigste Waffe Zu frühen Beispielen zählen: Die erste große indigene nationale wie auch internationale aufzubauen und die Comisión de Concordia y Pacificación (Parlamentskommission für Versöhnung und Frieden) 5 Marcos zit. n. Muñoz 2004: 237 6 Frauendemonstration in San Cristóbal, das ‚Nationale das Abkommen von San Andrés ausgearbeitet, welches Indigene Forum‘7 oder das erste ‚interkontinentale Bestimmungen zur Anerkennung indigener Rechte Treffen gegen den Neoliberalismus‘ (alle im Jahr 1996) sowie Vorschläge zu Autonomie und sozialen Reformen sowie die ‚Volksbefragung‘8 von 1999. 7 9 Hier tätigte Comandanta Ramonas den legendären Ausspruch: „Nie wieder ein Mexiko ohne uns“ zit. n. Muñoz 2004: 112 beinhaltet. Dieses wurde jedoch abgelehnt, worauf 2001 wurde die seit 70 Jahren regierende PRI von der Unruhen und verschärfte Repression durch Militär sowie PAN10 abgelöst und die ZapatistInnen hofften erneut auf nie geahndete Massaker durch Paramilitärs folgten. Der konstruktive Gespräche mit der Regierung. Eine ‚Marcha‘ Verhandlungsprozess mit der Regierung war gescheitert zapatistischer Abgesandter brach unter enormer und die EZLN bestimmte das Volk zu ihrem einzigen öffentlicher Resonanz nach Mexiko-Stadt auf, um die Gesprächspartner, wobei besonderes Augenmerk darauf seit 1996 ausständige Gesetzesinitiative von San Andrés 9 PRI (Partido Revolucionario Institucional) gelegt wurde, „immer dem Gespräch mit Indigenen, mit einzufordern. Beim Treffen mit dem parlamentarischen 10 PAN (Partido Acción Nacional) 8 Hierzu wurden 5000 Delegierte der EZLN (Frauen und Männer zu gleichen Teilen) in alle 32 Staaten der mexikanischen Föderation entsandt. · claudia harich die elzn 37 vienna zocalo · 37 galt. Mithilfe der Vermittlungsinstanz COCOPA wurde Erklärung der EZLN 1996, zit. n. Hamm, Marion (2005): Indymedya. Zur Verkettung von physikalischen und virtuellen Öffentlichkeiten. In: Raunig, Gerald/ Wuggenig, Ulf (Hg.): Publicum. Theorien der Öffentlichkeit. Wien: Turia+Kant, s176. 4 Plenum der Regierung überraschte die EZLN: Nicht wie zu duplizieren und so wertende und fragmentierende erwartet der Sub, sondern mit Comandanta Esther eine Gesetzmäßigkeiten von Staat, Kapital und Bürokratie zu indigene zapatistische Frau, verkündete die zentrale reproduzieren. Ziel ist es, durch ein gleichberechtigtes 11 Botschaft des CCRI . Sie sprach über die „dreifache Miteinander und kollektive Entscheidungsfindung Marginalisierung“ indigener, besitzloser Frauen sowie eine antihierarchische Gesellschaftsordnung jenseits über die Notwendigkeit von Respekt, Diversität und herkömmlicher Staatssysteme zu erstreiten, um dadurch einer sozialen Revolution in Anbetracht von Armut, bessere Lebensbedingungen für alle zu schaffen. Der Unterdrückung und Ausgrenzung im neoliberalen Doktrin: „das Volk befielt und die Regierung gehorcht“13 kapitalistischen System. Zwei Monate später wurde folgend wurden 2003 die ‚Juntas der guten Regierung‘ vom mexikanischen Senat eine konstitutionelle Reform geschaffen – eine Art Räteregierung nach anarchistischem indigener Angelegenheiten erlassen, jedoch ohne Vorbild – durch welche Zuständigkeiten wie Bildung, existenzielle Punkte des Abkommens zu berücksichtigen. Gesundheit, Handel und Landwirtschaft unabhängig von Ab diesem Zeitpunkt nutzt die EZLN das „Schweigen der Zentralregierung organisiert werden. Um erneuter als Machtakkumulation Strategie“ gegen fortgesetzte Ignoranz und und autoritären Strukturen Zurückweisung der als undemokratisch bezeichneten vorzubeugen, dürfen Mitglieder der zapatistischen offiziellen Regierung Mexikos. Generalkommandatur keine Funktionen in den Gemeinden übernehmen, zudem unterliegen alle Ämter einem obligatorischen Rotationsprinzip. Klar ist, dass allein durch solche Maßnahmen keine Immunisierung gegen Herrschafts- und Unterdrückungsmechanismen informelle Hierarchien gewährleistet ist. 11 CCRI (Comité Clandestino Revolucionario Indígena, Geheimes Indigenes Revolutionäres Komitee) Dieses Zitat von Leutnant Insurigente Gabriela sowie veranschaulicht, dass es den Zapatistas nicht darum Deshalb ist die Arbeit der EZLN ein prozesshaftes, von 12 geht, einen, um die Macht konzentrierten Kampf zu Veränderung geprägtes Tun, in dem sich einer der 2004: 66 führen und dadurch hegemoniale Herrschaftsstrategien Leitsätze: „Preguntando caminamos“ (Fragend schreiten 13 vergangener Revolutionen oder heutiger Regierungen wir voran) manifestiert. Leutnant Insurigente Gabriela zitiert nach Muñoz EZLN – ‚Versammlung der guten Regierung‘, La Garucha 2006 · claudia harich die elzn 38 vienna zocalo · 38 „Andere Revolutionäre sagen, sie würden die Macht ergreifen, aber sie tun nichts. Wir sagen, dass wir nicht die Macht ergreifen werden, und organisieren uns stattdessen.“12 Eine erneute Stärkung des nationalstaatlichen Systems, als Abwehrreaktion gegen globalisiertes Kapital und ein entgrenztes Regime der Biomacht, ist heute zweifelsfrei „Als wir merkten, dass die Frauen nicht teilnehmen durften, wir in den Versammlungen und Plena nicht ernst genommen wurden, dachte ich – was kann ich tun? So begann ich mitzumachen, zu reden und zu organisieren.“17 nicht mehr zeitgemäß. Doch die Bewegung ist durch kritische (Selbst)Reflexion ständig im Umbruch Die Zapatistas kämpfen gegen staatlichen Paternalismus und autoritäre Herrschaft, gegen rassistische und Die EZLN insistiert, dass ihr Kampf weder ethnisch noch patriarchale national beschränkt anzusehen ist. Doch nationalistische gegen Rhetorik früher Tage, wie etwa Aufrufe „die mexikanische Verwertungsökonomie dirigiertes Dasein. Ziel ist 14 ein Unterdrückungsmechanismen von Kapitalismus und sowie neoliberaler Nation von unten her neu aufzubauen“ ließen die eine gleichberechtigte, demokratische Welt, in der Unumstößlichkeit dieser Behauptung anzweifeln. Eine Alle, selbstbestimmt und mit gleichen Rechten erneute Stärkung des nationalstaatlichen Systems als ausgestattet, Abwehrreaktion gegen die Globalisierung von Macht Diese Absicht impliziert jedoch, dass autoritär- und Unterdrückung ist allerdings mit weitblickenden patriarchale emanzipatorischen Forderungen nicht kompatibel. Dominanzverhalten und sexistische Stereotype in Dies wurde von den Zapatistas erkannt und Ausschlüsse der angestrebten Gesellschaftsordnung keinen Platz implizierende Aussagen revidiert. Angestrebt wird finden können. Dieses Faktum musste und muss jedoch nun eine strategische Gesamtheit uneinheitlicher aufgrund oftmals unbewusst tradierter und durch Widerständigkeiten, in der sich verschiedene soziale Erziehung internalisierter Rollenmuster von den 14 und politische Kräfte vereinen, eine Multitude , die VertreterInnen beider Geschlechter erst realisiert und 15 alle einschließt, welche direkt oder indirekt durch das akzeptiert werden. Dazu Comandanta Maribel: „Dass Kapital ausgebeutet werden, von ihm abhängig sind und wir Frauen ebenfalls unsere Meinung sagen, reden und sich gegen diesen Umstand formieren – „Eine Welt, in Arbeiten ausführen können(…) hat uns und unsere 16 der viele Welten Platz haben. In der alle Welten Platz Lebensgefährten [anfänglich] sehr erstaunt, weil sie uns 17 16 finden.“ zusammenleben Gesellschaftsstrukturen, können. machistisches viele Jahre nur das Gehorchen und Zuhören beigebracht EZLN, 13. Stele, Juli 2003 zit.n. Muñoz 2004: 211 Hardt, Michael/Negri, Antonio (2002 [2000]): Empire. Die Neue Weltordnung. Frankfurt a. M.: Campus Verlag, s13. Marcos 1997 in: Sieben Teile des Weltpuzzles Comandanta Ramona zit. n. Siller, Nikola (2009): Das Recht glücklich zu sein. Münster: Zwischenzeit, s19. · claudia harich die elzn 39 vienna zocalo · 39 15 solidarisch haben.“18 Ähnlich beschreiben auch andere Compañeras Geringschätzung und geschlechterspezifische Aufgabenverteilung: „Als es die Organisation noch „We were used to having two governments, that of our men and that of the state. We are now organising ourselves to learn more about our rights, educate our men and govern ourselves.“19 nicht gab, hatten wir nicht die Freiheit aus dem Haus zu gehen (…) [oder] das Recht ein Amt auszuführen. Frauen waren zwar seit den Anfängen in der EZLN Wenn wir an Versammlungen teilnahmen, machten aktiv20, sich die Männer über die Frauen lustig (…) Die Frau Gesprächspartnerinnen. arbeitete nur in der Küche und passte auf die Kinder zapatistischen Frauen bereits im Vorfeld des Aufstandes und Tiere auf.“ Aufgrund solcher Verhältnisse waren zu ihre Rechte zu erstreiten. Dazu Marcos: „The first EZLN Beginn nur sehr wenige Frauen in der EZLN tätig. Doch uprising was March, 1993 and was led by Zapatista die aktive Partizipation der Veteraninnen inspirierte women. There were no casualties, and they won.“21 Der viele Indigenas, sich aktiv und in allen Ebenen Entwurf für das ‚revolutionäre Frauengesetz‘ entstand der Organisation zu beteiligen. Der Prozentsatz an 1993 und wurde mit 1.1.1994 in die Direktiven der EZLN Comandantas sowie an ausgebildeten Kämpferinnen in aufgenommen. In Anbetracht der Tatsache, dass Frauen der EZLN beläuft sich nun auf etwa jeweils dreißig. Neben aufgrund der Gesetzeslage und gesellschaftlicher dem stereotypen Bild der fügsamen Hausfrau wurden so Konvention schrittweise auch andere Identitätsentwürfe für Frauen ausgesetzt waren, stellt es eine kleine Revolution in möglich, es kam zu gesellschaftlicher Veränderung und der Revolution dar. Neben dem Recht, sich aktiv am zu internen Umdenkprozessen. Trotzdem sich vieles revolutionären Kampf und an Entscheidungen die an der Situation der zapatistischen Frauen im Bezug Gemeinden betreffend beteiligen zu dürfen, sowie für auf Arbeitsbedingungen, Bildung, Gesundheit sowie alle dafür nötigen Ämter nominiert werden zu können, Compañera Azucena Santys zit. n. Blanc et. Al. http://www.mujereslibres.org/Articles/ zapatismofeminine.htm im Hinblick auf respektvolles Zusammenleben in den beinhaltet das Gesetz auch das Recht auf selbstbestimmte 20 Gemeinden sowie im Familienverband verbessert hat, Familienplanung und freie Partnerwahl. Weiters sind 1983 gab es nur zwei weibliche Mitglieder in einer kleinen Gruppe von insgesamt zehn Personen bleibt noch viel zu tun. das Recht auf Bildung, Gesundheitspflege, Arbeit und 21 jedoch lange noch keine gleichberechtigten Deshalb mannigfaltiger begannen die Unterdrückung Comandanta Maribel zit. n. Siller 2009: 47 19 Marcos 1994 zit. n. Rojas https://webspace.utexas.edu/hcleaver/www/begin.html · claudia harich die elzn 40 vienna zocalo · 40 adäquate Entlohnung verankert und es enthält einen 18 Passus, nach dem körperliche Gewalt an Frauen sowie im wirtschaftlichen Bereich zu sammeln versuchte oder vollzogene Vergewaltigung zu bestrafen Abhängigkeitsverhältnisse abzumildern – gleichzeitig sind. Seine Durchsetzung garantiert natürlich weder wird jedoch eingestanden, dass es bis dahin noch ein Schutz vor weiter Weg sei. Unterdrückungsmechanismen gegenüber und so Frauen noch vor eingeschliffenen patriarchalen Verhaltensmustern. „Aufgrund der Tatsache, dass sie Zapatistinnen sind, sind zapatistische Frauen nicht automatisch frei, sie müssen noch viel erstreiten und „Jegliche Organisation braucht Mut und Kraft und Bewusstsein sowie Einigkeit, um das repressive System zu verändern.“24 gewinnen“22 Zum Jahreswechsel 2007_2008 überzeugt, dass aufgrund Zwei Jahre nach Erlass des Revolutionären Frauengesetzes globaler Ausbeutung und Diskriminierung nur ein sollte dieses aufgestockt und vervollständigt werden. gemeinsamer Kampf wirkungsvoll sei, lud die EZLN Der Erweiterungsentwurf, welcher unter anderem zum ‚Ersten Treffen der zapatistischen Frauen mit den eine Regelung für den Besitz und Erwerb von Boden Frauen der Welt. Anders als bei Frauenveranstaltungen und von Krediten sowie für gerechte Besitzverteilung in Europa oftmals üblich, waren bei dem dreitägigen nach internationalen Ehescheidungen und für alleinerziehende Frauentreffen Männer nicht ausgeschlossen, sondern explizit eingeladen, „da der teilweise umgesetzt, er wurde jedoch nie offiziell Feind auch keine Unterschiede macht und Frauen, anerkannt. Von Seiten der EZLN-Führung wird zwar Männer und Kinder gleichermaßen bedroht“25. beteuert, dass eine wirtschaftliche Unabhängigkeit Zapatistische Frauen betonen ihre Verbundenheit mit von zapatistischen Frauen erstrebenswert ist, da „die allen Frauen der Welt und dass sie nicht gegen, sondern Befreiung beziehungsweise die Emanzipation der Frau mit den Männern kämpfen wollen. Dafür verlangen nicht von ihren materiellen Bedingungen zu trennen sie allerdings rechtliche und soziale Gleichstellung 23 ist“ – es gibt beispielsweise von Frauen gegründete und sowohl mit reichen und nicht-indigenen Frauen, als geleitete Kooperativen für Frauen, die es ermöglichen auch mit allen Männern. Dazu Comandanta Esther: eigenes „Deshalb sagen wir ganz klar, dass wenn wir Respekt Einkommen zu verdienen, Erfahrungen 22 Rede zapatistischer Frauen während einer Demonstration in San Cristóbal (internat. Frauentag 1996) zit. n. Muñoz 2004: 105 23 Marcos zit. n. Muñoz 2004: 255 24 Comandanta Giselda zit. n. Siller 2009: 101 25 Durita zit. n. Siller 2009: 27 · claudia harich die elzn 41 vienna zocalo · 41 Mütter beinhaltet, wird in den Gemeinden zwar für die Frauen verlangen, wir das nicht nur von den im Kampf der EZLN eine fundamentale Rolle, weshalb Neoliberalen fordern, sondern dass wir auch jene dazu sie konsequenterweise politischen und militärischen zwingen werden, (…) [die mit uns] kämpfen und sich als Aufgabenfeldern gleichgestellt ist27. Revolutionäre bezeichnen.“26 Damit sich die nächste Generation diesen Respekt Ohne die engagierte Mitarbeit der Frauen wäre der bereits von klein auf aneignet, werden in der Erziehung zapatistische Kampf in dieser Form nie möglich gewesen; neben Gebräuchen und Traditionen auch Achtung vor sie haben definitiv eine Schlüsselrolle inne, ohne die, die Frauen, vor anderen Kulturen und vor divergenten Bewegung nicht zur jetzigen Ausprägung gelangen hätte Handlungsweisen weitergegeben – den Kindern wird können. In Wechselwirkung dazu hätten die Frauen ohne von Anfang an gelehrt, Diversität freier Subjektivierung die, von ihnen erstrittene gesellschaftliche Modifikation hegemonialer und einer damit einhergehenden veränderten Haltung Homogenität vorzuziehen. Hierzu Compañera Esmeralda: „Als Mamas lehren wir sie, der Männer diese nur schwer mitgestalten können. dass die Jungen und Mädchen die gleichen Rechte Die Zapatistinnen bestanden trotz initialer Widerstände haben. Dass sie gleichermaßen dazu in der Lage sind, aus den männerdominierten Reihen zivile, politische und militärische Aufgaben (…) zu auf Selbstbestimmung, Mitsprache und Respekt. Von übernehmen. Wir (…)zeigen [ihnen], dass wir kämpfen Beginn an koppelten sie die allgemeine Forderung nach können, anleiten können, organisieren können.“ Durch Gleichheit und Gerechtigkeit an ihre emanzipatorischen die ‚andere Erziehung‘ werden kollektive Organisation, Ansprüche Frauenangelegenheiten betreffend, was vorurteilsfreie Zusammenarbeit und Vorstellungen zu einer Redefinition von Demokratie im alltäglichen von Autonomie wie auch Taktiken des Widerstands Bereich führte. Durch fortgesetztes insistieren auf ihre weitergegeben, zudem beinhaltet sie Schulbildung für Rechte konnten sie die augenscheinliche Kontradiktion Alle, ungeachtet ihres Geschlechts oder ihrer sozialen von gesamtgesellschaftlicher Befreiung und einer Stellung in der Gemeinde. Die Reproduktionsarbeit, patriarchalen Hegemonie kommunizieren, was das Vgl. hierzu Europa, wo schlechte Reputation von Reproduktionsarbeit einer freudvollen, produktiven Erziehung im Wege steht. welche in zapatistischen Zusammenhängen immer Postulat nach uneingeschränkter Gleichstellung der 28 noch fast gänzlich weiblich konnotiert ist, spielt also Frau evident macht und bestätigt, dass es keine soziale auf ihr Recht Comandanta Esther zit n. Siller 2009: 115 27 Marcos: Erste Erklärung von La Realidad. Erste Erklärung von La Realidad, 1996 · claudia harich die elzn 42 vienna zocalo · 42 26 · Brand, Ulrich (2006): Die Linke und der Staat. Was hat es mit dem »Linksruck« in Lateinamerika auf sich? In: http:// phase2.nadir.org/ Revolution geben kann, solange Diskriminierung in irgendeiner Form bestehen bleibt. · „Es ist nicht notwendig, die Welt zu erobern. Es Blanc, Nicole / Esteva, Gustavo / Ramírez Beatriz (o.J.): Zapatismo: a feminine movement. In: http://www. reicht, sie neu zu schaffen. Durch uns. Heute.“28 mujereslibres.org/Articles/zapatismofeminine.htm Denn die Welten gehören uns! – Reclaim your lives · Deleuze, Gilles (1990): Postskriptum über die Kontrollgeselschaften. In: L’autre journal Nr, 1, Mai 1990. In: http://www.nadir.org/nadir/archiv/netzkritik/postskriptum. html guarill@s! · Deleuze, Gilles/Guattari, Félix (1997 [1980]): Tausend Plateaus. Kapitalismus und Schizophrenie. Berlin: Merve Verlag. Ungekürzten Text und weiterführende Literatur siehe: http://viennazocalo.blogspot.com · Foucault, Michel (2006 [1967]): Von anderen Räumen. In: Dünne, Jörg/Günzel, Stephan (HG.): Raumtheorie. Grundlagentexte aus Philosophie und Kulturwissenschaften. Frankfurt am Main: Suhrcamp Verlag, s317-329. · Foucault, Michel. (1994 [1975]): Überwachen und Strafen. Frankfurt am Main: Suhrkamp. References · Arnold, Sina (2006): EZLN - Die widersprüchliche lakandonische Diskursguerrilla. In: http://phase2.nadir.org/ rechts.php?artikel=399&print=#o13 · 28 Marcos: Erste Erklärung von La Realidad. Erste Erklärung von La Realidad, 1996 Bey; Hakim (1991): T.A.Z. – Die temporäre autonome Zone. Berlin-Amsterdam: ID-Archiv. In: http://www.rebelart.net/ source/taz.pdf republicart.net/disc/publicum/hamm04_de.pdf · Hardt, Michael/Negri, Antonio (2002 [2000]): Empire. Die Neue Weltordnung. Frankfurt am Main: Campus Verlag. In: http://www.angelfire.com/cantina/negri/HAREMI_ unprintable.pdf · claudia harich die elzn 43 vienna zocalo · 43 · Hamm, Marion (2005): Indymedya. Zur Verkettung von physikalischen und virtuellen Öffentlichkeiten. In: Raunig, Gerald/Wuggenig, Ulf (Hg.): Publicum. Theorien der Öffentlichkeit. Wien: Turia+Kant, s176-187. In: http://www. · Harich, Claudia (2009): Autonome Räume selbstbestimmter kultureller und gesellschaftlicher Produktion. Diplomarbeit. Wien: Akademie der Bildenden Künste · Holloway, John (2004 [2002]): Die Welt verändern ohne http://eipcp.net/transversal/0607/kastner/de/print · Kropotkin, Pjotr Alexejewitsch (1886): Der Anarchismus Philosophie und Ideale. In: http://www.anarchismus.at · Mühsam, Erich (1988 [1932]): Befreiung der Gesellschaft vom Staat. Berlin: Karin Kramer Verlag, 5. Auflage. In: http:// die Macht zu übernehmen. Münster: Verlag Westfälisches Dampfboot. www.anarchismus.at/txt4/muehsam16.htm · Muñoz Ramírez, Gloria (2004): „20+10 Das Feuer und das Wort“. Münster: Unrast Verlag Holloway, John (2004): Die Welt verändern, ohne die Macht zu übernehmen. Transkription eines Videos von OIiver Ressler. Wien. In: http://www.republicart.net/disc/aeas/ holloway01_de.pdf · Huffschmid, Anne (2010): Mexiko – das Land und die Freiheit. Zürich: Rotpunktverlag · Kastner, Jens (2006): Wille zur Freiheit. Autonomie in der entwicklungspolitischen Diskussion in: iz3w, Nr. 294, Freiburg: 2006, s16-19. In: http://www.jenspetzkastner.de/ fileadmin/user_upload/PDF/Artikel/Autonomie__iz3w___1_. pdf · Kastner, Jens (2007a): …sich durch Fragenstellen nicht selbst hypnotisieren. Instituierung lokalisieren, Autonomie entwerfen. In: http://eipcp.net/transversal/0707/kastner/de/ print · Kastner, Jens (2007b): Alles für alle! Kulturelle Differenz, soziale Gleichheit und die Politik der Zapatistas. Wien. In: · Nash, June (2003): The Was oft he Peace. In: WickhamCrowley, Timothy P. (2003): What Justice? Whose Justice? Fighting for Fairness in Latin America. In: http://www. ucpress.edu/ebook.php?isbn=9780520936980 · Rendón, Patricia (2006): Frauenquote im Kontext von Gewalt und patriarchaler Kultur. In: http://phase2.nadir.org/ Subcomandante Marcos (1994): The First Uprising: In March of 1993. In: Rojas, Rosa (1994): Chiapas, And the Women? In: https://webspace.utexas.edu/hcleaver/www/ bookfirstrev.html · Subcomandante Marcos (1996): Erste Erklärung von La Realidad. Gegen den Neoliberalismus und für die Menschheit. In: http://www.sterneck.net/politik/marcos-realidad/index. php · Subcomandante Marcos (1997): Sieben Teile des Weltpuzzles. In: http://www.sterneck.net/politik/marcos-puzzle/index. php · Subcomandante Marcos (2003): Gegen die Globalisierung des Todes. In: http://www.sterneck.net/politik/marcosglobalisierung/index.php · Rojas, Rosa (1994): Chiapas, And the Women? Originally published by Editiones La Correa Feminista, Centro de Investigacion y Capacitacion de la Mujer A.C. Mexico 1994. In: https://webspace.utexas.edu/hcleaver/www/begin.html · Ressler, Oliver/Waibel, Tom (2006): Die gute Regierung der Zapatistas. Mit Beiträgen von Subcommandante Marcos, Commandanta Ester, Commandante Tacho, Commandante Moises, Coni Aguilar Suarez. Transkription eines Videos. Chiapas: 2006 . In: http://eipcp.net/transversal/0805/ resslerwaibel/de/print Weblinks: http://www.mexiko-lexikon.de http://www.ezln.org.mx/index.html www.chiapas98.de www.chiapas.ch www.chiapas.at http://revistarebeldia.org/ vienna zocalo · 44 · Kastner, Jens (2007): Transnationale Guerilla. Aktivismus, Kunst und die kommende Gemeinschaft. Münster: Unrast Verlag · · · Siller, Nikola (2009): Das Recht glücklich zu sein. Der Kampf der zapatistischen Frauen in Chiapas/Mexiko. Münster: Zwischenzeit. · claudia harich die elzn 44 to legitimate or criticize the classical tradition.1 The figure of the ‘primitive’ functioned analogically in the humanities: Michel de Montaigne evoked already in 1580 the cannibal to criticize European civilization as the true barbarity.2 Aino Korvensyrjä Primitivist Productions - Cannibals on the Assembly Line, Avant-garde Amazons at Knitting Machines In the arts primitivism was propelled by a desire to revitalize the fine-arts tradition by incorporating ‘outside’ elements on the periphery, the wild and the untamed. An exemplary formulation of this is to be found in Friedrich Schiller’s idea of rejuvenation 1 through deliberate regression in the essay On the Aesthetic Education of Man (1793-95). Connelly describes the cannibalization of the ‘outside’ According to Francis Connelly the ‘primitive’ as a category of artistic or cultural artefacts consisted essentially in the following attributes: grotesque, ornament, caricature, hieroglyph and the idol. See: Connelly, Frances O.:The Sleep of Reason. Primitivism in Modern European Art and Aesthetics, 1725-1907, University Park: Pennsylvania State University Press, 1999, 6. as a cultural expansion to which the development The artistic avant-gardes of the early 20th century of modern Western art is intimately linked: In the are closely linked to the ‘discovery’ and appropriation progression of primitivism from the late eighteenth to of ‘primitive’ forms of representation. Picasso was the early twentieth century, the boundaries of modern Montaigne, Michel de: 'On Cannibals’ (orig. 'Des Cannibales’, 1580). however not a pioneer to be influenced by the colonial European culture were steadily extended as the voracious 3 ‘discoveries’. According to Francis Connelly behind him modern culture incorporated one ‘primitive’ style after is to be found a whole tradition of primitivism, situated another starting with its own historical ‘primitives’ inside the classical fine-arts tradition itself. The category and contemporary folk ‘primitives’ and moving on to of ‘primitive art’ was in fact well established in the 18th more exotic ‘others’ of the Japanese, Oceanic, and the century Western academia. In the arts it served either African. 3 2 Connelly refers here to Yuri Lotman’s and Boris Uspenski’s ‘Theses on the Semiotic Study of Cultures (as applied to Slavic Texts)’ in which the authors describe the active role of the outer, unorganized sphere as a culturegenerating source that contrasts the regulated, culturally dead inner space. It serves as the germ of future culture as the notyet-assimilated. See Connelly, 34-35. · Aino Korvensyrjä primitivist productions 45 vienna zocalo · 45 What Is Primitivism? An interest in the ‘primitive’ or folk traditions emerged For Andrade cannibalism was a general mechanism however also elsewhere than in the centers of European of cultural production, 'the only law in the world'6 or Angloamerican modernity. There a reading of cultural that questioned individual authorship and originality. colonialism and cannibalization of the weaker by the Ressembling Dadaist and Surrealist texts the manifesto more powerful one on the one side or of a blind escapism4 was itself an assemblage of various Western and on the other side, gets obviously too simple. In the Brazilian sources such as Freud, Nietzsche, Montaigne following I will briefly introduce three variants of neo- and Tupi poetry. Andrade's textual production connected primitivism which could complicate our understanding hence directly to the novel possibilities of mechanical of primitivism. The first one is a subversive textual reproduction and dissemination via mass media of production in Brazil, two latter ones are radical modes cultural artefacts. As much as a means of resisting the of textile production in the early twentieth century old (hegemony), antropofagy was indeed a tactics for Russia. tackling with the new (hegemony). The 1920s were a period of intense growth in the rapidly modernizing The Barbarian on the Assembly Line: Andrade 5 metropolis of São Paulo, Andrade's hometown. Newspapers, books, radio, telegraphy, photography and and writer Oswald de Andrade proposed cannibalism as a film brought the 'elsewhere' to the natives. From now on way of dealing with a post-colonial situation of Western the power of hegemonic regimes would be closely bound cultural hegemony in his native Brazil. His 'Manifesto to the mass media. As this could not be refused, Andrade antropofago', a key text of Brazilian modernism called proposed to gobble it up and use it as nourishment. 4 pity of the European heritage. The modernist movement The program of antropofagy allied to a broader call in Primitivism was (and is) more often than not also fueled by a wish to escape the responsibilities of reason and to allow for the imagination, emotion, the passions and the spiritual to appear. grouped around Andrade took up the idea of cannibalism the 1920s to abolish divisions between high and low 5 as a strategy of resistance which could incorporate the culture, elite art and popular forms, the foreign and competence of the opponent. the native. Various avant-gardes on both sides of the for a 'wild justice', an appropriation without respect and Atlantic demanded that modern literature and art find Andrade, Oswald de: 'Cannibalist Manifesto’ (orig. 'Manifesto antropofago’, 1928), annotated translation by Leslie Bary, 39. 6 Ibid. · Aino Korvensyrjä primitivist productions 46 vienna zocalo · 46 'Tupi or not tupi, that is the question.' In 1928 the poet ways to incorporate the new mechanical, travelling signs the 'technological barbarian' of Herman Keyserling.10 – textual, visual and auditory – produced by cameras, typewriters and phonographs, and disseminated by However Andrade belongs to the eurocentric tradition the mass media. This was to be done not only in terms of primitivist cultural production at least in one regard. of subject matter but also of of technique. In Latin Andrade did stress the autonomous importance of America the demands were directed both against a class the 'primitive' for the civilized man's idea of himself: domination in form of exclusive High Art and against ‘Without us, Europe wouldn‘t even have its meager colonial forms of cultural domination. declaration of the rights of man.' Yet he often just seems to invert the relations between the 'primitive' and the Ruben Gallo describes how the dominant literary 'civilized'. Benedeto Nunes and Ruda Andrade claim that tradition in Latin America tried until the 1920s to when Andrade called, in order to counter the cultural preserve the arts from contamination by elements of conservatives, for a return to a cannibalist matriarchy, 'vulgar' mechanization. Traditionalists like the Mexican he took the idea of the 'primitive' life directly from novelist Mariano Azuela shunned the urban mass culture Montaigne. Montaigne's critique of European absolutism Gallo, Ruben: Mexican Modernity. The Avantgarde and the Technological Revolution. Cambridge, Mass. &London: The MIT Press, 2005, 76. Gallo notes that the typewriter as machine and female typewriters were the symbol of this lowly world of commerce. as crude and 'feminized' and defended a male connoted had inverted the places of the 'primitives' of the New 8 Gallo, 92. profession of quality literature. On the contrary Manuel World and the 'civilized' Europeans, Andrade similarly 9 Gallo, 94. Maples Arce called for a 'literature of typewriter and idealized a matriarchal past as a counterposition to classified ads' in his Manifesto Estridentista in 1921.8 Western (partriarchal) civilization and conferred the The Brazilian writer Mario de Andrade produced just savages 'a revolutionary and utopic scope charged with that by treating words like 'industrial objects on an poetic and mythical values'.11 7 'Máquina de escrever' (1922) and incorporating various foreign materials Ukrainian Peasant-Futurists from newspapers and magazines to his writing. In this In preindustrial Russia (and/or Ukraine) several artistic context Oswald de Andrade's cannibal can be understood avant-gardes turned to the domestic folk traditions. as no original Tupi but rather as a tropical mutation of Kasimir Malevich and his followers ‘went native’ to 10 For Keyserling, whom the manifesto cites by name and whose visit to São Paolo in 1929 was welcomed by the Revista de antropofagia, a soulless technical barbarism was the sign of the modern world. In Andradeís inverted utopia primitive man was to enjoy the fruits of modernization. 11 Andrade, Ruda, 'Devoured History’ in Moore, Elke aus dem& Giorgio Ronna (eds.), Entre Pindorama. Zeitgenössische brasilianische Kunst und die Antropofagia, Künstlerhaus Stuttgart, 2005, 56. · Aino Korvensyrjä primitivist productions 47 vienna zocalo · 47 assembly line'9 in his poem 7 study folk traditions in the villages. The Suprematist Verbovka near Kiev. Together they founded the artisan formal language as well as the use of colour got deeply cooperative Verbovka Village Folk Centre. Its aim was to influenced by folk art. The artist group around Nathalia merge the arts and support the development of folk art Gontcharova and Mikhail Larionov took its name from by letting it feed on new sources. For the avant-garde Alexandr Shevchenko’s book Neo-primitivizm (1913), which it meant to get involved in the artesanal production of proposed a new style of modern painting fusing elements everyday goods. In 1915 Nina Genke-Meller became the of Cézanne, Cubism and Futurism with traditional chief artist of the Verbovka Village Folk Centre. Between Russian folk art conventions and motifs, like the lubok 1915 and 1916 the co-operative produced embroideries print, embroideries, distaffs and icon painting. and carpets based on Suprematist designs. Suprematists One of the artists of the Russian avant-garde who went such as Kazimir Malevich, Nadezhda Udaltsova, Liubov beyond merely appropriating folk art forms into artworks Popova, Olga Rozanova, Ivan Puni, Ksenia Boguslavskaya was Alexandra Exter. Firstly, she sought to introduce and Ivan Kliun worked with the village artisans.13 folk artists themselves into the fold of the avant-garde. In 1915, Davidova, Exter and Genke-Meller organized the was Hanna Sobachko-Shostak. Exter wrote on Sobachko- Exhibition of Modern Decorative Art of the South of Russia in the Shostak’s work as geometric composition comparing Moscow Gallery Lemercier 40. They exhibited works by it to abstract art.12 She also organized exhibitions of the artisan women in Verbovka and Skoptsi, as well as Sobachko-Shostak’s work. carpets, pillows, shawls and belts that they had produced in accordance with designs of Popova, Malevich, Davidova, Exter also sought to revitalize traditional cultural forms Genke-Meller, Ekster, Puni, Kliun, Pribilskaya, Yakulov, by introducing avant-garde innovations into artisan co- Rozanova, Vasilieva, Boguslavskaya and others. In 1917 operatives. With two other women artists, E.I. Pribilska Davidova and Genke organized the Second Exhibition and Natalia Davidova, she facilitated joint projects of Modern Decorative Art with the Verbovka Group in between avant-garde artists and the folk artists, the so Moscow in the Mikhailova Saloon followed by yet other called Peasant-Futurists, from the villages of Skoptsi and exhibitions showcasing suprematist handicrafts. 14 13 See the short introduction to Exter’s, Davidova’s and Genke-Meller’s work with the peasant artisans by Jo-Anne Birnie Danzker to Avantgarde & Ukraine, Braunschweig: Klinkhardt & Biermann, 1993. Birnie Danzker’s understanding of their activities is very different from the conservative reading which John Bowlt makes in his introductory catalogue essay to the Amazonen der Avantgarde. Bowlt describes Davidova’s and her peers interest in reanimating popular arts and crafts as a neo-nationalist, neo-Russian conservative style brought about mostly by women against the older Realist literary tendency. Bowlt, John E.(ed): Amazonen der Avantgarde: Alexandra Exter, Natalja Gontscharowa, Ljubow Popowa, Olga Rosanowa, Warwara Stepanowa und Nadeschda Udalozowa, Berlin: Deutsche Guggenheim , 1999, 27. 14 Douglas, Charlotte: ‘Sechs (und einige weitere) Frauen der Russischen Avantgarde’ in Bowlt, 1999, 48-49. · Aino Korvensyrjä primitivist productions 48 vienna zocalo · 48 One of the so-called Peasant-Futurists whom she admired 12 Exter, Alexandra: ‘Eine Ausstellung decorativer Zeichnungen von Jelena N. Pribylskaja und Ganna Sobatschko. (1918, Auszug)’ in Bowlt, John E.(ed): Amazonen der Avantgarde: Alexandra Exter, Natalja Gontscharowa, Ljubow Popowa, Olga Rosanowa, Warwara Stepanowa und Nadeschda Udalozowa (on the Occasion of the exhibition Amazonen der Avantgarde, Deutsche Guggenheim, Berlin 10 July - 17 October 1999), Berlin: Deutsche Guggenheim , 1999, 299-300. Productivism: Popova and Stepanova 1924. They designed striking geometric textile patterns Verbovka can be seen as a predecessor of the later that suited the industrial printing methods as well as efforts of the leading Constructivist artists Ljubov comfortable clothing for ease of movement of workers. Popova and Varvara Stepanova to involve workers and The employment of Popova and Stepanova at the peasants in the realisation of their designs.15 Within industrial site was taken as a triumph for the Productivist the Constructivist programme as it emerged from the cause. Their textiles were regarded as a prime example debates on post-revolutionary art at INKhUK (Institute of an industrial art incorporated in the very fabric of the of Artistic Culture in Moscow) in 1921, in which Popova life of the masses. Osip Brik’s evaluation of 'production and Stepanova closely participated, the ‘constructor’ of the textile print as the peak of artistic labour’ as ‚the would replace the traditional artist. The individualism of only true path for productivist’ demonstrate however the non-objective paintings and sculptural experiments according to Margareta Tupitsyn also the weakness of of the preceding decade was to be abandoned to enter the productivist position.18 In the hostile environment instead directly into Soviet industrial production. of the NEP economic policy, Popova’s and Stepanova’s Artists were to use their technical expertise in form textile designs remained almost the only successful and material to produce useful objects for the new practical realizations of the productivist call. In other socialist collective and to participate in the design of the branches the practical experiments were few.19 socialist everyday.16 This anti-art programme denounced Theoretised between 1921-23 at the INKhUK, Productivism objects. Popova and Stepanova moved with their peers as presented by Boris Arvatov and Brik was practically into typographic design including posters, textiles and a radicalization of Constructivism. However it was not fashion designs, to the design of furniture, theater sets clear how exactly the artists were to co-operate with and costumes and mass events in public space.17 the workers in the factory. The NEP’s reintroduction True to the Productivist slogan ‘from construction to of free market elements, incentives for consumption production’ Stepanova and Popova went to work at and disciplinary measures to increase production, did the First State Cotton-printing factory in Moscow in not exactly establish a favourable climate to set up 16 Kiaer, Christina: ‚His and Her Constructivism’ in Tupitsyn 2009, 144. 17 Stepanova also wrote a kind of neoprimitivist, non-objective poetry aiming at ‘primordial sounds from the early phase of the civilization’, Bowlt 1999, 33. All in all my focus on textiles in this text hardly does justice to the multifaceted activities of Stepanova and Popova. 18 Tupitsyn in Tupitsyn 2009, 24. 19 Karl Ioganson managed to enter the Prokatchik rolling Mill in Moscow 1923-26 as a 'consultant’ improving technical processes of metal finishing. See Roberts, John: 'Productivism and Its Contradictions. A Short History of Productivism’, Third Text, Vol. 23, Issue 5, 2009, 527 – 536. · Aino Korvensyrjä primitivist productions 49 vienna zocalo · 49 contemplative concerns and the fetishising of aesthetic 15 Tupitsyn, Margarita, ‘Being-in-Production: The Constructivist Code’ in Tupitsyn, Margareta, Rodcenko & Popova: Defining Constructivism, London: Tate Publishing, 2009, 24. "experimental laboratories“ or discussion groups for the only Constructivists to see their designs for everyday, worker emancipation in the factories. The other problem utilitarian things distributed as mass-produced goods in was that entering factories the artist-intellectual risked the Soviet economy. But somewhat paradoxically the becoming a tool of the NEP measures for worker coercion, move to the textile factory took Popova and Stepanova efficiency and productivity increasement measures as ‘backwards’ to an area associated with bourgeois 20 well as for promoting bourgeois consumption. consumerism and feminity: fashion. Popova for example was well aware of the compromise to fashion the NEP During the first year Stepanova worked at the First State policy was demanding of her. Indeed, concurrently Cotton-printing factory in Moscow she designed more with her textile-design work, she also drew dozens of than 150 different fabrics. About two dozen were put into fashionable Western style women’s clothing designs. production. However, Stepanova and Popova did not limit However besides this ‚NEP compromise’ she designed themselves with pattern designs. They wanted to engage prozodezhda ('production clothes’) of a totally different themselves in the whole process of production: They type. They were of a reduced style containing only wanted to contribute to the improvement the printing the simplest geometric forms, were easily modifiable, processes and the weaving and dying of the fabric. They androgynous and practical. These latter type of clothing attempted to define their role as Productivist artist- can be seen aligned to the Constructivist agenda of engineers, demanding of the administration that they be geometrizising everyday life and people’s movements.22 in the laboratories (this was never actually granted). Christina Kiaer notes that the everyday of the They also demanded to contact tailors, fashion ateliers Constructivist was strongly feminine: Besides the and magazines and work on promoting the products of Popova’s and Stepanova’s textile patterns Tatlin designed the factory in the press, advertising and magazines as kitchen stoves and household items, Rodchenko posters 21 well as develop designs for window displays.21 for cookies and sweets.23 With the Productivist move the avant-garde was “domesticated”, brought home to 22 For discussion of Popova’s dress designs see Ibid., 150-155. be experienced by everyone. This can be seen a radical 23 Popova and Stepanova, not their male comrades, were 20 Roberts 2009. Regardless of these dilemmas introduced by the NEP, Roberts sees it as the galvanizing force behind the practical development of Productivism. Kiaer in Tupitsyn 2009, 150-151. Ibid. 146. · Aino Korvensyrjä primitivist productions 50 vienna zocalo · 50 involved in production decisions and be allowed to work form of “going native” on the side of reception or consumption, as was the move to the factory on the side of production. Moreover, the feminity of the everyday was as such not a problem for the progressive-egalitarian Constructivists, the problem were the dilemmas of consumer culture with which the domestic everyday was associated. However Popova and Stepanova also sought to genuinely critique and transform this everyday with their practical, androgynous prozodezhda (‚production clothes’) defined by straight lines and sharp angles and by their geometrical, simple fabric designs. Popova stated that 'not a single artistic success gave me such profound satisfaction as the sight of a peasant woman buying a piece of my fabric for a dress’24. Despite of all the contradictions in intervening in the fields of production and consumption of everyday industrial vienna zocalo · 51 goods at times of the NEP, it can be said that Stepanova’s and Popova’s solidarity with the ‘primitive’ went far beyond an attempt to revitalize art by integrating elements of ‘vulgar’ mechanized everyday culture into the realm of the aesthetic. When understood as a primitivism radicalized, their version of Productivism can be described as having sought to transform both fields, that of the ‘primitive’ and that of the ‘civilized’. 24 Tupitsyn 2009, 24. · Aino Korvensyrjä primitivist productions 51 Sources · Andrade, Oswald de: ‚Cannibalist Manifesto’ (orig. 'Manifesto antropofago’, 1928), annotated translation by Leslie Bary. · Andrade, Ruda, 'Devoured History’ in Moore, Elke aus dem& Giorgio Ronna, 2005. · Birnie Danzker, Jo-Anne (ed.): Avantgarde & Ukraine (on the occasion of the exhibition Die Avantgarde und Ukraine, Villa Stück München, 1993), Braunschweig: Klinkhardt & Biermann, 1993. · Bowlt, John E.(ed): Amazonen der Avantgarde: Alexandra Exter, Natalja Gontscharowa, Ljubow Popowa, Olga Rosanowa, Warwara Stepanowa und Nadeschda Udalozowa (on the Occasion of the exhibition Amazonen der Avantgarde, Deutsche Guggenheim, Berlin 10 July - 17 October 1999), Berlin: Deutsche Guggenheim , 1999. · Kiaer, Christina: 'His and Her Constructivism’ in Tupitsyn 2009, 143-159. · Montaigne, Michel de: 'On Cannibals’, (orig. ‚Des Cannibales’, 1580). · Moore, Elke aus dem& Giorgio Ronna (eds.), Entre Pindorama. Zeitgenössische brasilianische Kunst und die Antropofagia, Künstlerhaus Stuttgart, 2005. · Roberts, John: 'Productivism and Its Contradictions. A Short History of Productivism’, Third Text, Vol. 23, Issue 5, 2009, 527 – 536. · Tupitsyn, Margareta, Rodcenko & Popova: Defining Constructivism (on the occasion of the exhibition Rodchenko & Popova - Defining Constructivism, Tate Modern, London, 12 February - 17 May 2009), London: Tate Publishing, 2009. · Tupitsyn, Margarita, ‘Being-in-Production: The Constructivist Code’ in Tupitsyn, 2009, 13-30. · Connelly, Frances O., The Sleep of Reason. Primitivism in Modern European Art and Aesthetics, 1725-1907, University Park: Pennsylvania State University Press, 1999. vienna zocalo · 52 · Douglas, Charlotte: ‘Sechs (und einige weitere) Frauen der Russischen Avantgarde’ in Bowlt, 1999, 39-58. · Exter, Alexandra: ‘Eine Ausstellung decorativer Zeichnungen von Jelena N. Pribylskaja und Ganna Sobatschko. (1918, Auszug)’ in Bowlt, 1999, 299-300. · Gallo, Ruben: Mexican Modernity. The Avant-garde and the Technological Revolution. Cambridge, Mass. &London: The MIT Press, 2005. · Aino Korvensyrjä primitivist productions 52 Katharina Luksch Regarding the Script of Others: On interpreting the Codex Vindobonensis Mexicanus I able to discern any thing relative to the return of the four hieroglyphics, which distinguish the years … we see nothing periodical; and, what is above all very striking, the dates … are arranged in such a manner as to have no relation to the order in which they follow each other in the Mexican calendar. (Humboldt 1814: Plates XLVI-XLVIII) By then, Humboldt, who had been travelling the Americas from 1799 to 1804 and spent the following years in Paris tirelessly writing up and publishing his accounts, was already one of the most famous men in Europe, a celebrated naturalist and acclaimed expert I on matters of the New World – a reputation that has way to Vienna, where he examined a pre-Columbian since hardly diminished on either side of the Atlantic.1 Mexican manuscript kept in the Imperial Library. ‘Of all The book he was apparently working on when visiting the Mexican manuscripts, which exist in the different the Austrian capital is called Vues des Cordillères et libraries of Europe’, he writes, ‘that of Vienna is the Monuments des Indigènes de l’Amérique: a compilation oldest known … [It] is very remarkable, on account of of illustration plates and essays concerning picturesque its beautiful preservation, and the great vividness of views of nature, indigenous traditions, and several the colours, which distinguish the allegorical figures.’ works of art, amongst which he discusses eight He then goes on to describe the manuscript, its material ‘hieroglyphic paintings’ stored in European Libraries. So and some of the figures depicted, but admits that he before turning to the Codex Vindobonensis Mexicanus, somehow does not quite know what to make of it: he had already gained profound knowledge of the Aztec calendar system and various aspects of pre-conquest Though the number of the pages is equal to the number of years contained in a Mexican cycle, I have not been cultures. We may therefore assume that his word was of some weight when he concluded: 1 Expressions of admiration for Humboldt’s contributions to the sciences range from praise by contemporary celebrities such as Charles Darwin and Simón Bolívar to an extensive list of species, geographical features, places and academic institutions named after him. Pratt (1992) argues that his writings indeed provided fundamental founding visions for the “reinvention” of America entailed by the end of Spanish colonial rule to European elites as well as those of Spanish America (pp. 109 – 140). · katharina luksch regarding the script of others 53 vienna zocalo · 53 In 1811, Alexander von Humboldt made his On casting our eyes over this shapeless writing of the Mexicans, it is self-evident, that the sciences would gain but little, if we should ever be enabled to decipher what a people, that had made so little progress in civilization, has recorded in these books. (ibid.) pre-conquest civilizations) the dawn of mankind itself. It thus becomes clear (or so it seems from a distance of two hundred years) that these few paragraphs dedicated to the Viennese Codex tell us at least as much about European scientific discourse at the beginning of the It would be too facile to consider this simply a frustrated nineteenth century as about their actual subject, a reaction to a failed attempt at translation. Indeed, Mexican manuscript. My aim here is not, however, to Humboldt immediately adds that despite the obvious dismiss or devalue the Humboldtian view from a more lack of ‘truths of much importance’ in both Mexican and recent perspective. Rather, I want to suggest that the ancient Egyptian texts (a frequently drawn comparison) different “readings” of the Codex over the course of the they are worth being studied because centuries of its exile in Europe, if not successful in their aim of actually translating it, have instead supplied it with a number of new “meanings” that express ideological changes in the attempts to approximate the Other. II Turning one’s attention to the Codex Mexicanus raises a whole set of questions, the first probably being: what, actually, is it? The first Western 2 Humboldt’s argument here is in perfect accordance with account it (presumably ) appears in is the list of Cortés’ the prevalent diffusionist ideology of his time, taking for presents to Queen Juana and King Charles accompanying granted not only European cultural superiority but also the first shipload of loot sent from New Spain of a linear model of historical development that enables 1519 which numbers among its treasures ‘two books him to see in indigenous peoples (or what remains of 3 [of the kind] the Indians have’ . However, Gruzinski 2 Since this Codex’s existence in Europe is documented before 1521 and the second shipment arrived only in 1522, it is assumed to be one of those Cortés’ list refers to. (cf. Lehmann & Smital 1929, pp. 8-9) 3 ‘mas dos libros delos que aca tienen los yndios’ (cited in Nowotny 1960, p. 24) · katharina luksch regarding the script of others 54 vienna zocalo · 54 [t]he knowledge of these characters is intimately connected with the mythology, the manners, and the individual genius of nations; it throws light on the history of the ancient migrations of our species; and is highly interesting to the philosopher, presenting him, in the uniform progress of the language of signs in parts of the Earth the most remote from each other, an image of the first unfolding of the faculties of man. (ibid.) (1992, p. 13) remarks that ‘… historians refer to them perhaps even hung on walls, and could be read in as codices, but sixteenth-century Spaniards rightly various ways – “reading” here meaning that they most called them “paintings”.’ This distinction between likely were used as a mnemonic system for reciting texts books and paintings is of considerable importance, of a principally oral tradition (Gruzinski 1992, pp. 14-15; because it emphasizes the frame of reference employed. König 1997, pp. 99-100). Identifying an object as a book implies a fundamental Such Eurocentric notions of a clear distinction between similarity to European books: it is written; it can be read; writing and painting, language-based writing, and the it can be translated. Calling it a painting is something practice of reading inevitably limit the possibilities entirely different, since paintings are being looked at, for cross-cultural understanding. Mixtec codices like interpreted, or talked about, but certainly not read in the Viennese one in particular, with their amalgam of the same way as written text. Therefore the question pictographs, ideographs, and phonetic signs of varying 4 arises whether one can speak of Mexican writing (or, degrees of abstraction (cf. König 1997, p. 100), would for that matter, manuscripts) at all: Todorov (1985), for frequently escape comparison to other non-European example, argues that their highly stylized drawings and writing systems, such as Egyptian hieroglyphs or Chinese pictographs record experience, not language, and that script. the absence of language-based writing in pre-conquest At any rate, the fact that these screenfolds were to the Spaniards, which he ultimately holds responsible named codices in spite of the ongoing confusion as to for their defeat. whether or not their authors may be considered literate5 Also, the picture manuscripts that have become known indicates that the inhabitants of the New World had as codices (a term usually referring to the format of to be perceived as intellectual beings (as opposed to bound books, as opposed to the ancient Greek and “savages”), however underdeveloped in their forms Roman scrolls, and thus closely related to the rise of of expression. Of all the Mexican objects brought to Christianity) are actually long strips of material folded Europe, the pictorial manuscripts received particular like a harmonica, that would be completely unfolded, attention, given that books and writing were (and still 4 The Codex Vindobonensis Mexicanus I specifically is now agreed to be a Mixtec document; however, since the sources quoted here do not necessarily specify or refer to pre-conquest cultures on a more general level, I am using the more common term “Mexican” as well. 5 For a discussion of recent scholarly debates on writing and literality in pre-Hispanic America, see Grube & Arellano Hoffman (1997). · katharina luksch regarding the script of others 55 vienna zocalo · 55 cultures is symptomatic of their technological inferiority are) regarded as ‘hallmarks of civilization’(Quiñones esteem despite its illegibility. This is in stark contrast Keber 1995, p. 230). The comparatively well-documented to the fervor with which the Spanish missionaries in history of the Codex Vindobonensis demonstrates the Mexico at the same time were conducting their task of value attached to it: King Charles of Spain (the future destroying all evidence of (and further possibility for) Emperor Charles V) apparently gave it to his brother- “idolatrous” practices, including the incineration of in-law, Emanuel I of Portugal, who in turn presented whole libraries and bans on indigenous bookmaking.8 the Italian cardinal Giulio de’ Medici with it. Giulio de’ Apparently the heretical threat emanating from such Medici was elected Pope Clement VII in 1523 and died manuscripts applied only to the Mexicans yet to be in 1534, passing the Codex on to his relative, cardinal converted, whereas Europeans (like the aforementioned Ippolito de’ Medici. After Ippolito’s death in 1535 it was Medici family, which showed great interest in New World owned by Nikolaus von Schönberg, Archbishop of Capua. artifacts) would welcome them into their collections Whoever inherited it next annotated the Codex with a of marvels and exotica. Those of course were soon to Latin inscription dating from 1537 that recapitulates its become institutionalized as cabinets of curiosities, the owners so far. From then on until around 1650, when Renaissance precursors to modern museums. Studying Job Ludolf saw it in Weimar and copied parts of it for the history of collecting might therefore also help to 6 shed some light on the way that Europeans shaped their history is not yet sufficiently explored. The last time the views of non-European cultures, even if examinations Codex was given as a present was in 1677, namely by John of concrete objects were seldom conducted before the George I, Duke of Saxe-Eisenach, to Emperor Leopold I beginning of what became ethnography. 7 and thus to the Imperial Library in Vienna. (cf. Arellano 6 These copies are mentioned in a short entry in the Museum Wormianum, a catalogue to Worm’s collection posthumously published in 1655, as ‘Hieroglyphica mexicana‘; see Worm (1655, p. 384). 7 Which is where it is still hidden today (now Austrian National Library). Hoffmann & Schmidt 1997, pp. 400-402; Nowotny 1960, pp. 70-71) III Over the course of 18 years, the Codex had thus passed interpretation of the meaning of a text in one language through the hands of some of the most powerful men (the “source text”) and the production, in another in Europe at the time, obviously being held in high language, of an equivalent text (the “target text”, or Translation has been defined as ‘[t]he 8 On the mutual influences of 16th-century discourses of idolatry and cannibalism, perception of indigenous material culture, and missionary activities, see Cummins (2002). · katharina luksch regarding the script of others 56 vienna zocalo · 56 Ole Worm’s cabinet of curiosities in Copenhagen, its “translation”), which ostensibly communicates the same World and its inhabitants to Europeans. They were also message’ (Ashcroft, Griffiths & Tiffin 2007, p. 215). Its well suited to demonstrate not only the clash, but also inherent complexities are multiplied when not only the the hybridization of two radically different cultures: language, but also the notation system used is a different colonial codices, produced either as annotated copies one, and the scarcity of pre-Hispanic documents that of older manuscripts (that is, redesigned in the format survived the conquest (only eight of which are, like of European books and supplied with comments in the Codex Vindobonensis, Mixtec manuscripts) does Latin, Spanish, or Italian) or as collaborations between not make its translation easier. Today, difficulties missionaries and indigenous artists, are fascinating are increased even further by the lack of a commonly documents of imperialist approaches to a conquered accepted methodology to which several academic people and their culture.9 As this documentation took disciplines, including archaeology, ethnography, art place at the very time its subject, the pre-Hispanic history, and linguistics, would contribute (cf. Noguez civilizations, were rapidly decreasing in size and losing 1997, p. 139). their autonomy, those codices reflect the mingling of conservation and extinction, while at the same time they mark the beginning of the hybridized, mestizo identity Hispanic culture in general are codices of the colonial that determines “Mexicanness” to this day. Undoubtedly period. From the very beginning of the Spanish these codices were an important factor in the processes invasion, the conquistadores and their missionary of imperial meaning-making: ‘Since the colonial copies entourage were eager not only to destroy “idolatrous” were consciously constructed, they reveal those aspects artifacts (which goes for more or less every aspect of of indigenous culture that were incorporated to intrigue material culture they encountered), but in pursuing a European reader and elicit his admiration or stir his the Christianizing mission also to import their own acquisitiveness.’ (Quiñones Keber 1995, pp. 232-233) Two forms of expression, both literal and pictorial. Books of these aspects in particular would arouse scholarly and images were important means of converting the interest, namely the famous Mexican calendar system, “natives” as well as mapping and describing the New valued for its precision and sophistication10, and 9 Colonial codices have been discussed for various aspects and reasons; see, for example, Farago (ed., 1995); Gruzinski (1992); Todorov (1985). 10 The Mexican calendar, which he had already described in detail, is also haunting Humboldt’s review of the Viennese Codex (see cit. above). · katharina luksch regarding the script of others 57 vienna zocalo · 57 Among the main resources for examinations of pre- mythology, in which early commentators believed to find similarities to forms and figures of Christian (or, their rites and superstitions, their auguries and hypocrisies, so related and close to those of the Jews that they differ from them in nothing (Durán 1880, p. 1, transl. K.L.).12 for that matter, Greco-Roman) traditions. Such similarities had to be explained, and thus the latter A similar desire to explain the development of pre- observation has led to surprisingly persistent diffusionist Hispanic cultures probably inspired the eighteenth- theories. The term “diffusionism” is used to describe the century assumption that religious beliefs in all parts theory or, more often, implicit assumption, that most of the world were originally allegories containing great achievements in the narrative of humanity’s astronomic observations (cf. Steinle 1995, pp. 67-72). march towards modernity, rather than having emerged During the nineteenth and early twentieth century, the independently in different places, were made only once notion that the Mexican manuscripts’ contents were and then distributed (diffused) to the rest of the world principally religious and that astronomy was the key to from their original birthplace. This theory, widely their interpretation remained prevalent. It also informs agreed upon through most of modern Western thought, the beginning of modern discussion of the Codex has led generations of scholars to look for the origins of Vindobonensis, as the works of Damian Kreichgauer what the New World inexplicably seemed to hold in store show: 11 for its explorers. One early example for this approach is the claim that the indigenous peoples of Mexico were made by the Dominican Diego Durán around 1580, who starts his Historia by stating … that we can ultimately affirm them to be Jews by nature and [belong to the] Hebrew people, and I do not believe that by asserting this one would make a capital mistake, considering their way of life, their ceremonies, Ironically, these assumptions themselves have their roots in colonialism: ‘The sixteenth-century Spanish debates about the nature of the New World Indians – Are they human? Can they receive the True Religion and, if so, can they be made slaves? – was a crucial part of the early formulation of diffusionism, because it entailed an attempt to conceptualize European expansion and explain why it was, somehow, natural, desirable, and profitable, and to conceptualize the societies that were being conquered and exploited, explaining why it was, again, natural for them to succumb and to provide Europeans with labor, land, and products.’ (Blaut 1993, p. 20) 12 ‘…que podriamos ultimadamente afirmar ser naturalmente judíos y gente hebrea, y creo no incurriria en capital error el que lo afirmase, si considerado su modo de vivir, sus cerimonias, sus ritos y supersticiones, sus agüeros y hipocresías, tan emparentadas y propias de las de los judíos, que en ninguna cosa difieren…’ 13 Because all these results were kept strictly secret, much more so than the religious mysteries, the priest-astronomers inscribed all necessary data in the spaces between a series of mythological images. Thus on the one hand, attention was distracted from the dates and on the other hand, the desired opportunity was provided to furnish the intervals recorded with sometimes three to four corrections in an inconspicuous manner. It is due to this latter fact that of the comprehensive Viennese manuscript’s rich contents not a single result has been found so far (Kreichgauer 1917, p.7, transl. K.L.).13 ‘Da alle diese Resultate strengstens geheimgehalten wurden, viel mehr als die religiösen Mysterien, so schrieben die Priester-Astronomen alle notwendigen Daten in die Zwischenräume einer Reihe von mythologischen Bildern ein. Damit war einerseits die Aufmerksamkeit von den Jahresdaten abgelenkt und andererseits erwünschte Gelegenheit gegeben, die aufgezeichneten Intervalle in unauffälliger Weise mit manchmal drei bis vier Korrektionen auszustatten. Diesem letzteren Umstand ist es zuzuschreiben, daß aus dem reichen Inhalt der großen Wiener Handschrift bisher nicht ein einziges Resultat gefunden wurde.’ · katharina luksch regarding the script of others 58 vienna zocalo · 58 descendants of one of the Ten Lost Tribes of Israel, first 11 Kreichgauer was convinced the Codex Vindobonensis drawing on sources and parallels while abandoning contained elaborately many obvious ideas. Premature interpretations hinder encrypted and that the interpreter’s primary task cognition … for they foreclose further questioning of the therefore was to decipher its code. His interpretation material (Nowotny 1948, p. 176, transl. K.L.).16 Instead of was influential enough to have the codex named after astronomy, he takes ‘mythical genealogies’ for its main astronomical information 14 him and to inspire the following generation’s studies, content, drawing on examinations of other codices and especially those by Felix Röck: artifacts as well as ethnographic fieldwork. By the end of the twentieth century it was widely agreed that Mixtec My line of thought proved right and I could generally corroborate D. Kreichgauer’s proposition that they were about astronomic records … The picture manuscript can best be described as a scientific picture book containing in skillful encryption the entire knowledge of late ancient Toltec priests in the domain of calendar science and astronomy … The Codex Vindobonensis Mexicanus I presumably was a compendium used as basis for exams of Toltec hieratic pupils (Röck 1936, transl. K.L.).15 codices mainly depicted genealogies, whether mythical or historical (and whether that difference makes a difference). Recent studies are still at variance over the codices’ original purposes, assumptions ranging from historic records to propagandistic profiling of Mixtec elites to accounts of territorial division and allocation (cf. König 1997, pp. 129-130). IV wrong again. Notably Karl Anton Nowotny, originally how a variety of meanings has been ascribed to the one of Röck’s students, has distanced himself from the Viennese Codex by way of interpretation and attempts latter’s methods, and in pursuing his own extensive at translation as well as its recognition as an object of studies, contributed greatly to the development of more value. These “new meanings” have, in a way, replaced recent interpretations (cf. Steinle 1995, pp. 90-96). In the “original meaning”, which today we have no certain his detailed commentary on the Codex Vindobonensis, way of knowing. Regardless of its original content he explains that ‘[t]he commentary limits itself to and purpose though, the Codex has been considered I have tried in this cursory review to show Noguez (1993) lists ‘Codex Kreichgauer’ as one of its “other names”. 15 ‘Mein Gedankengang erwies sich als richtig und ich konnte die Behauptung D. Kreichgauers, dass es sich um chiffrierte astronomische Aufzeichnungen handle, im Allgemeinen vollauf bestätigen … Die Bilderhandschrift kann am Besten als wissenschaftliches Bilderbuch bezeichnet werden, das in kunstvoller Chiffrierung das gesamte Wissen spätalttoltekischer Priester auf dem Gebiete der Kalenderwissenschaft und der Astronomie … enthält … Der Codex Vindobonensis Mexicanus I war vermutlich ein Handbuch, das bei Prüfungen toltekischer Priesterzöglinge aus mehreren Fächern … als Grundlage gedient haben mochte.’ 16 ‘Die Erläuterung beschränkt sich auf die Heranziehung von Quellen und Parallelen unter Verzicht auf viele naheliegende Einfälle. Voreilige Deutungen wirken … erkenntnishemmend, da sie ein weiteres Befragen des Stoffes verhindern.’ · katharina luksch regarding the script of others 59 vienna zocalo · 59 Later examinations, however, were to prove them 14 relevant throughout its European history for reasons as diverse as the significations attached to it. Starting with Cortés who thought it fit to give it to his queen as part of a treasure greatly admired, it was handed on from monarch to pope to clergyman to emperor, accumulating symbolic weight with each station. In the course of its more recent reception history, it was known as a work of religious allegories, ritual calendar, encrypted astronomical knowledge, mythological genealogies, and historical accounts respectively. My point is that whatever was “really” recorded in it, during the last five hundred years other realities have imposed themselves on the original layers of significance. These realities, constituted by European reception and cognition based on certain (and, as history keeps on repeating, quite relative) conditions of possibility, are as much a part of the Codex’s significance today as the enigma it still holds vienna zocalo · 60 for art historians, linguists, ethnographers, and others. Examining the aspects I have only been able to touch on might therefore be enlightening not only for the study of pre-Hispanic notation systems, but also for inquiries of modern European thought, specifically ideas about translation and interpretation, cultural differences, and colonialism. · katharina luksch regarding the script of others 60 References · Arellano Hoffmann, Carmen & Schmidt, Peer (eds), Die Bücher der Maya, Mixteken und Azteken: die Schrift und ihre Funktion in vorspanischen und kolonialen Codices. Frankfurt am Main: Vervuert, 1997. · Ashcroft, Bill, Griffths, Gareth & Tiffin, Helen (eds), Post-Colonial Studies: The Key Concepts, 2nd edn. New York: Routledge, 2007 · Blaut, James M., The Colonizer’s Model of the World: Geographical Diffusionism and Eurocentric History. New York: The Guilford Press, 1993. · Cummins, Thomas B. F., To Serve Man: Pre-Columbian art, Western discourses of idolatry, and cannibalism. In: Res: Journal for Anthropology and Aesthetics 42, Autumn 2002 · Durán, Diego, Historia de las Indias de Nueva-España y islas de Tierra Firme, ed. by José F.Ramírez, 2 vols. México: Ignacio Escalante, 1880. Published online by the Biblioteca Virtual Miguel de Cervantes, viewed 13 December 2010, http://www.cervantesvirtual.com/servlet/ SirveObras/04703953133526951032268/index.htm Farago, Claire (ed.), Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650. New Haven, London: Yale University Press, 1995. · Gruzinski, Serge, Painting the Conquest: The Mexican Indians and the European Renaissance. Paris: Flammarion, 1992. · Humboldt, Alexander von, Researches Concerning the · König, Viola, Die mixtekische Schrift. In: Arellano Hoffmann, Carmen & Schmidt, Peer (eds), Die Bücher der Maya, Mixteken und Azteken: die Schrift und ihre Funktion in vorspanischen und kolonialen Codices. Frankfurt am Main: Vervuert, 1997. · Kreichgauer, Damian, Die Astronomie in der großen Wiener Handschrift aus Mexiko, Philosophisch-historische Klasse, Sitzungsberichte, 182. Band. Wien: Kais. Akademie der Wissenschaften, 1917. · Lehmann, Walter & Smital, Ottokar, Codex Vindobonensis Mexic. 1: Faksimileausgabe der mexikanischen Bilderhandschrift der Nationalbibliothek Wien. Wien: Anton Schroll & Co, 1929. · Noguez, Xavier, Códice Vindobonensis Núm. 1, Editorial Raíces, S. A. de C.V., 1993, viewed 13 December 2010, http:// www.arqueomex.com/S2N3nCODICE81.html · Noguez, Xavier, Kolonialzeitliche Nahuatl-Codices aus Zentralmexiko und ihre Schrift. In: Arellano Hoffmann, Carmen & Schmidt, Peer (eds), Die Bücher der Maya, Mixteken und Azteken: die Schrift und ihre Funktion in vorspanischen und kolonialen Codices. Frankfurt am Main: Vervuert, 1997. · Nowotny, Karl A., Erläuterungen zum Codex Vindobonensis (Vorderseite), Sonderdruck aus „Archiv für Völkerkunde“, III. Band. Wien, 1948. · Nowotny, Karl A., Mexikanische Kostbarkeiten aus Kunstkammern der Renaissance im Museum für Völkerkunde Wien und in der Nationalbibliothek Wien. Wien: Museum für Völkerkunde, 1960. · Pratt, Mary Louise, Imperial Eyes: Travel Writing and Transculturation, 2nd edn. New York: Routledge, 2008. · Quiñones Keber, Eloise, Collecting Cultures: A Mexican Manuscript in the Vatican Library. In: Farago, Claire (ed.), Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650. New Haven, London: Yale University Press, 1995. · Steinle, Robert, Möglichkeiten und Ansatzpunkte zum Verständnis fremder Kulturen, dargestellt am Fallbeispiel Altmexikos. Ein Beitrag zur Methodik der Beziehungsforschung oder Frage lokalbezogener Deutbarkeit. Diplomarbeit zur Erlangung des Magistergrades der Philosophie an der Universität Wien. Wien, 1995 · Todorov, Tzvetan, Die Eroberung Amerikas: Das Problem des Anderen. Aus dem Frz. von Wilfried Böhringer. Frankfurt am Main: Suhrkamp, 1985. · Worm, Ole, Museum Wormianum seu historia rerum rariorum. ex officina Elseviriorum. 1655. Published online by the Université de Strasbourg, viewed 12 December 2010, http://imgbase-scd-ulp.u-strasbg.fr/displayimage. php?album=1010&pos=3 · katharina luksch regarding the script of others 61 vienna zocalo · 61 · Institutions & Monuments of the Ancient Inhabitants of America with Descriptions & View of some of the most Striking Scenes in the Cordilleras! Transl. Helen Maria Williams, Vol.II, London, 1814. Published online by the University of Kansas, viewed 12 December 2010, http://www. avhumboldt.net/humboldt/publications/books/did/4/title/ Researches-Concerning-the-Institutions-&amp-Monuments-ofthe-Ancient-Inhabitants-of-some-of-the-most-Striking-Scenesin-the-Cordilleras! A short introduction to the pineapple The pineapple (Ananas comosus) is a tropical fruit, perhaps Martin Martinsen Introducing the pineapple: From Austria to Mexico the most tropical and exotic fruit of all. Its natural habitat is the humid climate of Brazil and Bolivia, the countries in which it originally started to flourish in the wild, though it is thought to be from the Paraná River in Paraguay. Nowadays this lovely delicacy has been spread throughout the world, and can be found in various products ranging from food items to cosmetic crèmes to This text will serve as a basic background for the Pineapple Museum in Xalapa, Mexico, and concentrate toothpaste. When I eat pineapple, I often start to bleed in the mouth. It stings even. This is because the pineapple is my hope that it will give a clear image of how the contains an enzyme, bromelain, which has a protein- tropical fruit, that is the pineapple, was “introduced” devouring effect and this leads to the pineapple to the country by Maximilian I, Austrian emperor sometimes causing serious irritation to the mucous of Mexico. With that as the starting point for the membranes and skin. Then again, this enzyme is very country’s pineapple history, I shall take a look at what good for digestion, which is why the pineapple can status and worth the pineapple has in today’s Mexico. favorably be eaten as a side dish with a hefty piece of The first part of the text revolves around the introduction of the pineapple to Europe, and how it came First known illustration of a pineapple, Gonzalo Fernández de Oviedo y Valdés, 1535 meat. The pineapple’s sweet yellow flesh is also very rich in antioxidants, vitamin C as well as vitamin B.1 to be a symbol of the exotic. This will include background Also worth noting is that the pollination of the facts concerning the fruit itself, and its many qualities, hermaphrodite pineapple flowers, is carried out by in medicine, food, etc. The purpose of this text is also for hummingbirds. Even more noteworthy, perhaps, is that it to serve as a background for a pineapple museum, in some varieties of pineapple plants, ones that only open relation to Maximilian and the pineapple in Mexico. their flowers at night, are pollinated by bats. The flowers 1 Beauman, F., Pineapple: King of Fruits, London, UK: Vintage Books, 2005 · martin martinsen introducing the pineapple 62 vienna zocalo · 62 itself around the pineapple’s presence in Mexico. It of the plant later start forming into small berries. These this though, the sheer exotic look of the pineapple made grow and over time they fuse together into one soft yet it outstandingly fashionable among the royalties of solid piece of fruit, giving the pineapple its characteristic Europe. Perhaps the best description of the excitement 2 outer shell of bulges. the pineapple caused in the Old World is that by Gonzalo Fernández de Oviedo y Valdés. He writes the following The pineapple to Europe in his publication from 1535, Historia General y Natural de Christopher Columbus was the first European to ever las Indias: taste the pineapple. He did so on his second journey to the Caribbean region in 1493, and the location where he came into contact with the, to him, fascinating fruit, was Guadeloupe Island. The explorer and his seamen encountered a society of cannibals, who greeted them “The pineapple [is unprecedented in] beauty of appearance, delicate fragrance, excellent flavor. So that of the five corporeal senses, the three which can be applied to fruits and even the fourth, that of touch, it shares these four things or senses excelling above all fruits.” The British are the ones who are essentially and piles of human bones. Columbus’ and the crew’s responsible for bringing the exoticness of the pineapple first impression of the pineapple was so strong, that it to Europe. They started to ship it regularly in the middle only took around 20 years before the fruit was being of the seventeenth century, and it is thought they imported to Europe. In 1516, King Ferdinand of Spain succeeded in growing it on English soil, with the help of received a sole surviving pineapple from a shipment advanced greenhouses before the beginning of the 1800s. from the New World. He ate it and stated that it was However, it is a fact that the first person that grew the the greatest thing he had ever tasted. Rumor grew, and pineapple to perfection on European land, was a Dutch the pineapple soon became a sought after status symbol. lady named Agnes Block, botanist and illustrator. For Due to the high price of sugarcane from the Middle East, this groundbreaking step in the Europeanization of the and the fact that fresh fruit was a rarity at the time, King of fruits, she earned a medal.3 This ultimately led Gunnar Carlquist, Josef Carlsson (ed.), Svensk Uppslagsbok (Swedish thesaurus), Malmö, Sweden: Förlagshuset Nordens Boktryckeri, 1947 the natural sweetness of the pineapple in combination to a decline in the fruit’s popularity, since it led to a 3 of being a fruit, made it increasingly popular. More than loss of the general exotic feel of the fruit. It was only in 2 Campbell S., A History of Kitchen Gardening, Singapore: Frances Lincoln, 2005 · martin martinsen introducing the pineapple 63 vienna zocalo · 63 with slices of this new fragrant fruit, between pots the remote parts of Russia, where, as late as the early Furthermore, the pineapple is also quite popular in juice twentieth century, pineapple and champagne remained form. In fact, pineapple juice is one of the main parts of the drink of highest status. a piña colada, a beloved exotic cocktail. Other pineapple The British, who thought it resembled pinecones, food products include dried pineapple and even some gave the name pineapple to the fruit. However it was mixtures of tea are known to include pineapple. The sweet, juicy even, hence the apple epithet. The word pineapple is also a very popular ingredient in desserts, Ananas, which is the name of the pineapple in many most notably as the main feature in pineapple-upside- languages, comes from a Tupian language in the region down-cake. Another popular dessert seems to be a form of Rio de Janeiro, more specifically from the word nanas, of ice cream plate, for which half a pineapple’s flesh 4 which translates into ”excellent fruit”. Though, a more is scooped, thus creating the function of a bowl, from interesting tale of the ananas name is this: which the ice cream is then eaten.5 Yet another popular way of eating pineapple is on pizza. The pineapple can further be used by taking advantage of the fibers in its leaves. In the Philippines, this is an old indigenous tradition. There, pineapple fibers are used to create piña (which is also the Spanish word for pineapple). In combination with either silk or polyester, this piña creates a fine textile fabric. This is a part of traditional Philippine clothing. Rougher fibers from the plant are used to construct rope. Even pulp for paper manufacturing can be extracted from the pineapple leaf. Areas of use In the making of pineapple products, there is a large The pineapple is mainly used in the food industry. amount of material, i.e. the pineapple’s leathery outside, Other than being consumed raw, "the king of fruits“ is which, one may think, is not used for anything at all. most of the time enjoyed in slices, which are canned. This is however quite an important source of fodder 4 Beauman, F., Pineapple: King of Fruits, London, UK: Vintage Books, 2005 5 John F. Kennedy and wife Jackie, had this as dessert at their wedding, LIFE photo archive hosted by Google, Keyword: Pineapple · martin martinsen introducing the pineapple 64 vienna zocalo · 64 In the 1660s, when bananas were already a popular fruit from the New World, Europeans started to export yet another exotic specimen to their mother countries. Yes, the pineapple. […] When loading the first shipment containing this new treat, the sailors only had boxes marked bananas to pack in. To avoid the confusion that would occur when unloading pineapples in boxes marked “bananas”, they simply crossed over the first letter on all the boxes containing pineapples ([X]ANANAS) for cattle, and many pineapple producing countries are 6 economically dependant on it. been proven quite useful with diseases, which in their initial state are fueled by inflammation, diseases such as arthritis, inflammatory bowel disease and even cancer. Pineapple, magical fruit of the tropics Additionally, bromelain is said to prevent hay fever.7 The pineapple has been known for a very long time The pineapple to Mexico medicinal powers. For treatment of wounds or muscle Among the colonial empires of the nineteenth century strains, juice of the pineapple would be rubbed on textiles had always been an important measure of the affected area and as a result mitigate the effect of power. Both economically when it came to trading, as the injury. When this came to the knowledge of the well as having a textile of specific quality and look that Europeans, they started conducting studies on the would represent your own nation’s influence in the New fruit. It would take up until 1891 before scientists could World. When Ferdinand Maximilian of the Hapsburgs successfully isolate and extract the substance, which gave was to become emperor of Mexico, it was therefore of the pineapple its healing powers, from the pineapple’s great importance what kind of textile was to become stem. It is actually the bromelain, the earlier mentioned his Mexican one, and what kind of pattern he would enzyme that functions as a curing force. It does so, in apply upon it. When he knew he would spend his time the way that it stops the inflammatory process of the in a faraway and exotic country, the choice of the oh so body. The protein devouring ability attacks and relieves important motif for the Austrian colonial textile pattern the effects of the inflammation. fell upon a design based on the most exotic of all the Inflammation is the body’s own way of treating fruits, the pineapple. In Austria’s and in Maximilian’s injuries, but when this process gets out of control and eyes, Mexico was viewed as quite the exotic location and can not be shut down the pineapple bromelain has shown the pineapple would be a perfect representation of this, to be effective. Recent tests conducted with the enzyme the fruit that was, and had been for centuries, regarded on muscles, organs, joints and other tissue have shown as a symbol of the exotic. Ferdinand Maximilian’s bedroom wallpaper (detail) 6 an effect of easing the inflammatory sequence. This has With all his colonial furniture upholstered in the Bartholomew, D. P., Paull, R. E., Rohrbach, K. G., The Pineapple: Botany, production and uses, UK: Biddles ltd. 2003 7 Vukovic, L., Better Nutrition, Pineapple Power (article), El Segundo, US: Active Interest Media, July 01, 2007 · martin martinsen introducing the pineapple 65 vienna zocalo · 65 among the indigenous people of South America for it’s pineapple fabric to represent the Austro-Hungarian 1859 was the first time he was offered the imperial Empire in the New World, Maximilian disembarked in throne of Mexico. He humbly turned down the Veracruz. Only to realize however, that the pineapple opportunity, stating that he "strongly pined after an scarcely existed in Mexico at the time. adventurous botanical expedition in the Brazilian forests“. One might guess he wanted to reunite in the Ferdinand Maximilian and his history with the pineapple wild with the fruit he had come to call his. Four years later though, he did become emperor of Before Ferdinand Maximilian’s name was given the Mexico, and, as stated, he brought the pineapple with addition "of Mexico“, he was the Commander in Chief of him. Main pineapple growing sites in Mexico today the Austrian Imperial Navy. This meant, of course, that he got to travel the world. Among other places, he was The pineapple in current Mexico more than a few times in Brazil. It was there that he first These days the pineapple situation in Mexico is quite came in contact with the pineapple, one may assume. If the opposite compared it to when Maximilian brought one looks at how he later came to use the image of the his furnishings there. Since the Austrian emperors pineapple, it would perhaps be appropriate to describe execution in 1867, the pineapple industry in Mexico him as obsessed. has grown immensely. The country is currently the seventh largest producer of pineapple in the world, had constructed as a home for himself and his wife that is approximately 540 000 tonnes of fresh fruit are Charlotte in the middle of the nineteenth century, would produced annually.8 The main type of pineapple grown more or less be made into a monument to his favorite in Mexico is Smooth Cayenne, a spineless variation, fruit. Chests and drawers with carved pineapple panels, with smooth leaves. Its flesh is pale yellow and it is botany patterned textile wallpaper with the pineapple rich in sweetness and acids. This pineapple sort is the as the crystal clear center along with the naval symbol one most grown worldwide. Veracruz, the region where of the anchor, pineapple shaped furniture upholstered Maximilian first came with his pineapple furniture, is with pineapple patterns, everywhere a pineapple. now responsible for 70 % of the nations total pineapple 8 Rebolledo, M.A., III International Pineapple Symposium, The Pineapple in Mexico: Current Status and Prospects (article), Thailand: ISHS Acta Horticulturae, 2000 · martin martinsen introducing the pineapple 66 vienna zocalo · 66 The castle in Trieste, Miramar, which Maximilian production, the other main pineapple regions being people have distinguished the fruit as a symbol of the "Look! The tropics in the Snow!“10 There and then I Oaxaca and Tabasco. The fruit is mainly eaten within exotic. As an acknowledgement of this, when Ferdinand became fascinated with the symbol of the pineapple, as the borders of the country. Just around five percent are Maximilian of the Habsburgs was to become emperor in a an exotic element in the cold Nordic everyday, to cut a exported, primarily to the United States and Canada. A country he thought to be exotic, i.e. Mexico, he chose the slice of pineapple to go with your morning coffee. I also quarter of the production gets made into juice, and the pineapple as the symbol of his empire. Only to find the have several memories of pineapples being given to me remaining part is sold as fresh fruit in Mexico. pineapple to be scarcely existent in the country. Today, as a gift; I possess quite a few pineapple related items These days the pineapple is somewhat of a symbol for Mexico is a main pineapple provider in the world, and (knives, clothes, wallet); I often will buy a pineapple from Mexico. It can be found on tourist guides, and even Frida the pineapple in Mexico is moreover under protection the lack of anything to do. If you look at how I’ve come Kahlo has included the pineapple in a still life painting of the UN. to use and collect the image of the pineapple, it would of fruits. The town of Loma Bonita in the Oaxaca region perhaps be appropriate to describe me as obsessed. calls itself “the Pineapple Capital of the World”, on Appendix – Myself and the pineapple account of being the area that enjoys most pineapple In Sweden, where I come from, it is easy at a very exports in the country. young age to get a rather ambivalent relationship to the pineapple. This is because of one dish, very often served variety of ways, be it in classical Oaxacan dishes such as in the school cafeteria. This mockery of cooking of which “pineapple chicken”, or in salsas or sweet desserts. This I speak, consists of smoked pork, cream, melted cheese frequent usage of pineapple in the Mexican food proves and, as the icing on the cake, canned pineapple slices. extra interesting when one considers that UNESCO in All of these ingredients mixed together in a casserole. It 2010 named the traditional Mexican cuisine part of took a long time, I was well into my late teens, before I 9 the world heritage, which means that not only are the realized the full potential of the pineapple in Sweden. particular dishes protected, but hence the pineapples, If I am not mistaken, there was a particular sequence for being a major ingredient in them. of events in a movie that went like this: Greta Garbo 9 walked into a room, brushed the snow from her hat, UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity Summary of the pineapple dug down in her picnic basket, pulled up a pineapple, 10 Since the pineapples were first introduced to Europeans, raised it triumphantly over her head and proclaimed: “Two-Faced Woman”, dir. George Cukor, MetroGoldwyn-Mayer, 1941 · martin martinsen introducing the pineapple 67 vienna zocalo · 67 Mexican cuisine frequently uses the pineapple in a as guides and interpreters earlier, and was convinced of Macabebe loyalty. The experiment proved successful, with the Macabebes fiercely loyal to their new masters. The Macabebes were believed to be descendants of Mexican Yaqui Indians who were brought to the Philippines by Spain. "1 The quote above is from my old high school history book. Stephanie Misa Last year, I worked on a project that analyzed periods A Colony of a Colony in Philippine history as recorded in my old schoolbook. an excerpt. The work tries to highlight how Filipino issues regarding culture, identity, politics and history are strategically invisible from textbook conversations. The Macabebe quote encapsulated this for me. This text is my attempt to trace what could be one of the most neglected facets I. Following the Macabebe Trail accumulated research and stories, this text is an attempt Macabebe Scouts Photo published in Harper’s Weekly, Dec. 23, 1899. to illustrate how inevitably undocumented histories seep into the pages of historical canon. vienna zocalo · 68 "These pro-American Filipinos were natives of Macabebe, Pampanga Province, in the central plains of Luzon Island. They had originally been loyal to Spain. The US Army organized Special Forces officered by Americans but manned by Filipinos. The first unit of this type was experimental, one company of 100 Macabebes enlisted on Sept. 10, 1899, for a term of 3 months and led by 1Lt. Matthew Batson, U.S. Army. It was experimental in the sense that Batson’s superiors - including Brig. Gen. Arthur C. MacArthur, Jr. - did not trust any Filipino enough to arm them; Batson had used the Macabebes of the Filipino Identity: its Mexicaness. Drawing from II. The Macabebes The Macabebes who came so conspicuously into prominence during the Rebellion of 1896 are the inhabitants of the town of Macabebe and its dependent wards, situated in Lower Pampanga, near the Hagonoy River. As John Foreman observes in his ethnographical sketch of the Philippine Islands in 1892: 1 Dumindin Arnaldo, The Philippine- American War 18991902, as taken from Teodoro Agoncillo’s History of the Filipino People (1969). · stephanie misa a colony of a colony 68 "They are the only Filipinos who have persistently and systematically opposed the revolutionary faction of their own free will, without bribe or extraneous influence. No one seems to be able to explain exactly why they should have adopted this course. They aided the Spaniards against the rebels, and also the Americans against the insurgents. All I have been able to learn of them in the locality is that they keep exclusively to themselves, and have little sympathy for, and no cordial intercourse with, the natives of other towns, either in their own province or elsewhere. A generation ago the Macabebes had a bad reputation for their petty piratical depredations around the north shore of Manila Bay and the several mouths of the Hagonoy River, and it is possible that their exclusiveness results from their consciousness of having been shunned by the more reputable inhabitants. The total population of Macabebe is about 14,000." 2 early years, distanced themselves from them, referring to the Macabebes as though they are not Pampangos.”3 In fact, the standard opinion today, even among the Macabebes themselves is Teodoro Agoncillo’s in History of the Filipino, which was first published in 1960 and remains a popular standard textbook in many Filipino Universities, Argoncillo argues that they descended Macabebe Scouts patrolling the Rio Grande de Pampanga, published in Harper’s Bazaar 1899. from the Yaqui Indians of Mexico (North America, not the adjacent town of Mexico Pampanga). There are even opinions that suggest the Macabebes are descendants of the Sepoys brought in by British ships during the British Occupation of 1762. 4 1571 The first mention of the Macabebes, as distinct from Macabebe Scouts (by the American colonial government), and not necessarily Kapampangan (from the Philippine and “Little Macks” (by General Frederick Funston), Region of Pampanga), was during the arrival of Legázpi among other appellations, the Macabebes were bantered in Manila, circa 1571 in the Battle of Bancusay. Defiant and about by mainstream historians for their ingratiating uncompromising, ironically, they were then far from role as mercenaries of the Spaniards and later the being ‘dugong aso’ as they would be regarded centuries Americans. Insulted as “dugong aso” — canine blood, for later. being dog-like in serving their masters, they have defied Miguel Lopez de Legázpi led the Spanish expedition proper classification. “They have been treated as a breed that successfully established a colonial foothold in the Tayag, Katoks: Recollections and Digressions, Manila, Philippines Philambank Club, 1985 apart,” wrote Katoks Tayag, “as though they were a race Philippines after several failed attempts. He founded 4 by themselves. Many Pampangos, especially during the Cebu, the first Spanish city, in 1565 and in 1572, Legázpi 2 Foreman, John: The Philippine Islands. : A historical, Geographical, Ethnographical, Social and Commercial Sketch of the Philippine Archipelago and its Political Dependencies. London 1892 3 Dizon, Lino L.: Macabebes: 1571 – 1901: More than a Footnote in History · stephanie misa a colony of a colony 69 vienna zocalo · 69 Also known as Voluntarios de Macabebes (by the Spaniards), moved the Spanish capital to Manila. By accepting the Spaniards, the Tagalogs of Manila had lost chieftain of the Macabebes upon hearing of the coming of the ambassadors of Legázpi stood up and, unsheathing his sword and waving his weapon, forcefully said: the alliance they incipiently had with the neighboring Macabebes, then headed by a chieftain known as Bambalito, Banku or Tarik Soliman (often confused with the Tagalog Rajah Soliman). In his Estadismo de las Islas Filipinas en 1800, Fr. Joaquin Martinez de Zuñiga wrote about him and the Macabebes’ auspicious encounter with history: When Legázpi learned of the warlike intentions of the natives, he sent his chief of staff, Martin de Goiti, with a force of 80 Spaniards in nine small boats to Bancusay. The Macabebe chieftain did as he had said. He waited for the Spaniards and then fearlessly attacked them with his squadron of small boats. But he soon fell dead when hit by a bullet and his followers, seeing their leader killed, fled.5 A Macabebe named Nakabeba vienna zocalo · 70 "Soon after the occupation of Manila by Miguel Lopez de Legázpi, the natives of Macabebe, a town of this province and those of Hagonoy, Bulacan who are neighbors, went to Tondo, entered the sandbar of Bancusay and went to the house of Lacandola, chieftain of Tondo. They mocked the latter for becoming a vassal of the Spaniards. They tried to persuade him to a revolt. The pleas of the visitors were not necessary because Lacandola did not like being under anybody’s yoke but he feared the consequences of revolt. Finally, they agreed that the Pampangos would declare war against the Spaniards and if they could slay 40 Spaniards, the natives of Tondo and Manila would take their side. Legázpi, who was aware of the arrival of these Pampangos but who did not notice any hostility in their acts, thought that they wanted to make peace overtures with him and therefore sent two Spaniards to have them escorted to his palace and to assure them of his peaceful intentions. The “May the Sun severe my body in halves, and may disgrace befall me before the eyes of my wives that they might abhor me if at any time I had been friend of the Spaniards.” Having sworn this oath, he left the room and as a mark of greater valor did not go down by the stairs but jumped out of the window; then went to his boat and told the Spaniards that he would wait for them in the sandbar of Bancusay. There is not a clear documention in Philippine history of an exiled group of Yaqui Indians brought to the Philippines, though there are written accounts of Mexicans identified as infidentes (rebels) shipped by galleon for exile to the Philippines or the Marianas Island. One of these exiles was a Yaqui Indian chief, captured from the Sonora mountains, named Nakabeba. 5 Zuñiga, Fr. Joaquin Martinez de, Estadismo de las Islas Filipinas en 1800 · stephanie misa a colony of a colony 70 As Floro L. Mercene narrates in Manila Men in the New word “wawa”, meaning mouth of a river, and is how World: name Guagua is remains pronounced) is a pre-colonial "Bundled on the galleon with his followers, Nakabeba settled in the area of Macabebe in Pampanga. Banishment was one of the options frequently applied by the crown to rid itself of infidentes. According to the degree of dangerousness, the prisoners from Mexico were sent to Cuba, Puerto Rico, the African prison in Cuenta, the Marianas, and the Philippines. Many Mexican insurgents spent their prison terms in the Philippines. There were also cases of South American rebels sent to the Philippines by the way of San Blas and Acapulco. In 1814, the Governor of Marianas refused to accept infedentes that arrived on the galleon Fernando Rey because of their great threat to security. The galleon commander was compelled to bring the prisoners to Manila. Faced with the prospect of no longer returning to Mexico, many exiles began a family or set up businesses in the Philippines."6 perhaps named after the infamous Nakabeba. Mercene also mentions two towns in Pampanga that bear the same name as two another Mexican toponymyic places – Guagua (and there is a Guagua in Mexico, indeed) and Mexico itself – to perhaps support the theory of a Yaqui settlement in Macabebe. Though, much like the town of Macabebe, Guagua (a name traced to the Kapampangan The other, the unlikely named town of Mexico, Pampanga, also appears to evidence a strong Mexican – Kapampangan connection; but literary annals place that the pre-colonial Capangpañgan region was named “Masicu”, then renamed Mexico, to honor the North American City of a similar name. III. A Colony of a Colony "The Viceroy of New Spain was the highest colonial official in all the territory, from the Ismuth of Panama on the South, Northward to and including New Mexico, Texas and California and embracing the lands between Louisiana and the Pacific Ocean which now constitute the Southwestern portion of the United States. The Viceroyalty of New Spain proper, therefore, may be said to have extended from Guatemala to Louisiana and Oregon. It was the captaingeneral that the viceroy came into closest relation to Spain’s continental projects. As the military and naval representative of the king, he was called upon to cooperate in plans of imperial defense, he might be called upon at any time to send aid in men and money. Even the distant Philippines had to be provided for against foreign attacks and in that case it fell upon the Viceroy of New Spain to supply and organize the necessary supplies, ships and men".7 6 Mercene, Floro L.: Manila Men in the New World: Filipino Migration to Mexico and the America’s from the Sixteenth Century. University of the Philippines Press, 2007 7 Smith, Donald E.: The Viceroy of New Spain. University Press of California Berkley 1913 · stephanie misa a colony of a colony 71 vienna zocalo · 71 Mercene insinuates that the town of Macabebe was settlement that appeared in historical document in 1571. The Philippines was not formally organized as a Spanish Legázpi selected Manila for the capital of the colony in colony until 1565 when Philip II appointed Miguel Lopez 1571 because of its fine natural harbor and the rich lands de Legázpi the first Governor-General. Legázpi, then surrounding the city that could supply it with produce. the civil governor of Mexico City, was commissioned by The Spanish though did not immediately develop the the viceroy of Mexico Luis de Velasco in 1564 to lead an trade potential of the Philippine’s agricultural or expedition to the Spice Islands, where previous explorers mineral resources. The colony was administered from Ferdinand Magellan and Ruy Lopez de Villalobos had Mexico and its commerce centered on the galleon landed in 1521 and 1543. On November 21, 1564, five ships trade between Canton and Acapulco in which Manila and 500 soldiers sailed form the port of Barra de Navidad, functioned secondarily as an entrepot. Smaller Chinese New Spain, towards the Philippine Islands. Probably junks brought silk and porcelain from Canton to Manila half of Legázpi’s crew was composed of Mexicans: where the cargoes were re-loaded on galleons bound for creoles like the Salcedos, meztizos and Aztec indios. The Acapulco and the Spanish colonies in the Americas. The majority of the military reinforcements and colonists Chinese goods were paid for in Mexican silver. sent to the Philippines during the first two centuries were Mexicans. The first group of 300 that reached Cebu in 1567 was commanded by Felipe de Salcedo. The second group of 200 reached Panay in 1570, just before Martin de group that reached Manila in 1575 was composed of 140 Spaniards and 38 Mexicans, all recruited in Mexico. Much later, prisoners from Mexico were sent to the islands in exile. The total number of Mexicans that immigrated to the Philippines has not been fixed, but in the two centuries and a half of contact we can safely assume that this figure reached several thousands.8 vienna zocalo · 72 Goiti sailed for the conquest of Manila. Another military "From the very beginning of their imperial adventure in Southeast Asia, the Spanish conquistadores adhered to the strategy of colonization which differed significantly from those implemented by the Westerners elsewhere in the region. The Portuguese, Dutch and British prior to the 19th Century persistently attempted to confine their activities to matters of trade, to refrain from undue interference in the internal affairs of the indigenous states, to avoid prolonged exhaustive wars, to eschew costly administrative entanglements, and thereby maximize commercial profits. The Spaniards, by contrast, were committed to the comprehensive program of territorial expansion, economic exploitation, Christian conversion and cultural 8 Quirino, Carlos: “The Mexican Connection”, Mexican-Philippine Historical Relations Symposium, New York 1997 · stephanie misa a colony of a colony 72 change. As in their earlier American conquista, the Spanish adventurers seem to have been driven to the Philippines by a curious amalgam of religious and secular motives."9 porcelain wares of the Ming dynasty, brocades and silk from China, spices from the Moluccas, perfumes from Arabia, rugs from Persia, fine muslins from Madras, From 1565 to 1815, a period of 250 years coinciding with the pearls from Sulu, and the famed manton de Manila, which, commercial interaction between Manila and Acapulco, despite the name, were in reality silk shawls woven in “the links between the two countries bordering the the southeastern coasts of China. In exchange, the New Pacific Ocean were so close”, Carlos Quirino says, “that World poured millions of its wealth into the Far East in they have given rise to the claim that the Philippines the form of the silver coins known as “pieces-of-eight,” was indeed a former colony of Mexico”. 10 turned out by the Mexican and Peruvian mints. The Cultural Cargo of the Manila-Acapulco In 1573, after the untimely death of Miguel Lopez de Galleons Legázpi, the viceroy of New Spain, Don Martin Enriquez, The most enduring link between Mexico and the conveys his concern to King Philip II about Spain’s Philippines were the galleons that sailed almost tenuous hold on the Islands and encourages a stronger annually between Acapulco and Manila. Starting in June colonial presence: of 1565 with the San Pedro, one of Legázpi’s fleet, the ship returned to Mexico with Fray Andrés de Urdaneta San Pedro carried a small quantity of spices and gold gathered in Cebu and northern Mindanao, thus initiating the long history of trade between the two countries. The ship going east became known as the Nao de China -- to this day among Mexicans, while those going west were termed Nao de Acapulco. The former brought the luxury items of the 0rient to the New World and Spain, such as 9 Reed, Robert R.: Colonial Manila: the Context of Hispanic Urbanism and Process of Morphogenesis. University of California Publications, University of California Press Vol 22, 1978 10 Ibid 8 · stephanie misa a colony of a colony 73 vienna zocalo · 73 delineating the return route across the vast Pacific. The ‘As for the question of helping the Filipinas islands, I have up to this time adhered to the instructions which your Majesty has ordered to be given me. Since I came here, I have never failed in any year to send a ship or ships with reinforcements and munitions; but sea and land and climate have their effect, and the number of men is constantly diminished; so that, although people are regularly sent thither, they are actually but little increased in numbers. The object and plan which should be pursued in matters yonder I do not know; but, whatever it may be, people are having to send it to a foreign kingdom. I beg your Majesty to consider all these matters, to inform me concerning them, and to give explicit orders to the person in charge here so that no mistakes may be made.’11 (December 5, 1573) Of the 108 galleons that crossed the Pacific in two centuries and a half, the actual number built for that purpose probably totaled less than half -- that is, about 50 vessels in all. The majority of the 108 made more than one round-trip voyage, while a score foundered on their maiden voyage. Hence, of the approximately 50 galleons constructed for the Manila-Acapulco run, about 15 were built in Mexico, five were built in other countries, and the rest were made in Philippine shipyards. The provinces of Jalisco and Guerrero on the Pacific coast undoubtedly supplied most of the galleons built in Mexico, especially during the first 50 or 60 years of its history. In Benito Legarda’s, After the Galleons he traces the vienna zocalo · 74 necessary, for the islands are many. As for the mainland of China, it is so large a land and so thickly settled that one of its hundred divisions, according to report, is as big as half the world itself. It is learned from the Chinese that they admit strangers only with reluctance to their land. For this reason, more and better soldiers would be needful than those who could go from this land, for those born here are but little used to hardship—although it is also understood that the people of China, in spite of possessing weapons, horses, and artillery, are but little superior in valor to the Indians. Commercial relations are now beginning to be established with the Chinese; but until this is definitely completed the hopes of the merchants here will not rise, in spite of all I do and contrive with them to encourage and spur them on; for, to tell the truth, no certain information comes of a nature to induce them to go. And one of the difficulties consequent upon this commerce and intercourse is, that neither from this land nor from España, so far as can now be learned, can anything be exported thither which they do not already possess. They have an abundance of silks, and linen likewise, according to report. Cloths, on account of the heat prevalent in the country, they neither use nor value. Sugar exists in great abundance. Wax, drugs, and cotton are superabundant in the islands, whither the Chinese go to obtain them by barter. And thus, to make a long matter short, the commerce with that land must be carried on with silver, which they value above all other things; and I am uncertain whether your Majesty will consent to this on account of economic history of the Philippine Islands from the time of the arrival of Miguel Gomez de Legázpi’s expedition in 1565 to the independence from the metropolis in 1898. Legarda studies the Philippines’ evolution from an archipelago inhabited by almost self-sufficient communities to the era when it became an agricultural export economy dependent on external trade to meet domestic needs. 11 Blair, E.H. and Robertson, J.A. : The Philippine Islands, 1493-1803 Volume III, 1569-1576. BiblioBazaar, 2006 · stephanie misa a colony of a colony 74 Fifteenth-century Chinese and Muslim (Persian prosper your Excellency’s life so that it may be of service to our Lord and to his Majesty, as it has been thus far. and Arab) merchants frequented the archipelago’s coastal areas, attracting a population that established settlements dependent on sedentary agriculture and craft production. These communities, called “barangays,” traded among themselves and with the rest of Southeast Asia and China. Slaves, beeswax and gold were exchanged for porcelain, iron, lead, tin, silks, etc. This early connection with China plays a crucial role in Philippine history, as this was the draw of the Islands, and easy gateway to the good of the Orient. The presence of the Spaniards dramatically changed the position of the Philippines with respect to the Asian continent and placed the Islands as one of the crucial points in the global economy created by the galleon trade. In a letter to the viceroy of New Spain from Guido de Laveçaris , the second Spanish Governor-General of the he writes on the establishment of the Manila galleon trade: I am very glad that your Excellency adjusted matters by ordering the return of the negroes and Indians who had been carried from this land; for all of us were very anxious as to the number that we were to send hereafter in the ships which should leave these regions. May our Lord As a result, most excellent Sir, the commerce between us and these Moros of Lucon has come to a standstill, on account of the ill-treatment that they have received at our hands. They carried back to their land all that they could, and in so doing they caused us no little injury; for we had a share in the commerce maintained with them, since the Moros brought and sold to us provisions. This suited us well, for already there was no other place where we could settle in this neighborhood except Lucon; but now I do not know what plan and arrangement can be made. May our Lord adjust matters as it pleases Him best, for certainly there is need of it. vienna zocalo · 75 Philippines (he succeeded Legázpi in 1572 as governor), In this voyage our men seized two Chinese junks laden with merchandise, plundered all the goods, and brought here one of the laden junks and four Chinese. Afterward these Chinese, together with the others, who had remained in those islands where they had been seized, were sent back, so that they might return to their own country. I was exceedingly sorry that such an injury should be inflicted upon men who had neither offended us nor given us occasion to justify this action; and what grieves me most in this affair is the news which the Chinese will carry to their own country about us, and about the good deeds which were done to them, and which they saw done to others, for our credit in China. · stephanie misa a colony of a colony 75 A few days ago I went to the island of Cubu to set free some friendly Indians whom some soldiers had seized in a village which had paid tribute, and which held a deed of security. It was very difficult to get them back, for they had been sold and were already among the Indians. This cost me no little labor; but our Lord, who helps good intentions, favored me, and all the Indians were returned to their village at my expense. This success caused much joy and satisfaction among the Indians of the neighborhood. The arrival of the women signaled not only a firmer settlement of the new Spanish Colony, but also the start of the cultural trade that would inevitably follow. IV. An Undocumented Diaspora Tomás de Comyn, general manager of the Compañia Real de Filipinas, in 1810 estimated that out of a total population of 2,515,406 in the Philippines, “the European Spaniards, and Spanish creoles and mestizos do not exceed 4,000 Your Excellency should also try to send all the married men who can possibly come. For with the existence of settled communities the natives of this land will feel more secure, and the married Spaniards will devote themselves to sowing and raising the products of the land; but, if married men do not come, order and harmony will be lacking, as they have been hitherto. persons of both sexes and all ages, and the distinct castes or modifications known in America under the name of mulatto, quarteroons, etc., although found in the Philippine Islands, are generally confounded in the three classes of pure Indians, Chinese mestizos and Chinese.”13 In other words, the Mexicans who had arrived in the previous century had so intermingled with the local population that distinctions of origin had been forgotten by the nineteenth century. The Mexicans who came with Legázpi and aboard succeeding vessels had blended with the local residents so well that their country of origin had been erased from memory. 14 12 Ibid 11 13 Gibson, Charles: “Spain and the New World”, Spain in America, 2006 14 Ibid 8 · stephanie misa a colony of a colony 76 vienna zocalo · 76 The recent arrival of married men caused great joy among all the natives of these islands, for they do not feel safe with us—saying that we do not intend to remain in the land, since we do not bring our wives with us. Up to this time they have mistrusted us much; but, on seeing the arrival of women, they have become somewhat reassured. If your Excellency orders many to come, and if a community of married people is established, the natives will become totally reconciled and will serve us better. 12 (1575) „Mexiko war im März 1938 das einzige Land, das vor dem Völkerbund offiziellen Protest gegen den gewaltsamen Anschluß Österreichs an das nationalsozialistische Deutsche Reich einlegte. Zum Gedenken an diesen Akt hat die Stadt Wien diesem Platz den Namen Mexiko-Platz verliehen.“ ("In March 1938 Mexico was the only country which protested - addressed to the League of Nations - against the violent occupation of Austria by National Socialist Germany. In commemoration to this act the City of Vienna has conferred to this place the name Mexikoplatz.") medially criminalised as “East- Tourist-Discourse” (see: Gastarbajteri Virtuelle Ausstellung: gastarbajteri.at). Besides urban planning interests and classifications like “EU Aim 2 – Development Area (see: Ziel 2 Wien Interaktiv: ziel2wien.at) classifieds like Wiener Zeitung currently ask about the “almost forgotten place” (see: Wiener Zeitung: wienerzeitung.at). Coinciding with answering, targeted othering along habitation and migration takes place. Donor of the memorial and therefore the commemorative plaque was the City of Vienna. The memorial was Questions addressing memory. presented in 1985 by then Vienna Mayor Helmut Zilk and A political medium the Mexian Ambassador Roberto De Rosenzweig-Diaz Do shapes of colonialism and Nazism reflect their (see: Nachkriegsjustiz: nachkriegsjustiz.at). ancient interweaving in the memorial? How does history Katharina Petru In 1956 Mexikoplatz was christened in remembrance In 2008 the repetitive Austrian historiographic victim heritage retell itself in forms of memory? How does this myth was temporarily (10.04.2008 – 14.04.2009) and on retroact at society, assuming that mediation of memory site questioned by Marko Lulic through the sculpture is also mediation of knowledge. In this cohesion, which “99,3” - which stands for the consenting election in meaning has the question: “Colonialism - a project not which the affiliation/occupation was decided in(see: yet completed?” And to ask further: Nazism – also a Kunst im öffentlichen Raum Wien: koer.or.at). project not yet completed? of the Mexican intervention against the occupation of “Austria-Germany” in 1938 – addressed to the League of In the eighties and early nineties Mexikoplatz operated Nations. The plaque of the memorial states: as informal, illegal market and was politically and „Die erinnerte Vergangenheit mag eine bloße Konstruktion, eine Verfälschung, eine Illusion sein, · katharina petru mexicoplatz is lying 77 vienna zocalo · 77 Mexikoplatz is lying face us at places of memory? How does colonial, Nazi aber sie ist eine Wahrnehmung, die intuitiv und subjektiv für wahr genommen wird.“ (Assman, pp. 9). ("The remembered past may be merely a construction, a distortion, an illusion, but it is a perception that intuitively and subjectively is assumed to be true.") an den Genozid der Armenier erinnern konnte" (see:. ibid., S. 40). ("Allegedly Hitler was impressed, because after a short time hardly anyone could remember the genocide of the Armenian population.") by an (anti-)memorial as for instance the temporary sculpture “99,3” by Marko Lulic at Mexikoplatz. An antimemorial refers to the original memorial and is - in most cases - located in close proximity. The public process To what extend are biopolitical effects, as part of an of commemoration can be reflected and questioned a Mexikoplatz with it´s lying memorial, is distinctive for an collective “can´t remember”, still readable respective Austrian memoryculture of dominant, nazist paradigms. perceptible in shapes of a memorial? What options for Nevertheless - supressions action does one have for a critical questioning and new. "Erinnern soll reflektiert und öffentlich neu befragt werden" (see: Jochmann, pp.22). ("The Process of memory should be reflected and be questioned anew publicly.") and discontinuities tell something about what isn´t said, about what wants to account for the past which these effects are ensuing? be displaced, what wants to be forgotten. Vacancies Reading and viewing habits are going to be erupted. indicate those continuing paradigms. Oliver Marchart (p. 432) betont: Continuing to have an effect, colonial and Nazi structures are described by Hito Steyerl as correlated echos. „Echos der kolonialen Biopolitik, etwa in der nationalsozialistischen Vernichtungspolitik (..)“ (see:. Steyerl, p.43). ("Echoes of the Colonial biopolitics, e.g. in the National Socialist annihilation politics.") in forms of commemoration / memorials, arguing that colonialism and Nazism are both biopolitical forms of physical and psychic obliteration. "So soll Hitler beispielsweise beeindruckt gewesen sein, dass sich schon nach kurzer Zeit kaum noch jemand "Entscheidend ist, dass Public Art nicht deshalb öffentlich ist, weil sie ihren Ort in einem urbanistisch zu bestimmenden öffentlichen Raum hat, sondern weil sie im Medium des Konfliktes stattfindet. Öffentlichkeit entsteht nur im Moment konfliktueller Auseinandersetzung" (see., ibid., a.a.O.). (Oliver Marchart states: "It is crucial that public art isn´t public because of its place in an urban to assigned space, but rather because it occurs in the media of conflict. Public accrues only in a moment of conflict contention.") „Ohne kritische Auseinandersetzung gäbe es keine Zukunft der Erinnerung“ so Volkhard Knigge (p. 22), Leiter der Gedenkstätte Buchenwald. ("Without a critical contention there would be no future of Memory so Volkhard Knigge, Head of the Shoa-Memorial Buchenwald.") How could a critical contention with Colonial and Nazi history in concrete memorial look like? Welche Bedeutung kommt hier der ortsspezifischen Kunst zu, welche nach Miwon Kwon (p. 96) dazu beitragen kann „verdrängte Geschichten hervorzuholen“. (What meaning/importance has site-specific art which can An interrogative contention with processes of commemoration thus have a determining role to come to terms with the past. A site-specific artistic strategy, conduce to discuss displaced stories, asks Miwon Kwon.) which questions (post)colonial, (Post)Nazi structures Site-specific critical contention could be constituted in circumstances /conditions like: inside - outside, · katharina petru mexicoplatz is lying 78 vienna zocalo · 78 My theses assumes, that these echoes are twice perceptible Options for action. Conflict perpetrator - victim, narrational gaps, faded out historiography, etc. could thus - through a moment of conflict, where publicity accrues – reveal and shift these circumstances/conditions. Bringing the conflict back Where is the anti-memorial at Mexikoplatz now? What does this again say about the current constitution of Austria’s memoryculture and especially about the administration of it on a local political level, if art here contradicts in a temporary scope - “a Project of Remembrance in the Commemorative Year 2008, financed by KOER and presented by City Councillor of Cultural Affairs (see:. Wien. at Magistrat der Stadt Wien: Archivmeldung der Rathauskorrespondenz,10.04.2008, wien.gv.at). from the protocol of the Governmental Declaration 2001 at all events it says the following: Yes. vienna zocalo · 79 In the verbatim speech of Vienna´s mayor Michael Häupl "Politisches Gestalten heißt auch, Verpflichtungen zu erkennen und danach zu handeln. (…) Wien hat sich, wie auch die Republik Österreich, den dunklen Kapiteln seiner Vergangenheit in Tat und Wort zu stellen. (…) Österreich, das sich jahrelang als erstes Opfer des Nationalsozialismus dargestellt hat, hat aus seiner tatsächlich aktiven Beteiligung an den Verbrechen dieses Regimes die Verpflichtung, sofort und rasch zu handeln. (…) Als Zweites ist uns die Verpflichtung auferlegt, kommenden Generationen alles Wissen über die größte Unfassbarkeit der Menschheit, die Shoah, zur Verfügung zu stellen. (…) Unserer Generation ist es auferlegt, dieses Gesamtbild der Geschichte zu rekonstruieren. Das “Nie wieder!” wendet sich sowohl an die Vergangenheit als auch an die Zukunft. Denn ohne Wissen um die Vergangenheit, bleibt es eine hohle Phrase. (…)" ("Political shaping also means to realize obligations and act accordingly. (…) Vienna, like the Republic of Austria, has to deal intensely with the dark chapters of its past by word and deed. (…) Austria which since long has declared itself as the first victim of the National Socialism has, because of it´s indeed active involvement on the crimes of that Regime, the commitment to act immediately and swiftly. (…) Secondly we have the obligation to provide all the knowledge about the biggest inconceivability, the Shoa, for the coming future generations (…) It is imposed to our generation, to reconstruct this general view of history. The “Never Again!” concerns the past as well as the future. Because without knowledge about the past, it remains just platitudes.") · katharina petru mexicoplatz is lying 79 References · Assmann, Aleida (Ed.): Geschichte im Gedächtnis. Von der individuellen Erfahrung zur öffentlichen Inszenierung, Munich, 2007 · Wiener Zeitung: Ein fast vergessener Platz, http://www. wienerzeitung.at/DesktopDefault.aspxTabID=3902&Alias=wzo &cob=488600 (26/10/10) · Hito, Steyerl, Encarnación Gutiérrez Rodríguez (Eds.): Spricht die Subalterne deutsch? Migration und postkoloniale Kritik, Münster, 2003 Wien.at Magistrat der Stadt Wien: Archivmeldung der Rathauskorrespondenz vom 10.04.2008, “Mahnmal gegen den Mythos des ersten Opfers” am Mexikoplatz, http://www.wien. gv.at/rk/msg/2008/0410/020.html(01/02/2011) · · · Knigge, Volkhard, Frei, Norbert (Eds.): Verbrechen erinnern. Die Auseinandersetzung mit Holocaust und Völkermord, Munich 2002 · Kwon, Miwon: Public Art und städtische Identitäten, Ort?, Datum? Anm.: > versuche ich noch herauszufinden! hab leider nur einen kopierten Text! · Marchart, Oliver: Public Art, in: Franzen Brigitte, König Kasper, Plath, Carina (Ed.): skulptur projekte münster 07, 2007 Online sources: · · · Ziel 2 Wien interactiv: Multimediales Dokumentarprojekt EU Ziel2 Fördergebiet Wien (2002-2006) Dokumentation und Blog-Community, http://www.ziel2wien.at/dt/portal/content.php? vienna zocalo · 80 Gastarbajteri Virtuelle Ausstellung: Mexikoplatz heute, gastarbajteri.at/im/107105950479/107459990277/106328601115/10 7452804746 (09/11/10) Wien at Magistrat der Stadt Wien: Wörtliches Protokoll, Gemeinderat der Bundeshauptstadt Wien 17. Wahlperiode 1. Sitzung vom 27. April 2001, http://www.google.at/urlsa=t& source=web&cd=3&ved=0CCkQFjAC&url=http%3A%2F%2Fw ww.wien.gv.at%2Fmdb%2Fgr%2F2001%2Fgr-001-w-2001-04-27. doc&rct=j&q=Regierungserkl%C3%A4rung%20von%20 B%C3%BCrgermeister%20Dr.%20Michael%20H%C3%A4upl%20 vor%20dem%20Gemeinderat%20der%20Bundeshauptstadt%20Wien%20vom%2027.%20April%202001%3A&ei=fEtgT eeHA4WXOvPE5bMN&usg=AFQjCNEPh92XndSH1wp_ HldlGUsx2DKK5g&sig2=_K0pf5AujwLgn0QalDNOTA&cad=rja (03/02/2011) KÖR Kunst im öffentlichen Raum Wien: Mahnmal gegen den Mythos des ersten Opfers, http://www.koer.or.at/cgi-bin/ page.pl?id=43;lang=de) (20/12/2010) · Nachkriegsjustiz: Gedenkstein (mit dem Staatswappen von Mexiko und Österreich,http://www.nachkriegsjustiz.at/ vgew/1020_mexikoplatz.php) (112/01/2011) · katharina petru mexicoplatz is lying 80 more slippery until I reach a place where a downhill clouds accumulate. I offer him an apple, a piece of bread streamlet oozes away into the ground. Following the and a cigarette. It has been raining sufficiently today. water to its origin partly moss-covered boulders appear in the wood in my proximity. Finally I perceive a yellow Amongst the stone it is cold and wet and still I have this Klemens Waldhuber gleam through the trunks in front of me. A several comfortable feeling of security in here. “A nice place of Thin air meters high rock face is illuminated by the first rays of refuge“, but I cannot linger. With every step the desire light that beam over the treetops to the mountainside. I to reach the peak increases. The crack develops a pull greet the disk with a smile and halt for a second. So the that makes me become ever more hurried. I almost slip It has been raining half of the night. The soil under my sacrifice was worth it, leaving bed before dawn. At the on the slick stone slabs once, twice, thrice, I stumble naked feet is soaking wet as I make my way through the foot of the wall lies the source. The water impetuously into sunlight. Intensely blinking I try to find out in my high grass. I put on my jacket knowing that I will take breaks out and running over red stone carves its way dazzlement what kind of new world I have entered. The it off again soon because the first ascent will claim some down to the valley. forest made way for a grass-covered slope that stretches sweat. Still, to escape the fresh morning air I increase After I have cleaned my feet in the well from mud I in front of me and joins the now cloudless sky. As I turn my speed. Soon the open field changes into a bright search for a way to overcome the weather-beaten block. around the gorge I got out of has vanished in dense fog. wood. An almost invisible path, a deer’s track struggles A few minutes south I find an opening in the crag and The more distance I gain to the lush valleys my way against the constant incline and leads me upwards. The another path which seems to lead through the twilight has taken its starting point in the more unpleasant sun did not succeed yet to climb across the opposing up to the summit. the landscape around me becomes. Where used to be trees are now crippled beings, where used to be grass, is all because instead of getting clearer the world around Out of the passage steps an indigene in traditional now dry earth and stones. At the same time my body is me keeps to thicken in the dense coniferous forest. clothing. He looks at me silently with raineyes. I feel that attempting to cope with the lower oxygen concentration All around me there are waterdrops dripping off the this mountain I set foot on without permission belongs in the air. With every movement I loose a bit more energy trees hitting branches and the ground. A light breeze to him. However he is not indignant, not up to mischief. than before, the ascent gets more difficult. is playing with my hair. I try to adapt my footfalls to His eyes tell me “I know you and I know why you are Midmorning I reach the edge of a high plateau. At the this heavy atmosphere, not to disturb the trees. My walk here, for I am you and you originate in my creation.“ As far side of this huge plate rise two mountains. The right becomes more cautious, the path becomes soggier and he lifts the lightning in his right hand skywards grey summit surmounts the other one. · klemens waldhuber thin air 81 vienna zocalo · 81 mountain range. I wonder if she is going to rise today at The indigene is waiting for me at the foot of an archaic And before this thought is finished I feel my strength this I lies down on his back. Using a knife made of stone step pyramid that towers in the middle of the flat. With returning , I gather myself. My pace quickens and the indigene opens the chest, removes the palpitating a wave of his hand he indicates me to follow him and becomes more confident again. My breathing goes back heart and lifts it up to the sun. Finally he carries the starts to climb up to the two temple buildings on the to normal. Soon I leave the talus behind me and walk body to the abyss and throws it down. topmost platform. and climb once more on solid ground. Light-footed I watch it falling until it gets swallowed by the like a mountain goat I overcome the barren landscape mountain. neglecting all hallucinations and thoughts. I cross the plateau and set about ascending the highest In that way I reach the summit just as the sun reaches peak. Rough scree makes it complicated to walk and makes its highest point. The last fifty metres I run towards the me feel the first signs of tiredness. Due to carelessness goal. I roar at the sky to express my feeling of elation I slip and scrape my knee. A blood stain forms on the and exhaustion but the sky takes it serenely. Gasping I Es hat die halbe Nacht lang geregnet. Der Wiesenboden fabric of my trousers. Perhaps it would have been better fall down on my knees and wipe away the sweat on my unter meinen nackten Füßen trieft vor Feuchtigkeit, to clamber that temple, would have cost me less effort. forehead with the back of my hand. Then it gets silent als ich mir einen Weg durch das fast kniehohe Gras However when I look back now the pyramid is gone. up here. No sound is audible in this place I can overlook bahne. Ich habe die Jacke übergezogen, in dem Wissen Breathing gets increasingly difficult, my limbs are like the whole world from. No wind, no animal, no human mich ihrer bald wieder entledigen zu müssen, da das lead, but especially this strain creates the challenge of being – no life exists here. That is when I realize how erste Stück des Aufstiegs sicherlich den einen oder the climbing. It is not about getting closer to a god, but irrelevant my presence is to the mountain. I do not anderen Schweißtropfen fordern wird. Um dennoch to achieve this physical goal. My lungs are giving me a dominate this mountain, he dominates me. He does not der Kühle der morgendlichen Luft entgegenzuwirken, hard time and the sound of drums I actually don’t want need me, it is rather me who needs him. In this place I beschleunige ich meinen Schritt. Schon weicht das to notice emerges from the flat. It is just a massive heap can only be a quiet visitor, a worshipper but not a power offene Feld einem lichten Wald. Ein fast unsichtbarer of rock which has been formed over an incredibly long holder. Weg, ein Rehsteig kämpft gegen das stetig ansteigende period of time. In this moment the mountain does not Gefälle an und leitet mich voran. Die Sonne hat es noch have a name and has no purpose but belonging to me. The indigene approaches me from behind and puts his immer nicht geschafft, über die gegenüberliegende His qualities shall become mine and his height shall hand on my shoulder. I observe one part of me detaching Gebirgskette emporzuklettern. Fast frage ich mich, ob heighten me. from myself and following him to a plain rock where sie heute aufgehen wird, denn anstatt heller zu werden, · klemens waldhuber thin air 82 vienna zocalo · 82 “No“, I think to myself,“this is not the right way.“ verdichtet sich die Welt um mich herum zunehmend ich eine Öffnung im Fels und einen Weg, der durchs ist die Felsschlucht, aus der ich gekommen bin, in im eng gedrängten Nadelwald. Einzig das Auftreffen Zwielicht in Richtung Gipfel zu führen scheint. dichtem Nebel verschwunden. der Wassertropfen auf den Ästen und der Erde erfüllt Aus dem Durchgang tritt ein Indigener in traditioneller Je weiter ich mich von den satten Tälern entferne, in meine Ohren, begleitet von einer Brise, die meine Haare Kleidung. Er sieht mich stumm mit Regenaugen an. Ich welchen mein Weg seinen Ausgangspunkt genommen umspielt. Ich versuche meine Schritte an diese drückende fühle, dass dies sein Berg ist, den ich ohne zu fragen hat, desto unwirtlicher wird die Landschaft um mich. Stille anzupassen, nicht die Ruhe der Bäume zu stören. betreten habe. Aber er zürnt mir nicht, er ist mir Wo früher noch Bäume waren, stehen jetzt verkrüppelte Mein Gang wird immer behutsamer, der Boden immer wohlgesonnen. Sein Blick sagt mir, »Ich kenne dich und Wesen, wo früher noch Gras war, da ist jetzt trockene rutschiger und feuchter, bis ich an eine Stelle komme, an ich weiß, weshalb du hier bist, denn ich bin du und du Erde und Stein. Gleichzeitig spüre ich, wie mein Körper welcher mir ein Bach bergabwärts entgegenkommt und enstammst meiner Schöpfung. « Als er den Blitz in seiner versucht, sich an die geringere Sauerstoff-konzentration vor meinen Füßen in der Erde versickert. Dem Wasser zu Rechten zum Himmel streckt, ziehen sich graue Wolken in der Luft, zu gewöhnen. Jede Bewegung kostet schon seinem Ursprung folgend, tauchen ringsherum im Gehölz zusammen. Ich opfere ihm einen Apfel, ein Stück Brot mehr Kraft als zuvor, der Aufstieg wird beschwerlicher. immer wieder vereinzelt teils von Moos überwachsene und eine Zigarette. Es hat heute schon genug geregnet. Mitte Vormittag gelange ich an den Rand eines Gesteinsbrocken auf. Schließlich erkenne ich vor mir Hochplateaus. Gegenüber am anderen Ende dieses zwischen den Stämmen einen gelben Schimmer. Eine Zwischen dem Gestein ist es kalt und feucht und trotzdem gigantischen Tellers erheben sich zwei Berge. Der rechte mehrere Meter hoch aufragende Felswand wird von den strahlt es Geborgenheit aus. »Ein schöner Zufluchtsort«, Gipfel überragt den anderen. ersten Sonnenstrahlen erleuchtet, die an dieser Stelle allerdings kann ich nicht verweilen. Ich spüre, wie es über die Baumwipfel hinweg an die Flanke dringen. Ich mich mit jedem Schritt mehr auf die Spitze des Berges In der Mitte der Ebene wächst grüße die Scheibe mit einem Lächeln und halte einen zieht. Die Spalte entwickelt einen regelrechten Sog, der Stufenpyramide aus dem Boden, an deren Fuße der Moment inne. Also hat sich das Opfer doch gelohnt, mich immer hastiger werden lässt. Fast rutsche ich auf Indigene auf mich wartet. Er deutet mir mit einer bereits vor Morgengrauen das Bett zu verlassen. Am den glatten Steinplatten aus, einmal, zweimal, dreimal, Handbewegung ihm zu folgen und beginnt zu den Fuße der Mauer entspringt die Quelle, die sich ungestüm da stolpere ich ins Sonnenlicht. Blinzelnd versuche ich beiden Tempelhäusern auf der obersten Plattform über roten Stein sprudelnd ihren Weg ins Tal bahnt. in meiner Verwirrung zu erkennen, in welche neue Welt emporzusteigen. Nachdem ich meine Füße im kalten Wasser vom Lehm ich eigetreten bin. Der Wald ist einem grasbewachsenen gesäubert habe, suche ich einen Weg, das verwitterte Hang gewichen, der sich vor mir erstreckt und auf den »Nein«, denke ich mir,»Das ist nicht der richtige Weg.« Hindernis zu überwinden. Etwas weiter südlich finde nun wolkenlosen Himmel trifft. Als ich mich umdrehe, Ich üerquere das Plateau und mache mich daran, die eine altertümliche vienna zocalo · 83 · klemens waldhuber thin air 83 höchste Spitze zu erklimmen. Grobes Geröll erschwert Atmung normalisiert sich. Bald habe ich die Schutthalde sich ein Teil von mir löst und ihm zu einer Felsplatte den Aufstieg und lässt mich die erste Müdigkeit spüren. hinter mich gebracht und gehe und klettere wieder auf folgt, auf der dieses Ich sich rücklings bettet. Mit einem Auf Grund einer Unachtsamkeit rutsche ich aus und festem Untergrund. Leichtfüßig wie eine Bergziege steinernen Messer öffnet der Indigene den Brustkorb, schlage mir das rechte Knie auf. Ein Blutfleck entsteht überwinde ich die karge Landschaft, lasse mich nicht entnimmt das schlagende Herz und hält es der Sonne auf dem Stoff meiner Hose. Vielleicht wäre es besser mehr ablenken durch Halluzinationen oder Gedanken. entgegen. Anschließend trägt er den Leib an den Abgrund gewesen den Tempel hinaufzusteigen, es hätte mich und wirft ihn hinab. So erreiche ich den Gipfel, gerade als auch die Sonne in Ich sehe, wie der Körper fällt und vom Berg verschluckt mich allerdings jetzt umsehe, ist er verschwunden. ihrem höchsten Punkt steht. Auf den letzten fünfzig wird. Das Atmen fällt mir immer schwerer, meine Glieder Metern renne ich dem Ziel entgegen. Ich brülle gegen sind schwer wie Blei, doch gerade dieser Kraftaufwand den Himmel an, um meinem Überwältigt-Sein Ausdruck macht die Wanderung zu einer Herausforderung. Es zu verleihen, doch der Himmel nimmt es gelassen. Nach geht mir nicht darum, einem Gott näher zu kommen, Luft ringend, falle ich auf die Knie und wische mir mit sondern dieses physische Ziel zu erreichen. Meine Lunge dem Handrücken den Schweiß von der Stirn. Schließlich macht mir zunehmend Probleme und Trommeln, die wird es still hier oben. Kein Geräusch dringt an diesen ich eigentlich nicht hören will, dringen von der Ebene Ort, von welchem aus ich die ganze Welt überblicken herauf. kann. Kein Wind, kein Tier, kein Mensch - kein Leben Es ist nur eine riesige Gesteinsmasse, die über existiert hier. Und da wird mir klar, wie unbedeutend unvorstellbar lange Zeit geformt wurde. Der Berg hat in meine Anwesenheit für den Berg doch ist. Nicht ich diesem Augenblick keinen Namen und keinen anderen beherrsche diesen Berg, vielmehr beherrscht er mich. Sinn, als mir zu gehören, nicht umgekehrt. Seine Nicht er braucht mich, ich brauche ihn. Ich kann an Eigenschaften sollen meine werden und seine Höhe soll diesem Ort nur stiller Besucher und Huldiger sein, aber mir zu Höhe verhelfen. kein Machthaber. vienna zocalo · 84 jedenfalls weniger Anstrengung gekostet. Wenn ich Und ehe dieser Gedanke zu Ende gedacht ist, spüre ich, wie die Kraft zurückkehrt und mich erneut beflügelt. Der Indigene tritt von hinten an mich heran und legt Mein Schritt wird schneller und sicherer und meine seine Hand auf meine Schulter. Ich beobachte, wie · klemens waldhuber thin air 84 Oliver Cmyral & Stephanie Misa A Colony of a Colony Drawing from research, historical documents and archives, A Colony of a Colony traces out a narrative of the immigration and cultural exchange between the Philippines and Mexico during the height of the Spanish Empire and the Manila Galleon Trade. Many of these interactions tend to fall under the general category of “Hispanization”, versus an acknowledgment of distinct pre-Spanish origins that not only survived colonization but translocated. A Colony of a Colony attempts to reframe the story and create gaps wide enough that the ambiguity of historical documentation is reconsidered. · oliver cmyral & stephanie misa a colony of a colony 85 vienna zocalo · 85 "What remains undisclosed is the cultural cargo these galleon frigates brought with them every year from 1565 to 1815, a period of 250 years coinciding with the commercial interaction between Manila and Acapulco, the links between the two countries bordering the Pacific Ocean were so close that they have given rise to the claim that the Philippines was indeed a former colony of Mexico" Carlos Quirino Eva Greisberger & Johanna Messner "IThose amthree here. words contain all that can be said"* The photo series “I am here. Those three words contain all that can be said” deals with the temporary dissolution of fabric on skin. The used material is water soluble fabric for creating a simple t-shirt and trousers. The material is embroidered with text on air, dampness, atmosphere and clouds. sentences into an irregular pattern of unreadable words. The pictures should tell the story of a never ending process of the arising and disappearing of all being. *(Green, Reneé: Ongoing Becomings. Retrospective 19892009. Zürich: 2009) · eva greissberger & johanna messner I am here 86 vienna zocalo · 86 Water as the destructive force turns the emboidered Claudia Harich Embassy of the Free World Republic 'United Utopia’ "A world where many worlds fit in" The USA as well as Europe set up walls to defend themselves from the dreaded ‘Other’. For ‘foreigners’ it is often already difficult to enter these states without passing through long tourist-visa processes or needing the financial backing of a third party co-signer. Transferring the center of their lives to the United States or to Europe becomes almost impossible for people additional qualifications and / or fixed job commitments from reputable companies with an affirmed minimum salary. Due to continuously tightening asylum laws even this option is increasingly suppressed. (At the moment there are about 11 million Mexicans living in the United States, more than a half of them are ‘ILLEGALS‘, without papers and therefore without health insurance). · claudia harich embassy of the free world republic united utopia 87 vienna zocalo · 87 from the ‘outside’ without having specifically requested Become a member of United Utopia and holder In response to the world‘s alarming societal situation structures within the protected setting of an exhibition of the Permanent Resident Card in 10 steps: – in this case especially the highly unjust migration may activate a communication process and initiate policies that by blindly following an inhuman capitalist the participants to question internalized patterns of doctrine generate exclusions rather than mobility – thought. To enlarge the radius I have installed a website inspired me to devise the concept of the ‘Self-Service- (facebook.com/UnitedUtopia) where all those interested Embassy’ of the free World Republic United Utopia. With can download the card and become member of ‘United the ‘realization of the impossible’ new conceptual spaces Utopia‘ independently of the exhibition. that are necessary for an open and equal society shall be developed. At the ‘self-service-embassy’ installation people can go through a formal process to become citizens of the conceived non-hegemonic, autonomous world republic ‘United Utopia‘. Subsequently all participants receive an especially designed „Permanent Resident Card” which is supposed to authorize the holder to cross all borders and stay anywhere without restriction or time limit. The vienna zocalo · 88 application, its positive dispatch as well as the issuing of the card itself will be accomplished by the visitors themselves, without the need of any legitimating authority. The audience, by directly interacting with the installation, thus becomes an integral part of a ‘live performance‘ that results in a change of roles: the visitor switches from a passive recipient to a self- Further information and card-download for new empowered producer. The fictive abolishment of existing members or duplicates: facebook.com/UnitedUtopia · claudia harich embassy of the free world republic united utopia 88 Claudia Harich Multifunctional Poncho It is a multi-functional object and can be used as a tarpaulin) and has a transparent double layered collar poncho, as a banner or as a skirt. If opened up and kept which is intended as a display space. Because of its shape over head it can also be used as a guarding material the collar also provides a formal reference to graphical against aerially carried out surveillance or simply as an applications on traditional Mexican ponchos. In the umbrella. transparent plastic tab information can be inserted in The poncho protects, covers, depersonalizes and therefore order to communicate with the immediate environment also has martial trains. It can be seen as diametrically without speaking a word which can be via signs, the opposed piece to the transparent ‘riot and revolution symbolism of colours or through written information. safety-airdress‘. · claudia harich multifunctional poncho 89 vienna zocalo · 89 The ‘poncho’ is woven out of black plastic sheets (truck The dress is made of transparent plastic film. Concerning the materiality a visual connection is made to the shields, carried by police forces on demonstrations. But the ‚self-protection-dress‘ can only be seen as a symbolic implementation of a ‚passive weapon‘ because of the damageable material used. The transparency of the material, which allows a direct view of the underlying bare torso, further highlights the vulnerability of the human body. In that way non-violence and openness should be signalled. The masculine-muscle-like dents at the front of the dress can be seen as both a reference to the protective vests of riot police, as well as an allusion to patriarchal society. But as just these parts are not inflatable, it is a parody of the special forces ‘Ninja Turtle equipment‘ as well as one of an anachronistic male dominance. Furthermore, it should confuse The side flaps offer the possibility to attach Claudia Harich Riot and Revolution Safety Air-dress: needed tools (like megaphone, device to inflate the dress etc.) – thus the wearable gets an interface between human and machine. As the side-connections are adjustable in width and length almost everyone can wear the dress – its use isn’t limited to a particular gender or a particular size. · claudia harich riot and revolution safety air-dress 90 vienna zocalo · 90 prevailing codes of internalized symbolic order. to find new species on his own. Other botanists named several plants after him. The Museum of Natural History in Vienna holds a beautiful collection of artistic illustrations of botanic discoveries made by Austrian scientists, including many plants of the Arum familiy (Araceae) which can be found in Veracruz and which were first described and named by the botanic H. W. Schott, who came to Mexico following Maximilian. A completely different insight into the history of Maximilian in Mexico is provided by a look on the numbers of people that were involved into the political struggles, Austrians, Belgians, French and Mexicans. Besides the hard facts there is the description of the Diana Nenning his so called “Mexican Adventure”, the Second Mexican situation in Mexico in contemporary newspapers which Layers of History Maximilian and the Empire and its history, many different perspectives can shaped the public opinion. There are many other layers of history that could be added On the one hand there is the story of the Austrian too, to get a comprehensive picture of it. Preferably that Archduke Ferdinand Maximilian, portrayed as a should be perspectives of different countries, winners fanciful, sensible and intellectual dreamer, who wanted and losers. History consists of stories that express the view of one or to create an Empire that was perfect for everybody, but several narrators. To approach history on the one hand who was misled by empty promises and cheating and “Layers of History” refers to those different views of it is necessary to look at those individually, on the other came to a wrong decision that led him and many others the same history. The observer can on the one hand hand one should observe their interaction. into a disaster. On the other hand there is Maximilian concentrate on a single layer, push others aside or on the scientist, who was enthusiastic enough for Botany the other hand look at the overlay and interference. Looking for information about Maximilian and · diana nenning layers of history 91 vienna zocalo · 91 Mexican Adventure be found. Julia Alexandra Soteris Riederer “no longer – not yet” “no longer – not yet” is a textile art work that is continuously being refined and altered in form and design. At the moment the object/garment consists of 900m colored string sewn together using a sewing machine. The object’s organic character in combination with the material’s inflexibility allow for it to be worn both as a dress and a sculpure on the body. An important aspect of this project is performativity. As I understand my own artistic involvement first of all as a work in progress that develops precisely through interaction with other participants who do not necessarily have an artistic background/access, it emphasizes a kind of gateway between art, communication and clothing. string or textiles which I integrate in my work on site. I am also visiting inhabitants of Xalapa at home to communicate my work to them and also to ask them for additional material. It is an experiment that is actively engaging people in Xalapa, initiating cultural exchange by means artistic as well as communicational. · julia alexandra soteris riederer "not longer – not yet" 92 vienna zocalo · 92 For this project, everyone is invited to bring materials like Marianne Sorge kitsch 'n' veil I once read an article which claimed kitsch to be the kit that holds everything together that would fall apart otherwise. While I believe this to be smashingly adequate I also think that kitsch works in a veiling way as well. All these nice patterns, flowers and animals and bright colors distract us from seeing what is right in front of us in every aspect of society. It‘s rather the hollywood-like effect than the content that draws our attention. I designed this publication to work on two levels. On the one hand the publication aims to be the space where essays, art works and cvs are interwoven by design but also by the overall theme 'Critical Crafting as a postcolonial strategy‘. So the publication is complementarily thought as a textile object. Traditional in this book to veil part of the articles and hence force the readers to ‚unveil‘ before they are able to read. Using the example of lifting a bridal veil I chose the book‘s format to be landscape and that it would be tied on top. But to unveil one page means also to veil the one before: We all use kitsch. We all are a hybrid network of veilers. · marianne sorge kitsch 'n' veil 93 vienna zocalo · 93 Austrian and later also Mexican scarf patterns are used Julischka Stengele language When I entered the Mexican Border I did not know a single word of Spanish. I had never been taught in French or Italien as well. The only languages I could speak were English and German. Travelling under that condition to a country where hardly anybody speaks English, is truly a challenging and mind changing experience. I had been educated in the English language from a young age and until I came to Mexico I had never been somewhere, where I could not make myself understandable with words. Putting myself in that situation, I realised what an immense power comes along with the knowledge of a certain language or better language at all. It opens whole new worlds or shuts them down completely. palabras and phrases which I lernt en la calle during my viaje through Mexico in 2010. I set myself the task to write down all the words I would remember four weeks after I had returned to Alemania. The list contains of 481 words, numbers and phrases. First I started to write them down as they came to mind, later I tried to group them while writing. · julischka stengele language 94 vienna zocalo · 94 On the following page there is a list of different vienna zocalo · 95 · julischka stengele language 95 vienna zocalo · 96 · julischka stengele language 96 vienna zocalo · 97 · julischka stengele language 97 vienna zocalo · 98 · julischka stengele language 98 Mario Strk Audio collage “embodying the conflict of speaking for others”; mixed media: mp3 player with headset I asked myself the question ‘How to love a little cactus?’ for the past weeks and months. · mario strk how to love a little cactus 99 vienna zocalo · 99 How atoLittle Love Cactus? Veronika Burger From 2001 to 2006 Veronika studied sculpture and New Media at Vienna Art School. Previously working as a tailor and as a stage designer she now studies Transmedia Angelika Stephanie Böhm Art at the University of Applied Arts Vienna as well as Performative Arts at the Academy of Fine Arts Vienna. Born in Traunstein, Bavaria (Germany) in 1981, she now Internship at the Performance Archive „The Franklin lives and studies in Vienna, Austria. After graduating Furnance Institute“ in New York (US) in 2009 and from the University of Augsburg in 2007, she now participation in the artist-in-residency program „PAF“ studies Education in the Arts as well as Graphic Arts and (FRA). She is currently working as a teacher for Media Printmaking Techniques under Gunter Damisch, both at Art at the Vienna Art School. the Academy of Fine Arts in Vienna Since 2006 Suzie Léger and Veronika are working on She mainly focuses on expressive paintings of humans (portrait), creatures and environment. Marlies Brommer Her artistic In February 2010 she, among other Austrian female artists, initiated the weekly performance salon „SHOWESQUE“ efforts include acrylic painting, drawing, textiles, Born 1987 in Vienna, Austria. After studying Comperative in Vienna (AUT). Her art work deals with identity, social- teaching, transferring of projects and exhibitions in Literature at the University of Vienna for one term she and political changes, film- and musical references, Austria and Germany. now attends the Academy of fine Arts, Vienna to study issues of gender, sound and dance and performance, and Fashion & Styles and Design & Context both at the the question of how performance can be archived and Institute for Education in the Arts. presented. www.STEPHESH.com biographies · 100 vienna zocalo · 100 a performance collaboration called {above-}over. Oliver Cmyral Oliver Cmyral, born in 1976 in Vienna, Austria currently works in the Architectural field with a focus on Exhibition Design besides studying Architecture at the Technical University in Vienna. His recent BA project was Elena Cooke Veronika Geiger – Verito Violin the design of a Fundaçion to house the works of Mimmo Born 1983 in London. Lives and works in Vienna. Studied Born 1982 in Mödling, Austria. Since 2002 studying team responsible for the architectural implementation at the University of Edinburgh between 2001-2005. Textile Art at the Academy of Fine Arts in Vienna and of a number of temporary and permanent exhibitions Since 2006 studies at the Academy of Fine Arts Vienna since 2003 Education of the Arts. in Austria such as; “Der Dombau von St. Stephan” under Prof. Dorit Margreiter and Pawel Althamer. From 2006-2007 Veronika studied abroad in Santiago de (Wien Museum), Geo Data City (Planungswerkstatt), Recent exhibitions and screenings include FILMIKI, Chile and consecuitvley travelled through Chile, Bolivia, Brennpunkt (Heizungsmuseum Wien); and worked Curated by_Vienna (2010) at Gallery Dana Charkasi, Peru and Ecuador, initializing a recycling project “la as project leader on the following exhibits: “Die 60er. Der schaffende Mensch Styrian Autumn Festival (2010) separación de la basura” in four schools in Ecuador. Beatles, Pille und Revolte” (Schallaburg) and “Erobern – at Schloss Trautenfels , Wiggle (2010) at the MAK - Her art work focuses on the relationship of art and Entdecken” (Niederoesterreichische Landesausstellung, Austrian Museum of Applied Arts in Vienna, Welches garbage and includes ”Tetrapack Tipi” and “art, Kulturfabrik Hainburg). He lives and works in Vienna, Leben? (2010) curated by Sabine Breitweiser and Project advertising or garbage?” She says: „In any Austrian Austria. Projection (2009) curated by Matthias Michalka. cellar - garbage becomes art and art becomes garbage…“ biographies · 101 vienna zocalo · 101 Jodice in Naples, Italy. Professionally he is part of a Claudia Harich A notorious globetrotter, precarious jobber, re-student of the Academy of Fine Arts Vienna and recent teacher of creative subjects at the HLA Herbststrasse for art and fashion, Claudia mostly lives in Vienna since 1980. Active participation in various cultural contexts and socio-political affairs, especially concerning border Eva Greisberger issues, capitalism critique and open space conflicts; contributions to various gatherings and political events. Language and Literature Studies”. Soon it turned out Before studying at the Academy of Fine Arts Vienna that she needed to do a more practice oriented study she took a Diploma in Furniture and Interior Design at and so, in September 2008,she began to study “Fashion College Mödling in 2000, ensuing three years of working and Styles” as well as “Art and Communication” at the in that branch followed by one yearlong stay in Spain. Academy of Fine Arts Vienna. After five years of studying, including one semester In May 2010 Johanna Messner and Eva founded the label abroad in Chile, she passed her MFA in Art and Crafting ILANOI which is a creative concept space. The label‘s Education in 2010. Her thesis on autonomous spaces intention is to establish a connection between art and of self-determined cultural and social production won design. the first Award of the Academy; it was followed by two Studied Philosophy and Contemporary History in Furthermore Eva did two courses at the Summer articles dealing with similar subjects. Since 2009 she Helsinki and Madrid, currently studying art, new media Academy of Fine Arts at Salzburg. Due to a scholarship studies Fashion and Styles. and critical theory in Cologne and Vienna. Interested in she had the opportunity to visit sculpture classes of Judy Recently she participated in Viennese group exhibitions regimes of (re)production and distribution of images, Fox and Wang Fu in the years 2007 and 2008. and staged several art performances. narratives and knowledges. Aino Korvensyrjä biographies · 102 vienna zocalo · 102 In August 2007 Eva moved to Vienna to study “German Luiza Margan Verena Krems Margan was born in Rijeka, Croatia. After obtaining her Katharina Luksch afterwards started studying Fashion and Styles and degree from the Academy of Fine Arts in Ljubljana in 2006, she now lives and works in Vienna. Her art works Design and Context at the Academy of Fine Arts in Katharina Luksch was born in Vienna, Austria, where also connect to her other home towns: Rijeka (Croatia), Vienna. Later she added Art and Communication to she has been living ever since. Besides working various Ljubljana (Slovenia), and Sofia (Bulgaria). In her work her studies. Her art work varies from textile works to underpaid part-time jobs she has tried her hands at she employs a variety of media and is interested in drawing and painting, from photography to designing Anthropology, Modern Greek Studies, Philosophy, and approaches investigating the relation between art and jewellery and other handcrafts, exploring medieval Latin before entering the Institute for Art and Education everyday life, history and knowledge, language and handcrafting techniques. at the Academy of Fine Arts, Vienna. body in re/presentation. biographies · 103 vienna zocalo · 103 In 2008 Verena graduated from school and right Stephanie Misa Johanna Messner Stephanie Misa, born in 1979 in Cebu City, Philippines, studies Performative Arts and Sculpture under Prof. Monica Bonvicini at the Academy of Fine Arts in Italy, Johanna studied History of Art at the University of Vienna. She also holds a BA in Philosophy from the Innsbruck, Austria in 2005. After that she worked as an Ateneo de Manila University, and an MA in Interactive integration teacher in a vocational school for one year, Telecommunications from New York University. Her before she started to study “Arts and Communication” work often deals with issues of identity construction and “Fashion and Styles” at the Academy of Fine Arts and Vienna. installation or performance. She has exhibited at Passionate about sewing and engaged with various the Salzburger Kunstverein, Das Weisse Haus, BKS Martin studies at the Academy of Fine Arts in Vienna, textile print and staining techniques, her current textile Garage in Copenhagen, Homebase V in Berlin and where he sews re-makes of gowns that have been worn art works experiment with new cuts in balance between Mossutställningar in Stockholm among others. She lives by Greta Garbo, and then wears them. art and fashion. and works in Vienna, Austria. Martin Martinsen otherness whether as art-in-public biographies · 104 space, vienna zocalo · 104 After graduating from the Graphic Design School Brixen, Aki Namba Born 1982 in Japan, lives and works in Vienna, Austria. The discovery of a phenomenon always means the discovery of the world and simultaneously its disposition and construction: Aki Namba investigates ways to reinterpret reality positively. To achieve this Diana Nenning Katharina Petru she attempts to transform concrete phenomena and Born in Vienna in 1982 Diana now studies Education in surrounding her, into art practices with combining a the Arts at the Academy of Fine Arts, Vienna, Education Currently studies Education in the Arts at the Academy wide range of media like video or daily stuff by picking in IT and IT Management at the Vienna University of of Fine Arts Vienna. up the relationships between aspects of daily life which Technology, Artistic Education under Renée Green and Her art work, respectively research, focuses on questions lie behind these phenomena and situations. Her motto is Graphic Arts and Printmaking Techniques under Gunter on history and how it affects present circumstances. Her “minimal effort, maximum effect”. Damisch, Michael Hedwig, Otto Zitko and Nobuhiko concern are vacancies and spaces in-between, details and Numazaki and Franz Strobl. She participated in gaps which tell something about society and conscript exhibitions in Austria and abroad relations. www.akinamba.com www.amalgamzine.com biographies · 105 vienna zocalo · 105 situations, which she is able to perceive in the world Siax Soquel Marianne Sorge Julia, Alexandra, Soteris Riederer Since 2001 works at an Art-Center in Payerbach called Achieved the title master tailor in May 2008.Since Born in Vienna in 1986, Marianne grew up in Southern Kunststaette Kuenburg as a teacher, artist and curator. Oktober 2009 studies Education in the Arts with main Germany. Since 2002 she works and lives in Vienna. Since 2001 teaches at the Children Painting Seminar focus on fashion and styles and art and communication After graduating from school with a major in Graphics „Komm wir malen!“ („Come let’s paint!“) at the Academy of Fine Arts, Vienna. and Communication Design she now studies Education Since 2007 Teaching Assistant of Prof. Phillip Rubinov In April 2009 she created her fashion-art label in the Arts at the Academy of Fine Arts in Vienna. Jacobson at the Summer Academies „old masters new jilojinx, which will soon be renamed in mampell, her visions”. Influenced by her interest in educational studies, Since October 2009 she studies Education in the Arts Julia also works as a costume designer for music videos postcolonial studies, gender studies and semiotics, with main focus on Fashion and Styles and Art and and film productions (e.g. in the historical costume film her recent projects explore questions like: How is the Communication at the Academy of Fine Arts, Vienna. “Dr Hope” with Heike Makatsch starring). migrant/exotic/oriental other perceived, negotiated She works with textiles in a sculptural way and I does and designed in Central Europe? How does the political Siax uses different materials and artistic experimental video and contemporary dance. In her and social discourse on dress confine our choice of how such as painting, photography, installation, video and work she mainly focuses on body and motion and much we show of our bodies? How does mainstream performance. Beside Exhibitions at the Kuenburg and the behaviour between body and space and has been pornography affect our society‘s concept of gender and the Artoff Gallery in Reichenau, she performed in Lodz exhibited in Vienna and Munich. sexuality? (Poland), Hyère (France) and Berlin. expressions biographies · 106 vienna zocalo · 106 grandmother‘s maiden name. Julischka Stengele Julischka Stengele (*1982) is a German visual artist who primarily expresses herself through photography and performance art. Klemens Waldhuber She first studied Visual Communication/Photography at HTW Berlin, from where she graduated in 2010. Parallel, she took up self-educational studies in Born in 1989 Klemens grew up in a town in the vicinity performance art – supplemented by seminars and of Graz, Styria. He attended grammar school and did his alternative service in a workshop for special people. In this facility it was possible to work with clay. And she studies at the Academy of Fine Arts Vienna. Since 2007, Stengele participated in various group shows Mario Strk, born 1979 at Bad Aussee, is a contemporary although he never had had much to do with sculpting in Germany and Canada and presented her artist who lives and works at present in Vienna, Klemens started to experiment and soon afterwards did performances internationally, including Mexico, Poland Austria. his first sculptures in plaster. A few months later he was and the US. She also participates in the work of other Since 2007 he studies at the Academy of Fine Art Vienna admitted to the class of Pawel Althamer at the Academy artists as a model since 2003 and organises exhibitions at the Department Object Sculpture led of Fine Arts in Vienna. At present he lives and works in and art projects. by Pawel Althamer. Warning: Let there be air. Vienna. biographies · 107 vienna zocalo · 107 Mario Strk mentoring of well established artists. Since October 2010 Khadija Carroll La El delantal blanco Die weiße Schürze The apron white …O vertilge diese ruchlos Böse Brut, die Götterfresser Vitzliputzli, Putzlivitzli, Laß uns siegen, Vitzliputzli!1 1 Heinrich Heine named, cut up, and cannibalized the name: 2 Vitz| |li| |put| |zli = Put | li | vitz | zli 2 Rubén Gallo, Freud's Mexico: Into the Wilds of Psychoanalysis, MIT Press, 2010. 3 Vitzliputzli arrived sometime around 1851 to haunt Europe as revenge for Mexico, for sending Cortez, and as a prediction also of the madness that would catch a Queen, and bleed a King.3 13 years after the poet Heine’s curse on European colonialism the Habsburg emperor of Mexico, Maximilian and his wife Charlotte, arrive in 1864. His execution is ordered by Juarez in 1867, bloodshed resonant in Heine’s curse and the material remains of graves excavated and sent back to Vienna during his brief reign. · khadija carrol la el delantal blanco | die weiße schürze | the white apron 108 vienna zocalo · 108 cut the god he made in Mexico’s image Heinrich Heine, Vitzliputzli, 1851. An epic poem about Cortez’s colonization and violence in Mexico by means of demystification and deconstruction. A fragment of an archeology von a body, anarcheology.4 Torn in fact, from a corpse in a cave. Dark stains on textiles speak of objects from graves.5 4 5 Gerhard Buessel, the curator of Mexican materials at the Völkerkunde Museum, Wien. From a personal interview in the museum in November 2010. · khadija carrol la el delantal blanco | die weiße schürze | the white apron 109 vienna zocalo · 109 Because of the humidity it is very rare to have archeological textiles from Mexico, most are anthropological collections. This one in Vienna’s ethnographic museum is a very rare piece therefore, the only two textile fragments to have survived from the Novara expedition / Maximilian von Mexico’s time in the field. 6 There are countless diaries of colonial explorers that do archaeological digs in graves during their expeditions. Joseph Conrad’s Heart of Darkness is the novel however that portrays the psychology of colonial urges to penetrate the darkness. 7 Read. Journals of penetration into the dark.6 (Graves opened in the name of research of those things usually given to the dead.)7 Was this wise Maximilian?8 It seems inauspicious to take the clothes from the dead sent back to stay in the museum with Montezuma’s crown. 9 what did they wear and 8 It is of course not his doing directly, but merely a spooky resonance with Maximilian’s death after his unwise decisions surrounding the Mexican colony. Most humorous of accounts is perhaps Richard O'Connor’s The cactus throne: the tragedy of Maximilian and Carlotta, Allen and Unwin, 1971. 9 The very same museum is of course also the proud owner of the contentious feather crown attributed to the last indigenous ruler of Mexico before Cortez, Montezuma. 10 were they always already far from the bright missionary gift of days of the dead, all sugar and colour coated?10 Claudio Lomnitz, Death and the Idea of Mexico, New York, Zone Books, 2005. See also Piñata story in this volume for another missionary use of sugar to seduce the heathens. · khadija carrol la el delantal blanco | die weiße schürze | the white apron 110 vienna zocalo · 110 at the same time steal the offerings given to them In North America museums are now forced by law to assess repatriation claims under The Native American Graves Protection and Repatriation Act (NAGPRA). A United States federal law passed in 1990 requiring that Native Americans’ cultural items be returned to their respective peoples if and when they have been excavated, NAGPRA allows archaeological teams a short time for analysis before the remains must be returned. 11 Barbara Matuella, textiles conservator of the Völkerkunde Museum, Wien. On white tissue and with white gloves, 12 For more on the Novara expedition read Elke Gaugele in this same volume. the fragment is not treated like any other dirty rag ‘pulled from the compost’ 13 The catalogue of Völkerkunde Museum for objects from Veracruz: Objects from Veracruz that are in Vienna: the curator in the white apron instructs.11 It has provenance: Novara provenance.12 Tierfigur Köpfchen Köpfchen Köpfchen Köpfchen Spinnwirtel Spinnwirtel Spinnwirtel Spinnwirtel Spinnwirtel Köpfchen Scherben Scherben Scherben Scherben Smiling head Smiling head Tonkopf Querflöte Trommel Kernspaltflöte Fächer Pan de muertos Pan de muertos Hemd Hose Hut Bluse Bluse Fächer Tasche Hose Hemd Hose Hemd Kleid Schürze Haube Schlauchrock Bluse Schürze Gürtel Tuch Quechquemetl Halskette Ohrgehänge Bänder Topf White apron, perhaps it was mothers? whitest cotton with hand embroidered detailing. For a museum curator, there is the tradition of wearing a lab-coat like the scientists next door in the university. Here in the Vienna Völkerkunde Museum13 14 Not splitting atoms,14 but splitting items There is no association to science with the white apron. from cultures living on without them. 15 A few years after this corpse is robbed of this cloth To Juarez June 19, 1867, just before his execution. Maximilian writes “that my blood may be the last that is shed”. 16 In a speech to the people he reiterates himself as a sacrificial victim, he adds, “may it regenerate this unhappy country”.15 Maximillian offers himself to the cannibals and their gods.16 El emperador se ve como víctima sacrificial Cummins, T. B. F., To Serve Man: Pre-Columbian art, Western discourses of idolatry and cannibalism, Res: West by nonwest, 42, 2002. For more on cannibalism see entries in this volume by Ruby Sircar, Sabeth Buchmann, Aino Korvensyrjä, and Klemens Waldhuber. · khadija carrol la el delantal blanco | die weiße schürze | the white apron 111 vienna zocalo · 111 W. Harris Chynoweth, The fall of Maximilian, with an historical introduction, the events immediately preceding his acceptance of the crown, and a particular description of the causes which led to his execution; together with a correct report of the able defence made by his advocates before the court-martial, and their persevering efforts on his behalf at the seat of the republican government, London, 1872. Khadija Carroll La Piñatas Made in Vienna At 5am on a November morning a group of Museums Quarter cleaners found in our wake the ‘piñata as archive’ of an Austrian subjectivity.1 This time our constructions of Mexico were embodied in the popular piñata, which is already an object of early colonial politics. Imported from China to the West by Marco Polo. As a hollow fiber sculpture filled with sweets and beaten to gush, the Piñata had been used to coax Native Americans in South vienna zocalo · 112 and North America into Christianity. The seven-pointed star piñata, still common today, is a relic of these early missionaries representation of the seven deadly sins, which they said only “blind” faith could destroy. In my workshop we each made a Piñata and sewed blindfolds. Afterwards we went to execute these together in public, as an experiment in the construction and cathartic deconstruction of an icon. 1 Irene Lucas, guest artist, piñata workshop, Academy of Fine Arts, Critical Crafting Café, November 2010. · khadija carroll la Piñatas 112 vienna zocalo · 113 “I made Frieda Kahlo into Mickey Mouse in 3D.” “I made the Schillerplatz, symbolic of the fine art school, as an architectural-piñata-model - to be destroyed” “I want to be the piñata, hit me” · khadija carroll la Piñatas 113 I can see the headline form as they speak: “Students forced to perpetrate violence in the Vienna Zocalo!” “I don’t want to hurt the animal piñata” says one student in belated protest (after hitting the piñata). “Hitting is mean in my culture” says another “I made a Punschkrapfen piñata – symbolizing all the vienna zocalo · 114 worst parts of Austria – and then took it home.” “A pineapple with a contents of my post precious objects: a pipe, new Orleans necklaces, and of course a mini-live pineapple with which to deal the blow” - the tragedy being that the children were quicker to the loot than the bringer of tropics to the North could be. · khadija carroll la Piñatas 114 vienna zocalo · 115 Blindfold off The horror Precious contents all gone! · khadija carroll la Piñatas 115 I found I enjoyed the thrill vienna zocalo · 116 Blindfolded and dangerous Because sweets - swiping The giggle and roar of the crowd my my my ah Where is that piñata Before I can get the blindfold off, the children are at my feet gathering the sweets. · khadija carroll la Piñatas 116 Lisbeth Freiß Claims on Mexico: Regency after Viennese Fashion. As a modernist European discourse fashion is a central agent to govern nation, culture and space. Thus my ongoing research, at the Department for Education in the Arts, focuses on “Viennese Fashions. Regimes of Materialization”. The research project analyses fashion in regard to the Vienna Fashion (Wiener Mode) and its countercultures as social and political regulatory. Hypothetically assuming that fashion activated social and and spatial borders and “policies of appearance”, vienna zocalo · 117 during the nation-state renewal in 19th century Europe. At the beginning of the 19th century Vienna nominates itself as “fashion metropolis”, following internal and external colonial intentions. While ethnic and national costume and fashion is occupied by the imperial elites as internal colonial and national regulatory for the Habsburg Monarchy, Maximilian v. Habsburg’s assignment to the imperial Mexican crown in 1864 · lisbeth freiß claims on mexico 117 sideswipes fashion as colonial regulator. The discourse The cover page of the Wiener-Modejournal of 1805 (WMZ1805) which is created by Viennese Fashion as a mass media furthers the assumption, quoting the German poet fashion magazine follows the “Othering” (Homi K. Friedrich Schiller who calls fashion “culture’s source”. Bhabha) strategy and also mentions Mexican fashion. Appealing to all Viennese women, to all “kind female dwellers of the educated world (…) who are not so far This talk will discuss the aspiration of Maximilian’s advanced in the art of enhancing their beauty and to rule in Mexico to strengthen the regime of Viennese please” the article Revoluzion der Toilette (Revolution of female Fashions over “fashion in Mexico”; analysing references Toilette) draws the border line for Viennese fashion; calling on Mexico in Viennese fashion magazines from 1844 and for an “original” Viennese fashion. The author compares 1867, as well as Albert Kretschmer’s and Carl Rohrbach’s the “bold savage” and “their lively phantasy adoring history of costumes The peoples’ costumes (1864). In regard on their skin arabesques, historical and landscape of spatial policies to “locate culture” (Homi K. Bhabha) painting” (WMZ1805. Nr.4. 15.2.1805) and asks for an fashion and physiognomy are strongly related. Fashion “original “ Viennese fashion from the “educated world”. which is a modern phenomenon conceives itself through Fashion magazines translated this request and produced the interchange with culture and education and is “imagined communities” which finally, according to regarded as indicator for culturalisation, progress and Benedict Anderson1 create nations. According to the the constitution of nations. dynamics of fashion, articles in fashion magazines In 1798 Charis magazine writes: vienna zocalo · 118 which are propagated as mass media, contribute to the creation of social geographies which develop through the imagination of communities and commons such as Less developed people could be recognised through their “mind and taste culture”; their dress would be static, they would insist stubbornly on old ways and could not “name what we call fashion”. (Charis 1806, p. 10., see: Journal des Dames et des Modes (Frankfurt) 9. September 1798, p. 2). language, print media and mass products (see: Anderson. 1991:37). To produce fashionable/Western clothes system fashion replaces “landscape painting on the skin of [...] bold savages” (WMZ1805. Nr. 4. 15.2.1805) with modern social geographies. Fashion acts as aesthetic regime 1 See. Anderson, Benedict. Imagined Communities. London: 1991 (1983). · lisbeth freiß claims on mexico 118 character and customs a national Mexican character in an article on social gatherings – the tertulia. (DWE. according to class and race. The “cultivated elite”, which is build on indiscipline, indolence, negligence No. 6., 15. 3. 1844, p. 23) Here the author allows the alien “noble” and “ignoble savages” are governed through and phlegm. – himself – to study the Mexican character and puts a their appearance by the regime of fashion. The recently introduced bodice in the Viennese style strong point on the already mentioned characteristics are regarded as useless by the author “as the Mexican such as indiscipline, indolence, negligence and phlegm In 1844 the fashion magazine Die Wiener Elegante (DWE. women keep their beauty and physical regularity until which are expressed through the French fashion. The Nr.1, 1. 1.1844, 3. year p. 3) subjects Mexico in the article old age, even though all, even the younger ones, show author praises the “auspicious moment which allows “Fashion in Mexico” to the Viennese fashion laws: The a tendency for obesity.” When appearing in public the us to depict the Mexican gentlewomen in one of their Alameda as well as all the other Mexican promenades Mexican gentlewomen would only mind the correct fit beloved tertulias which allows the foreigner (sic!) to are “governed by the ruling laws of fashion” (DWE. of their stockings and shoes. “At home they [the Mexican study the Mexican character. The shown image depicts Nr.1., 1.1.1844. 3. year), according to DWE, just like gentlewomen] are always only in negligee and without the gentlewomen sitting in front of the wall on low the Wiener Prater – the promenade’s counterpart in stockings or combed hair. During visits they sit on small, tabourets, as might be found in Parisian salons, and in the Habsburg Monarchy’s metropolis. The magazine low tabourets, and smoke cigars. As they don't want to the latest French style, smoking leisurely the richly gold denounces reluctantly the influence of the French sully their fingers they smoke them with small silver plated cigars. [...]“ (ibid.). fashion on Spanish costumes and favours “the dress of pincers which they carry round their necks” (DWE. Even though in society, the article states, the Mexican the Spanish-Mexican cavalrymen [...] which mirrors Nr.1., 1.1.1844. 3. year:3). gentlewomen sit without movement lost in thought and the costume and luxury of the middle ages” as Mexican The cigar becomes a synonym for the “Mexican addicted without interest in conversation. Only “the old negress national costume (DWE. Nr.1., 1.1.1844. 3. year, p.3). With to gambling” (ibid.); lighting a cigar “in cold blood” when [...] is used frequently” (DWE. No. 6., 15. 3. 1844, p. 23). this national costume, designed after the dress of the “having lost his last reales as if he had won thousands” Spanish conquistadores, the Wiener Elegante depreciates (ibid.). 20 years later, the year Maximilian v. Habsburg is contemporary fashion trends which it describes as Constructing and depreciating a “national characteristic” proclaimed Mexican emperor, the Viennese fashion “strange mixture between French elegance and old which fashion designs for all “Mexican gentlemen and reports, such as Albert Kretschmer's und Carl Rohrbach's Spanish customs” (DWE, Nr.6. 15.3.1844). gentlewomen” representing all Mexican citizens, depicts Costume History “The peoples' costumes” (1864), allow the them as “ignoble savages” (ibid.). Habsburg objects to become “noble savages”. Around 1550 In 1844 the DWE specifies the national Mexican character the costume images of Codex Tudela were drawn. Aztec The article constructs through dress, physiognomy, · lisbeth freiß claims on mexico 119 vienna zocalo · 119 which governs and hierarchically categorises citizens ball games at the Spanish court in Sevilla were depicted At the same time the neighbouring “ignoble savage” is of “burning passions in their hearts [...] and distorted in Christoph Weiditz' costume book. In 1529 Weiditz convicted by his lack of culture and ignorance - “None by hypocritical superstition[...]“ with the emperor's had been to Spain and in 1531/32 to The Neteherlands of the convicts could state their age.” (From Haiti. In: Iris. reign a “magnificent field to cultivate goodness” ( Iris. ( Literary Supplement. No. 20., XVI. year 13. 5. 1864). Literary Supplement. No. 24., XVI. year., 9. June 1864. http://de.wikipedia.org/wiki/Kost%C3%BCmbuch. 2.5.2011:15:00 p.m.): Christoph Weiditz’ Book of Costumes p.191). The future reign is the “beginning of a joyous era from his Travels to Spain (1529) and to The Netherlands On 9. June 1864, just one month later, a contribution for the ransacked country” (ibid.). The promise allows (1532/32). about the “The Emperor’s Residence in Mexico” is published the upward revaluation of the “ignoble savage” who is The Mexican national costume which the influential in the Parisian and Viennese Original-Women-Fashion signified by ignorance and phlegm to the “noble savage”. Parisian fashion designed after the conquistadores, magazine Iris (Iris. Literary Supplement. No. 24., XVI. Beginning at the empire’s capital – according to the has merely the standing of a costume. The Parisian and year, 9. June 1864. pp.191-92), following an article on Pope “Southern character” - the article “The Emperor’s Residence Viennese Original-Women-Fashion magazine Iris advises Pius IX and his Homeliness. Due to its selection and ordering in Mexico” the regency’s beauty is envisioned in folio and in the “Original Parisian Fashion Picture” to wear the of subjects the magazine shows a clear expulsory fashion: From numerous balconies the “black eyes of the “costume of the Spanish gypsy” as fancy dress for the methodology – the principles of a sovereign’s life should beautiful creoles” can be seen “which negligently linger Viennese ball season (Iris. No. 3., XVI. Jg. 15.1.1864:19). be in accordance with the Popes. in their rocking chairs [...].” Together with the other city dwellers “from Spaniard and Creole to Indian and Maximilian’s seizure of Mexico City on 13. June 1864 Negro [in] all possible shades of human skin colours” the gentlewomen magazine Iris (No. 20,13. May 1864) marked the begin of his regency. The Parisian and they impatiently await, according to the author, their openly criticises the “inappropriateness” of French Viennese Original-Women-Fashion magazine Iris created new ruler (Iris. Literary Supplement. No. 24., XVI. year., customs openly. Referring to a French article the his “new empire” according to the idea of a “wonderland 9. June 1864. p.192). contribution “From Haiti” describes a gruesome murder which he would reign poetically and wildly. The people’s of a seven-year old girl in the capital Port-Au-Prince. hearts are governed by burning and untamed passions... The author describes the “prosecution of the fiends” as the noble deity reason [is] disfigured by hypocritical Kretschmer’s and Rohrbach’s 1864 history of costumes “quite odd”, comparing the outrageous, cannibalistic superstition and phlegm” (Iris. Literary Supplement. “The Peoples’ Costumes” affirm the status of the “noble atrocity opposed by the peculiarity of the prosecution No. 24., XVI. year, 9. June 1864. pp.191-92). savage”. The introductory contemplation states that which takes place in the “most modern French fashion”. The author heralds for the objects which he describes full “what makes a people’s appearance” is “its heritage, · lisbeth freiß claims on mexico 120 vienna zocalo · 120 In a contribution on the neighbouring Haitian region its residence and its history” (Kretschnmer, Rohrbach. The “Costume History Writes” revive a “dead costume” costume historians, a “cultural achievement” of the Einleitende In: according to “original sculptures” which could be found “noble savage” (see: Rohrbach. Carl. Die Mexikaner im Kretschmer Albert, Carl Rohrbach. Die Trachten der Völker. in Berlin museums; on the other hand the constructed 16. Jahrhundert. In: Kretschmer, Albert. Rohrbach, Carl. Leipzig 1864. pp. 1-5:1). Based on this the appearance, Mexican ur-costume follows the contemporary found Die Trachten der Völker. Leipzig 1864. pp. 266-269:266). The according to the authors, is a “symbolic relation of society “costume” of North American First Nation people. By Fazada or Sherape – a long duvet which has a neckhole and governance” (ibid.:4). The search for a “ur-costume” following certain rules of dress of all classes Rohrbach in the middle – as worn in 1864 quotes an earlier dress by costume history and the expected “discovery” of and Kretschmer certified this sparse and thus “poor” of former priests and kings and depicts the right of the an “original Mexican” as well as the subjection of the dress the status of costume. Thus Rohrbach and noble. This ur-costume which is taken from “the noble overall nation is based on a Zapotec and Aztec dress Kretschmer see that “16th century Mexicans” “represent Mexican savage” is seen as the “new national costume repertoire. The union created by costume history, as per the Western continent most sufficiently and complete” for all Mexicans”. The “liberation” from the national Albert Kretschmer and Carl Rohrbach, tries to “free” the (Rohrbach, Carl. Die Mexikaner im 16. Jahrhundert. In: Spanish costume declares Cortez’ reign and its objects Spanish and French influenced “ignoble savages” and Kretschmer, Albert. Rohrbach, Carl. Die Trachten der in Mexico for obsolete and paves the way to legitimate to turn them into “noble savages”. This is based on the Völker. Leipzig 1864. pp. 266-269:266). Maximilian’s rule as emperor of Mexico, according to kulturhistorische Betrachtungen. imagined national Mexican union, under the regency of the “new” emperor, of the different people and their vestimentaire characters which were found by the Spanish in the 16th century. to create a national union, through the drawing of a series of costume historical images by Kretschmer and the regime of fashion. vienna zocalo · 121 The search for a “Mexican” ur-costume marks the attempt „What the European people wore, beginning with the Greeks and Romans, to the armoured headgear of German and French knights – as ore replica or actual helmet feathers – can be also found with people from the New World, without having knowledge of each other” (Rohrbach, Carl. Die Mexikaner im 16. Jahrhundert. In: Kretschmer, Albert. Rohrbach, Carl. Die Trachten der Völker. Leipzig 1864. pp. 266-269:266f). Rohrbach, to show a linear “Mexican” cultural history: “Mirroring the interrelation of various centuries[...]” Producing the costume with natural products, artistic (Kretschmer, Albert. Rohrbach, Carl. Die Trachten der Völker. expertise, as well as the choice of colours bear witness Einleitende kulturhistorische Betrachtungen. p.2.). of a “fine sensibility”, as well as, according to the · lisbeth freiß claims on mexico 121 Literatur · Kretschmer, Albert. Rohrbach, Carl. Die Trachten der Völker. Lithographische Anstalt von J. G. Bach: Leipzig 1864 Anderson Benedict. Imagined Communities. Verso: London. 1991 (1983). · Charis 1806, p. 10.; see. Journal des Dames et des Modes (Frankfurt) 9. September 1798 · · · Die Wiener Elegante (DWE.) Nr.1, 1. 1.1844. 3.year Die Wiener Elegante (DWE.) Nr.6. 15.3.1844. 3.year Iris. Wiener und Pariser Damen-Modenzeitung. No. 3., XVI. year 15.1.1864. · Iris. Literarische Beilage. No. 20., XVI. year 13. 5. 1864. Bhabha K. Homi. The Location of Culture. London: Routledge, 1994 vienna zocalo · 122 Lisbeth Freiß is senior scientist at the Department of Fashion and Styles, Academy of Fine Arts Vienna. Her research focuses on fashion, crafting, feminism and medias. · lisbeth freiß claims on mexico 122 Sabina Muriale Verfügbarkeit für die Allgemeinheit keine Kunst sein. Denn sie sei nur Beiwerk des Körpers und verlange Afterwords. Postkoloniale Praxen an den Schnittstellen von Kunst, Mode und Kultur höchstens handwerkliches Geschick im Sinne einer Schneiderkunst, das seine Inspiration aus der erhabenen und außergewöhnlichen Kunst zieht.4 Dabei hat schon Friedrich Schiller betont, wie man ihn im „Wiener Moden Journal“ von 1805 zitiert, dass Mode als essentiell wichtig zu erachten ist: „Liebe zum Schein, Putz und Spiel ist die Quelle der Kultur.“ Seit Anfang der 1980er Jahre begann mit dem Einzug Mode ist eine „sozial verhandelte Form von Kleidung“5, der Mode in die Museen und „einer Mode nach der deren Träger Mensch nicht nur ihr Medium, sondern 1 Mode“ das Auflösen der Grenzen zwischen den gleichzeitig Empfänger für Ausdruck und Wirkung ist.6 beiden Disziplinen Kunst und Mode, das sich zum Die Kuratoren Richard Martin (1947-1999) und Harold Gegenstand vieler künstlerischen und kuratorischen Koda, die seit 1980 gemeinsam an Ausstellungen für das 2 Costume Institute am Metropolitan Museum of Art in New Ausgangspunkt der Ausstellung VIENNA ZOCALO und York gearbeitet haben, behaupten, dass Kleiderstücke deren künstlerischen und kuratorischen Strategien dar, komplexe ästhetische Gebilde sein können, die viel über mittels derer sich die Studierenden kritisch mit dem Geschmack, Technologien und soziale Gepflogenheiten Projektthema „textile Kunst als postkoloniale Strategie“ ihrer Zeit zu erzählen haben.7 Mode ist also ein auseinandersetzten. flexibles Gebilde, das sich in den verschiedenen Feldern Obwohl Mode nicht frivol und unbedeutend3 ist, wie es gesellschaftlichen Lebens immer wieder neu erfindet, Michael Boodro in seinem Aufsatz über Mode und Kunst ohne die eigene Geschichte verleugnen zu müssen. Sie formulierte, haftet ihr im Vergleich zur Bildenden baut förmlich auf vorangegangenes und bestehendes Kunst bis heute das Vorurteil an, die Kleidermode auf. Sie interpretiert, kopiert oder verfremdet. Reste könne vor allem wegen ihrer Alltäglichkeit und ihrer kolonialer Beziehungen spiegeln sich – beispielsweise Dieser Begriff wurde von Barbara Vinken geprägt und beschreibt eine Avantgarde unter ModedesignerInnen, die auf einen konzeptuellanalytischen Anspruch in ihren Arbeiten Wert legen und ihn künstlerisch zum Ausdruck bringen. Vgl. Vinken, Barbara: Mode nach der Mode. Geist und Kleid am Ende des 20. Jahrhunderts. Frankfurt 1993 2 z.B. die Ausstellung über Alexander McQueens Savage Beauty im The Metropolitan Museum of Art, New York (siehe http://blog.metmuseum.org/ alexandermcqueen/) oder die Ausstellung Future Beauty 30 Jahre Japanische Kunst im Haus der Kunst, München (siehe: http://www.hausderkunst.de/aktuell/ aktuell/future_beauty_30_jahre_japanische_mode.php). Beides 2011. 3 Vgl. Boodro, Michael: Art and Fashion. In: (Hg.) Welters, Linda; Lillethun, Abby: The Fashion Reader. Oxford, New York 2007, S. 256 4 Vgl. Zelenko, Lori Simmons: Is Fashion Art? In: American Artist. June 1981, S. 88. Zitiert nach : Bok Kim, Sung: Is Fashion Art? In: Fashion Theory. Volume 2, Issue 1, 1998, S. 53 5 Loschek, Ingrid: Wann ist Mode? Strukturen, Strategien und Innovationen. Berlin 2007, S. 189. 6 Vgl. Hollander, Ann: Seeing Through Clothes. Berkelex, Los Angeles 1993, S. XV. 7 Smith, Roberta: Review/Art. How Underwear Became Outerwear. Quelle: http://nytimes. com/1993/05/14/arts/review-art-how-underwear-becameouterwear.html, Stand, 10.05.2011. · sabina muriale afterwords 123 vienna zocalo · 123 Praktiken entwickelte. Dies stellt auch für uns den 1 in den mexikanischen Volkstrachten8 – in Schnitten, Materialien oder auch Accessoires wider. Doch was heißt das nun für Lehrende und Studierende, die sich, wie im Falle von VIENNA ZOCALO mit postkolonialen Themen auseinandersetzen? Welche Möglichkeiten bietet zeitgenössische Mode in solch einer Auseinandersetzung, angefangen bei einer künstlerischen Arbeit bis hin zur deren Präsentation bzw. der kuratorischen Praxis? Ein exemplarisches Beispiel für eine konzeptuelle Praxis, die sich sowohl durch kulturwissenschaftliche Forschung (field trips, Literaturrecherche, etc.) als auch durch ihre avancierte künstlerische Arbeit auszeichnet, ist die Kollektion „Afterwords“ von Hussein Chalayan. „Afterwords“ entstammt Chalayans Herbst/WinterKollektion 2000-2001, die 2001 auf der Istanbul vienna zocalo · 124 Biennial präsentiert wurde. Chalayan setzt sich mit verschiedenen Dimensionen wie Zeit und Raum, mit menschlichen Ausnahmezuständen und persönlichen Erinnerungen, die eine politische Aussage beinhalten, auseinander. Er bezieht sich in seiner Kollektion und in ihrer Präsentation auf das Schicksal türkischer Zyprioten, die 1974 durch die ethnische Säuberung der Insel – die auch seine eigene Familie betraf – ihr ganzes 8 Frida Kahlo war eine der bekanntesten TrägerInnen mexikanischer Volkstracht. Sie trug vor allem die Tracht aus Tehuana in Oaxaca, Mexico. · sabina muriale afterwords 124 Hab und Gut verloren. Allein mit der Kleidung am Körper gelang ihnen überstürzt die Flucht. Dieser Arbeit gingen Gespräche mit seiner eigenen Familie sowie anderen Zeitzeugen voraus, aus denen sich das Konzept für seine Kollektion und ihre Präsentation entwickelte. Als Präsentationsform wählte er keinen Laufsteg, sondern entwarf ein Bühnenbild, um das tragische Schauspiel als Performance darzustellen: Auf der als Wohnzimmer gestalteten Bühne waren Kleidungsstücke als Sesselüberzüge, Koffer als Stühle und ein Rock als Tisch getarnt. Erst die Models enthüllten die Gegenstände als die neue Kollektion, indem sie die Objekte als Kleidungsstücke verwendeten. Die Transformation von Möbeln zu Kleidern ist eine Referenz an den plötzlichen Aufbruch und den Wunsch der Flüchtlinge, ihren Besitz zu behalten und mit sich führen zu können.9 In Hussein Chalayans „Afterwords“ werden nicht nur die Flexibilität auch die Möglichkeiten von Ästhetik und politischer Aussagekraft. „Afterwords“ ist ein Beispiel für eine Position in der Mode, die auf die Politik der Kolonisierung, Ethnisierung, Verfolgung und Krieg Bezug nimmt. Indem sie deren Mechanismen aufzeigt wird sie exemplarisch für eine neue postkoloniale Praxis, die neue Räume eröffnet an den Schnittstellen von Kunst und Mode. 9 Chalayan, Hussein: Beschreibung der Herbst/ Winter 2000-2001 Kollektion „Afterwords“. Quelle: http:// www.husseinchalayan.com/#/art_projects.afterwords. overview/, Stand: 10.05.2011. · sabina muriale afterwords 125 vienna zocalo · 125 von Raum und die Grenzen von Zeit überdacht, sondern Bibliographie · Boodro, Michael: Art and Fashion. In: (Hg.) Welters, Linda; Lillethun, Abby: The Fashion Reader. Oxford, New York 2007, S. 256-260. · Hollander, Ann: Seeing Through Clothes. Berkelex, Los Angeles 1993. · Loschek, Ingrid: Wann ist Mode? Strukturen, Strategien und Innovationen. Berlin 2007. · Vinken, Barbara: Mode nach der Mode. Geist und Kleid am Ende des 20. Jahrhunderts. Frankfurt 1993. · Zelenko, Lori Simmons: Is Fashion Art? In: American Artist. June 1981, S. 87-88. Zitiert nach: Bok Kim, Sung: Is Fashion Art? In: Fashion Theory. Volume 2, Issue 1, 1998, S. 51-71 Internetquellen: · vienna zocalo · 126 Chalayan, Hussein: Beschreibung der Herbst/Winter 2000-2001 Kollektion „Afterwords“. Quelle: http://www. husseinchalayan.com/#/art_projects.afterwords.overview/, Stand: 10.05.2011. · Smith, Roberta: Review/Art. How Underwear Became Outerwear. Quelle: http://nytimes.com/1993/05/14/arts/ review-art-how-underwear-became-outerwear.html, Stand, 10.05.2011. Sabina Muriale is a cultural anthropologist, muse – employed by the fashion business and curator who is teaching at the Academy of Fine Arts Vienna (Department for Fashion and Styles). · sabina muriale afterwords 126 of his contemporaries, used to describe the cultural the European Heart of Darkness, the imperial occupiers situation in the Austrian-Hungarian Monarchy with. as heroic crusaders who would free European soil from heathen Muslims. German gothic travel literature had Kakanien is the closest description which cynic Mr. Musil an early height. wilfully cast to describe the situation of the empire’s Austria-Hungary constructed its own first oriental myth Ruby Sircar cultural/hierarchic position within the state’s structure; right at its own door step. Gulping down cultures. This From Kakanien to MexicoBack and where German-speaking cultures ranged on the upper cannibalistic act though was not completed – they ate half and so-called Balkan cultures/languages on the but forgot to digest. Kakanien uncompleted. Austria- lower. In early 19th century when most of the European Hungary moved on and by the mid-19th century was able empires where proud owners of colonies and dominions to begin dreaming about an oversea colony. The question, Austria-Hungary was still an annex fledgling. Without which arose was only – what is left on the global map a functioning navy and an army, which was towered by and which European power was weak enough to lose foot In his novel “Man without Qualities” (1930-42) Robert the Prussian and Tsarist rivals the empire was put hard overseas. In the end they decided on Mexico. An emperor Musil Empire to task to gain more power and space. The choice was was sent and soon lost. “La paloma” too. playfully as Kakanien. Adopting, on the one hand, soon made: the foundation of a colonial power within the “k.k.” (kaiserlich und königlich/imperial and one’s patio. Nothing easier then occupying the border In 2001, roughly 140 years after the death of the last royal) which indicates the empire’s double role and lands of the then already ailing Ottoman Empire. The Mexican emperor the University of Vienna decided to also mirrors the lack of political and sentimental Austrian-Hungarian Empire decided to skilfully annex revisit Kakanien: the online project (www.kakanien. unity of the state; on the other hand it also echoes the Bosnia. It was not even necessary to cross the seven seas, ac.at, 11.04.2011) viewed Austrian-Hungarian colonialism onomatopoeic sound of the German child’s phrase for merely the Karst poljas had to be taken which was done and post-imperial situation, but only as it concerned the faeces: Kaka – which is actually derived from the Greek by means of the new rail technology. And, apart from Balkans, as well as other post-communist Central and kako, a prefix denoting bad/ill. Further the word is also technology also the arts, especially literature, were used Eastern European countries – where was/is (as this is used in Kakophonie (cacophony) - the demonstration of to create a colonisation friendly climate within the object an ongoing platform and blog project) a Latin American, unpleasant phonaesthetics, which Musil, just as others lines: The Balkan had to be romantically described as say Mexican, perspective? Kakanien was influenced describes the Austrian-Hungarian · ruby sircar from kakanien to mexico and back 127 vienna zocalo · 127 objects – a variety of languages which decided one’s and stretched beyond its most successful colonial digest and actually dump colonialism seems by far more there is one cultural signifier which may be seen as enterprise in the Balkans. But, this seems a forgotten effective then to adjust to its left-behinds. digested colonial phrase: the song “La paloma” and its issue in today’s postcolonial Austrian discourse. The accompanying cultural signs, such as: the sea faring Apparently, if we look at everyday culture which is images and designs entered in folk and ethnic song regarding migrational routes and social differences the main shaping vehicle of one’s self-defined identity contests and television shows and radio programmes, in today’s Austrian society regarding the Central and the (former) subalterns (as according to Ranajit Guha: as well as all those singers who are associated in South-Eastern European region rule the agenda. Losing Hegemony without Dominance. New York: Harvard German-speaking countries with the song (ranging one head of the two-headed imperial throne, even if UP, 1998.) have dealt with their part in (a revisited) from Ol’ Hans Albers, Roy Black, Carl Dall, Udo Jürgens, the second was just a bleak sprout which lasted for less Kakanien far more effectively then the (once) colonisers. Freddy Quinn to Fischer-Chöre and James Last and the then three years, seems not yet digested and somehow While the street styles and fashions of so-called second German proto-exotic folk singer, Cuban-born Roberto only allows a limited reflection on one’s own (colonial) generation youth of South-Eastern European origin Blanco, and least and last Julio Iglesias, representing history. have become part of Austria’s popular culture on a very the German media created Hispanic). Even though the direct route, the Latin American colonial history took a song was banned, after the last Mexican emperor was A possible solution to this dilemma of indigestible longer way of digestion and subtly lurked in through the shot from being played at any Austrian naval vehicle memories would be to apply the discourse of the former door of globalisation opened unto the Austrian popular – it survived in popular media culture as the ultimate colonised objects, one which is used in the Latin and South media channels. The question is which signs that we wanderlust song. Beautifully exotic and longing. American discourse and allows a deeper understanding thus find – and are most surely colonial left-behinds of one’s own current and historical situation without – in international Latin American/Mexican/Chicano losing the dual perspective of coloniser and colonised: _a culture can be pinpointed to the Austrian colonial apply anthrophague practices, cultural cannibalism, intermezzo? Which colonial signs have become part of as suggested by Oswald de Andrade in his “Manifesto Mexican self-understanding? Which were turned into Antropófago” (1928). Unlike the ongoing Western positive identity phrases? Ruby Sircar is an academic and artist who is discourse regarding annexing through hybridisation, teaching at the Academy of Fine Arts Vienna (Dept. Andrade suggests a cultural Kakanien. Not to merge and Amongst those obvious signs such as lucha libre masks for Contextual Painting and Dept. for Fashion and mix, but to actually adopt and become the coloniser, to being adopted by wrestling and spiderman, piñatas Styles) · ruby sircar from kakanien to mexico and back 128 vienna zocalo · 128 Mexican legacy is quite nullified while the discussion Sabeth Buchmann: From Antropofagia to Tropicalism. In: Entre Pindorama. Edited by Elke aus dem Moore and Giorgio Ronna, Verlag für moderne Kunst Nürnberg, 2005, pp. 70-77. when one considers that – according to Luis Camnitzer, an artist, author, and curator living in New York – Latin American conceptualism cannot be understood without taking into account the political repression that had begun at the time in neighboring countries1. In this context, English art critic Guy Brett writes that the artistic practice of Brazilian artists such as Oiticica and Lygia Clark was concerned with enabling the individual [to regain] trust in his own intuition and his most passionately-pursued ambitions2. Oiticica’s Creleisure concept can also be understood against this backdrop of neologism which shows that the conceptual designs for Sabeth Buchmann 1960s, were no longer oriented on the model of industrial production, in contrast to concrete art, to which he had still felt obliged during the late 50s and early 60s. Instead, Oiticica propagated a combination of creativity and leisure that was his answer to the living conditions within an authoritarian working society that was – for 1 See: [Sabeth Buchmann], Dada-SitautionsimusFluxus-Tupamaro-Konzeptualismus! – Luis Camnitzer interviewed by Sabeth Buchmann, in: Texte zur Kunst, Vol. 12, No. 50, June 2003, pp. 114-129, here: p. 116. When the Tropicália environment installation by artist a large portion of the population – characterized by Hélio Oitcica was created in conjunction with the Nova poverty and hunger. objetividade brasileira exhibition at the Museu de Arte Hélio Oiticica's body of work is extremely diverse. Moderne (Museum of Modern Art) in Rio de Janeiro, It ranges from drawings, paintings, objects and Brazil had already been under military dictatorship installations, to his Quasi Cinemas3, which he began 3 for three years. This is an important point to mention creating at the end of the 1960s, and which expressed sound. 2 Guy Brett, Situationen, die man erleben soll, in: Sabine Breitwieser (ED.), Vivências / Lebenserfahrung / life experience, (exhibition catalogue Generali Foundation), Vienna 2000, pp.. 35-60, here: p. 37. The Quasi Cinemas are slide projection series with · sabeth buchmann from antropofagia to tropicalism 129 vienna zocalo · 129 From Antropofagia to Tropicalism his works, which were created in the second half of the problematic of universalism and colonialism discernible Smith and, consequently, for homosexual underground therein to the interaction of new technological modes cinema. In 1978, Oiticica returned to Rio de Janeiro, of production and the transformation of the language where he died tow years later at the age of 43. Before of forms. This developed, he claims, parallel to the he went to New York on a Guggenheim Fellowship in beginning of modernization in the second Industrial 1979, Oiticica had been one of the protagonists of the Revolution, with phenomena such as mass production, Tropicalism movement which, in corporating music, mechanization, and urbanization.5 art, literature, and theater, took a stand against the It’s true that such factors played just as important a cultural, U.S.-dominated mainstream on the one hand, role in Oiticica’s artistic change of direction as did and against elitist and/or conservative-patriarchal his increasing interest in the modes of depiction and forms of national art (traditions) on the other. In close aesthetics of everyday life. As a result of his relating collaboration with his fellow artists Lygia Clark and Lígia their objectivity to conceptual sign and object languages, Pape, Oiticica developed the concept of a new objectivity the style eclecticism propagated by the anthropophagic that was devoted to the mutual understanding of manifesto became the subject of a specific, popular- artistic practice and the art of living. However, only cultural interpretation within the context of Tropicalism. fragments of the natural connection to the legacy of the There was a corresponding artistic concept of (everyday) historical avantgarde are apparent in his conceptual practice which would today be labelled as micropolitics. works. They are characterized by an increasing distance That’s because the criticism of geometrical abstraction to the vocabulary of geometrical abstraction which also points to, as Snauwaert emphasizes, the pressure influenced certain tendencies of Constructivism and from minority movements, [which] beginning in the Neoconcretism. As the Belgian art historian and curator late 60s, turned away from the program of a uniform, Dirk Snauwaert writes, geometric abstraction was of all dominant, formal language and focused on language as the avantgarde movements (…) the one (…) which can the motor and substance of cultural identity6. The factors most substantially claim to have successfully propagated Snauwaert mentions were also considered by American its aesthetic worldwide4. Snauwaert relates the art historian Benjamin Buchloh to be decisive with 4 Dirk Snauwaert, Universalismus, Globalismus – eine Bibliografie, in: Kunst und Text, (exhibition catalogue Heimo Zobernig, Bonner Kunstverein / Galerie für zeitgenössische Kunst Leipzig / Kunstverein München), Leipzig 1998, pp. 37-42, here: p. 37. 5 Ibid. 6 Ibid. · sabeth buchmann from antropofagia to tropicalism 130 vienna zocalo · 130 his affinity for the films of Andy Warhol and Jack hut-like buildings reminiscent of structures found in Lygia Clark, who was so important to him, as belonging the Brazilian favela so-called Penetráveis, which can be to that group of artists who questioned the possibilities translated as penetrables. Atop the strewn gravel, there is of continuing the universal project of abstraction (…) a stone with a poem painted upon it. Inside the larger of during the 60s7. the two huts, each consisting of wooden frames covered In this context, the so-called dessarrolismo must also be with fabric, there is a television that is switched on at mentioned. The name refers to a state-funded project, the end of a dark, labyrinthine passageway, representing part of a compensatory capitalistic development the only source of light. During my visit, the television that was started in the 1950s and 60s in several Latin could be heard even from outside. In the smaller of American countries. The enthusiasm for development the two huts, the sentece A pureza é um mitú (Purity prevalent at the time was founded on the hope that is a myth) has been written on the upper corner of southern nations, which were worse off economically amonochrome surface. Not only the labyrinthine spatial than Europe and North America, could soon overcome structure, but also the colorfully printed fabrics make their position as societal and cultural late-comers. That a division between inside and out, or rather between means that greater importance was attached to the back and front, appear superfluous. In other words: expansion of so-called progressive industrial culture, Tropicália takes the form of an ensemble of acoustic, and this was supported by the concretists more than tactile, visual, and semantic elements that reveals itself it was questioned. In response to the rationalistsic only through the physical involvement of its visitors. character of industrial language of form, Oiticica, They are encouraged to literally penetrate the spaces. Clark Pape, etc. proposed alternatives such as intuition, The (self-)perception of the body in its movement creativity and subjectivity. In the following section on through space and time also played a central role in Tropicália, I would like to explain why these artists were minimal art in the United States: its credo was presence so interested in founding a new objectivity. and place. Oiticica, however, had already been pursuing Tropicália is an environment of sand, gravel, tropical objectives typical of minimalistics series of art works plants, a cage containing two parrots, as well as two – expressing time as space, or rather, space as time – 7 Benjamin H.D. Buchloh, Structure, Sign and Reference in the Work of David Lamelas, in: David Lamelas – A New Refutation of Time, (exhibition catalogue), Munich / Rotterdam 1997, pp. 121ff. Buchloh believes that the failure of abstract art as a universal language can be seen in artworks following World War II: that they insisted on the continuity of a culture of national identity presumably guaranteed within pictorial and sculptural conventions. The art historian refers to the French ionformel but he qualifies: Evidently these conventions had already become problematic, if not outright illegible or invisible, for national or regional culture at precisely that moment when the disintegrating ideology of the nation state could no longer present itself as the matrix of cultural identity. At that moment, in the early part of the twentieth century, some of the major figures of the historical avant-gardes had aligned themselves with strong articulations of internationalist utopian thought (e.g., Piet Mondrian and De Stijl, El Lissitzky and constructivism, Jean Arp, Tristan Tzara and dadaism), ibid., p. 122. · sabeth buchmann from antropofagia to tropicalism 131 vienna zocalo · 131 regard to both Oiticica’s position and that of fellow artist earlier, specifically since the early 1960s. For example, of the term10. What he means by this can be recognized in his text About the Hunting Dogs Project from 1961, in the light of his installation Grand Nuceleus, which Oiticica explicitly refers to the anti-linear time and refers to Piet Mondrian. Here, the static quality that spatial structure of the labyrinth – an antithetical was characteristic of Mondrian’s spatial organization, model, as it were, to the concepts of constructivism, undergoes a wide-reaching dynamization. But in 8 which were based on succession and progression . Here, contrast to the traditional way of presenting a painting, too, one could recognize an anthropophagic impulse – which implies a primarily optical and/or visual mode indeed, in this way, the designs for Oticica’s works refer of perception, Oiticica’s construction generates a direct to cyclical concepts of time, which recall those of the physical relationship between the space and the viewer, Mayas, Incas, and Aztecs driven out by colonialism. in the sense of Maurice Merleau-Ponty’s Phenomenology As American Robert Smithson writes, the affinity shown of Perception11. Thus, the alternation between the two- by the artists of the 1960s for labyrinthine, cyclical, and three-dimensionality of the stretched fabric surfaces crystalline forms also represented a revival of the Ultra- generates a mode of perception that can be realized Modern of the 1930s. To support his argument, the artist through physical movement. At the same thime, other mentions the rejection of the organic concept of time forms of time experience are discernible in Tropicália. prevalent in the European Modern Age and inherent in Like many artists of his time, Oiticica was inspired by the traditional conventions of painting, scultpure, and Marshall McLuhan’s and Quentin Fiori’s writings on Hélio Oiticica, About the Hunting Dogs Project (August 28, 1961), in: Hélio Oiticica, (exhibition catalogue, Witte de With Rotterdam / Galerie nationale Jeu de Paume Paris / Fundació Antonie Tápies Barcelona et al.), 1992, pp. 57f., here: p. 57. 9 See: Robert Smithson; Ultramoderne, in: Eva Schmidt / Kai Vöckler (Eds), Gesammelte Schriften (Collected Texts), Cologne 2000, pp. 92-95, here: p. 93. architecture . the transformation of traditional concepts of reality Precisely this moment can be identified in Tropicália. through the new mass media. In this light, the inclusion The folded-in spatial structre of the larger Penetravels of the television set can be interpreted as an allegory stands in contrast to the smaller hut composed of four for the Compression of Time. Important in this context canvases which seems to inhabit the border area between are Oiticica’s designs for so-called supra-sensorial painting, sculpture, and architecture. In one of his texts, fields of perception12, which he distinguishes from the Oiticica writes that he would prefer to speak of Painting deterministic stimulus-response model of Op Art and 12 in Space rather than sculpture despite the artificiality purely mechanical forms of interactivity – Alexander p. 12. 10 Hélio Oiticica, Colour, Time and Structure, in: Hélio Oiticica, (cat. 1992), pp. 34-37, here: p. 37. 11 Maurice Merleau-Ponty, Phänomenologie der Wahrnehmung, Berlin 1966. Hélio Oiticica, Eden, in: Hélio Oiticica, (cat. 1992), · sabeth buchmann from antropofagia to tropicalism 132 vienna zocalo · 132 9 8 suitable way of standing up for values other than those his exhibtion Eden, shown at the Whitechapel Gallery of the art market. In contrast to works of minimalist and in London in 1969. pop art, the favela-esque huts are consciously deprived Oiticica’s spatial designs focus rather on the viewer’s of the status of trademarks. In this way, Tropicália innate ability for unpredictable acts of perception. The formulates the possibility of reversing the avantgarde potential of such an act of perception was recognizable promise of transferring art into how one lives and in the crossing of two different perception modalities, placing it into a socio-geographical relationship with evoked by the juxtaposition in space of the larger, those experiences of time and space exclusive of modern colorfully prnted and the smaller, monochrome hut. The artistic consciousness. former construction corresponds with showing images In this sense, one may conclude with the question: as an expression of the modernistic artistic imperative Does Oiticica’s Tropicália offer points of departure for a of a pure perception free of references and associations. further development of Oswald de Andrade’s concept of Ath the same time, the television placed inside the Anthropophagia, especially with regard to its underlying larger huts acts as an interface between different ways model of time and space? And if so, to what degree? of experiencing space and time (favelas, mass media, In this context, I am reminded of the criticism of aesthetic abstraction), which are interwoven. Luis popular concepts of identity and difference expressed by Camnitzer characterizes Oiticica’s model of perception the American cultural theoretician Lawrence Grossberg. as follows: Whatever happens, it only takes place ‘with’ In his opinion, despite wide-reaching attempts, cultural the viewer, not ‘for’ the viewer. and post-colonial studies have not really proven It is precisely this element of participation that allows themselves capable of overcoming dualistic-hierarchical the cultural-critical dimension of Oiticica’s artistic identity and diferrence relations. He believes this is project to come to the fore, as apparently, this expansion fundamentally due to the priacy given to the category of perception did not come about for its own sake. Taking of time as compared to space in the modern philosophy a specific lifestyle as its subject – this is discernible in of history13. Grossberg points to a phenomenon that the refernce to the building methods of favela huts – is a is apparent not least of all in language. We speak of vienna zocalo · 133 Calder’s mobiles, for example – in a text accompanying 13 Lawrence Grossberg, Cultural Studies in/and New Worlds, in: What’s going on? – Cultural Studies und Popularkultur, Vienna 2000, pp. 194-230, here: pp. 198ff. · sabeth buchmann from antropofagia to tropicalism 133 simultaneity, or things happening at the same time, but objects) first requires a physical incorporation in order we lack a term for in the same space. Here, time refers to thus be able to go against the grain of the conventional first of all to a simple subdivision into past, present differentiation between the one’s own and the Other. The and future as proof of a reliable order. The prevailing environment achieves this, in my opinion, by making concept of history is also subjugated to this notion14, for us aware of different modes of perception of time and it fosters the stories that grasp the European Modern Age space. as a genuiine and exclusive phenomenon while other Oticica works with the aesthetic difference between cultural manifestations are perceived as the expression European of a lagging and/or delayed development15. abstraction and the location-specific iconographies that For that reason, Grossberg suggests viewing history as distinguish the plants, patterns of fabric, parrots, etc. 16 and American-influenced geometrical spatially placed time . This would mean understanding he uses. In this sense, the term tropicalism refocuses the history not in the sense of a (telegical) continuity or a attention of Europe’s Modern Age on Latin American dialectic unfolding of contradictions, but in the sense of nations – a Modern Age that must fail to recognize the a simultaneity of singular events and disparate forms of particularism of its universal project in order to be becoming. From this, Gilles Deleuze and Félix Guattari able to consume cultural differences as exotic products. 17 Oiticica’s assertion of a counter-myth as seen in the term have developed the theoretical possibility of describing tropicalism is correspondingly ambiguous. With regard an Otherness which is neither derived from oneself to de Andrade’s concept of Antropofagia, the becoming nor constituted by the / versus other or own versus incommensurate through consumption, which is based foreign relationship. Rather, they suggest a concept of on physical pleasure, seems to be that which comprises otherness which makes the difference of the difference one of the basic ideas of Oiticica’s designs: (…) it is conceivable. undoubtedly more correct to ‘consume consumption’ In my view, Tropicália appropriates the anthrophagic (…)18. The fact that precisely such an act of perception, idea in this sense, according to which that which is which goes beyond common patterns of consumption, supposedly Brazilian (i.e. the tropicalistic world of signals an ability based on an experience other than that 14 Ibid. p. 200 15 Ibid, p. 199. 16 Ibid, p. 207; for English publication see: Critical Studies in Mass Communication, (Vol. 10), Durham / London 1993, p. 1-22. 17 Oiticica had read Bergson’s work. 18 Hélio Oiticica, Brazil Diarrhea, in: Hélio Oiticica, (cat. 1992), pp. 17-20, here: p. 18. · sabeth buchmann from antropofagia to tropicalism 134 vienna zocalo · 134 - with reference to the phiolosopher Henri Bergson - of dualistc-hierarchical identity and difference-related concepts of space and time – that is what for me makes Tropicália one of the most aesthetically and intellectually pleasing examples of historical conceptualism. Sabeth Buchmann ist Kunsthistorikerin und -kritikerin. Seit 2004 ist sie Professorin für Kunstgeschichte der Moderne und Nachmoderne an der Akademie der bildenden Künste Wien. Hg. mit Helmut Draxler, Clemens Krümmel und Susanne Leeb von Kunstkritik und PoLYpeN politischer einer Reihe zu Theorie. Zuletzt erschienene Veröffentlichungen: Hg. mit Helmut Draxler und Stephan Geene: Film Avantgarde Biopolitik, Wien: Akademie der bildenden Künste vienna zocalo · 135 und schlebrügge. editor, 2009; Denken gegen das Denken. Produktion, Technologie, Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica, Berlin: b_books, 2007; Hg. mit Alexander Alberro: Art After Conceptual Art (Generali Foundation Collection Series), Cambridge/ Massachusetts: The MIT Press und Köln: Verlag der Buchhandlung Walther König, 2006. · sabeth buchmann from antropofagia to tropicalism 135 2005, Gallo 2007, Bustamante 2008). Diese Gruppen zählen einerseits zu den wichtigsten AkteurInnen des Konzeptualismus in Lateinamerika1, andererseits stehen sie mit ihrem politischen Engagement aber auch in einer künstlerischen Tradition, die vom „Surrealismus im Dienste der Revolution“ über die Situationistische Internationale bis hin zu verschiedenen anderen Jens Kastner Praktiken der Diskrepanz Die sozialrevolutionären, kommunistischen und sozialistischen Parteien zu kritisieren und erneut zu revolutionieren. Die künstlerischen Kollektive (Grupo Suma, Proceso Pentágono, Grupo Mira, Taller de Arte e Ideología u. a.) entstanden in einer gesellschaftlichen Situation, die durch die gewaltsame Niederschlagung der Studierendenbewegung von 1968 geprägt war. Zu Beginn der 1970er Jahre proklamierte der offizielle Diskurs der Staatspartei PRI eine „Demokratische Öffnung“. Ein großer Teil der bedeutendsten Intellektuellen In den 1970er Jahren gründeten sich verschiedene Mexikos – u.a. Fernando Benítez, Octavio Paz und Carlos Kollektive von KünstlerInnen, die ihre ästhetische Fuentes – verschrieb sich diesem von Präsident Luis Praxis in unterschiedlichen Formen in einen politischen Echevarría (1970-1976) eingeleiteten Prozess (vgl. Zapata Kontext stellten. Sie prägten die künstlerische Produktion Galindo 2006). Zeitgleich wurde ein „schmutziger dieses Jahrzehnts in Mexiko (vgl. Espinosa 2004, Debroise Krieg“ gegen die Reste der sozialen Bewegung eröffnet, 1 Sie selbst kategorisierten ihre Kunst zunächst nicht als konzeptuelle, sondern als „arte no-objetual“, nicht objekthafte Kunst. Der Begriff No-Objetualismo wurde vom peruanischen Kunsthistoriker und -kritiker Juan Acha eingeführt (vgl. Acha 1981). Maris Bustamante prägte später den Begriff „Formas PIAS“ – als Abkürzung aus performance, instalación und ambientación –, um die Kunstformen der frühen 1970er Jahre zusammenzufassen. Das Wort „pía“, Spanisch: fromm – ist zudem eine ironische Spitze gegen diejenigen, denen diese neuen Kunstformen allzu „unfromm“ erschienen. (Vgl. Bustamante 2008: 134) · jens kastner praktiken der diskrepanz 136 vienna zocalo · 136 KünstlerInnenkollektive Los Grupos im Mexiko der 1970er Jahre und ihre Angriffe auf die symbolische Ordnung Gruppierungen versucht hat, die Praxis der angeblich deren Akteurinnen und Akteure in großer Zahl bezogen, agierten sie zweitens im Kontext von Praktiken, Muralismus, Kunst und Nationalstaat Guerilla-Gruppen in südlichen Landesteilen oder die im Zuge der „68er Jahre“ in vielen Teilen der Welt das – Ein historischer Hintergrund Stadtguerillas gründeten (vgl. Becker 2008). Zwischen künstlerische Feld geprägt hatten: Die Infragestellung der den regierungstreuen SchriftstellerInnen und den Materialien, die Neudefinition der Beziehung zwischen Die Mexikanische Revolution (1910-1920) hatte eine militanten Sozialbewegten nehmen die Mitglieder der Werk und BetrachterIn und die Kritik der Institutionen Vielzahl gesellschaftlicher Auswirkungen, von denen künstlerischen Kollektive eine Sonderstellung ein. (vgl. Syring 1990, von Bismarck/ Fraser/ Sheikh 2006, jene auf das kulturelle Feld zu den viel diskutierten Sie stellten ihre künstlerische Produktion weder in den Papenbrock 2007, Kastner 2008a). Dennoch sind sie – gehört. Die enge Verknüpfung von moderner Kunst und Dienst der Staatspartei, noch gaben sie ihre Produktion sowohl hinsichtlich des Alters ihrer Mitglieder als auch dem nationalstaatlichen Projekt der gesellschaftlichen zu Gunsten des sozialen Engagements auf. Vielmehr bezüglich ihrer Praktiken – als spezifisches Post-68er Modernisierung, in deren Zuge das indigene Erbe erstmals entwickelten sie aus dem Kunstfeld heraus ästhetische Phänomen zu betrachten (vgl. Vázquez Mantecón 2007). sozial anerkannt und zugleich künstlerisch bildwürdig Praktiken, die in den politischen Raum hineinragten und Sie sind damit drittens beispielhaft für die besondere wurde, wird von den meisten ChronistInnen erwähnt, – so die These dieses Textes – diesen damit erweiterten. Entwicklung konzeptueller Kunst in Lateinamerika (vgl. wenn nicht gar besonders hervorgehoben (vgl. Tobler 1984, Ramírez 2000, Longoni 2006, Camnitzer 2007). Krauze 1997, Tobler 2007). In den Worten Pierre Bourdieus Innerhalb der Kunstgeschichte Mexikos ist dabei ließe sich der wesentliche Effekte so beschreiben: Die Der theoretische Zugriff auf die erwähnte Erweiterung „ungebildeten Betrachter“ (Bourdieu 1974: 162) treffen betonen, der wie keine andere Bewegung seit den 1920er des Raumes des Politischen kann im Rahmen dieses auf die „Eingeborenen der oberen Bildungssphäre“ Jahren das Verhältnis von Kunst und Politik dominiert Textes nur grob umrissen werden. Der beschriebene (Bourdieu 1974: 163), d.h. unterschiedliche, bis dato hat: Die Spannungsfelder zwischen öffentlichem Zusammenhang ist eher als Skizze zu betrachten, die weitgehend isoliert voneinander lebende Milieus Bildungsauftrag und Kunstmarktabhängigkeit sowie vor allem auf zwei Forschungsdesiderate verweist: Zum treffen in der Kunstproduktion und -rezeption zwischen nationalstaatlicher Modernisierung und einen bedürfte es der systematischen Beschreibung der aufeinander. Denn mit Beginn der postrevolutionären sozialrevolutionärem Anspruch stellen dabei die Genese eines künstlerischen Feldes in der Peripherie des Phase in Mexiko ab 1920 beginnt hinsichtlich der Kunst wesentlichen Eckpunkte dar, in denen sich die Gruppen globalen Kunstgeschehens und zum anderen drängt sich etwas Außergewöhnliches: Die ungebildeten Schichten der 1970er Jahre zu bewegen hatten – und in denen sie eine theoretische Verknüpfung von Feldanalyse und werden als BetrachterInnen adressiert, und zwar durch neue, kollektive Praxisformen entwickelten. Obwohl Hegemonietheorie anhand des Gegenstandes auf. staatlich in Auftrag gegebene und in jeder Hinsicht groß erstens auf den nationalstaatlichen Rahmen Mexikos angelegte Wandgemälde an öffentlichen Orten. An diesen · jens kastner praktiken der diskrepanz 137 vienna zocalo · 137 insbesondere die Abgrenzung vom Muralismus zu Orten – dem Nationalpalast, staatlichen Ministerien, KünstlerInnen nicht wesentlich anders verfahren als Gebäude von Erziehungs- und Bildungseinrichtungen, mit GewerkschafterInnen oder LandarbeiterInnen: Hier u.a. – werden die BetrachterInnen mit einer neuen wie dort lagen Kooptation und Repression stets sehr nah Malweise konfrontiert. Die so genannten ungebildeten beieinander, gelang die eine nicht, wurde die andere BetrachterInnen, die in der Regel dazu neigen, in der angewandt.2 Zum anderen kommt es innerhalb einer Kunst die „realistische Darstellung“ zu fordern, weil gesellschaftlichen Neuordnung von Kräfteverhältnissen es ihnen an spezifischen Wahrnehmungskategorien zu einer Situation, in der die KünstlerInnen für eine mangelt, mit deren Hilfe sie die künstlerische Arbeit kurze historische Phase ihren – von Bourdieu (1974: 163) anders begreifen könnten als die Gegenstände ihres so genannten – „Klassenethnozentrismus“ praktisch in Alltags, treffen auf eine Riege von KünstlerInnen, Frage stellen. Die an der europäischen Kunstgeschichte die sich verschiedenen Formen der „realistischen und den zeitgenössischen europäischen Avantgarden Darstellung“ verschrieben haben. Dabei geschieht geschulten Maler schaffen ein neues Methoden- und zweierlei: Zum einen wird das Primat der Form über Formrepertoire, das sich um „Verständlichkeit“ bemüht. die Funktion des künstlerischen Ausdrucks, dass die Die eigene, zugleich bürgerliche und avantgardistische Autonomie des Kunstwerks ausmacht, zur Debatte Wahrnehmungsweise wird in diesem Moment nicht – gestellt, denn die Kunst wird eindeutig verschiedenen anders als in der „klassenethnozentristischen“ Regel – gesellschaftlichen Funktionen zugeordnet – um nicht zu für das Normale und Selbstverständliche gehalten. weder KünstlerInnen noch die Kritik die Arbeit jener Diese Bindung, die die wichtigsten Akteure (und historischen Phase. In der Selbstbeschreibung von nur wenige Akteurinnen) des künstlerischen Feldes Künstlern wie Diego Rivera war es kein Widerspruch, an den postrevolutionären Nationalstaat und sein im Auftrag des Nationalstaates zu malen und zugleich bildungspolitisches Projekt haben, ist zwar nie (gemeinsam mit Leo Trotzki und André Breton) das ungebrochen und stets ambivalent. Es hat aber Manifest für eine unabhängige revolutionäre Kunst weit reichende Folgen für die Entwicklung der (1938) zu verfassen. Von Seiten des Staates wurde mit den bildenden Kunst in Mexiko: Indem die künstlerischen 2 Der berühmte kommunistische Maler David Alfaro Siqueiros fertigte während der 1950er Jahre im Auftrag des Staates verschiedene großformatige Wandmalereien an und wurde zugleich wegen seiner Agitation für den Eisenbahnerstreiks 1958/1959 zu neun Jahren Zuchthaus verurteilt. Er wurde 1964 nach vier Jahren Gefängnis begnadigt. · jens kastner praktiken der diskrepanz 138 vienna zocalo · 138 sagen untergeordnet. Denn als Unterordnung verstanden war, erfuhr die Bewegung den grausamsten Einschnitt wurden – die Zahl der Toten schwankt zwischen 14 und Nationalstaatsprojekt geknüpft waren, wurde erstens am 2. Oktober: Zehn Tage vor Beginn der Olympischen über Hundert – zur dauerhaften Legitimationskrise der eine weitgehende Autonomie des gesamten Feldes Spiele in Mexiko-Stadt umzingelte das Militär auf dem Staatspartei hinsichtlich ihres revolutionären Erbes. verhindert bzw. lange Zeit verzögert und zweitens „Platz der drei Kulturen“ in Tlatelolco eine studentische Jener Ausstellungstitel geht zurück auf einen Ausspruch wurden dadurch die Möglichkeiten für politische Demonstration und schoss eine Stunde lang auf die des damaligen Rektors der UNAM, Javier Barros Sierra, Kunst bzw. künstlerische Politik für Jahrzehnte an Protestierenden. Etwa 400 von ihnen wurden getötet der selbst Teil des gemäßigten Flügels der Bewegung war: dieses Projekt gebunden (während sie sich in anderen und ungezählte verletzt (vgl. Taibo II 1997, Poniatovska Sie attackieren die Universität, sagte er damals, weil wir Ländern gerade durch Kritik am und/ oder Distanz zum 2004). Bis Anfang Dezember existierte der 123 Tage nicht einverstanden sind. Die Diskrepanz aber sei das Nationalstaat auszeichnete). Diese Bindung löste sich erst währende Streik an der Universität, der nicht nur eine Beste, mit dem die Universität einer Gesellschaft dienen in den 1970er Jahren im Gefolge der niedergeschlagenen ganze Generation mexikanischer Studierender prägte. könne. (Vgl. Debroise 2007) Den Studierenden diente 68er-Bewegung. Die 68er Bewegung in Mexiko, obwohl – und weil – so die Universität als Ort der Auseinandersetzung, als ein brutal unterdrückt, hat das ganze Land nachhaltig Laboratorium von Kämpfen und neuen Erfahrungen. Seit verändert. Es folgte eine Ära der Diskrepanz, so der dem Sommer 1968 waren verschiedene Institute in den Titel einer Ausstellung über die Kunst der Post 68er- Streik getreten und kämpften, ähnlich wie in anderen Die studentische Protestbewegung in Mexiko hatte Jahre, die im Sommer 2007 in der mexikanischen Ländern der Welt zur gleichen Zeit auch, ausgehend von ihren erstmals deutlich vernehmbaren Ausgangspunkt Hauptstadt zu sehen war. Eine Zeit, in der das politische der Universität für eine Demokratisierung der gesamten am 26. Juli 1968. Sie begann mit dem Aufeinandertreffen System zwar nicht zusammenbrach, aber in der die Gesellschaft. zweier Demonstrationen im historischen Zentrum politischen, der Hauptstadt, als einige Tausend Linke bei einer auch künstlerischen Positionen sich grundsätzlich Die Radikalisierung künstlerischer Solidaritätsdemo für das revolutionäre Kuba auf einige neu ausrichteten. Hatte das Massaker von Tlatelolco Fragestellungen Tausend Studierende des Polytechnischen Instituts bereits das postrevolutionäre Selbstbild der PRI in der trafen, die für die Autonomie der Universität und gegen gesellschaftlichen Wahrnehmung stark beschädigt, Demokratische, antiautoritäre und antihierarchische staatlich gelenkte Attacken gegen Studierende auf die führte der Überfall der paramilitärischen Gruppe Los Formen wurden aber nicht nur in der politischen Arena, Straße gegangen waren. Nachdem am 18. September Halcones auf eine studentische Demonstration am 10. sondern auch in gesellschaftlichen Teilbereichen, also die Universität bereits vom Militär geräumt worden Juni 1971, bei dem mehrere Studierende erschossen bestimmten Repression und Laboratorien der Kämpfe intellektuellen, sozialbewegten und gesellschaftlichen Feldern, · gefordert jens kastner praktiken der diskrepanz 139 vienna zocalo · 139 Entwicklungen so eng an das neue, postrevolutionäre und in Mikropolitiken umgesetzt. Infragestellung dessen, was Kunst (noch) sein kann und künstlerischer Produktion und sozialen Bewegungen als Auch kunstimmanente Fragestellungen wurden in soll, durch eine fundamentale Glaubenskrise innerhalb widersprüchlich und ambivalent zu betrachten. verschiedenen Ländern der Welt in den 1960er Jahren der zeitgenössischen Kunst aus. Auf diese Krise wird in Sind rein werk- bzw. kunsthistorische Beschreibungen neu aufgeworfen und grundsätzlich verschoben, und Mexiko zum Teil mit einer Erneuerung dessen reagiert, (vgl. z. B. Buchloh 1990) kaum dazu angetan, den Wandel zwar vor allem auf drei Ebenen: Erstens hinsichtlich was Bourdieu (1987: 64ff.) die „populäre Ästhetik“ nennt, innerhalb des künstlerischen Feldes in den 1960er der verwendeten Materialien, zweitens in Bezug also künstlerischen Praktiken, die einen Zusammenhang Jahren angemessen zu fassen, so ist der Zusammenhang auf das Verhältnis von Werk / künstlerischer Arbeit zwischen „Kunst“ und „Leben“ behaupten. Muss von und BetrachterIn und drittens im Hinblick auf die einerseits entgegen kunsthistorischen Gepflogenheiten Bewegungen doch auch nicht selbstverständlich. Ohne Institutionen – zunächst die des künstlerischen Feldes, auf den Zusammenhang dieser Entwicklung mit diesen umfassend zu theoretisieren, wird im Folgenden später überhaupt den gleichzeitigen sozialen Bewegungen abgezielt zunächst nur von der Bourdieu’schen Feststellung (vgl. O´Doherty 1996, Kastner 2008a). Von diesen werden, darf andererseits aber auch ihr Verhältnis ausgegangen, dass die Definition von Kunst, da nicht Entwicklungen ist auch die Kunst in Mexiko nicht zur mexikanischen Moderne nicht außer Acht gelassen aus sich selbst zu gewinnen, immer auch „Gegenstand ausgenommen. werden. So sind Formfragen im Anschluss an Diego der Klassenauseinandersetzung ist“ (Bourdieu 1987: 91). Rivera oder Rufino Tamayo keineswegs vollständig der Dieser Befund kann sowohl in Richtung Kunst, also dahin Funktion des künstlerischen Ausdrucks untergeordnet. gehend gelesen werden, was als Erweiterung ihrer Mittel gesellschaftliche ansatzweise Institutionen Nachdem sich bereits in den späten 1960er Jahren verschiedene, konzeptuell arbeitende KünstlerInnen in Lateinamerika politisiert hatten (vgl. Ramírez 2000, Kunstproduktion und Praktiken sozialer Akzeptanz findet und was nicht (und warum nicht), als Künstlerisches Eingreifen die Definition von Kunst Gegenstand von antagonistischen künstlerische Praktiken direkt Bezug auf die Bewegung Ausgehend von der Erfahrung bzw. der Analyse eines gesellschaftlichen Auseinandersetzungen ist, lässt sich von 1968: MalerInnen unterstützten die Bewegung mit „langen und globalen 68“ (vgl. Kastner/ Mayer 2008), auch die Frage stellen und erörtern, wie künstlerische ephemeren Wandgemälden und kollektive künstlerische also eines transnationalen Protestzyklus, der sich Praktiken – die ja kein passiver, überhistorischer Arbeitsformen entwickelten sich im Zusammenhang mit erstens weder auf den Pariser Mai oder Mitteleuropa Gegenstand sind – selbst in diese Auseinandersetzungen den umfassenden Demokratisierungsforderungen. und die USA, zweitens nicht auf das studentische eingreifen. Die im Mexiko der 1970er Jahre gegründeten Diese Phase zeichnet sich, wie Grenfell und Hardy (2007: Milieu als Träger der Bewegungen und drittens nicht KünstlerInnenkollektive haben solche künstlerischen 178) an Bourdieu anschließend erläutern, in Form der auf das Jahr 1968 beschränkt, ist das Verhältnis von Eingriffe in gesellschaftliche Auseinandersetzungen · jens kastner praktiken der diskrepanz 140 vienna zocalo · 140 Longoni 2007), nahmen auch in Mexiko verschiedene auch in Richtung sozialer und politischer Kämpfe. Wenn praktiziert. Auf welche Weise sie dabei die Grenzen (ENAP) gegründete Grupo Suma fand sich in Abgrenzung des künstlerischen Feldes überschritten und ob oder vom individualistischen Künstlerideal zum Kollektiv inwieweit diese Überschreitungen zu Verschiebungen zusammen. Bis zu ihrer Auflösung 1982 gehörten der innerhalb der politischen Hegemonie geführt haben, Gruppe 17 Männer und fünf Frauen, MalerInnen, kann im Rahmen dieses Textes bestenfalls angedeutet ZeichnerInnen und GraphikerInnen, an. Gemeinsam werden. agierten die KünstlerInnen häufig im Stadtraum, die sie mit ihren ephemeren Arbeiten somit als öffentlichen Los Grupos: Urbaner Raum, Guerilla-Form und Raum proklamierten. Sie setzten sich dabei direkt dem die Angriffe auf die symbolische Ordnung Publikum aus, indem sie Bauzäune, Stadionfassaden und Wände an Straßenecken für ihre Kunst benutzten. Mit dieser aktivistischen Arbeit an öffentlichen Wänden Jahre war keineswegs komplett in die Strukturen und grenzten sie sich auch implizit von ihren muralistischen Diskurse der Staatspartei involviert. Trotz der gezielten VorgängerInnen ab, in deren Produkten nicht nur der Einbindung des kulturellen in das politische Feld – und kollektive Schaffensprozess ausgelöscht war,3 sondern der damit einhergehenden mangelnden Autonomie die sich zudem immer wieder in die Politik des Staates des kulturellen Feldes – entstanden verschiedene hatten integrieren lassen bzw. deren Arbeit kooptiert Formen kultureller und politischer Dissidenz. Zum worden war. Die mit Sprühschablonen affizierten einen gründeten einige Intellektuelle in Reaktion auf Schattenmänner mit Aktentaschen (El Burócrato) die harte Innenpolitik Guerilla-Gruppen im ländlichen konnten direkt als Kritik an der PRI-Bürokratie Süden des Landes. Zum anderen kam es speziell unter entziffert werden. Grupo Suma verzichtete in ihren jungen KünstlerInnen zur Gründung einer Reihe von politischen Statements nicht nur auf die Didaktik der Kollektiven, die die Kunstgeschichte mittlerweile als Muralisten, sondern bediente sich auch subtilerer Los Grupos, die Gruppen, kategorisiert hat. ästhetischer Mittel. Sie fügten der Stadt nicht nur Bildmaterial hinzu, sondern griffen auch gefundenes Die 1976 an der Nationalen Schule für Plastische Kunst Material für ihre Arbeiten auf: Die wie die Bürokraten 3 Diego Rivera bildete in seinem Fresko The Making of a Fresco Showing the Building of a City, 1931, 6,95 x 9,15 m, San Francisco Art Institute, den Akt des kollektiven Schaffens zwar ab. Sich selbst dabei im Mittelpunkt des Geschehens verortend, vermochte er die auf Einzelpersönlichkeiten abzielenden Repräsentationsmechanismen des künstlerischen Feldes damit aber nicht grundsätzlich zu durchkreuzen. · jens kastner praktiken der diskrepanz 141 vienna zocalo · 141 Das kulturelle Feld im Mexiko der frühen 1970er Adorno herausgestellten, mehr als nur phonetischen Mantecón 2007). Sie realisierten dort einen fünfeckigen Zuge des „Schmutzigen Krieges“ „Verschwundenen“ Gleichklang der Worte „Museum“ und „Mausoleum“ Raum („Pentágono“), an dessen Außenwänden die wurden auf Süßigkeitentüten oder Zeitungspapier belegt. (Vgl. Gallo 2007: 170) Allerdings nutzte die Staatsausgaben verschiedener lateinamerikanischer gedruckt. Seit Picassos kubistischer Zeitungscollage Gruppe den Ort, um das Museum in Richtung Straße zu Länder graphisch dargestellt waren, so dass die Flasche, Tasse, Zeitung (1912) galt die Verwendung von öffnen, indem der Großteil der „Ausstellung“ in Form unterschiedlichen Summen für Erziehung, Militär und Tageszeitungen in bzw. für Kunstwerke als das zugleich von Performances im öffentlichen Raum stattfand. In Auslandsschulden sichtbar wurden. Im Inneren war wörtliche wie auch transzendierende Hineinholen der der Aktion El secuestro (Die Entführung) mischten sich der durch mehrere Türen für das Publikum zugängliche äußeren Realität ins Werk. Bei Grupo Suma verweist die vier Mitglieder der Gruppe unter die Menge vor dem Raum eingerichtet wie eines der typischen Folterzimmer es zudem darauf, wie wertvoll so etwas vermeintlich Museum, als plötzlich drei von ihnen auf den vierten, der mexikanischen Polizei. Eine ähnliche Installation Banales wie Zeitungspapier sein kann, wenn der Staat, einen scheinbar harmlosen Passanten, zugerannt kamen, wurde zwei Jahre später unter dem Titel Proceso 1929 wie im Mexiko der 1970er Jahre, das Monopol über dessen ihm einen Sack über Gesicht und Oberkörper stülpten, anlässlich der 50-Jahresfeier der 1929 gegründeten Distribution innehat. (Vgl. Betancourt 2004) ihn fesselten und von der Straße zerrten. Statt zu Staatspartei im Auditorio Nacional in Mexiko-Stadt BetrachterInnen gepflegten Kunstgenusses wurden die errichtet. Hier baute die Gruppe allerdings eine ganze Die drei Jahre zuvor 1973 gegründete Gruppe Proceso MuseumsbesucherInnen ebenso wie die umstehenden Polizeistation nach, die noch während der dreitägigen Pentágono fand sich angesichts der staatlichen PassantInnen zu ZeugInnen einer alltäglichen Szene Feierlichkeiten von Regierungsbeamten zerstört wurde. Repression auf der Suche nach alternativen, nicht- aus dem „Schmutzigen Krieg“ ihrer Regierung. Bei ihrer (Vgl. Gallo 2006: 183) staatlichen Wie Teilnahme an der Biennale von Paris 1977 zettelten die bei anderen Kollektiven auch, waren es hier nicht Mitglieder von Proceco Pentágono einen öffentlichen Taller de Arte e Ideología (TAI) wurde 1974 an der zuletzt die staatlich kontrollierten Museen und Streit um die Rolle des aus Uruguay stammenden Fakultät für Philosophie und Literaturwissenschaften Galerien, die die KünstlerInnen gewissermaßen auf Kurators Ángel Kalemberg und dessen Involvierung in an der UNAM von Alberto Híjar gegründet. Verschiedene die Straße trieben. Trotz dieser Ablehnung staatlicher die damals dort herrschende Militärdiktatur an, nahmen KünstlerInnen nahmen an der eher wie ein Seminar Ausstellungsinstitutionen nahmen Proceso Pentágono aber auch an dieser Ausstellung teil. (Neben Proceco organisierten Gruppe teil. Im Vordergrund der 1973 die Einladung an, im Palacio de Bellas Artes Pentágono beteiligten sich außerdem die Kollektive Arbeit stand vor allem die Auseinandersetzung mit in Mexiko-Stadt auszustellen – ein Ort, der nach Grupo Suma, Tetraedo und Taller de Arte e Ideología marxistischer ästhetischer Theorie, insbesondere mit Rubén Gallo wie kein zweiter den von Theodor W. an der Paris Biennale 1977, vgl. Gallo 2007: 176, Vázquez Louis Althusser, aber auch mit Michel Foucault. Teile Ausstellungsräumen zusammen. · jens kastner praktiken der diskrepanz 142 vienna zocalo · 142 ebenfalls als Schablonen gefertigten Gesichter von im der Gruppe gingen 1979 nach Nicaragua, um die dortige (1978), eine Art Grafisches Kommuniqué, in dem mit neuen 2007: 230) Ab 1979 gab die Gruppe auch eine Zeitung Sandinistische Revolution zu unterstützen. Mitglieder grafischen Formen verschiedene soziale Missstände gleichen Namens heraus, in dem das Verhältnis von von TAI gehörten auch zu den MitbegründerInnen der kombiniert und in der klassisch aktivistischen Absicht, Wort und Bild ebenso verhandelt wurde wie kollektive gewerkschaftsähnlichen Organisation Mexikanische Bewusstsein zu schaffen, verdichtet wurden. künstlerische Front der KulturarbeiterInnen-Gruppen (Frente Mexicano de Grupos Trabajadores de la Cultura). Praktiken oder Veranstaltungen alternativer Kultur. Demgegenüber verfolgte die Grupo Março eine No Grupo gilt bereits als Reaktion auf die anderen Grupo Germinal, an der Escuela Nacional de Pintura, Kunstpraxis. Die Gruppe gründete sich 1979 und hatte Kollektive: Der selbstironische Titel dieser 1977 Escultura y Grabado „La Esmeralda“ in Mexiko-Stadt sechs Mitglieder, zwei Frauen und vier Männer. Die gegründeten Gruppe spiegelt sich zum einen in der gegründet und bestehend aus sieben Mitgliedern meisten kollektiven Arbeiten fanden im städtischen konkreten Produktionsweise wieder, die explizit (fünf Männer, zwei Frauen), stellte als Gruppe ihre Außenraum statt. In der Serie Poema Topográfico individuelle Arbeiten vorsah, und zum anderen ist sie ästhetische Arbeit am deutlichsten in den Dienst der (Topografisches Gedicht) bezogen die KünstlerInnen Ausdruck eines ironischen Bruchs mit der Ernsthaftigkeit sozialen Bewegungen. So leisteten sie Gemeindearbeit Gegenstände wie Gullideckel oder Parkbänke in ihre der politisch arbeitenden KünstlerInnenkollektive. in der Stadt Escuinapa im Bundesstaat Sinaloa und oft nur mit Kreide affizierten Wortspiele mit ein und Dennoch unterstützte auch diese Gruppe nach einer organisierten 1979 eine Ausstellung zu den „luchas gaben den Materialien so neue Bedeutungen oder Ausstellung in Medellín/ Kolumbien 1978 die Guerilla- populares“ (populäre Kämpfe, gemeint sind die sozialen verschoben die bisherigen. In der Aktion Poema Urbano Bewegung M-19 (Movimiento 19 de Abril). Beim dortigen Kämpfe der unteren Bevölkerungsschichten). (Urbanes Gedicht) gaben sie PassantInnen Blätter mit Primer Coloquio Latinoamericano de Arte No Objetual verschiedenen Wörtern in die Hand, die damit auf dem wurde ihre Arbeit Montage de momentos plásticos Auch Grupo Mira gehört zum explizit politisch Gehsteig selbst „Gedichte“ zusammensetzen konnten. (Montage plastischer Momente) (1978) gezeigt. ausgerichteten Teil der Bewegung der Gruppen. Aus vier Die Gruppe definierte ihre Arbeit über drei Bedingungen: Mitgliedern bestehend, waren sie der studentischen „a) Das Wort als bedeutungsgebender Anreiz, b) Die Protestbewegung sowohl biografisch als auch inhaltlich kollektive Partizipation als Produktionsmechanismus, eng verbunden. Sie betrieben verschiedene Formen c) Die systematische Struktur als Bedingung für die Die proklamierte und gelebte Kollektivität, offensichtlich grafischer Agitation, darunter das von ihnen entwickelte Rückkoppelung (mit den BetrachterInnen) und die die erste und größte Gemeinsamkeit aller KünstlerInnen- (und 1980 in der DDR preisgekrönte) Comunicado Gráfico Selbstgenerierung der Kommunikation.“ (Vgl. Debroise Gruppen, ist bereits als Effekt der Überlappung von Kollektivität als Strategie · jens kastner praktiken der diskrepanz 143 vienna zocalo · 143 dezidiert sprachanalytische Herangehensweise an ihre künstlerischem und politischem Feld aufzufassen. griffen sie in diese Kämpfe ein, zielten aber auch auf Ein konkreter Kontext der Strategie der Kollektivität Besonders deutlich ist diese Überschneidung in der Wahrnehmungs- außerhalb ist der urbane Raum, in der viele der Gruppen ihre verhältnismäßig großen Beteiligung von Frauen an den des gesellschaftliche künstlerische Produktion nicht nur präsentierten, KünstlerInnengruppen: Viele Protagonistinnen der Wahrnehmungs- und Begründungszusammenhänge. sondern auch fertigten bzw. unternahmen. Ein mexikanischen feministischen Bewegungen waren Teil Die Kollektivität war erstens eine Reaktion auf das, was allgemeiner Kontext ist die Guerilla-Form, in der die dieser Kollektive (vgl. McCaughan 2007, Bustamante auch Bourdieu (2001: 163) als die Einzigartigkeit und künstlerischen Gruppen agierten. 2008). Sowohl die Organisationsformen der sozialen Originalität des „schöpferischen Projekts“ des einzelnen Bewegungen als auch die Kritikformen innerhalb des Künstlers/ der einzelnen Künstlerin zu dekonstruieren Kunstfeldes selbst brachten kollektive Praktiken hervor. sucht. Wie in anderen Regionen der Welt auch (vgl. Diese stellen eine Strategie im Sinne von auf politische Stimson/ Sholette 2007), standen die kollektiven Der urbane Raum ist heute als Gegenstand und Zielvorstellungen ausgerichtetem Handeln dar, sie künstlerischen Ansätze der Post-68er-Jahre in Mexiko Aktionsraum sind aber auch eine Strategie als „eine Berechnung von sowohl im Gegensatz zur Feier des schöpferischen selbstverständlich. Kräfteverhältnissen“ im Sinne Michel de Certeaus (1988: Individuums als auch zur gesellschaftlichen Vereinzelung wurde allerdings erst im Zuge der mehr oder weniger 23). der beginnenden postfordistischen Ära. Zweitens richtete expliziten sich die Kollektivität als Strategie aber auch gegen Museum und Galerie geschaffen bzw. entwickelt. Vor Wie in anderen gesellschaftlichen Feldern auch, finden das, was Bourdieu als einen der Hauptmechanismen dem Hintergrund einer rasanten Verstädterung mit Veränderungen im Feld der Kunst in Kämpfen statt, die der Kunst ausgemacht hat: Gegen ihre Funktion der Zuwachsraten von über fünf Prozent im Jahr – der u. a. um die legitime Sichtweise von Wahrnehmungs- Legitimierung von sozialen Klassenverhältnissen (vgl. Anteil der städtischen Bevölkerung stieg in Mexiko von und Bewertungskriterien geführt werden. Durch ihre Bourdieu 1974: 194) und gegen die der „Kennzeichnung ca. 25 Prozent 1930 auf 43 Prozent 1960 und 66 Prozent Strategien innerhalb dieser Auseinandersetzungen klassenspezifischer 1987: 1980 (vgl. Tober 2007: 329) – kam es auch in Mexiko im haben die daran Beteiligten erheblichen Einfluss auf 125) – zumindest steuerten Los Grupos durch die Zuge der 68er-Bewegung zu Aktionen von KünstlerInnen den Wandel innerhalb des Feldes (vgl. Bourdieu 2001: Verlegung ihrer Aktionen in den öffentlichen Raum im 329, Zahner 2006: 81). Die konkreten, eben kollektiven und durch ihr partielles Engagement in den Barrios der öffentliche Busse an, schufen ephemere Wandgemälde, Strategien zielten allerdings nicht direkt auf diese gängigen künstlerischen Reproduktion sozialer Klassen machten Performances im öffentlichen Raum. An diesen Legitimität. Nur vermittelt und über ihre Werke entgegen. künstlerischen Aufbruch, der zugleich ein Ausbruch aus und künstlerischen Deutungsmuster Feldes: Auf (Bourdieu für Kritik Stadtraum: zeitgenössische Diese an den Kunstpraktiken Selbstverständlichkeit Kunstfeldinstitutionen KünstlerInnen-Brigaden · jens kastner praktiken der diskrepanz 144 malten vienna zocalo · 144 Unterschiede“ Urbaner Raum und Guerilla-Form den im damaligen Mexiko fast ausschließlich staatlichen unabhängigen Kunstproduktion und -rezeption (vgl. auch ihrer bewussten Ignoranz gegenüber bestimmten Institutionen des Kunstfeldes war, knüpften auch die Gallo 2007). Auf beide Fragen fanden die KünstlerInnen Verknüpfungen. KünstlerInnenkollektive der 1970er Jahre an. im Mexiko der 1970er Jahre Antworten, die nicht ohne Arbeiten auf zeitgenössische politische Themen und die transnationalen Einflüsse zu verstehen sind, die die Bewegungen, den etwa die „Schattenmänner“ oder Dieser Trend der künstlerischen Agitation und Praxis einige Jahre zuvor erfolgte Erweiterung künstlerischer der Nachbau des Folterzimmers darstellen, sind solche auf der Straße ist einerseits eine Fortsetzung der Mittel im Happening ausübte und die von künstlerischen Spezifika, die nicht ohne den Kontext des „Zustands des Verschmelzung von Kunst und politischem Aktivismus Bewegungen wie Fluxus und Trends bzw. Bewegungen Produktionsfeldes“ (Bourdieu 2001: 137) zu verstehen während der kurzen Phase der mexikanischen 68er- wie vor allem der konzeptuellen Kunst ausgegangen sind. Bewegung. Sie ist aber auch eine Entwicklung, die sich sind (vgl. Gutiérrez Galindo 2005: 30f.). durch die Zuspitzung zweier wesentlicher Fragen ergeben Der starke Bezug konzeptueller Deskriptiv ein allgemeiner Kontext, stellt die GuerillaEine transnationale Kunstfeldanalyse einer bestimmten Form auf normativer Ebene die Möglichkeit einer haben. Erstens ist dies die Frage nach dem Verhältnis Epoche wäre eine Untersuchung für sich. In einer global nicht essenzialisierenden Darstellung der kollektiven von Werk und BetrachterIn, die die KünstlerInnen hier funktionierenden Arena zeitgenössischer Kunst darf Kunstpraktiken der 1970er Jahre dar. Deskriptiv meint, mit einem (wörtlich genommenen) Entgegenkommen sich die Analyse künstlerischer Praktiken nicht auf den dass im Zusammenhang mit den Protestbewegungen von einerseits (raus aus den künstlerischen Institutionen nationalstaatlichen Rahmen beschränken. Auch darf 1968 eine Vielzahl von künstlerischen Gruppierungen hinein in die Lebenswelt potenzieller BetrachterInnen) aus den in den letzten Dekaden verstärkt diskutierten, theoretisch und praktisch an Auseinandersetzungen um und BetrachterInnen nordamerikanisch-westeuropäischen Dominanz im Feld die Guerilla-Form partizipierten: Das reicht vom Arte andererseits beantworten. Zweitens ist es die Frage der zeitgenössischen Kunst nicht geschlossen werden, Povera-Manifest Arte Povera. Notes for a guerilla war, nach den künstlerischen Institutionen selbst, wie also die Gegenwartskunst der Peripherie habe sich jeweils 1967 von Germano Celant verfasst, bis zur Performance mit der Lehre an der Akademie und der Ausstellung in verschiedenen Stadien „nachholender Entwicklung“ Two, three, many… (Terrorism) (1972) von Allan Sekula, in Museen und Galerien verfahren werden soll. Aus formiert. Vielmehr ist den Spezifika der jeweiligen die im Titel auf die Fokus-Theorie Ernesto Che Guervaras der Unzufriedenheit mit dem staatlich kontrollierten Arbeiten nachzugehen, ihren Auseinandersetzungen anspielt. Die künstlerische Guerilla-Form ist somit Museums- und Galeriensystem entstand auch die von mit den hegemonialen Strömungen auch der eigenen auch als eine Alternative zur politisch-militärischen Grupo Suma und Proceso Pentágono besonders betriebene Ansätze – also hinsichtlich der konzeptuellen Kunst Guerilla zu verstehen. Normativ behauptet die Rede Feier der Straße als Strategie einer unkontrollierten und jenen Strömungen in den USA und Großbritannien –, aber von der Guerilla-Form, die transnationalen Einflüsse einer Aktivierung dieser · jens kastner praktiken der diskrepanz 145 vienna zocalo · 145 hat, die sich innerhalb des Kunstfeldes selbst gestellt und Überlappungen darstellen zu können, ohne auf die Situation. Der so verstandene „Guerillakrieg“ wäre Funktion unterzuordnen – „von ‚reiner’ Ästhetik her in den politischen Theorien lancierten ontologischen gegenüber dem „Stellungskrieg“ also im Sinne des gesehen der barbarische Akt schlechthin.“ (Bourdieu Gemeinschaftskonzepte auf der einen und die in der Organisationsreferates von Rudi Dutschke und Hans- 1987: 86). Die Aktionen, Performances/ Happenings und Kunstgeschichte herausgestellten, rein werkimmanenten Jürgen Krahl als Organisierung „schlechthinniger Wandgemälde vieler Gruppen radikalisierten damit Parallelen auf der anderen Seite angewiesen zu sein (zur Irregularität“ (Dutschke/Krahl 1992: 257) aufzufassen. die politisch-künstlerischen Ansätze der Muralisten in Guerilla-Form vgl. auch Kastner 2008b). Guerilla-Form Ob diese radikale aber lose strukturierte Militanz auch mehrfacher Hinsicht: Sie erweiterten deren Anspruch bedeutet, den Fokus auf Organisierungsprozesse zu der Grund für die relative Kurzlebigkeit der meisten auf allgemeine Zugänglichkeit der Kunst, bezogen also legen: Diese sind nicht als (sich institutionalisierende) Gruppen war, wie Camnitzer (2007: 83) nahe legt, wäre einerseits die BetrachterInnen in den Schaffensprozess Organisationen im Sinne der Organisationssoziologie zu gesondert zu diskutieren. mit ein, andererseits ließen sie ihnen anders als ihre verstehen, sondern eher als kollektive Assoziierungen, Vorgänger aber auch die Wahl, sich mit der Kunst zu die auf eine bestimmte gesellschaftliche Situation Ästhetische Praxis als Angriff auf die beschäftigen und drängten sie ihnen nicht als Wandbild reagieren. Nicht das Ringen um gesellschaftliche symbolische Ordnung gewordenes, ewige Herausforderung suggerierendes Mehrheiten wie im Gramscianischen „Stellungskrieg“ Bildungsprogramm auf. In der Guerilla-Form stoßen aber auch zwei auf den ersten diesem ebenfalls um Interventionen in die „Herzen Blick unvereinbare soziale Prinzipien aufeinander: Die Kunst für alle zu machen und alle für das Kunstmachen und Köpfe“ der Menschen geht. Die unkontrollierbare Tradition der künstlerischen Avantgarden, spezialisiert zu interessieren, stellten dabei wechselseitige Ansprüche Aktion, die plötzliche Involvierung des Publikums (wie in formalen Fähigkeiten und zugleich vertraut dar, die aber nicht der Kunst um der Kunst Willen bei der Urbanen Poesie) oder auch dessen unerwartete mit den Brüchen mit und in dieser Tradition (vgl. gewidmet waren. Im Gegenteil: In der Phase starker Konfrontation mit politischen Missständen (wie den Bourdieu 2003: 143) auf der einen und die Tradition des politischer Repression und der in viele alltägliche Bereiche Grafitti von Bürokraten und „Verschwundenen“), die Populären – eher im Sinne der educación popular oder eindringenden Kontrolle des Staates wurde die Kunst unerlaubte Gegen-Information (wie mit den Grafischen des „Volkstümlichen“ (aber ohne dessen im Deutschen als ermächtigend und potenziell befreiend verstanden. Kommuniqués), die ästhetische Intervention aus dem politisch rechte Konnotation) als im Sinne von angesagter Was im Verständnis bürgerlicher KunstliebhaberInnen Alltag in den Alltag, dies ist das methodische Wechselspiel Popkultur – auf der anderen Seite. Gemeinsam sind als barbarischer Akt erscheinen musste, war zugleich zwischen Organisierung der eigenen Gruppe und beiden Prinzipien die Versuche, „Kunst und Leben“ zu die Herausarbeitung dessen, was Terry Eagleton (1994: Desorganisierung der vorgefundenen gesellschaftlichen verbinden, also in den Worten Bourdieus, die Form der 204) den „implizite(n) Materialismus des Ästhetischen“ · jens kastner praktiken der diskrepanz 146 vienna zocalo · 146 steht dabei im Vordergrund, auch wenn es wie in genannt hat: Nicht Verstand oder „Ideenhimmel“ ausmachte (bei 80 Prozent „Unterschicht“) (vgl. Tobler politischer Solidarität, bei Grupo Suma beispielsweise (Bourdieu 2003: 134) zum Ausgangspunkt ästhetischer 2007: 331), fehlte eindeutig das für die 1960er Jahre als Sprühschablone auf dem Alltagsgegenstand plus Erfahrung zu machen, sondern den individuellen in den USA entscheidende, kaufkräftige Bürgertum Protest gegen das Verschwindenlassen. Vor dem Körper, verstanden als Produkt und Quelle der Geschichte als zahlungsfähiges Kunstpublikum. Zweitens gab es Hintergrund einer stark prägenden nationalstaatlichen zugleich. Das Symbolische und das Materielle sind in deshalb trotz wirtschaftlicher Stabilität („milagro (Kunst)Geschichte entwickelten sich hier kulturelle diesem Sinne ineinander verwoben: Gefühls-, Denk- und mexicano“) auch nicht diese Form der Konsumkultur, Praktiken, die als diesen Rahmen überschreitende, Wahrnehmungsschemata, die die Einteilung und somit die in der US-Kunst des vorangegangenen Jahrzehnts transnationalistische zu begreifen sind. auch die politische Aufteilung der Welt bestimmen, sind, als Abgrenzungs- und Affirmationsmodell eine wichtige wie Bourdieu mit dem Begriff des Habitus ausgeführt Rolle spielte. Und drittens ist vor allem der enge hat, an individuelle und kollektive körperliche Praxis Zusammenhang der künstlerischen Produktion mit den gebunden. Aus der Weiterentwicklung ästhetischer sozialen Bewegungen eine wesentliche Erklärung für Fragestellungen entwickelt, zielten die Aktionen von die politische Ausrichtung der Kunst im Mexiko der Los Grupos auf diese materiellen, verkörperlichten 1970er Jahre. Inhaltlich hebt Camnitzer (2007: 83) dabei politischen Klassifizierungen und damit auch auf die das besondere pan-amerikanische Engagement von Los politische und kulturelle Hegemonie. Grupos hervor. Während die künstlerischen Praktiken, die auf die Umgestaltung der gesellschaftlichen, symbolischen Ordnung zielten, also einerseits vor nicht im Sinne nachholender Entwicklung das US- dem Hintergrund ihrer spezifisch mexikanischen amerikanische Modell der 1960er Jahre, das zwar Bedingungen zu diskutieren sind, dürfen auch auch kollektive Arbeiten, vor allem aber nach wie die transnationalen Einflüsse und Effekte nicht vor individuelle Kunststars hervorbrachte (Zahner unberücksichtigt bleiben. Zu den Einflüssen zählen 2006: 143ff.), übernommen und gepflegt wurde, hat die auch in anderen Ländern in den 1960er Jahren dabei verschiedene Ursachen: Zunächst sicherlich radikalisierten künstlerischen Fragestellungen. Und sozialstrukturelle, denn mit einer Mittelschicht, zu den Effekten zählt insbesondere die Verknüpfung die 1970 etwa 18 Prozent der Gesamtbevölkerung der Entwicklung ästhetischer Formen mit Fragen vienna zocalo · 147 Dass im Kunstfeld der mexikanischen 1970er Jahre · jens kastner praktiken der diskrepanz 147 · BOURDIEU, Pierre: Die feinen Unterschiede. Zur Kritik der gesellschaftlichen Urteilskraft, Frankfurt a. M.: Suhrkamp 1987. · BOURDIEU, Pierre: Die Regeln der Kunst. Zur Genese und Struktur des literarischen Feldes, Frankfurt a. M.: Suhrkamp 2001. · Literatur · ACHA, Juan: Teoría y Práctica No-Objetualista en América Latina. Primer Coloquio Latinoamericano de Arte No-Objetualista organizado por el Museo de Arte Moderno de Medellín, Colombia, May 1981. In: Acha, Juan: Ensayos y Ponencias Latinoamericanistas. Caracas, Venezuela: Galería de Arte Nacional 1981. · · BISMARCK, Beatrice von/ FRASER, Andrea/ SHEIKH, Simon (Hg.): Art and Its Institutions: Current Conflicts, Critique and Collaborations. London: Black Dog Publishing 2006. · BOURDIEU, Pierre: Zur Soziologie der symbolischen Formen. Frankfurt a. M.: Suhrkamp 1974. · BUCHLOH, Benjamin H. D.: Von der Ästhetik der Verwaltung zur institutionellen Kritik. Einige Aspekte der Konzeptkunst von 1962-1969. In: Städtische Kunsthalle Düsseldorf/ Syring, Marie Luise (Hg.): Um 1968. Konkrete Utopien in Kunst und Gesellschaft. Köln: Dumont Verlag 1990, 86-99. · BUSTAMANTE, Maris: Conditions, Roads, and Genealogies of Mexican Conceptualism, 1921-1993. In: Cullen, Deborah (Hg.): Arte [no es] Vida. Actions by Artists of the Americas 1960-2000. New York: El Museo del Barrio 2008, 134-151. · CAMNITZER, Luis: Conceptualism in Latin American Art: Didactics of Liberation. Austin, TX: Texas University Press 2007. · · DEBROISE, Olivier: De regreso. In: Exit. 2005, 108-116. DEBROISE, Olivier (Hg.): La Era de la Discrepancia/ The Age Of Discrepancies: Arte y Cultura Visual en Mexico/ Art And Visual Culture In Mexico 1968-1997. México D. F.: UNAM/ Turner 2007. DUTSCHKE, Rudi/ KRAHL, Hans-Jürgen: Organisationsreferat. In: Redaktion diskus (Hg.): Küss den Boden der Freiheit. Texte der Neuen Linken. Berlin/ Amsterdam: Edition ID Archiv 1992, 252-258. · EAGLETON, Terry: Ästhetik. Die Geschichte ihrer Ideologie. Stuttgart/ Weimar: J. B. Metzler 1994. · ESPINOSA VERA, César: Los Patos y las escopetas. Los Grupos y la Sección de Experimentation. In: Escanner cultural. Revista virtual, Santiago de Chile, 6. Jg., Oktober 2004, http://www.escaner.cl/especiales/laperrabrava/ perrabrava2-02.htm. · GALLO, Rubén: The Mexican Pentagon. Adventures in Collectivism during the 1970s. In: Stimson, Blake/ Sholette, Gregory (Hg.): Collectivism after Modernism. The Art of Social Imagination after 1945. Minneapolis/ London: University of Minnesota Press 2007, 165-190. · GRENFELL, Michael/ HARDY, Cheryl: Art rules. Pierre Bourdieu and the Visual Arts. Oxford/ New York: 2007. · GUTIÉRREZ GALINDO, Blanca: Las Artes visuales en México: 1960-2004. In: Exit. 2005, 28-34. · KASTNER, Jens: Kunstproposition und Künstlerfaust. Bildende Kunst um 1968. In Kastner. Jens/ Mayer, David (Hg.): Weltwende 1968. Ein Jahr aus globalhistorischer Perspektive. Wien: Mandelbaum 2008a, 54-67. · KASTNER, Jens: Aspekte der Guerilla Form. Bildende Kunst und soziale Bewegungen um 1968. In: grundrisse. zeitschrift für linke theorie & debatte, Nr. 27, Herbst 2008b, 23-27. · jens kastner praktiken der diskrepanz 148 vienna zocalo · 148 BECKER, Anne: Höhlenapostel. Guerilla, Aufstandsbekämpfung und das Erbe des Schmutzigen Krieges in Mexiko Stadt. In: Becker, Anne/ Burkert, Olga/ Doose, Anne/ Jachnow, Alexander/ Poppitz, Marianne (Hg.): Verhandlungssache Mexiko Stadt. Umkämpfte Räume, Stadtaneignungen, imaginarios urbanos. Berlin: b_books 2008, 151-167. BOURDIEU, Pierre: Einführung in die Soziologie des Kunstwerks. In: Jurt, Joseph (Hg.): Pierre Bourdieu. Freiburg: orange press 2003, 130-146. · · · KASTNER, Jens/ MAYER, David (Hg.): Weltwende 1968. Ein Jahr aus globalgeschichtlicher Perspektive. Wien: Mandelbaum 2008. STIMSON, Blake/ SHOLETTE, Gregory (Hg.): Collectivism after Modernism. The Art of Social Imagination after 1945. Minneapolis/ London: University of Minnesota Press 2007. · · KRAUZE, Enrique: Biografia del Poder. Caudillos de la Revolución mexicana (1910-1940). Barcelona: Tusquets Editores 1997. SYRING, Marie Luise (Hg.) 1990: um 1968. konkrete utopien in kunst und gesellschaft, Ausst. Kat., Städtische Kunsthalle Düsseldorf, 27.5. – 8.7.1990. Köln: Dumont 1990. · · LONGONI, Anna: „Vanguardia“ y „revolución”, ideasfuerza en el arte argentino de los 60/70. In: Brumaria. prácticas artísticas, estéticas y políticas, Frühjahr 2007, 61-77. · TAIBO II, Paco Ignacio: 1968 – Gerufene Helden. Ein Handbuch zur Eroberung der Macht. Hamburg/ Berlin: Libertäre Assoziation/ Schwarze Risse – Rote Straße 1997. TOBLER, Hans Werner: Die mexikanische Revolution. Gesellschaftlicher Wandel und politischer Umbruch 1876-1940. Frankfurt a. M./ Olten/ Wien: Büchergilde Gutenberg 1984. · · · PAPENBROCK, Martin: Happening, Fluxus, Performance. Aktionskünste in den 1960er Jahren. In: Klimke, Martin / Scharloth, Joachim (Hg.): Handbuch 1968. Zur Kultur- und Mediengeschichte der Studentenbewegung. Stuttgart/ Weimar: J. B. Metzler 2007, 137-149. PONIATOWSKA, Elena: La Noche de Tlatelolco. México D. F.: Biblioteca Era 2004, 7. Aufl. · RAMÍREZ, Mari Carmen: Taktiken, um in Widrigkeiten zu gedeihen. In: Breitwieser, Sabine (Hg.): Vivencias/ Lebenserfahrung. Wien/ Köln: Generali Foundation/ Walther König 2000, 61-104. · ROMERO BETANCOURT, Elizabeth: Suma. In: Cuartoscuro, Nr. 66, Juni/Juli 2004, o. S. university lecturer in Viena (A). Associated Professor at the Institute for Sociology at the University of Muenster (1999–2004), at the Center TOBLER, Hans Werner: Mexiko im 20. Jahrhundert. Die Revolution und ihre Folgen. In: Bernecker, Walther L./ Pietschmann, Horst/ Tobler, Hans Werner: Eine kleine Geschichte Mexikos. Frankfurt a. M.: Suhrkamp 2007, 241-365. for Latin American Studies (Cela) at the University · History at the University of Vienna University (2008), VÁZQUEZ MANTECÓN, Álvaro: Los Grupos: una reconsideración. In: Debroise, Olivier (Hg): La Era de la Discrepancia/ The Age of Discrepancies. Arte y Cultura Visual en México/ Art and Visual Culture in Mexico 1968-1997. Mexiko: UNAM/ Turner 2007, 194-196. · of Muenster (2004–2006), at the Vienna Art School (2005/2006), at the Institute for Economic and Social in the project studies programme “International Development” at the University of Vienna (2008 and 2010), and at the Institute for Art and Design at TU Vienna (since 2009). Since 2008, research associate/ ZAHNER, Nina Tessa: Die neuen Regeln der Kunst. Andy Warhol und der Umbau des Kunstbetriebs im 20. Jahrhundert. Frankfurt a. M./ New York: Campus 2007. senior lecturer at the Institute for Art Theory and · Articles in several newspapers and magazines on ZAPATA GALINDO, Martha: Der Preis der Macht. Intellektuelle und Demokratisierungsprozesse in Mexiko 19682000. Berlin: Edition Tranvia – Walter Frey 2006. Cultural Studies at the Academy of Fine Arts Vienna. social movements, Cultural Studies and contemporary art. He is coordinating editor of Bildpunkt. Magazine of IG Bildende Kunst. · jens kastner praktiken der diskrepanz 149 vienna zocalo · 149 · and Art Historian, lives as freelance author und · McCAUGHAN, Edward J.: Navigating the Labyrinth of Silence: Feminist Artists in Mexico. In: Social Justice Vol. 34, Nr. 1, 2007: 44-62. O´DOHERTY, Brian: In der weißen Zelle. Berlin: Merve 1996. Jens Kastner, born 1970, Dr. phil., Sociologist Dolores L. Trailere From hats to polos: Fashion trends and drug wars A cowboy hat, snakeskin boots, thick gold neck chains, eighties Versace shiny prints and the handmade belts in “piteado”1 style used to accessorized the signature look of drug traffickers in Mexico. Back in the early nineties, before the news of the Mexican drug wars became global, in the northern State of Sinaloa, people used to recognize the “buchones”, “narcos” or drug traffickers for their gaudy fashion taste. Sinaloa has been for decades the epicentre of drug trade and it is the birth place of some of Mexico most powerful according to some historical accounts, to the boom of the opium trade in the 1920’s and 1930’s. And, Sinaloans have learnt to live not only with the violence of drug cartels but also with their particular taste for fashion 1 and music. The term “narcoculture” has been used there for decades to name the popular culture appropriation of symbols related to the drug world. Piteado is a traditional form of embroidery art that involves cactus thread and leather, typically used to make belts, saddles, boots and other cowboy-themed products. · dolores l. trailere from hats to polos 150 vienna zocalo · 150 drug cartel leaders. The drug trade in Sinaloa goes back, The narcocorridos are an example of this. The The “narcos” of today are not just ranchers. The new the infamous Polo with a photo of a smiley “Barbie” on narcocorrido is an evolution of the traditional corrido “narcos”, the “narcojuniors”, as we have seen recently his green shirt tightly held by a masked police officer. song that dates back to the Mexican revolution, into a reported in the news, have university degrees, date music style that narrates the epic tales of drug leaders. But celebrities and blend in with the aristocrats in fancy Again, it would seem like the consumer goods of the the “narcostyle” has also influenced fashion. “La moda Mexico City neighbourhoods. The hats, the pick-up “narcoculture” are infiltrating the Mexican street buchona” used to be the inspiration for impoverished trucks and the boots have been left behind, and the fashion. The so-called “War on Drugs” initiated when youngsters aspiring to leave the margins of society to “narco moderno” prefers Armani, Abercrombie & Fitch, President Felipe Calderon took office in 2006, has yielded become rich and powerful, like the almighty “narcos” Hugo Boss and Ralph Lauren. more than 30 000 deaths and counting. The government glorified in the music of the narcocorridos. has defied criticisms with broad publicity campaigns Last year in August, Mexican authorities detained the highlighting the arrests of important drug bosses. suspected trafficker Edgar Valdez, alias “la Barbie”, who for exotic animal skins, used to be the model for the was allegedly a lieutenant for the brutal Beltrán-Leyva But with this publicity, Mexicans are learning more legendary cliché of drug traffickers. But today, things cartel. When the handcuffed “Barbie” was presented to than just who is who in the drug business. Through the have changed. The violence of drug cartels has extended the media, he was wearing a green Ralph Lauren Polo media, we often learn more about the lives and loves of to almost all the country and the drug business has also shirt. A few months later, the same shirt but in different the mythical figures of drug trade. We learn about the evolved. In the past decades the drug trade belonged colour was worn by “JJ” or “the model” during his arrest. way they decorate their homes, the modelling careers to country men. The old fashioned leaders came from He is another alleged criminal linked to “La Barbie” of their girlfriends and who is their favourite designer. rural backgrounds. Traffickers worked in hidden being charged with the attempted murder of a famous The public imagery is constantly fed with the symbols of ranches, at the time when the Mexican mafia was a soccer player. the “narcoculture”. bunch of families focused on trafficking South American The media was quick to catch up on the “Polo fashion cocaine or growing marihuana. But today the Mexican statement” of these two highly publicized apprehensions. This year, 700 media outlets along with renown journalists cartels have gone global. Their criminal enterprise has Soon, the knockout Ralph Lauren Polo shirt became have signed a national “Agreement for the information expanded into sophisticated commercial operations a hot sale in the markets of Mexico City. The website coverage of violence”. The agreement pretends, amongst around synthetic drugs. Mercado Libre, an e-Bay style shopping site, advertises other objectives, to limit the propaganda effect in the · dolores l. trailere from hats to polos 151 vienna zocalo · 151 The “buchones” in Sinaloa, notorious for their love news coverage of violence. The purpose for the signatories is to avoid becoming the “involuntary spokespeople” for the criminals. Perhaps this is an indication that we won’t see again endless stories about “narcofashion” like we did with the “Barbie” fashion trend. But the agreement cannot harness cultural expressions influenced by the extreme violence permeating the daily lives of Mexicans. “Narcoculture”, since the days of the stereotyped drug traffickers in their cowboy attire, embeds itself in subtle ways. In northern Mexico, political attempts to ban “narcoculture” such as censoring the “narcocorridos”, have done little to counter its legitimization. In Sinaloa, the look of the “narco” became a categorical symbol of status and power. These days drug related violence is a reality spreading vienna zocalo · 152 throughout the Mexican territory. Mexican drug cartels continue fighting the government to establish control in several states. The “War on Drugs” doesn’t have an end in sight, so it looks like the “narcofashion” is not “out” Dolores L. Trailere was born in Mexico and yet. The looks of drug traffickers will be “in” the public has worked as a journalists in Mexico, Spain and the agenda, at least for another season. United States. She has written fictional stories about Jesus Malverde, the patron saint of drug dealers and the cult of the Santa Muerte, the Holy Death. · dolores l. trailere from hats to polos 152 Source: http://eipcp.net/transversal/0408/waibel/en, conditions of injustice. Subalterns cannot speak, says Stand: 21.04.11 Gayatri Spivak, and adds later as an explanation, that “means that even when the subaltern makes an effort to the death to speak, she is not able to be heard.”1 Thus it is less a question of whether subalterns speak, but rather of whether they are heard and – even more to the point – who hears them and how. But does the same not apply to the idiocy of the opening statement “primitives have Tom Waibel Metaphysical Assertions On the Truths of Others no culture”? Here it is just as little a matter of speaking of “culture”, but rather of the perception/recognition of something that seems to have been invented solely to exclude the (subaltern) others from the hegemony of speaking and to characterize them as “primitives”. In a sense, the problem of articulation and recognition Translated by Aileen Derieg raised here seems to be like a delayed aftershock from a dialectic buried by the contemporary neoliberal globalized world (dis)order. The current form of culture. How are these assertions similar, even though recognizing the Other corresponds more to a productivity they seem to be ripped from such different discourses? of difference that has been made consumable. Roughly Whereas the latter forces an imperial gesture of colonial speaking, the crisis of global capitalism looks something self-importance into words, the former expresses a like this from a social perspective: the incessant spread postcolonial criticism of hegemonic self-(mis)conception of capital makes use of the fragments of arbitrary in a – frequently misunderstood – formula. Nevertheless, “cultural” difference to make the monotony – and they function like two sides of the same coin, the same unbearableness – of exploitive hegemony consumable. barter currency, that greases the machinery of globalized A shimmering veil of multiculturality woven from the 1 Gayatri Chakravorty Spivak, “Subaltern Talk. Interview with the Editors”, in: The Spivak Reader, ed. by Donna Landry and Gerald MacLean, London and New York 1996, p. 292. · tom waibel metaphysical assertions 153 vienna zocalo · 153 Subalterns cannot speak and primitives have no to elude the subterfuges of reason, as its traps are set in is intended to cover up the transformation of social the midst of consciousness. When Hegel, for instance, conditions into commodities. In other words: in a argues the principles of what he calls “spirit/intellect” process of assimilating difference itself, difference from [Geist], it is like reading a colonial manual on world the existing power relations is made exploitable. The domination: “The principle of the European spirit simultaneous production and consumption of difference [Geist] is therefore self-conscious reason, which is enables capitalism to constantly shift its own boundaries, confident that nothing can present an insurmountable and also explains why concepts such as the hybridity barrier to it, and which therefore touches everything that Homi Bhaba2 proposes cannot be unproblematically to become present to itself in this way. The European celebrated as being politically subversive. spirit sets the world apart from itself, frees itself from In the present essay, I will attempt to uncover some this world, yet sublates this opposition again, reassumes of the mechanisms at work in this incorporation of its other, the manifold, into itself, into its simplicity.”3 difference, in order to then pursue the question of which The demand for integration put forth by multicultural possible consequences for the politics of difference and politics presumably means little other than unreserved subjectivity might be tied to them. I will limit myself subjection to this compelling mechanics of hegemonic to the description of two specific cases of (subaltern) incorporation. speaking in contemporary Central America, but the Yet even those who do not seek to declaim the hymn necessity of self-situation first requires a minor detour to the (own) spirit with Hegelian conviction will have through the continent of occidental thinking. difficulty granting others the possibility of thinking First of all, it must be noted that the assimilation of – and perceptible speaking – without shaking the difference described above is by no means to be regarded pillars of occidental self-conception. Merleau-Ponty, for as a postmodern trick of neoliberalism. The mechanisms instance, cautions that emancipatory philanthropy is of the – not only discursive – incorporation of the an insufficient condition: Other instead draw from the underground reservoirs of occidental thinking itself. This is why it is so difficult “I reach an agreement with the Other, I am determined to live in a ‘co-world’, in which I grant as much space to the 2 Cf. Homi Bhabha, The Location of Culture, London / New York: Routledge 1994. 3 G. W. F. Hegel, Die Philosophie des Geistes, in: System der Philosophie, Dritter Teil (Sämtliche Werke, Bd. 10), Ed. F. Frommann, Stuttgart 1965, p. 77. · tom waibel metaphysical assertions 154 vienna zocalo · 154 greatest possible diversity of productive difference Other as to myself. Yet the proposal of a co-world remains my own, and it would be insincere to think I wanted the well-being of the Other like my own, since this adherence to the well-being of the Other still originates with me."4 were killed. More precisely than the features of the face, one must know the scars of renunciation."7 Who are the dead of the Guatemaltecan civil war, which was sparked by a US military intervention Which lines of flight are there out of the revolving, self- based in Honduras following an attempt to expropriate positing thinking that only holds gaps and silence for the United Fruit Company, and which was supported the Other? What is left of the constructions of western throughout the entire thirty-six years of its duration by philosophy, if we shake the cornerstone of the Cartesian funds from US-Aid and the Anglican Churches of North cogito ergo sum? One of the most extensive collateral America? The numbers gathered by the “Project for the damages from this kind of deconstruction undoubtedly Recuperation of Historical Memory” speak a drastic applies to identitary politics. Let us therefore attempt in language – 200,000 dead, one million displaced.8 Of the the following to bracket the ego as , the “subject- and ego- 20,000 missing persons, buried in mass graves following superstition” that Nietzsche denounces in Beyond Good over 600 massacres on the populations of just as many 5 villages, today only a tiny portion have been exhumed us not forget that intelligibility, i.e. the ability to think, after the signing of the peace agreement over ten years speak, hear, etc., is not constituted from itself, but ago.9 Yet the language of statistics is insufficient for rather is always established only in relation to others. tracing the “scars of renunciation”; discovering the “It moves by changing what it makes out of its ‘others’ traces of these scars in the desiring of the survivors – the primitives, the past, the people, the madman, the is the only form in which the hopes that have been child, the Third World.”6 silenced can be made audible again. They point us to a Maurice Merleau-Ponty, Phänomenologie der Wahrnehmung, Berlin: Gruyter 1966, p. 408 (emphasis in the original). 5 Cf. Friedrich Nietzsche, Jenseits von Gut und Böse, in: Sämtliche Werke. Kritische Studienausgabe, Vol. 5, Ed. G. Colli & M. Montinari, Munich 1980, p. 9–243, here: p. 11 and 30. [http://www.marxists.org/reference/archive/ nietzsche/1886/beyond-good-evil/preface.htm; http:// www.marxists.org/reference/archive/nietzsche/1886/ beyond-good-evil/ch01.htm (12)] 6 Michel de Certeau, L’écriture de l’histoire, Paris: Gallimard, 1975, p. 15. 7 Manes Sperber, Wie eine Träne im Ozean, Munich: dtv 2000, p. 698. 8 discourse of testimony, in which it is less the truth about Who Are the Dead? “To understand the living, one must know who the dead are. And one must know how their hopes ended: whether they faded gently, or whether they the others that is articulated, than a truth of the others. A meanwhile famous witness of the Guatemaltecan civil war recalls both the killing and the sight of the dead from the perspective of the indigenous rural population: Cf. Oficina de Derechos Humanos, Guatemala: Nunca Más. Informe del Proyecto de Recuperación de la Memoria Histórica (REMHI), Guatemala 1998, 4 Vol. The project report identifies the state army as being responsible for over 90% of all the victims. 9 In his essay in the same edition of transversal, Santiago Cotzal provides moving insights into the social dynamics of tracing war victims in Guatemala. · tom waibel metaphysical assertions 155 vienna zocalo · 155 and Evil as “the abstrusest metaphysical assertions” Let 4 “Anyway they [the soldiers of the Guatemalan army] lined up the tortured and poured petrol on them; and then the soldiers set fire to each one of them. Many of them begged for mercy. Some of them screamed, many of them leapt but uttered no sound – of course, that was because their breathing was cut off. But – and to me this was incredible – many of the people had weapons with them, the ones who’d been on their way to work had machetes, others had nothing in their hands, but when they saw the army setting fire to the victims, everyone wanted to strike back, to risk their lives doing it, despite all the soldier’s arms. ... Faced with its own cowardice, the army itself realized that the whole people were prepared to fight. You could see that even the children were enraged, but they didn’t know how to express their rage. … [T]he officer quickly gave the order for the squad to withdraw.”10 10 for calling the veracity of the entire narrative into question.11 What Stoll stages with the invocation of an (allegedly) inescapable authority of facts is an interesting lesson in hegemonic speaking: a white man protects indigenous men from the articulations of an indigenous woman.12 Stoll, who feared that Menchú’s testimony could arouse sympathy for the liberation movement, wanted to save the indigenous rural population from resistance against state power. For him, guerilla war was per se nothing other than “an urban romance, a myth propounded by middle-class radicals who dream of finding true solidarity in the countryside”13. In Stoll’s view, rebellious subalterns were consequently instrumentalized by non-subalterns – and anyone who Rigoberta Menchú u. Elizabeth Burgos, I, Rigoberta Menchú: An Indian Woman in Guatemala, London: Verso 1984, p. 179. I am quoting the English translation by Ann Wright, because its wording forms the basis of the following reflections. In the original Spanish version the book is entitled: Me llamo Rigoberta Menchú y así me nació la conciencia, México: Siglo XXI, no year. 11 Cf. David Stoll, Rigoberta Menchú and the Story of All Poor Guatemalans, Boulder: Westview Press 1999. Menchú responded that she knew of the incident through the presence of her mother and argued that her description had more of the character of a collective rather than individual testimony (Rigoberta Menchú in a press conference on 20 January 1999, cf.: Matilde Pérez, “La Nobel se defendió”, in: La Jornada, 21 January 1999; as evidence of Menchú’s statement, John Beverley cites an interview with Juan Jesús Arnárez: “Whoever attacks me, threatens the victims”, in: El País, 24 January 1999, cf. John Beverley, Testimonio. On the Politics of Truth, Minneapolis: University of Minnesota Press 2004, p. 110, FN. 4). The execution described took place in the market place contradicts this is referred back to subalternity. “The of Chajul, a town in the highland of K’iche. Among the argument between Menchú and Stoll is not so much prisoners tortured and killed was a brother of the woman about what really happened as it is about who has the who recounted what she had seen – Rigoberta Menchú, authority to narrate ,” noted John Beverley aptly in one and specifically this passage from her testimonial of his analyses of this conflict.14 narrative I, Rigoberta Menchú became the primary target In this constellation of subalternity, testimony and in a debate lasting for years about the authenticity and authorized speaking, in the strategically entered battle legitimation of the speaking of the Others. In the course scene of identity, I would like to pose a somewhat of his ethnographic research, David Stoll found out that different problem for discussion. Let us return to the 13 Menchú was not personally present during the incident beginning of the text to raise the question of the way 14 and took this fact – confirmed by Menchú – as a pretext in which Rigoberta Menchú’s difference to the existing 12 David Stoll, op.cit., p. 282. John Beverley, “What Happens When the Subaltern Speaks”, in: ibid., Testimonio, op.cit., p. 81. · tom waibel metaphysical assertions 156 vienna zocalo · 156 This compression distinguishes Stoll’s intervention as the variation of a “masculine-imperialist ideological formation” (Gayatri Spivak, “Can the Subaltern speak?”, in: Cary Nelson / Lawrence Grossberg [eds.], Marxism and the Interpretation of Culture, Urbana: University of Illinois Press, 1988, p. 296), for which Spivak coined the formula: “White men are saving brown women from brown men” (ibid.). humanitarian administration.15 After returning to in a process of assimilating difference itself. First the Guatemala, she distanced herself from the organized question must be clarified, of whether difference is social movements of the country, even from the Comité involved at all, and if it is, whether its recognition has Unidad Campesina (CUC; Committee of the Farmers’ taken place. All indications of identitary logic suggest Unity), which was co-founded by her father, with which affirming both questions: Menchú is woman, indigenous, she was closely tied at the time when her testimonio comes from a family of marginalized farm laborers was written. Instead, she provided the right-wing whose members were almost all killed in the war; she conservative government under President Oscar Berger speaks K’iche’, did not learn Spanish, which must be at the time with an appearance of openness towards the regarded as the hegemonic language in Guatemala, until concerns of the indigenous majority population in her later, and she expresses herself in her quoted testimonio office as state “Goodwill Ambassador” in international through the mediation of an Argentinian-French politics. anthropologist. The recognition of these differences was This assimilated difference has only recently been already accomplished in 1992 with the award of the Nobel refused recognition, specifically from an agent who has Peace Prize, and even the debate discussed above can be previously always only been assigned the role of silent regarded as a kind of negative proof of recognition: at (and manipulated) subalterns in the conflicts discussed least her speaking was expected to generate difference here – namely the indigenous population of Guatemala. to the repressive state apparatus. In fall 2007, Rigoberta Menchú was a candidate – as the Yet is it also possible to speak of these differences only woman and the only indigena – for the office of being made productive in an assimilation process? state president, and on the first ballot she received less Obviously. The Nobel Prize-winner was granted than 3% of the votes. In early November of the same political asylum in Mexico, and since then she has year the voters elected Álvaro Colom, the candidate hardly missed an opportunity to denounce the Zapatist of the political successor organization to the united uprising in southern Mexico as a delayed, bleary-eyed guerilla groups (URNG; Revolutionary National Unit of and inappropriate rebellion against a progressively Guatemala). Did the population of the country deny their 15 As far as I know, Menchú never published these assessments in print, but repeatedly emphasized them in her speeches. This was the case, for instance, in her opening speech at the Congreso Mesoamericano de Anthropología at the University of Xalapa, Veracruz, Mexico, 2002. Derision of the rebellion movement as being “bleary-eyed” also occurs repeatedly in the rhetorics of the Mexican government, especially referring to the point in time when the EZLN appeared in public – at dawn on New Year’s Day 1994. · tom waibel metaphysical assertions 157 vienna zocalo · 157 (Guatemaltecan) power relations was made exploitable unfolds. In the language of contemporary political of rebellion for several months to do social work, and because she did not do – or only insufficiently did – what hegemony, the heirs of expansion, colonialism and he was happy to have an opportunity to personally bear Stoll accused her of: namely supporting the demands of jurisdiction, which was carried out historically both witness to a different America. He was welcomed in the the social movements and guerilla groups? in the name of the identity of power and the power villages and asked to give his report after the projection of identity, criticize the uprising of the subjected, the of the TV images. In fact, the eye witness was able to The Magma of the Social marginalized and the subalternized, who demand recount astonishing things that were not mentioned Indeed, as far as it is possible to determine within the the right to their own equivalent and simultaneously with a single word in the satellite information diffusion. limited framework of the present essay, the initially different identity. Ironically, the criticism of identity He concentrated on telling of demonstrations that took outlined concerns about the politics of identity are becomes all the louder, the more the “damned of the place following the events, which took a completely confirmed. It is not only that hegemonic jurisdiction, due earth” succeed in forging weapons in their battle for different course, according to his information, from to its lack of understanding for the truth of the Other, recognition from the politics of identity. what was suggested by their representation in the ends up floundering in the whirlpool of self-assurance Let’s look at this kind of precarious inversion of subject media. He spread the news of thousands of people who, that propels the authority of one’s own speaking to a positions using a concrete example. The relevant despite the hegemonic identitary politics that turned nomos of universality, finally to assert that the subject incident took place in Chiapas on the Mexican border persons, names, fundamentalisms and rogue states into of the statement – following a Kantian formula – is to Guatemala shortly after the attacks of 9/11, and projection surfaces for hatred in the blink of an eye, “capable of a capacity”. it involved the question “Who are the dead?”. I was demanded peace, rejected retaliation and called for Non-hegemonic speaking also becomes entangled in there at that time with a media project for communal reflection. defending its questioned identity, specifically through communication, and I had prepared a videographic A teacher from the autonomous districts got up and invoking a collectivity that gives the diversity another compilation of television reports about the widely politely interrupted the man giving his account. name, thus shifting heterogeneity and difference of discussed events for a planned travelling cinema tour. The teacher asked which reflection was meant and what is one’s own into a larger – and more complex – What was special about the image projections for the whether the young man perhaps didn’t know that the dimension. rebellious inhabitants of remote rainforest villages was USA had drawn the hostility of the whole world upon However, this microscopic view of theoretical abstraction the participation of a young man from New York, who itself through its own deeds; and he began to count has lost sight of the historical-political constellation, in had been an eye witness to the collapse of the World off an impressive list of military interventions, coups, which the confrontation between claim and recognition Trade Center. The New Yorker had come to the region repressions of rebellions and economic blockades that · tom waibel metaphysical assertions 158 vienna zocalo · 158 probably most famous citizen recognition, specifically The “magma of the social” – to borrow a term against sovereign states of the global south. What kind coined by Cornelius Castoriadis from widespread of peace was called for, he continued, was it not clear silence16 – in which societies and their criticism are to him that a permanent state of war predominates all instituted through struggles for recognition and over the world and so it was hardly surprising when self-determination, is in danger of vanishing in the buildings built with the profits from these wars current political discourses behind the stratifications should once fall upon the heads of the warmongers and segmentations of “culture”. Translating social themselves. And so, the teacher continued with dissidence into cultural difference leads to an an identitary affirmation, the events were indeed encroaching essentialization of differentness, creating unfortunate, because in the end it was “his” people space for political indifference and apparently who made up the majority of the dead, migrants from easily assimilating and consuming non-essentialist Mexico, Guatemala, Salvador, Nicaragua, etc. counter-strategies. “The notion of culture transforms Many of those present had stood up during this the hierarchies of global privilege into a horizontal impassioned speech, and the New Yorker had obviously array of mutually indifferent cultures. It replaces the become uncomfortable in his role as witness; he was notion of class – but not its rule,” according to Hito unexpectedly made responsible for something, from Steyerl’s precise assessment.17 Hegemonic strategy which he had believed himself released, not least does not so much aim to exclude the Other – a social of all due to his decision to do social work in the order that seems to know no outside even establishes marginalized crisis region. However, the address ended difference artificially, if necessary. This reinforces on a conciliatory note: he was told he need not be social (biopolitical) control just as it alters and renews afraid, in the rebellious villages everyone was welcome the selection of commodities. What is really at stake who took the trouble to get there. He would be given is making those (subalterns) silent, who call for food and a place to sleep here, even though, as the equality and solidarity as a form of actively recognizing teacher pointed out, he himself would probably never difference. be received like that in New York. Is there consequently nothing else we can do but to 16 Cf. Cornelius Castoriadis, The Imaginary Institution of Society. Trans. Kathleen Blamey. Cambridge, MA: MIT Press and Cambridge, England: Polity Press, 1987. 17 Hito Steyerl, “Culture and Crime”, http://eipcp. net/transversal/0101/steyerl/en · tom waibel metaphysical assertions 159 vienna zocalo · 159 had all been orchestrated by US American governments stage “a strategic use of positivist essentialism in a scrupulously visible political interest”18, if we want to impel the reconstruction of existing conditions? If the social meaning of existence is ensured by the societal context, individual existence gains its significance in deviation, in difference. But how can this difference be perceived outside of capitalizing and culturalizing assimilation? Instead of answering this, I would like to paraphrase Merleau-Ponty: Our concept of the human being remains superficial, as long as we do not sense the silence on this side of the noise of words and are capable of grasping the gesture that breaks this silence.19 Gayatri Spivak, In Other Worlds: Essays in Cultural Politics, New York: Methuen 1987, p. 205. Tom Waibel: text-, film- and communicationworks focused on political theory, postcolonial 19 Cf. Maurice Merleau-Ponty, op.cit., p. 218 (quotation slightly altered, emphasis from the author). http://eipcp.net/transversal/0408/waibel/en Metaphysical Assertions critique, migration and globalization. Lives in Vienna as philosopher, translator and de-professionalized intellectual. · tom waibel metaphysical assertions 160 vienna zocalo · 160 18 picture credits The authors are responsible for image rights and credits. Veronika Burger | Veiling Multiply-ism page 13: videostil {über-} hinaus_level 0 Super Véro dancing, @ Veronika Burger and Suzie Léger page 14: 1/3 Barbara Lüscher: Die Geschichte des Orientalischen Tanzes in Ägypten, Agyptian drawing of woman in a haik (19. centurary, Cairo)2/3 Barbara Lüscher: Die Geschichte des Orientalischen Tanzes in Ägypten, Agyptian drawingof a veiled Alima (18. centurary, Cairo), 3/3 Barbara Lüscher: Die Geschichte des Orientalischen Tanzes in Ägypten Egypt Drawing of a veilded Alima (18.centurary, Cairo) page 15: 1-3 Filmstils aus Salomé (USA 1953), 4 Filmstil out of the Mexican Telenovela Salomé, Mexiko 2001, production Televisa, 150 chapters page 17: 1/4 Mata Hari Filmstil (USA 1931), 2/3 Filmposter Die schwarzen Teufel von Bag- dad(1951), 3/4 Mata Hari Filmstil (USA 1931), 4/4 Mata Hari Filmposter with Greta Garbo, www.gretagarbo.de page 19: :1/4 Tanzverein ISIS, photo documentation of Tanzverein Isis, http://www.tanzverein-isis.de 2/4 google maps: Pfarrweisach http://maps.google.at/ maps?q=pfarrweisach&oe=utf- 8&rls=org.mozilla:enUS:official&client=firefox-a&um=1&ie=UTF8&sa=N&hl=de&tab=wl, 3/4 Laura Cohen, Fuerza de gravedad (1992/photography), 4/4 Agave de papel (1991/photograpy), Ixtacamatitla, Puebla page 20: 1/3 Héctor Garcia, Véronica (1972/photography), 2/3 Mariana Yampolsky, Fantasma (n.d. photography), Oaxaca, 3/3 Mariana Yampolsky, Huipil de tapar (n.d./photography), Pinotepa Naci- onal, Oxaca page 21: 1/4 Mariana Yampolsky, Madre (n.d./photography), Cuetzalán, Puebla, 2/3 Manuel Álvarez Bravo, La abuela, nuestra abuela (1945/photography), 3/4 Pedro Meyer, El velo negro (1975/ photography), 4/4 Mariana Yampolsky, Danza de las pastoras (1989/photography) page 22: 1/4 Frida Kahlo with rebozo (02.07. 1954/ Guatemala at a demonstration, photodocu- mentation), 2/4 Augusín Casasola, las soldaderas (MEX 1920), 3/4 & 4/4 Luis Marquez, Courtesy of Special Collections, University of Houston Libraries (hand colored photography/1937,Mexico) vienna zocalo · 161 page 16: 1/3 Carmelita Tropicana (aka Alina Troyano), filmstil ,Jose Esteban Munoz: Disidentifica- tions: Queers of Color and the Performance of Politics (Cultural Studies of the Americas), 2/3 & 3/3 Mata Hari 1906 (handcolorierte Postkartenserie, http://www. fotointern.ch/wp- uploads/2010/01/Mata-Hari-500. jpg&imgrefurl=http://www.fotointern.ch/archiv/2010/01/31/ wer-war-%25C2%25ABwalery%25C2%25BB/&usg=__ aFqW9XVcseTYmaVzu0cZeI_u1-o=& h=398&w=500&sz=68 &hl=de&start=78&sig2=Uhrzh2yGsqi0FuTlhqKmvA&zoom =1&tbnid =OTVepWQUM44xCM:&tbnh=152&tbnw=191&ei=24ITb6SOMTOswbn2-GUAw&prev=/ images%3Fq%3Dmata%2B hari%26um%3D1%26hl%3Dde%26sa%3DX%26biw%3D1549%26bi h%3D762%26tbs%3Disch:10%2C1496&um=1&itbs=1&iact=rc&du r=574&oei=5W4ITdK5H4- o8QPGuZQZ&esq=3&page=3&ndsp=3 9&ved=1t:429,r:33,s:78&tx=126&ty=94&biw=1549&b ih=762) page 18: 1/4 Hoda Sham- seddi, 2/4 Naîma Akef, 3/4 Katrina Dasch- ner das Sexuelle ist das Reich des Politischen, Vienna, print 2001, 4/4 Katrina Daschner Wanting Sweet, Vienna/Hamburg/ Mexico, print 2001 works of Katri- na Daschner, http://www. katrinadaschner.net page 23: 1/4 Frida Kahlo, Frida et Diego (1931, oil on canvas, 100 x 79cm), 2/4 & 4/4 Mexican huipils http://www.flickr. com/ photos/citlali/4579588376/in/set-72157594380025164/, 4/4 Frida Kahlo, Selfportrait (1948/ oil on wood, 48,3 x 39,3 cm) page 24: 1/4 Margaret Alacron, Tezcatlipoca, 1998, pa- stel and acrylic on bark paper, offset prints, 2/4 Lucha Libre fanfposter Mexico City 2008, 3/4 Mexican wrestler masks cartoon, Mexico City 2010, 4/4 brutproduction Who shoot the princess 2010 with Edwarda Flor Gurolla, photodocumentation Lisbeth Kovacic, mrkvica@klingt.org picture credits · 161 page 25: 1/4 Anonym, Excavated Burial Offering, Tlatilco, State of Mexico (1947-9), 2/4 Graciela Iturbide, Piel, from her En el nombre del padre (1993), 3/4 Guillermo Robles Callejo, Mujer florero, Gran Circo Beas (1920s), Centro de la Imagen, Mexico City, 4/4 Manuel Álvarez Bravo, Hair on a Tile (1930s) Seite 26: 1/4 Silvia Gruner, strangulating braid, colour still, from De las formas ancestrales o uno co- miéndose su propia cola (1991), 2/4 Silvia Gruner, ingesting braid, colour still, from De las formas ancestrales o uno comiéndose su propia cola (1991), 3/4 Charles B. Waite, Indias de Tehuantepec (1906), 4/4 Mariana Yampolsky, Retratos (1976) Veronika Burger & Edwarda Gurolla | Telenovelas page 29: 1/1 Edwarda Flor Gurolla at Die Dondrine (07.12.2010/ Vienna, photodocu- mentation Veronika Burger) page 30: 1/4, 2/4, 3/4 & 4/4 Telenovela stils of Teresa with Selma Hayek, Mexiko, Televisa production 1989 page 31: 1/3, 2/3 & 3/3 Telenovela stil Gabriel y Gabriela, Mexico 1982, Televisa production page 32: 1/4, 2/4, 3/4 & 4/4 Telenovela stil Torre de Babel, Mexico 1986, Televisa production Katharina Lucksch | Regarding the Script of Others 1-3: Österreichische Nationalbibliothek Stephanie Misa A Colony of a Colony Macabebe Scouts : Photo published in Harper's Weekly, Dec. 23, 1899. Macabebe Scouts patrolling the Rio Grande de Pampanga, published in Harper’s Bazaar 1899. Oliver Cmyral & Stephanie Misa | A Colony of a Colony "Scouts! Professional Macabebe soldiers: the Macabebe Scouts in Cebu". (Heller Collection). Photo Credit: USAMHI Diana Nenning | Layers of History Layers of History - Sketch for the installation (screenprint on cotton) - Crayon on paper, Diana Nenning 2010/11 Lisbeth Freiß | Claims on Mexico „Tertulia.” Die Wiener Elegante. No.6. 15.3.1844, p. 23.1844. Sabina Muriale | Afterwords. Abb. 1: Ausschnitte der Präsentation von Hussein Chalayans Afterwords Herbst/Winter 20002001. Quelle: www. husseinchalayan.com, Stand: 10.05.2011. vienna zocalo · 162 page 33: 1/5, 2/5, 3/5, 4/5 & 5/5 brutproduction Who shoot the princess 2010 with Edwarda Flor Gurolla, photodocumentation Lisbeth Kova- cic, mrkvica@klingt.org Claudia Harich | Die ELZN colored pictures: Siller, Nikola (2009): Das Recht glücklich zu sein. Der Kampf der zapatistischen Frauen in Chiapas/Mexiko. Münster: Zwischenzeit. very first picture and all in black and white: Muñoz Ramírez, Gloria (2004): „20+10 Das Feuer und das Wort“. Münster: Unrast Verlag very last picture: http://revistarebeldia.org/ vienna zocalo · 162