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Chinati Foundation Newsletter Vol8 Friendship with You and Emilia

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Chinati Foundation Newsletter Vol8 Friendship with You and Emilia Chinati Foundation newsletter vol8 friendship with you and Emilia. I re- estar interesado en ella. Preguntaban member that Don was very im- cómo se había topado Judd con Kaba- pressed by the installation and soon kov. ¿Qué lo indujo a invitarte a Mar- asked you to come to Marfa. He fa? was particularly taken with your Tu amistad con Don fue breve, porque Un mensaje ability to think about entire rooms, se conocieron apenas en 1991, concre- A Message and to choreograph your installa- tamente en febrero de ese año en Vie- de la tions very precisely with an underly- na, cuando en el MAK (Museo de Artes ing narrative. He also liked your use Aplicadas) había una gran exhibición from the of sound in several of the works, de la arquitectura de Don al mismo directora which spoke to his interest in bring- tiempo que tu instalación de la obra Director ing together many different modes Die Zielscheiben (The Targets) estaba of artistic expression. I know your en la Galería Peter Pakesch. Pero Don Dear Ilya, Querido Ilya, conversations were difficult because ya conocía tu obra. Había visto tu pri- Don only spoke English, and at that mera exhibición fuera de la Unión So- Soon it will be your 70th birthday, Pronto cumplirás los 70 años, el segun- time you didn’t. That you came to- viética en 1986 en Bern, Suiza, luego the second big one that we’ll cele- do gran cumpleaños que celebraremos gether at all was thanks in large part los Diez Personajes en 1989 en Zurich, brate together. It was exactly ten juntos. Hace exactamente diez años es- to Paul and Erna Jolles, who knew y dos años después El puente en la ex- years ago that you and Emilia were tuvieron tú y Emilia aquí en Marfa du- both of you independently and hibición Dislocations en el MoMA en in Marfa for two weeks to install rante dos semanas para instalar Escue- arranged some memorable evenings Nueva York. A principios de 1992 yo te School No.6, which was inaugurat- invité a crear la instalación Vida de las ed at the Open House that October. moscas en el Kunstverein Cologne, y We celebrated your 60th birthday fue entonces cuando comenzó mi amis- among friends with Don at the Are- tad contigo y con Emilia. Me acuerdo na. Don showed signs of not being que un día Don quedó bastante impre- well, but at the time we couldn’t sionado por esa instalación y pronto te imagine how serious it was. Only invitó a Marfa. Le fascinaba tu habili- four months later he succumbed to dad para concebir habitaciones com- cancer. pletas y para coreografiar tus instala- Since 1993, School No.6 has been ciones con mucha precisión, creando an integral part of Chinati’s collec- un subtexto para ellas. También le tion. It is your only permanent work agradó el uso que hacías del sonido en in the United States, always on view algunas varias de tus obras, que des- for the public. Thousands of visitors pertó su interés en juntar muchas for- first learned about you and your mas diferentes de expresión artística. work here in Marfa, where they Sé que las conversaciones entre uste- read your texts and study the instal- des fueron difíciles porque Don sólo lation’s careful disarray. Most are hablaba inglés, y en ese tiempo tú to- moved by the experience—the sight davía no lo hablabas. Que tú y Don se of the schoolrooms is hard to forget. hayan juntado se debe en gran parte a But many also wonder about your Paul y Erna Jolles, que conocían a cada V presence here, in Judd territory. Your O uno de ustedes por separado y que K A work seems so different that most B ofrecieron unos memorables convites A K en su casa en Berne y Wengen. people have a hard time believing A Y L that Don could have been interested I Tú y Emilia hicieron su primer viaje al in it. How did he come across la No. 6, que se inauguró en el Open at their home in Bern and Wengen. Oeste de Texas y a Chinati en agosto de Kabakov, they ask. What prompted House aquel octubre. Cuando cumpliste You and Emilia made your first trip 1992. Supiste inmediatamente, duran- him to invite you to Marfa? 60 años festejamos entre amigos con to West Texas and Chinati in August te tu primer paseo por Chinati, cuál de Your friendship with Don was brief, Don en la Arena. Don daba visos de no of 1992. You instantly knew which los edificios querías usar. Fue uno de because you only met in 1991. More estar muy bien, pero en ese momento building you wanted to use during los antiguos cuarteles—en aquel mo- specifically, you met that February in no reconocíamos la gravedad de su es- your very first walk around. It was mento totalmente abandonado—y al Vienna, when the MAK (Museum of tado. Cuatro meses más tarde sucum- one of the former barracks—at the instante se te ocurrió la idea de trans- Applied Arts) was showing a large bió al cáncer. time entirely derelict—and you im- formarlo en una escuela rusa. Te pare- exhibition of Don’s architecture at Desde 1993, Escuela No. 6 ha formado mediately developed the idea of cía muy bien que el edificio estuviera the same time as your installation of parte integral de la colección de China- transforming it into a Russian school- totalmente dilapidado, lo que significa- the work Die Zielscheiben (The Tar- ti. Es tu única obra permanente in Esta- house. It suited you just fine that the ba que no tendrías que crear este esta- gets) at the Peter Pakesch Gallery. dos Unidos, siempre en exhibición al building was completely run down, do en forma artificial. Durante los si- But Don was already familiar with público. Miles de visitantes te conocie- which meant that you didn’t have to guientes doce meses emprendiste los your work by then. He saw your first ron a ti y a tu obra aquí en Marfa, don- create this state artificially. During preparativos, enviándonos dibujos de exhibition outside of the USSR in de leyeron tus textos y estudian el cui- the following twelve months you un- la manera como se debían arreglar los 1986 in Bern, Switzerland, then the dadoso desorden de esta instalación. dertook the preparations for the salones individuales y sus funciones, Ten Characters in 1989 in Zurich, La mayoría se sienten conmovidos por school—ending us drawings that junto con largas listas de objetos y artí- and The Bridge two years later in la experiencia—la vista de los salones showed the arrangements of individ- culos provenientes de todo el mundo MoMA’s Dislocations exhibit in New de clase es difícil de olvidar. Pero mu- ual rooms and their functions, as que debíamos reunir. Los muebles tení- York. In early 1992 I invited you to chos también recapacitan sobre tu pre- well as long lists of objects and an que construirse en Marfa, tus textos create the installation Life of Flies at sencia aquí, en el territorio de Judd. Tu props that we would gather from all tenían que traducirse, y tú pronto esta- the Kunstverein Cologne, which obra parece tan diferente que la gente over the world. The furniture was to rías pintando las paredes con los colo- marked the beginning of my own encuentra difícil creer que Don pudiera be built in Marfa, your texts would res apagados de la burocracia soviéti- 2 be translated, and you would soon ca. Cuando regresaste a Marfa con larger western audience under what extraordinarias circunstancias bajo las be painting the walls with the drab Emilia en septiembre de 1993, todos extraordinary circumstances you cuales has vivido y trabajado. Es una colors of Soviet bureaucracy. When los ingredientes estaban listos para ser lived and worked. It is a situation situación difícil de imaginar desde you returned to Marfa with Emilia in combinados por tu mano maestra. that is hard to imagine from our nuestra cómoda perspectiva. Escuela September 1993, all of the ingredi- Por supuesto hiciste varios cambios a comfortable perspective. School No. 6 está bien acomodada ya en Mar- ents were ready to be arranged by los planes iniciales, mientras formabas No.6 is now well settled in Marfa, fa, con fotografías y textos que narran your masterful hand. nuevas impresiones de los edificios y el with pictures and texts that tell the la historia de un tiempo y un lugar muy Of course you made quite a few lugar. Mientras que una ala del edificio story of a very different time and distintos. Pero desde luego los comen- changes to the initial plans, as you estaba dividida en una serie de salo- place. But of course your ghostwrit- tarios que tú escribiste anónimamente formed new impressions of the build- nes, dejaste la obra casi vacía como ten comments in the school make en la escuela se burlan un poco de esta ing and the site. While one wing of contraste directo y metafórico con la light of this history as well as its con- historia y de sus conclusiones. Tu ju- the building was divided into a se- caótica densidad de enfrente. La tarea clusions. Your playful seriousness, guetona seriedad, tu amorosa ironía, quence of rooms, you left the other consistía en mantener el equilibrio en- your loving irony, steadfast story- tus perdurables narraciones y tu obse- one nearly empty as a direct and tre la descomposición de una década y telling, and obsessive attention to siva atención al detalle nos embelesa- metaphoric contrast to the chaotic la precisión artística—no crear una ré- detail will occupy us for many years rán durante muchos años por venir.
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