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Historias 61 85-112Pp América Holger Cahill y el inje-inje. La historia del primitivismo modernista Alan Moore* En su artículo “La máquina y el subcons- Unidos, posterior a la guerra, cuya mezcla de ciente: Dadá en Estados Unidos”, John I. H. elementos constructivos y destructivos fue más Baur habló de “un movimiento oscuro, casi característica del optimismo subyacente de olvidado”, fundado por el escritor Holger Cahill. Estados Unidos que del espíritu nihilista del Cahill había leído un escrito en el que se des- dadaísmo”.1 Lo que Baur no dice es que unos cribía a una tribu de indígenas sudamerica- años después de lanzar el inje-inje como sis- nos cuya única palabra era inje; entre ellos tema estético, Cahill usó de pretexto sus lec- se comunicaban por medio de tonos y gestos. turas etnográficas para un gancho publicitario Cahill propuso, contaba Baur, “devolver a las que promovía una muestra de cierta Sociedad artes a una sencillez semejante, cortar la de Artistas Independientes. superestructura de nuestros refinamientos cul- Inje-inje fue un movimiento artístico que no turales y descubrir las formas básicas y más sucedió: no hubo ni exposiciones ni manifiestos directas de la expresión humana”. El programa ni publicaciones. Por lo tanto, el título de mi estético, sigue Baur, colocó al inje-inje “en un ensayo es publicidad barata: no es la historia sitio opuesto al espíritu del dadaísmo y más del inje-inje sino el registro y la reflexión a par- próximo al original redescubrimiento del arte tir de su investigación. En él me he permitido primitivo de los cubistas”. El inje-inje duró ape- asomarme a la biografía y a la carrera de cada nas dos o tres años e incluyó a pintores como uno de los participantes que se mencionan en el Mark Tobey, Alfred Maurer, William Gropper, recuento de Baur, en busca de evidencias sobre John Sloan y Frank Overton Colbert, “un indio el movimiento, o al menos de las perturbacio- chicasahua”. Entre los poetas estaban Malcolm nes en las trayectorias de estos artistas que Cowley y Orrich Johns. Baur señala que el señalaran hacia el inje-inje. Ante la poca docu- movimiento fue “serio sólo a medias, o en tres mentación y las muy contadas obras de arte, cuartas partes”; se quedaron en proyecto una revista y una puesta en escena. Aun así, Baur llama al inje-inje “una de las más significativas 1 manifestaciones de inconformidad en Estados John I. H. Baur, “The Machine and the Subcons- cious: Dada in America”, en Magazine of Art, vol. 44, núm. 6, octubre de 1951, pp. 233-237. En esencia Baur repitió sus observaciones en Revolution and Transition * Traducción de Antonio Saborit. in Modern Art, Praeger, 1967; 1ª ed., 1951. 85 América he tratado de abrir el registro de este ensayo, Allí fue su condiscípulo Irwin Granich, mejor tomando muestras de las corrientes culturales e conocido como Mike Gold, quien llegaría a ser intelectuales que podrían haber ayudado a darle el más prominente crítico literario comunista. forma al inje-inje. En 1914, Gold le consiguió a Cahill su primer Nuestra comprensión de lo que haya podido trabajo literario profesional como editor de dos ser todo este asunto se basa casi exclusiva- periódicos de Westchester. Cahill iba a Nueva mente en las propias palabras de Holger Cahill, York los fines de semana y en 1918 se mudó a en especial la entrevista que se realizó en 1957 Greenwich Village y empezó a escribir como free para el programa de Historia Oral de la Univer- lance. sidad de Columbia.2 Esto último, y el posterior Para la Primera Guerra Mundial, Greenwich empleo de la etnografía en un gancho publicita- Village se convirtió en la bohemia estadouni- rio, convierte al inje-inje en un asunto histórico dense, en el “distrito de la diferencia”, hogar problemático. Si bien algunos académicos acep- de políticos radicales y de todo tipo de artis- tan la afirmación de Cahill según la cual el inje- tas. La zona tenía una fuerte vida nocturna, lo inje existió como un movimiento artístico, otros cual incluía numerosas trampas para turistas la rechazan. La sombra de un hacha pendió a y, con la Prohibición en 1920, antros clandesti- lo largo de esta pesquisa. nos. Cahill recuerda dos de ellos: Golden Swan HOLGER CAHILL (1887-1960) es mejor conocido (también conocido como Hell Hole) y Colum- porque fue el director del Proyecto de Arte Fede- bia Gardens (también conocido como Working ral de la WPA (1935-1943) y por haber organizado Girls Home). Hell Hole era el bebedero del dra- las primeras exposiciones museográficas sobre maturgo Eugene O’Neill, mientras que el otro el arte folclórico estadounidense en el Museo de lo frecuentaban artistas de la calaña de John Newarck en 1929, en el Museo de Arte Moderno Sloan. En estos bares, Cahill encontró “focos de en 1932, en donde fungió por un tiempo como conversación” entre personas “interesadas pro- su director. Cahill nació en Islandia y creció en fundamente en las artes”. Estas conversacio- una granja en Dakota del Norte. Sus padres se nes giraban en torno a las artes, las letras y el separaron cuando él era niño e inició una vida socialismo. Cahill empezó entonces a derivar del de trashumancia y trabajo que lo condujo por periodismo hacia el mundo del arte.3 último a Nueva York. El tenor y la atmósfera de algunas de estas Para la época en la que formuló el inje-inje, conversaciones aparecen evocadas en un artícu- Cahill llevaba viviendo en Nueva York desde lo que en 1921 Mike Gold escribió para Libe- 1913, trabajaba como periodista y tomaba cursos rator, “Dos críticos en el bar” (“Two Critics in de redacción en la Universidad de Nueva York. a Bar-Room”). En este artículo, impregnado de humor, Cahill y Gold aparecen juntos, sentados en los precintos masculinos de una taberna de la época de la Prohibición, unidos por el fondo 2 Entrevista con Holger Cahill, programa de His- de su juventud, de su pobreza y de su condición toria Oral de Columbia, 1957. Cahill corrigió y revisó laboral en un lazo de “proletarianismo intelec- posteriormente la transcripción. Otros textos prima- rios sobre el inje-inje: Carta de Holger Cahill a John Baur, 10 de junio de 1950, en el Fondo Cahill, Archives of American Art (en adelante, AAA), anexo no micro- 3 El principal ensayo biográfico sobre Cahill es el de filmado, cortesía de Wendy Jeffers; y una entrevista Wendy Jeffers, “Holger Cahill and American Art”, en de 1960 con Holger Cahill en los AAA. Las referencias Archives of American Art Journal, vol. 31, núm. 4, 1991, en mi ensayo a estas fuentes serán citadas por año y pp. 2-11. He tomado de Jeffers los detalles biográficos, número de página. Cahill dice que “en alguna parte así como de la entrevista de 1957 en el programa de tengo una tesis sobre lo que el inje-inje debía realizar” Historia Oral de Columbia, y de un breve escrito auto- (1957, p. 122). Este manuscrito acaso aparezca entre biográfico sin fecha en el Fondo Cahill en la Biblioteca sus papeles aún sin catalogar. Pública de Nueva York (en adelante BPNY), caja 11. 86 América tual”. Gold es el “moreno judío estadounidense historia de “una tribu en una región localizada voluble” y Cahill “un rubio de ojos azules, fuerte, entre el Amazonas y los Andes que era tan pri- con la pálida expresión fanática de William mitiva que sólo contaba con dos palabras, y el Blake”. Comparten idénticos antecedentes: resto de su comunicación lo suplían los gestos. Cahill, al igual que Gold, “vagó y cavó zanjas Las palabras eran inje-inje. ‘Caracoles’, me dije, y sudó en los campos agrícolas de Kansas, lavó ésta sería una base maravillosa para la estética. platos, rebelándose contra su propia miseria y Ya hemos oído bastante de matices y de todo ese yendo a dar a la línea de fuego y a las manifes- tipo de cosas, qué tal algo de sencillez por un taciones políticas con credencial de reportero [...] rato” (1957, p. 118). los dos jóvenes, amigos de tiempo atrás, están En el otoño de 1919 se fundó la New School igualmente sorprendidos al verse repentina- for Social Research, y John Dewy, Horace mente aceptados como intelectuales y críticos”. Kallen y Thorstein Veblen empezaron a impar- Aunque Gold le reprocha a Cahill que olvidara tir cursos y a dar conferencias. Cahill escuchó sus preocupaciones políticas, el ethos masculino a Dewy hablar sobre filosofía y estudió estética del trabajo manual y el debate intelectual de con Kallen —con quien trabó amistad para toda los autodidactas que evoca el artículo fueron el la vida— y economía con Veblen. Este agudo pegamento social que mantuvo unido al grupo comentarista de temas sociales, noruego de de inje-inje.4 Minesota, tenía cierta simpatía por los islande- Aún no se ha recuperado ni documentado el ses. También en 1919, Cahill casó con Katherine pensamiento y la carrera de Cahill durante esta Gridley, artista e ilustradora a quien conoció época, y vive al azar de su propia memoria. Es por John y Dolly Sloan. La pareja se fue a vivir en 1918 que este autodidacta y ávido investi- con los Sloan a Washington Square por un año gador recuerda haber leído una obra etnográ- —aunque no queda claro cuál año—. Durante fica escrita por un “M. R. S. G.” —Miembro de este periodo, dijo Cahill, “comienza una división la Real Sociedad Geográfica—. Este libro que en mi vida”, y se interesa más en el arte que en Cahill no pudo citar o volver a ubicar, contaba la el trabajo periodístico.
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