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CREATIVE SPACES Urban Culture and Marginality in Latin America Edited by Niall H.D

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CREATIVE SPACES Urban Culture and Marginality in Latin America Edited by Niall H.D CREATIVE SPACES Urban culture and marginality in Latin America edited by Niall H.D. Geraghty and Adriana Laura Massidda Creative Spaces Urban culture and marginality in Latin America edited by Niall H.D. Geraghty and Adriana Laura Massidda Institute of Latin American Studies, School of Advanced Study, University of London, 2019 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library This book is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/. This book is also available online at http://humanities-digital-library.org. ISBN: 978-1-908857-48-4 (paperback edition) 978-1-908857-49-1 (.epub edition) 978-1-908857-50-7 (.mobi edition) 978-1-908857-69-9 (PDF edition) DOI: 10.14296/519.9781908857699 (PDF edition) Institute of Latin American Studies School of Advanced Study University of London Senate House London WC1E 7HU Telephone: 020 7862 8844 Email: [email protected] Web: http://ilas.sas.ac.uk Cover image: Still from La multitud, Martín Oesterheld (2012). Produced by Laura Bruno. Contents List of illustrations v Notes on contributors vii Introduction 1 Niall H.D. Geraghty and Adriana Laura Massidda I. Where are the margins? 29 1. The politics of the in-between: the negotiation of urban space in Juan Rulfo’s photographs of Mexico City 31 Lucy O’Sullivan 2. The interstitial spaces of urban sprawl: unpacking the marginal suburban geography of Santiago de Chile 55 Cristian Silva 3. Cynicism and the denial of marginality in contemporary Chile: Mitómana (José Luis Sepúlveda and Carolina Adriazola, 2009) 85 Paul Merchant II. The struggle for the streets 105 4. Community action, the informal city and popular politics in Cartagena (Colombia) during the National Front, 1958–74 107 Orlando Deavila Pertuz 5. On ‘real revolution’ and ‘killing the lion’: challenges for creative marginality in Brazilian labour struggles 133 Lucy McMahon 6. Urban policies, innovation and inclusion: Comuna 8 of the city of Buenos Aires 155 Anabella Roitman iii iv CREATIVE SPACES III. Marginal art as spatial praxis 181 7. Exhibitions in a ‘divided’ city: socio-spatial inequality and the display of contemporary art in Rio de Janeiro 183 Simone Kalkman 8. The spatiality of desire in Martín Oesterheld’s La multitud (2012) and Luis Ortega’s Dromómanos (2012) 201 Niall H.D. Geraghty and Adriana Laura Massidda 9. Afterword Creative spaces: uninhabiting the urban 241 Geoffrey Kantaris Index 253 List of illustrations Figure 0.1 Anonymous graffiti on a bridge on the approach to the exhibition grounds for the Venice Architecture Biennale 2016. 14 1.1 Corridor of the Nonoalco rail yard. 32 1.2 Intersection at Calle de la Santa Veracruz. 43 1.3 Courtyard of tenement basement in Colonia Guerrero. 46 2.1 An infrastructural interstice between Cerrillos and Pedro Aguirre Cerda communes. This is a boundary area composed of high-speed motorways, a railway line, derelict spaces, a canal and electric lines. 60 2.2 Historical expansion of Santiago. 68 2.3 Santiago and the location of the La Platina and Campus Antumapu sites, La Pintana commune (left). View of Campus Antumapu (top right). View of the La Platina site (bottom right). 73 2.4. The interstitial boundary space between Lo Espejo and Pedro Aguirre Cerda communes. 77 2.5 Santiago and its suburban interstitial spaces 77 6.1 Buenos Aires – Comuna 8. 156 6.2 South Buenos Aires State Society Corporation and Comuna 8. 159 6.3 Territorial Units of Urban Inclusion and Comuna 8. 160 6.4 Economic Districts and Comuna 8. 164 6.5 Youth Olympics Games (YOG) venues and Comuna 8. 166 6.6 Comuna 8 slums (Villa 20 highlighted). 167 7.1 Travessias 2015 opening event, exhibition overview. 196 8.1 Map of relevant locations. 204 8.2. Ciudad Deportiva de La Boca in the foreground, with Puerto Madero skyscrapers in the background. 204 8.3 Interama in the foreground, including the Torre Espacial in the background. 205 8.4 Brasil arriving in Barrio Compal. 224 v vi CREATIVE SPACES 8.5 Pedro renouncing his delinquent past as part of a religious ceremony, immediately followed by Camila’s process of divine healing. 230 Notes on contributors Orlando Deavila Pertuz is a researcher at the International Institute of Caribbean Studies in the University of Cartagena (Colombia). He is also a PhD candidate in Latin American history at the University of Connecticut. His work deals with the remaking of Cartagena as a site of heritage tourism and the rise of the informal city during the 20th century. His current project analyses how in the midst of the city’s remaking, class, race, gender and spatial structures came together to forge locals’ identities, and became instrumental for them to make sense of urban change. Niall H.D. Geraghty is Leverhulme Early Career Fellow at the Institute of Latin American Studies, School of Advanced Study, University of London. His research focusses on the intersections between critical theory, politics and contemporary Latin American cultural production. Niall’s first book, The Polyphonic Machine: Capitalism, Political Violence, and Resistance in Contemporary Argentine Literature (University of Pittsburgh Press, 2019), focussed on the analysis of select texts by the Argentine authors César Aira, Marcelo Cohen and Ricardo Piglia written in the period 1979–98. At present, Niall is completing a research project examining the work of Argentine director Jonathan Perel which explores the politics of memory in Argentina at the turn of the 21st century. In addition, he has recently begun a project which involves a radical re-examination of the work of Argentine artist León Ferrari (1920– 2013). This project explores the interrelations between politics and religion in 20th-century Argentina, and the potential correlations between contemporary philosophy and liberation theology. Simone Kalkman did her PhD at the Amsterdam School for Cultural Analysis (ASCA), part of the University of Amsterdam. She holds a MA degree in art history from Leiden University and a MSc in Latin American and Caribbean studies from Utrecht University. Her PhD dissertation is concerned with the representation of Rio de Janeiro’s favelas in modern and contemporary art, as well as the socio-political contexts in which these artistic practices are produced, displayed and received, building on ethnographic fieldwork and archival research in Brazil. She recently co-edited a special issue on Urban World-Making in the Journal of Urban Cultural Studies and co-coordinates the ASCA Cities Project. vii viii CREATIVE SPACES Geoffrey Kantaris is reader in Latin American culture at the University of Cambridge. Geoffrey specialises in modern Latin American film and literature, with particular interests in urban film (Argentina, Colombia, Mexico and Brazil), women’s writing, popular culture, and the cultures of globalisation. He teaches a graduate-level seminar on the spatial turn and spatial theory. He has published many articles and book chapters on urban film, postmodernity, women’s writing and dictatorship, and on the theory of Latin American popular culture. He is author of The Subversive Psyche (Oxford University Press, 1996) and co-editor of Latin American Popular Culture: Politics, Media, Affect (Boydell and Brewer, 2013). He is currently the Cultural Studies editor of the Bulletin of Latin American Research and director of the MPhil in European, Latin American and Comparative Literatures and Cultures. Adriana Laura Massidda is an architect trained in Buenos Aires with particular expertise in the history of urban informality. She is currently a postdoctoral research fellow at the Centro de Estudios Urbanos y Regionales (CEUR/ CONICET, Buenos Aires, Argentina), where she is developing a project on spatial agency, gender and socio-ecological transformations within two Buenos Aires shantytowns. Adriana completed her PhD at the University of Cambridge (King’s College/Department of Architecture) in 2016. Her thesis constituted a historical enquiry into the social co-production of space in Buenos Aires shantytowns during the period 1958-1967. In addition, Adriana has worked in architectural practice and has taught at the Bartlett School of Architecture, the University of Cambridge, and the University of Buenos Aires. Adriana is a trustee of the Caravanserai London architectural collective. Lucy McMahon is a choreographer, dance teacher and data analyst working at a young people’s charity in Cambridge. She previously worked as a lecturer in human rights at the University of London, and has undertaken research projects in China, Cuba, India and Brazil, in the areas of women’s access to justice, protest, state violence and the politics of dance. Research for her chapter is based on doctoral and post-doctoral fieldwork in Rio de Janeiro between 2013 and 2017. Paul Merchant is lecturer in Latin American film and visual culture at the University of Bristol. His research investigates artistic and political creativity on Latin America’s Pacific coast, with a particular focus on port cities. His doctoral project, currently being prepared for publication as a monograph, explored the political potential of domestic space in contemporary Argentine and Chilean cinema. He has co-edited a special issue of the Journal of Romance Studies on housing and domesticity in Latin American film, and published articles on Chilean documentary, the legacy of Italian neorealism in Argentina, and the fiction of Roberto Bolaño. NOTES ON CONTRIBUTORS ix Lucy O’Sullivan is currently a teaching fellow in Hispanic studies at the University of Warwick. Lucy’s research interests lie primarily in 20th-century Mexican visual and literary culture. She recently completed her doctoral thesis in medieval and modern languages at the University of Oxford, which explored shifting intellectual and artistic interpretations of post-revolutionary nationhood in Mexico through a comparative reading of the bodily imagery presented in the murals of Diego Rivera and the fictional and photographic works of Juan Rulfo.
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