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Segunda Vez: How Masotta Was Repeated Segunda Vez: How Masotta Was Repeated A research project led by Dora García Segunda Vez: How Masotta Was Repeated A research project led by Dora García This and following pages: Oscar Masotta, El helicóptero, 1967. Happening at the Instituto Torcuato Di Tella, El Theatrón, and Anchorena, Buenos Aires. Photographer unknown. Courtesy of Cloe Masotta. 4 5 6 7 8 9 10 11 12 13 “At the moment during which we planned the What followed from there was the usual process of study— two-week festival there came the coup d’état meticulous, thorough—until we, for by this point it was not that brought Juan Carlos Onganía to power, just me but a team, were ready to apply for a grant. It was and there was an outburst of puritanism and thanks to that grant that we were able to make a film, Segunda police persecution. Scared, we abandoned Vez, to gather texts for this book, to create a website, and to the project: what is more, it was a bit embar- translate some of Masotta’s texts. We are particularly happy rassing, amid the gravity of the political situ- to be able to offer a translation of Masotta’s early, and semi- ation, to be creating Happenings… In this nal, study of the Argentinean author Roberto Arlt, Sex and respect—embroiled in a sentiment of mute Betrayal in Roberto Arlt, in its entirety. Our hope was to bring rage—I now think exactly the opposite.” Masotta’s work to the forefront and to widen the readership of this figure, who had been totally unknown to us until a mere —Oscar Masotta, couple of years ago, but who immediately, and completely, “I Committed a Happening” swept us off our feet. You are now holding in your hands one of the products of this quest; the other is the film Segunda Vez, which is being released simultaneously. Together, the book and the film Dear reader, are the final result of those four years of research and of the imagination and enthusiasm that all the people involved—too The first time I heard Oscar Masotta’s name was during a pub- many to name here—brought to this project. Certainly this is lic conversation with Argentinian author Ricardo Piglia at the not the end, but it is an important, and cherished, beacon for Universidad Torcuato Di Tella in Buenos Aires, in March 2014. us. We hope, dear reader, that you enjoy it. Piglia mentioned Masotta almost in passing, as someone whose interest in performance, psychoanalysis, and politics Dora García might intersect with my interests. A few months later, when I learnt that Masotta had died in Barcelona, not far from my house, and when I read some of his texts I saw that, yes, Piglia was right: he was the perfect intersection between performance, politics and psychoanal- ysis. And, yes, when I learned that he treated performance (Happening) as an act of transgression, and dematerializa- tion as the thing to be done after Pop, then, yes, I thought I had intercepted something. Piglia’s Artificial Respiration is a novel organized around letters that are continuously inter- cepted by readers other than their addressees. And that is what that almost off-hand remark became: a message that was not meant for me, but that had nevertheless come my way. A found object, in the technical sense: without looking for it, I had found it. 14 15 Table of Contents 1 Distant Star (excerpt, 1996) 19 by Roberto Bolaño 2 Lazarus 25 by Dora García 3 An Intellectual Passion 45 by Jorge Jinkis 4 To Read Freud (1969) 65 by Oscar Masotta 5 The Happening as Political Exorcism 83 by Inés Katzenstein 6 I Committed a Hap pening (1967) 103 by Oscar Masotta 7 Heterotopic Trajectories 121 by Ana Longoni 8 After Pop, We Dematerialize (1967) 141 by Oscar Masotta 9 Sex and Betrayal in Roberto Arlt (1957/1965) 167 by Oscar Masotta 10 Oscar Masotta and the Left 243 by Emiliano Battista 11 To Dispute the Existence of Man 259 by Aaron Schuster 12 Second Time Round (1977) 279 by Julio Cortázar Notes 295 Dora García, Segunda Vez (still), 2018. 92’ Author Biographies 309 16 1 Distant Star (excerpt, 1996) by Roberto Bolaño COPYRIGHT PROTECTED 21 COPYRIGHT PROTECTED COPYRIGHT PROTECTED 22 23 COPYRIGHT PROTECTED 2 Lazarus by Dora García Translated by Chris Andrews. Reprinted by permission of New Directions Publishing Corp. 24 Giotto, Raising of Lazarus, 1305-06. Fresco, Scrovegni Chapel, Padua, Italy. 27 The second “meeting” happened some months later With these words, Carlos Correas recalls the last time he saw during that same year, 1973. On a cool spring night Masotta. Correas and Masotta met at university and were close I was walking out of a bookshop at 2700 Santa Fé friends for years, though eventually they became estranged, Street. Just as I stepped out, a long black car pulled partly as a result of Masotta’s widening intellectual interests and to a stop by the curb, right in front of me. I froze— pursuits, notably contemporary art and psychoanalysis. 1973, the brutal Ezeiza massacre was still fresh in the air. when the “meeting” happened, was one of the darkest years in Sindicalists, political leaders, militants, ex-militants, Argentina’s history, the year of the Ezeiza massacre and of the and “ideological suspects” were being assassinated formation of the far-right death squads known as the Triple A. or executed on an almost daily basis. On September If Correas decided to “play dead,” it is because he recognized 6, the ERP had mounted an assault on the Sanidad what had quickly become a typical situation: a car pulling to a Military Post in order to take rifles. They failed, were stop in front of you could mean the end. But, to his surprise, he wounded and detained—but not before killing the discovered that one of the people in the car was his old friend, a commander of the military forces; on September man Correas had once even been in love with. 26, José Ignacio Rucci had been summarily assas- Masotta’s family insists that professional ambi- sinated. Playing dead as I stood might perhaps help tion is what prompted him to leave Buenos Aires in 1974: he me. I saw that there were five people in the car. The wanted to pursue his career as a Lacanian reader, translator, back door closest to me opened and one of the pas- and teacher. But some of his friends also insist that he had been sengers stepped out, leaving the door open behind “squeezed” (apretado) by the Triple A, and had left out of fear him. This person, a little fellow dressed in dark tones, of further prosecution. It is possible, then, that what Correas walked past me and into the bookstore. I looked into describes is that moment. That might explain the absence of the back seat, and there, deep in the middle seat, expressivity in Masotta’s “pale” and “dull” face; the fact that he also dressed in dark hues and wearing a necktie, doesn’t recognize, or pretends not to recognize, his old friend; the was Masotta. There was someone else to his left, sadness that flashes across his face. Correas himself is unsure: and two people in the front seats, all dressed in are the people Masotta is with his “companions,” or his “guards”? black or similar. Masotta and I looked at each other: In the end, Correas decides he does not care. The car leaves. we started sizing each other up, but we exchanged However one reads the scene, the fact is that no greetings, gave no sign of recognition. I stood Masotta is both a formidable intellectual and a wonderful pro- and the sizing up continued, since I was not going tagonist in the political thriller that Correas’ episode describes. to leave until there was some sign of approach, or Violence, or the image of violence, is a fundamental ingredient of until Masotta had disappeared. And yet, I wasn’t the artistic production of those years. Indeed, artistic production sure that Masotta had recognized me: a sort of fog in general, and Happenings in particular, had something of the seemed to float before his eyes and his very pale criminal about them, as Masotta himself suggests: face—more of a dull grimace or an effigy of bore- dom. At last, a sort of slow and cumulative sadness All of this created a certain semblance between seemed to flash across that face and give it expres- the Happening and some mafia operations, like a sivity. Sadness for himself? For me? For both of us? bank holdup, for example. With a goal in mind— I’ll never know, and I don’t care. The little fellow who getting hold of the money—one must trace a had gone into the bookstore returned and got back strategy of schedules and timetables: one must into the car. The door closed and the car left, tak- know what time the employee with the key to ing Masotta and his four companions, or guards.1 the safe arrives; one must find a way to distract 28 29 a cop, in other words, to create a “gap” in the cop’s constant vigilance; one must orchestrate the coincidence of this “gap” with the hour when the bank has the fewest number of clients.2 The analogy between the Happening and the mafia, Masotta tells us, was first suggested by Allan Kaprow, who writes, in the text that must have been in Masotta’s mind: But the importance given to purposive action also suggest the Happening’s affinities with practices marginal to the fine arts, such as parades, carni- vals, games, expeditions, guided tours, orgies, religious ceremonies, and such secular rituals as the elaborate operations of the mafia.3 Purposive action, carefully coordinated and planned: very few Happenings in the history of the genre could have been harder to coordinate and synchronize than Masotta’s El helicóptero (The Helicopter), which took place in Buenos Aires on July 16, 1967.
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