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Trama: Artists' Initiatives and the Politics of Autogestión In Trama: Artists’ Initiatives and the Politics of Autogestión in Contemporary Argentina Iberia Pérez González A thesis submitted for the degree of Doctor of Philosophy School of Philosophy and Art History University of Essex December 2015 ABSTRACT This dissertation analyzes the unprecedented phenomenon of autogestión which proliferated in the Argentine contemporary art scene in the aftermath of the economic crisis and popular revolts of December 2001. Premised on the notion that the crisis encompassed significant transformations in all spheres of life, the thesis examines the key role of artists’ initiatives based on autogestión in the reconfigurations within the art field. By focusing on the specific case of Trama – a project for cooperation between artists that evolved into a national and international network of artists’ initiatives (2000–2005) –, the study argues that autogestión became a legitimate artistic practice that gained visibility and strength within the artistic landscape in Argentina in the post-crisis period. As such, it challenges local art historical discourses which, all too often, limit discussions of the political to a rhetoric of art activism or artists’ collectives. Drawing on Henri Lefebvre’s multifaceted conceptualization of autogestión, the study also aims to reinvest the term with its political connotations: autonomy, democracy, and self-determination. Relying on Lefebvre’s theoretical framework as an heuristic tool, it examines the ways in which Trama functioned as a political strategy by enacting ethical concerns and values, and by generating a set of conditions within the art field with regard to the social, the subjective and the spatial; these are analyzed in turn in the thesis. Emphasizing these inter-related registers – and guided by an interdisciplinary approach –, this research illustrates the ways in which Trama was not only implicated in, but resonated with the broader socio-political processes and transformations taking place in Argentina at this historical conjuncture. Steering the focus away from the ‘art work’ to ‘artistic practice’, this thesis offers a valuable insight into the discipline as it identifies a new area of investigation – artistic autogestión –, while arguing for the need for more sustained and comprehensive scholarly research on this topic. ii TABLE OF CONTENTS ABSTRACT ......................................................................................................................................... II ACKNOWLEDGEMENTS .................................................................................................................... IV INTRODUCTION ................................................................................................................................. VI CHAPTER I MAPPING THE TERRITORY ............................................................................................... 1 The Rupture: The Crisis as Context ....................................................................................................... 3 The Phenomenon of Autogestión in Contemporary Argentina .......................................................... 17 Autogestión as Emancipatory Mode of Political Action ...................................................................... 33 Trama and Argentine Art during the 1990s ....................................................................................... 39 A Program for Confrontation and Cooperation ................................................................................. 51 CHAPTER II AUTOGESTIÓN, ETHICS, AND AESTHETICS ...................................................................... 63 Autogestión as a Political Strategy ..................................................................................................... 64 An Expanded Field of Artistic Practice ................................................................................................ 75 Between Ethics and Aesthetics .......................................................................................................... 84 Enacting Ethics ................................................................................................................................... 99 CHAPTER III THE POLITICS OF AUTOGESTIÓN ............................................................................. 117 New Societal Ethics ...........................................................................................................................119 Towards Social Recomposition .....................................................................................................122 New Modes of Cooperation in the Arts ........................................................................................126 Visibility as Recognition ................................................................................................................135 New Subjectivities, Legitimation and the Self-Production of Discourse .............................................137 New Social Protagonism ..............................................................................................................137 Trama and the Legitimation of Artistic Thought ..........................................................................140 From the Production of Knowledge to the Self-Production of the Artist .......................................145 'Territorial Autogestion’: Space, Contexts, Networks ........................................................................151 Crisis, Space, Territory ..................................................................................................................151 Trama and the Production of (Public) Space ................................................................................156 Articulating a National Artists’ Initiatives Network ......................................................................162 Regional Encounters, South-South Exchanges..............................................................................176 CONCLUSIONS ................................................................................................................................ 187 BIBLIOGRAPHY ................................................................................................................................ 198 APPENDICES .................................................................................................................................. 222 Appendix A List of Interviews ...................................................................................................222 Appendix B Trama: Chronology of Activities ...........................................................................223 Appendix C List of Illustrations ................................................................................................226 iii ACKNOWLEDGEMENTS I would like to extend my gratitude to the many people who helped me bring this research project to fruition. Firstly, it is my supervisor, Dr. Rebecca Breen, to whom I owe the greatest debt of gratitude. I was fortunate to receive excellent guidance from her at all stages of this study. Her insightful comments and unyielding support have been invaluable in the research and writing of this dissertation. I am deeply grateful to Claudia Fontes for her kind disposition to provide me with first-hand information and valuable documentation about Trama and for taking the time to answer every single one of my questions. Her generosity and commitment have been truly inspirational. I thank the Art History Department at the University of Essex for providing a rich and stimulating environment for my graduate studies. I am very grateful to Matthew Poole. His intellectual feedback and challenging questions were crucial during the early stage of this research project. I am thankful to Professor Valerie Fraser for her input and interest in my work. Many thanks, also, to Professors Michaela Giebelhausen and Gavin Grindon who provided feedback and assistance during the writing-up period of this dissertation. I would like to acknowledge the financial support I received from the Art History Department Research Scholarship, the Tim Laughton Travel Fund, and the ISLAA Scholarship, without which this research would not have been possible. This dissertation was shaped in large part by the people that helped me during the research phase of this project in Argentina. Special thanks to Mauro Machado and Graciela Carnevale for their time and the opportunity to conduct a short-term research residency at El Levante in Rosario. Furthermore, I would like to extend my sincerest thanks to all the interviewees for their generosity and disposition to collaborate in my research: Pablo Ziccarello, Magdalena Jitrik, Roxana Ramos, Andrea Elías, Christian Ferrer, Gabriela Massuh, Américo Castilla, Pablo Guiot, Sandro Pereira, Jorge Gutiérrez, Carlota Beltrame, María José Herrera, Aldo Ternavasio, Marina de Caro, Tulio de Sagastizábal, Irene Banchero, Andrés Labaké, and Diego Sztulwark. All iv of them helped to supplement my understanding of Trama as well as its historical and socio-political context with the anecdotes and information that they shared. Also, my most sincere gratitude to my Argentine friends – Mónica in Rosario, Hernan in Buenos Aires, and the Marlow family in Salta – who shared their homes with me and took care of me during my field trip in Argentina. I could not possibly imagine finishing this thesis without the support of my friends in different parts
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