Monumentmaschine

Impressum / Imprint Mit Monumentmaschine zeigt der Ausgangspunkt gilt dabei die 1851 Zusammenhänge aufzuzeigen, heritage. The point of departure Diese Zeitung erscheint anlässlich Württembergische Kunstverein die von der französischen Commission sondern es bedarf hierzu auch der here rests with the Mission Hé- der Ausstellung erste Einzelausstellung des spani- des monuments historiques unter Anordnung in Serien, der Herstel- liographique, a comprehensive Jorge Ribalta. Monumentmaschine 20. Februar – 1. Mai 2016 schen Fotokünstlers, Theoretikers Vorsitz von Prosper Mérimée – lung von Beziehungen zwischen photographic registry and catalogue und Kurators Jorge Ribalta (geb. dem Autor von Carmen (1845), den Bildern. of all historical monuments and This paper is published in conjunction with the exhibition 1963 in Barcelona) in Deutschland. jenem Roman, der bis heute Ste- memorials in France, commissioned Jorge Ribalta. Monument Machine reotypen des „Spanischen“ und in 1851 by the French Commission February 20 – May 1, 2016 Seine meist umfangreichen Serien des Flamencos erzeugt – in Auftrag With Monumentmaschine (Monu- des monuments historiques chaired Herausgeber / Editor: Württembergischer Kunstverein Stuttgart aus analogen Schwarzweißfotogra- gegebene Mission héliographique: ment Machine) the Württember- by Prosper Mérimée—the author fien, die in den Diskursen der kri- eine umfangreiche fotografische gischer Kunstverein presents the of Carmen (1845), a story which, Design: Hermanos Berenguer tischen und politisch engagierten Erfassung und Katalogisierung der first solo exhibition in Germany by as is well known, still today gener- künstlerischen Dokumentarfotogra- historischen Denkmäler und Monu- the Spanish photographic artist, ates clichés of “Spanishness” and Titel / Cover: Till Gathmann fie der 1970er-Jahre (AllanS ekula, mente Frankreichs. theorist, and curator Jorge Ribalta flamenco. Martha Rosler, Jo Spence etc.) (b. 1963 in Barcelona). © 2016 Württembergischer Kunstverein Stuttgart, die AutorInnen / the authors verankert sind, nehmen eher das Die Mission héliographique wurde The Mission Héliographique was © 2016 für die abgebildeten Werke / Nebensächliche und Unterschwel- zum Vorbild für zahlreiche weitere Ribalta’s often comprehensive to become a model for countless for the reproduced works: Jorge Ribalta lige denn das Vordergründige oder Projekte dieser Art: darunter auch series of analogue black-and-white other similar projects, including ISBN: 978-3-930693-32-0 Spektakuläre in den Blick. Sie das berühmte, in den 1930er-Jah- photographs, which are anchored the famous photography program kreisen um national und historisch ren durchgeführte Fotoprogramm in the discourses of the critically and carried out in the 1930s by the Farm aufgeladene Orte oder Figuren und der Farm Security Administration politically engaged artistic docu- Security Administration (FSA) in AUSSTELLUNG / exhibition deren Konstruktionen. (FSA) in den USA. Dieses bezog mentary photography of the 1970s the United States. This project fo- Jorge Ribalta. Monumentmaschine / sich bekanntlich nicht auf Monu- (Allan Sekula, Martha Rosler, Jo cused not on monuments but rather Monument Machine Ribalta arrangiert seine Serien, mente, sondern zielte auf eine so- Spence, etc.), are rather focused on on social cartography—charting Eine Ausstellung von / An exhibition by: die bis zu 200 Fotografien umfas- rural poverty—in the spirit of the Württembergischer Kunstverein Stuttgart ziale Kartografie ­–­ eine Kartografie the incidental and subliminal than sen, zu dichten räumlichen En- der ländlichen Armut – im Geiste on obvious or sensational aspects. New Deal, the social and economic In Erweiterung der gleichnamigen Ausstellung von / Extending the homonymous exhibition by: sembles. Angeordnet in mehreren des New Deals ab, jenem sozialen The works revolve around nationally reform program implemented as Centro Guerrero, Granada und / and horizontalen und vertikalen Rei- und ökonomischen Reformpro- and historically charged sites and a result of the Great Depression. Fundación Helga de Alvear, Cáceres, kuratiert von / curated by Yolanda Romero hen, ergeben sich dabei multiple gramm, das infolge der Weltwirt- figures and the construction thereof. The FSA photography project, head- Lesweisen. Für die Ausstellung im schaftskrise etabliert wurde. Das ed by artists like Dorothea Lange KuratorInnen / Curators: Hans D. Christ, Iris Dressler Kunstverein entsteht ein Display, Fotoprojekt der FSA sollte, mit Ribalta arranges his series, which and Walker Evans, became forma- das auch Anschlüsse, Brüche und KünstlerInnen wie Dorothea Lange may hold up to 200 photographs, in tive for those early—and meanwhile LeihgeberInnen / Lenders: Der Künstler, the artist Kehrtwenden zwischen den Serien und Walker Evans an der Spitze, dense spatial ensembles. Arrayed widely challenged—discourses Banco de España, Madrid erlaubt. prägend für die frühen – mittlerweile in several horizontal and vertical rows, of documentary photography as Centro de Artes Visuales Fundación Helga de Alvear, Cáceres weitgehend infrage gestellten – multiple angles of reading arise. a guarantee for transparency and Monumentmaschine zeigt eine Diskurse der Dokumentarfotografie Furthermore, a specially developed truthfulness. Gefördert durch / Funded by: Auswahl von sechs Serien, in als Garant von Transparenz und display will feature at the Kunst­ denen Ribalta die Beziehungen Wahrheit werden. verein exhibition, fostering connec- A contemporaneous equivalent zwischen Dokumentarfotografie, tions, disruptions, twists and turns to the Mission Héliographique was kulturellem Erbe und Nationalis- Ein zeitgleiches Äquivalent der between the series. the work of the British photographer mus untersucht. Es geht um die Mission héliographique stellte Charles Clifford, who resided in Frage, welche Rolle Monumente das Werk des britischen, in Spanien Monumentmaschine presents Spain and prepared, between 1854 und die heutigen, insbesondere von ansässigen Fotografen Charles a selection of six series in which and 1863, extensive photographic der UNESCO angetriebenen Touris- Clifford dar, der zwischen 1854 und Ribalta explores the relations be- documentation of Spain’s historical mus- und Kulturerbeindustrien im 1864 eine umfassende fotografi- tween documentary photography, sites and monuments. He released Hinblick auf die Reproduktion und sche Dokumentation der histori- cultural heritage, and nationalism. this work in several publications, Verinnerlichung nationalstaatlicher schen Stätten und Monumente It deals with the role played by including A Photographic Scramble Identitäten, Ideologien und Fikti- Spaniens anfertigte und diese monuments and the present-day through Spain, a tourist guide about onen spielen – und welche Bedeu- unter anderem in der Publikation UNESCO-driven tourist and cultural- Spain addressing foreign (especially tung der Fotografie dabei seit ihrer A Photographic Scramble through heritage industries according to British) visitors and celebrating the Erfindung zukommt. Spain veröffentlichte: ein Touris- the reproduction and internalization Alhambra as the highlight of Spanish tenführer über Spanien, der sich an of national identities, ideologies, cultural heritage. Die Ausstellung basiert auf der ausländische (insbesondere briti- and fictions. What relevance has gleichnamigen, vom Centro Gue- sche) BesucherInnen wendet und been assigned here to photography Jorge Ribalta’s practice and theoreti- rrero in Granada und der Funda- der die Alhambra als Höhepunkt since its inception? cal exploration of documentary ción Helga de Alvear in Cáceres des spanischen Kulturerbes feiert. photography tie into this proximity koproduzierten Einzelschau, die The exhibition is based on the epon- of photography, cultural heritage, die Serien Unbezähmter Laokoon Jorge Ribaltas Praxis und theoreti- ymous solo show, co-produced by and fictions of national identity. Aim- (2010–11), Scrambling (2011), und sche Auseinandersetzung mit der the Centro Guerrero in Granada and ing for neither transparency nor Imperium (oder K.D.) (2013–14) Dokumentarfotografie setzt an the Fundación Helga de Alvear in truth, his photographs investigate umfasst. dieser Nähe zwischen Fotografie, Cáceres, which comprises the series the structures of meaning pro­ Kulturgut und den Fiktionen von Wild Laocoön (2010–11), Scrambling duction inherent to photography— In diesen drei Arbeiten geht es um nationaler Identität an. Seine (2011), and Empire (or K.D.) (2013–14). understanding photography as a Ikonen und Monumente, die, wie Fotografien zielen weder aufT rans- technique, machine, and cultural ap- der Flamenco, die Alhambra oder parenz noch Wahrheit ab, sondern These three works involve icons paratus. Ribalta’s photographic ap- Eröffnung / Opening: Karl V., das „Spanische“ schlechthin untersuchen die der Fotografie – als and monuments that, like flamenco, proach to monuments and national Freitag, 19. Februar 2016, 19 Uhr Friday, February 19, 2016, 7 p.m. repräsentieren – wobei gerade der Technik, Maschine und kulturellem the Alhambra, or Charles V, rep- icons leads to anti-monuments and Flamenco, der seine Wurzeln in den Apparat – innewohnenden Struk- resent “Spanishness”—although anti-icons, for instance by under- Künstlergespräch / Artist Talk: Samstag, 20. Februar 2016, 14 Uhr Kulturen der Roma bzw. Kalé hat, turen der Bedeutungsproduktion. flamenco in particular, which has its scoring the infrastructures and the Saturday, February 20, 2016, 2 p.m. sowie die Alhambra, die von der Zeit Seine fotografischen Annäherun- roots in the Romani and Kalé cul- activity “behind the scenes” of these Kuratorenführung / Curator’s tours: der muslimisch-maurischen Nas- gen an Monumente und nationale tures, but also the Alhambra, which showplaces—from the workers and Mittwoch, 24. Februar 2016, 19 Uhr ridenherrschaft in Granada zeugt, Ikonen bilden Anti-Monumente is shaped by the period of Muslim- diverse workplaces to the marketing (Jour fixe der Mitglieder) Mittwoch, 9. März 2016, 19 Uhr eigentlich auf die transnationale und Anti-Ikonen, indem sie zum Moorish Nasrid rule in Granada, structures of the cultural industry. Mittwoch, 6. April 2016, 19 Uhr Vermischung kultureller Identitäten Beispiel die Infrastrukturen und den actually both signify a transnational An emphasis is on the monument Sonntag, 1. Mai 2016, 16:30 Uhr Wednesday, February 24, 2016, 7 p.m. verweisen. Karl V. (1500–1558), Betrieb „hinter den Kulissen“ die- confluence of cultural identities. as machine and reflection on the (Member’s jour fixe) erster König von Spanien und Kai- ser Schauplätze – von den Arbeiter­ Charles V (1500–1558), the first King operating modes and effects of this Wednesday, March 9, 2016, 7 p.m. Wednesday, April 6, 2016, 7 p.m. ser des Heiligen Römischen Reiches Innen und diversen Arbeitsstätten of Spain and the Holy Roman Em- machine. Sunday, May 1, 2016, 4:30 p.m. Deutscher Nation, steht wiederum bis zu den Marketingstrukturen peror of the German Nation, in turn Kostenlose Führungen / Free guided tours: für die imperialistische Expansion der Kulturindustrie – hervorheben. stands for the imperialist expansion Taking center stage in Ribalta’s Sonntags, 15 Uhr / Each Sunday, 3 p.m. Spaniens als jenes habsburgische Es geht um das Monument als of Spain as the global Habsburg dense series of small-format prints Museumsnacht / Museum’s night: Weltreich, in dem „die Sonne nie Maschine und um die Betrachtung empire on which “the sun should is not the individual, self-contained Samstag, 2. April 2016, 19–2 Uhr Saturday, April 2, 2016, 7 p.m.–2 a.m. untergehen“ sollte. der Funktionsweisen und Effekte never set.” picture but rather that which plays dieser Maschine. out between the images. Aby War- Weitere Veranstaltungen / Further events: www.wkv-stuttgart.de Darüber hinaus zeigt die Ausstellung The exhibition will also show the burg’s never-completed Mnemosyne www.facebook.com/wuerttembergischer. die Serien Renaissance. Szenen In Ribaltas dichten Serien von klein- series Renaissance: Scenes of Atlas (1924–29) served as inspiration kunstverein des industriellen Wandels im Berg- formatigen Abzügen steht nicht das industrial reconversion in the Nord- for him, but also Sergei Tretyakov‘s Württembergischer Kunstverein Stuttgart baurevier von Nord-Pas-de-Calais einzelne, in sich abgeschlossene Pas de Calais coalfield (2014), Petit factography theory developed Schlossplatz 2 DE-70173 Stuttgart (2014), Petit Grand Tour (2007), und Bild im Vordergrund, sondern das, Grand Tour (2007), and Carnac, 1. around the same time. According Fon: +49 (0)711 - 22 33 70 Carnac, 1. August 2008 (2008). Der was sich zwischen den Bildern August 2008 (2008). The shift from to Tretyakov, it is not only the inter- Fax: +49 (0)711 - 29 36 17 [email protected] Wandel von der Schwer- hin zur ereignet. Aby Warburgs unvollstän- heavy industry to leisure and crea- ruption of movement that allows www.wkv-stuttgart.de Freizeit- und Kreativindustrie sowie dig gebliebener Atlas Mnemosyne tive industry, as well as the touristic photography to capture complex Öffnungszeiten / Hours: die touristische Konstruktion und (1924–­1929) dient ihm dabei ebenso construction and marketing of social interrelations; necessary is Di, Do–So: 11–18 Uhr; Mi: 11–20 Uhr Vermarktung von Antike und Prähis- als Referenz wie die etwa zeitgleich ancient times and prehistory, are also the arrangement of photos in Tue, Thu–Sun: 11 a.m.–6 p.m.; Wed: 11 a.m.–8 p.m. torie stehen hier im Vordergrund. entstandene Faktografie-Theorie of central focus here. series, the production of relations von Sergei Tretjakow. Nach Tretja- among the pictures. Eintritt / Entrance fees: 5 Euro; 3 Euro ermäßigt; Mitglieder Die Fotografie steht seit jeher kow ist es nicht nur die Unterbre- Photography has always served des WKV: frei the ends of historical-monument 5 Euro; 3 Euro reduced; Members im Dienst von Denkmalpflege chung von Bewegung, die es der of WKV: free und nationalem Kulturerbe. Als Fotografie erlaubt, komplexe soziale preservation and national cultural Iris Dressler / Hans D. Christ

Monument Machine Unbezähmter Laokoon 1/4

Casa de Bastiana, Calle Cantarería, Barrio de Santiago, Jerez de la El Cangrejo, Calle Montserrat 9, Tanzunterricht, Amor de Dios, Restaurant Taberna Viña P, Plaza Villa Rosa, Calle Núñez de Arce 15, Centro Andaluz de Flamenco Frontera, 17. März 2010 Werkstatt von Andrew Smith, Barcelona, 4. Februar 2010 Zentrum für Flamencokunst und Santa Ana 3, Madrid, 24. Februar 2010 Madrid, 25. Februar 2010 (Andalusisches Zentrum für Gitarrenbauer, Calle Campana 36, spanischen Tanz, Calle Santa Isabel 5, Flamenco), Jerez de la Frontera, Casa de Bastiana, calle Cantarería, Jerez de la Frontera, 19. März El Cangrejo, calle Montserrat 9, Madrid, 23. Februar 2010 Restaurant Taberna Viña P, plaza Villa Rosa, calle Núñez de Arce 15, 17. März 2010 barrio de Santiago, Jerez de la 2010 Barcelona, February 4, 2010 Santa Ana 3, Madrid, February 24, Madrid, February 25, 2010 Frontera, March 17, 2010 Dance lesson, Amor de Dios, center 2010 Andalusian Flamenco center, Workshop of Andrew Smith, for the arts of flamenco and Spanish Jerez de la Frontera, March 17, 2010 luthier, calle Campana 36, Jerez dance, calle Santa Isabel 5, Madrid, de la Frontera, March 19, 2010 February 23, 2010

Sonntagmorgen, Fassade des Pavón-Theaters, Calle Embajadores 9, Madrid, 28. Februar 2010 Tarantos, Plaza Real, Barcelona, La Bodega, Aufnahmestudio, 5. Februar 2010 Sunday morning, facade of the Damajuana, Calle Francos 18, Christus der „Gitanos“ von Toledo-Brücke, Madrid, Pavón theater, calle Embajadores 9, Jerez de la Frontera, 17. März 2010 Santiago, Bruderschaft des Jesús Tarantos, Plaza Real, Barcelona, 24. Februar 2010 Madrid, February 28, 2010 Verein Los Cernícalos, del Prendimiento (temporärer February 5, 2010 Tanzunterricht, Amor de Dios, La Bodega, recording studio, Übungsraum, Calle Sancho Standort, eigentlich in der Kirche Zentrum für Flamencokunst und Die andalusische Musik erreichte Damajuana, calle Francos 18, Vizcaíno 23−25, Jerez de la Iglesia de Santiago), Jerez de la spanischen Tanz, Calle Santa Isabel 5, Madrid über die Toledo-Brücke Jerez de la Frontera, March 17, 2010 Frontera, 19. März 2010 Frontera, 17. März 2010 Madrid, 23. Februar 2010 und die Toledo-Straße. Association Los Cernícalos, José Blas Vega, El flamenco en Madrid, Cristo de los gitanos de Santiago Dance lesson, Amor de Dios, center 2006 classroom, calle Sancho Vizcaíno for the arts of flamenco and Spanish (Santiago neighborhood Gypsies’ 23–25, Jerez de la Frontera, Christ), Jesús del Prendimiento dance, calle Santa Isabel 5, Madrid, Toledo bridge, Madrid, February 24, March 19, 2010 confraternity (temporary seat, February 23, 2010 2010 normally at Iglesia de Santiago), Jerez de la Frontera, March 17, 2010 The Andalusian music reached Madrid through the bridge and street of Toledo. José Blas Vega, El flamenco en Madrid, Tío Pepe, Bodegas González Byass, Lager und Büros der Sexshops 2006 Jerez de la Frontera, 15. März 2010 Lovestop, ehemaliges Domizil der Casa Matías und des Patio Andaluz, Tío Pepe, bodegas González Byass, Unterricht für Gitarrenbegleitung, Calle Nou de Sant Francesc 5, Jerez de la Frontera, March 15, 2010 Gitarrenschule Manuel Lozano el Barcelona, 5. Februar 2010 Carbonero, Calle San Miguel 11, Jerez de la Frontera, 18. März 2010 Storage and offices of the Lovestop sex shop, former site of Casa Matías Accompaniment guitar class, Verein Los Cernícalos, Verwaltung, and Patio Andaluz, calle Nou de Sant Gitarrengeschäft Viuda de Faustino Manuel Lozano el Carbonero guitar Calle Sancho Vizcaíno 23−25, Francesc 5, Barcelona, February 5, Conde, Estesos Neffe, Conde-Brüder, Joaquín el Zambo in seinem school, calle San Miguel 11, Jerez Jerez de la Frontera, 19. März 2010 2010 Calle Gravina 7, Madrid, 24. Februar Fischgeschäft, Jerez de la Frontera, de la Frontera, March 18, 2010 2010 17. März 2010 Association Los Cernícalos, administrative office, calle Sancho Guitar shop Viuda de Faustino Joaquín el Zambo in his fishmonger, Vizcaíno 23–25, Jerez de la Frontera, Conde, nephew of Esteso, Conde Frontseite des Anton-Martín-Marktes, Jerez de la Frontera, March 17, 2010 March 19, 2010 brothers, calle Gravina 7, Madrid, Eingang am Amor de Dios, Zentrum February 24, 2010 für Flamencokunst und spanischen Tanz, Calle Santa Isabel 5, Madrid, José María Castaño, Programm Die 24. Februar 2010 Wege des Liedes, Onda Jerez Radio, Calle Caballeros 35, Jerez de la Facade of the Anton Martín market, Frontera, 15. März 2010 Parkhaus Eden, ehemals Eden entrance at Amor de Dios, center Concert, Calle Nou de la Rambla 12, for the arts of flamenco and Spanish José María Castaño, program Barcelona, 5. Februar 2010 dance, calle Santa Isabel 5, Madrid, The Ways of the Chant, Onda Jerez February 24, 2010 Radio, calle Caballeros 35, Jerez de Unterricht für Gitarrenbegleitung, Parking Eden, formerly Eden la Frontera, March 15, 2010 Gitarrenschule Manuel Lozano Concert, calle Nou de la Rambla 12, el Carbonero, Calle San Miguel 11, Cortijo de Alijar, umgebaut in Barcelona, February 5, 2010 Jerez de la Frontera, 18. März 2010 eine Casa Rural, ehemalige Centro Andaluz de Flamenco „gañanía“ (Scheune), heutige (Andalusisches Zentrum für Accompaniment guitar class, Manuel Touristenunterkunft, Campiña El Flamenco Vive (Der Flamenco Flamenco), Bild- und Tonstudio, Lozano el Carbonero guitar school, de Jerez, Carretera Jerez−Sanlúcar, lebt), Calle Conde de Lemos 7, Jerez de la Frontera, 17. März 2010 calle San Miguel 11, Jerez de la bei km 11, 19. März 2010 Madrid, 24. Februar 2010 Frontera, March 18, 2010 Andalusian center for flamenco, Cortijo de Alijar, transferred to El Flamenco Vive (Flamenco Lives), Jerez de la Frontera, image Casa Rural, former “gañanía,” calle Conde de Lemos 7, Madrid, and sound studio, March 17, 2010 agricultural labor site and new rural February 24, 2010 tourist house, campiña de Jerez, Rianal, Calle Santa María, Jerez carretera Jerez-Sanlúcar, km. 11, Werkstatt, Gitarrengeschäft Pedro de la Frontera, 15. März 2010 March 19, 2010 de Miguel, Calle Amor de Dios 13, Madrid, 24. Februar 2010 Rianal, calle Santa María, Jerez de la Frontera, March 15, 2010 Club Moog, frühere Villa Rosa, Calle Arc del Teatre 3, Barcelona, Workshop, guitar shop Pedro 5. Februar 2010 de Miguel, calle Amor de Dios 13, Madrid, February 24, 2010 Tabanco El Pasaje, Calle Santa Club Moog, former Villa Rosa, María 8, Jerez de la Frontera, calle Arc del Teatre 3, Barcelona, Fassade des Vereins Los Jucales, 18. März 2010 February 5, 2010 Calle Nueva, Barrio de Santiago, Jerez de la Frontera, 17. März 2010 Tabanco El Pasaje, calle Santa María 8, Jerez de la Frontera, Werkstatt des Gitarrengeschäfts Facade of the association Los Jucales, March 18, 2010 Bar El Volapie, Paseo de las Guitarras Santos, Gitarrenbauer calle Nueva, barrio de Santiago, Delicias, Barriada Asunción, Santos Bayón, Neffe von Santos Jerez de la Frontera, March 17, 2010 Jerez de la Frontera, 19. März Hernández, Calle Aduana 23, 2010 Ladenlokal steht zum Verkauf, Madrid, 24. Februar 2010 Programm Die Wege des Liedes, Bar El Volapie, paseo de las geleitet von José María Castaño, Delicias, barriada Asunción, Workshop of the Guitarras Santos Gesprächsrunde über das soeben Jerez de la Frontera, March 19, guitar shop. Luthier Santos Bayón, José Blas Vegas Buchhandlung im beendete 14. Festival von Jerez mit 2010 Lager und Büros der Sexshops nephew of Santos Hernández, calle Prado, Calle del Prado 5, Madrid, den Teilnehmern Fermín Lobatón, Lovestop, ehemaliges Domizil der Aduana 23, shop for sale, February 24. Februar 2010 Antonio Conde, Fran Pereira und Casa Matías und des Patio Andaluz, 24, 2010 Estela Zatania, Onda Jerez Radio, Calle Nou de Sant Francesc 5, Prado bookstore, owned by José Calle Caballeros 35, Jerez de la Barcelona, 5. Februar 2010 Fischstände, Markthalle, Jerez Blas Vega, calle del Prado 5, Madrid, Frontera, 15. März 2010 de la Frontera, 18. März 2010 February 24, 2010 Fischgeschäft von Joaquín el Zambo, Storage and offices of the Lovestop Calle Barreras 5, Barrio de Santiago, Program The Ways of the Chant, Fish stalls, market hall, Jerez sex shop, former site of Casa Matías Jerez de la Frontera, 17. März 2010 moderated by José María Castaño, de la Frontera, March 18, 2010 and Patio Andaluz, calle Nou de Sant roundtable about the just finished Francesc 5, Barcelona, February 5, 14th Festival of Jerez, with the Fishmonger of Joaquín el Zambo, 2010 participation of Fermín Lobatón, calle Barreras 5, barrio de Santiago, Jerez de la Frontera, March 17, 2010 Antonio Conde, Fran Pereira, and Taller de Músics, Archiv, Calle Estela Zatania, Onda Jerez Radio, Requesens 3−5, Barcelona, calle Caballeros 35, Jerez de la 24. März 2010 Frontera, March 15, 2010 Taller de Músics music school, Frontseite, Calle Amor de Dios 4, archive, calle Requesens 3–5, ehemaliges Domizil von Amor de Barcelona, March 24, 2010 Dios, Zentrum für Flamencokunst und spanischen Tanz, Madrid, El Flamenco Vive (Der Flamenco 24. Februar 2010 lebt), Calle Conde de Lemos 7, Madrid, 24. Februar 2010 Verein Tío José de Paula, Calle Facade, calle Amor de Dios 4, Calle Taxdirt, Barrio de Santiago, Merced 11, Jerez de la Frontera, former site of the center for the arts El Flamenco Vive (Flamenco Lives), Jerez de la Frontera, 17. März 2010 18. März 2010 Geschäft für Flamenco-Bekleidung of flamenco and Spanish dance, calle Conde de Lemos 7, Madrid, Lola Almela, Calle Amor de Dios 14, Madrid, February 24, 2010 February 24, 2010 Madrid, 23. Februar 2010 Calle Taxdirt, barrio de Santiago, Peña Tío José de Paula, calle Jerez de la Frontera, March 17, 2010 Merced 11, Jerez de la Frontera, March 18, 2010 Shop for flamenco clothing Lola Bühne, Theater Villamarta, Jerez Almela, calle Amor de Dios 14, de la Frontera, 16. März 2010 Madrid, February 23, 2010 Stage, theater Villamarta, Jerez Dolores Ceballos, Gesangsunterricht de la Frontera, March 16, 2010 von José Miguel Cerro, genannt Chiqui de la Línea, Taller de Músics, Calle Requesens 3−5, Barcelona, 7. April 2010

Dolores Ceballos, singing lesson by José Miguel Cerro, Chiqui de la Gitarrengeschäft Viuda de Faustino Probe von Global Sense, Bar- Verein La Bulería, Freitagabend, Línea, Taller de Músics music school, Conde, Estesos Neffe, Conde-Brüder, Mariló, Digitalisierung des Restaurant Events Polana, früherer Einlass zum Auftritt von Juan calle Requesens 3–5, Barcelona, Calle Gravina 7, Madrid, 24. Februar audiovisuellen Archivs, Andalusisches Tablao Los Canasteros, Calle Barbieri Moneo El Torta, Calle Empedrada April 7, 2010 2010 10, Madrid, 25. Februar 2010 Zentrum für Flamenco, Bild- und Tonstudio, Jerez de la Frontera, 20, Jerez de la Frontera, 19. März 2010 Fassade der Villa Rosa, Calle Guitar shop Viuda de Faustino Rehearsal of Global Sense, Bar Plaza de Belén, Gelände der Ciudad 17. März 2010 Núñez de Arce 15, Madrid, Conde, nephew of Esteso, Conde del Flamenco, Jerez de la Frontera, Restaurant Events Polana, former Association La Bulería, Friday 23. Februar 2010 brothers, calle Gravina 7, Madrid, 16. März 2010 Mariló, digitalization of the Tablao Los Canasteros, calle Barbieri evening, entrance to the concert February 24, 2010 10, Madrid, February 25, 2010 audiovisual archive, Andalusian Facade of the Villa Rosa, calle Plaza de Belén, site of the Ciudad center for flamenco, Jerez de la of Juan Moneo El Torta, calle Núñez de Arce 15, Madrid, del Flamenco project, Jerez de la Frontera, image and sound studio, Empedrada 20, Jerez de la Frontera, February 23, 2010 Frontera, March 16, 2010 March 17, 2010 March 19, 2010

Unbezähmter Laokoon (2010–2011). 200 Silbergelatineabzüge, Maße variierend (von 13 x 18 cm bis 30 x 40 cm), gerahmt 50 x 50 cm, Siebdrucktext auf Passepartout. Sammlung Helga de Alvear, Cáceres, Spanien. Hergestellt mit Unterstützung von Cajasol Obra Social, Sevilla, Spanien. Wild Laocoön (2010–2011). 200 gelatin silver prints, variable dimensions (from 13 x 18 to 30 x 40 cm), framed 50 x 50 cm, silkscreened texts on matts. Chronologische Bildreihenfolge Collection Helga de Alvear, Cáceres, Spain. Produced with the support of Cajasol Obra Social, Seville, Spain. Chronological image order Unbezähmter Laokoon 2/4

Eingang zu den Veranstaltungssälen Stand des Centro Cultural Gitano Stammbaum der Familien Mellizos Café de Chinitas, Calle Torija 7, des Centro Cívico Parc Sandaru, de la Mina, 39. katalanisches April- de Cádiz und Ortega-Díaz, Plaza Madrid, 8. Juni 2010 vor dem Konzert von Sebastián Fest, Parc del Forum, Sant Adrià de la Merced, Cádiz, 24. Mai 2010 Bar Flamencos de la Isla, Calle Training im Club de Gimnasia Tío Pepe, Puerta del Sol, Madrid, Cruz (Gesang) und Raúl Cantizano de Besòs, Samstagmorgen, Malaspina 12, San Fernando, Rítmica (der rhythmischen 3. Juni 2010 Café de Chinitas, calle Torija 7, (Gitarre), organisiert von El Dorado, 1. Mai 2010 Genealogical tree of the families 26. Mai 2010 Gymnasik), überdachter Pavillon Madrid, June 8, 2010 Sociedad Flamenca Barcelonesa, Mellizos de Cádiz and Ortega-Díaz, der Stadthalle von Lebrija, einer Tío Pepe, Puerta del Sol, Madrid, die sich im selbigen Centro Cívico Booth of the Centro Cultural plaza de la Merced, Cádiz, May 24, Bar Flamencos de la Isla, calle der ehemaligen Standorte des June 3, 2010 befindet, Calle Buenaventura Muñoz Gitano de la Mina, 39th April Fair 2010 Malaspina 12, San Fernando, Caracolá-Festivals, Avenida 21, Barcelona, 15. April 2010 of Catalonia, Parc del Forum, Sant May 26, 2010 Andalucía, Lebrija, 27. Mai 2010 Adrià de Besòs, Saturday morning, Entrance to the perfomance hall May 1, 2010 Training at the club of the Rhythmic at the Centro Cívico Parc Sandaru, Gymnasium, covered pavilion of before the concert of Sebastián Cruz the city hall, one of the former sites (voice) and Raúl Cantizano (guitar), of the Caracolá festival, avenida organized by El Dorado, Sociedad Andalucía, Lebrija, May 27, 2010 Flamenca Barcelonesa, located in the same Centro Cívico, calle Buenaventura Muñoz 21, Barcelona, April 15, 2010 De Flamenco, Palacio de Gaviria, Die Bucht von Cádiz, von der Restaurant la Venta de Vargas, Plaza Calle Arenal 9, Erdgeschoss 4, Festung Baluarte de la Candelaria El Callejón de Madrid, Calle de Juan Vargas während Bauarbeiten, Madrid, 8. Juni 2010 aus gesehen, Alameda Apodaca, San Fernando, 26. Mai 2010 Manuel Fernández y González 5, Cádiz, 24. Mai 2010 Madrid 3. Juni 2010 De Flamenco, Palacio de Gaviria, Restaurant la Venta de Vargas, calle Arenal 9, ground floor 4, Bay of Cádiz, seen from the fortress 39. katalanisches April-Fest, Eingang renewal of plaza de Juan Vargas, El Callejón de Madrid, calle Madrid, June 8, 2010 Baluarte de la Candelaria, Alameda zum Festgelände, Parc del Forum, San Fernando, May 26, 2010 Manuel Fernández y González 5, Sant Adrià de Besòs, 1. Mai 2010 Apodaca, Cádiz, May 21, 2010 Madrid, June 3, 2010 Modell der Fassade für das Projekt 39th April Fair of Catalonia, entrance Ciudad del Flamenco der Architekten to the fair grounds, Parc del Forum, Herzog & De Meuron, gegenüber des Sant Adrià de Besòs, May 1, 2010 Gebäudes Nave del Aceite, Plaza de Belén, Jerez de la Frontera, 27. Mai 2010 Fassade des El Cangrejo, Calle Montserrat 9, Barcelona, 19. April Die Oberflächen der Ciudad 2010 del Flamenco bestehen aus perforiertem und künstlich Facade de El Cangrejo, calle veredeltem Gussbeton. Sie setzten Montserrat 9, Barcelona, April 19, Haus von Camarón, Calle del Carmen die Linien, Formen und Muster 2010 29, Ecke Calle Orlando, Barrio de Las der Flamencotradition und des Fassade der ehemaligen Bar Fassade des Ballet Flamenco Callejuelas, San Fernando, 26. Mai 2010 arabischen Ornaments fort. Beide Los Gabrieles, erworben von der de Madrid, Plaza Tirso de Molina, Verein Enrique el Mellizo, Calle Traditionen sind in höchstem Maße Immobiliengruppe Aguirre Newman, Madrid, 8. Juni 2010 Nuevo Mundo, Cádiz, 25. Mai 2010 House of Camarón, calle del zeitgenössisch; um genauer zu um das Gebäude als Wohnanalage sein, sie sind Jahrhunderte alt und Carmen 29, corner calle Orlando, zu vermarkten, Calle Echegaray 17, Facade of the ballet Flamenco 39. katalanisches April-Fest, Parc immer wieder Inspirationsquellen Association Enrique el Mellizo, calle Las Callejuelas neighborhood, San Madrid, 3. Juni 2010 de Madrid, plaza Tirso de Molina, del Forum, Sant Adrià de Besòs, für die zeitgenössische Kunst und Nuevo Mundo, Cádiz May 25, 2010 Fernando, May 26, 2010 Madrid, June 8, 2010 1. Mai 2010 Alltagskultur. Wir entdecken sie Facade of the former bar Los im Punk und in der Rockmusik, in Gabrieles, acquired by the real-estate 39th April Fair of Catalonia, Parc Tattoos, Symbolen und Emblemen, del Forum, Sant Adrià de Besòs, in Mustern und vielen anderen group Aguirre Newman to renew May 1, 2010 Bereichen. the building as a new appartment condominium, calle Echegaray 17, Herzog & De Meuron, Ciudad del Flamenco, Madrid, June 3, 2010 Jerez. Concurso internacional, 2004 Fassade der Sala Bagdad, ehemalige Bodega del Toro, ein Flamenco- Model of the facade of the project Club, der zwischen 1956 und 1975 Ciudad del Flamenco by the architects Herzog & de Meuron, in front of the María Yáñez (la Bella Dorita) und Nave del Aceite, plaza de Belén, Jerez Narciso Alberti gehörte, danach von Verein Enrique el Mellizo, Calle de la Frontera, May 27, 2010 Juani de Lucía und ihrem Ehemann Nuevo Mundo, Cádiz, 25. Mai 2010 erworben und am 20. Dezember 1975 Mausoleum von Camarón, städtischer The surfaces of the Ciudad del Corral de la Morería, Calle de la als heutige Sala Bagdad mit Live- Verein Enrique el Mellizo, calle Friedhof, San Fernando, 26. Mai 2010 Flamenco consist of poured, Morería 17; Paco, der maître d’hotel Nuevo Mundo, Cádiz, May 25, 2010 Pornoshows eröffnet wurde, Calle perforated and artificially am Eingang an der Calle Yeseros, Tablao Cordobés, Ramblas 35, Mausoleum of Camarón, municipal Nou de la Rambla 103, Barcelona, processed concrete; they follow Madrid, 8. Juni 2010 Barcelona, 13. Mai 2010 cemetery, San Fernando, May 26, 2010 21. April 2010 the lines, shapes and patterns Casa Patas, Restaurant, Calle Tablao Cordobés, Ramblas 35, of Gypsy tradition and Arabic Cañizares 10, Madrid, 3. Juni 2010 Corral de la Morería, calle de la Facade of Sala Bagdad, the former Barcelona, May 13, 2010 ornamentation. Both traditions are Morería 17; Paco, the maître d’hôtel Bodega del Toro, a Flamenco extremely contemporary; to be Casa Patas, restaurant, calle at the entrance at calle Yeseros, club that belonged to María Yáñez more precise, they are centuries- Cañizares 10, Madrid, June 3, 2010 Madrid, June 8, 2010 (la Bella Dorita) and Narciso Alberti old and ceaselessly new sources between 1956 and 1975, later of inspiration for contemporary acquired by Juani de Lucía and her art and everyday culture. We find husband and opened on December them in punk and rock music, in 20, 1975, as the present Sala Bagdad tattoos, in symbols and emblems, live porno show, calle Nou de la Verein Juan Villar, Puerta de la in patterns and in many other Rambla 103, Barcelona, April 21, Caleta, Cádiz, 25. Mai 2010 creations. 2010 Verein Camarón de la Isla, Calle Association Juan Villar, Puerta Manuel Arriaga, San Fernando, Herzog & de Meuron, Ciudad del Flamenco, de la Caleta, Facade, Cádiz, 26. Mai 2010 Jerez. International Competition, 2004 Flamenco-Gesellschaft von May 25, 2010 Badalona, Calle Balmes 5, Badalona, Association Camarón de la Isla, Alameda de Hércules, Sevilla, Colegio Mayor San Juan Evangelista, 14. Mai 2010 calle Manuel Arriaga, San Fernando, 30. Juni 2010 May 26, 2010 Halle der Aula, die Schauspielerin Maite Elissalt auf der Terrasse Flamenco society of Badalona, Hercules Alley, Seville, June 30, während der Proben zu El sueño de calle Balmes 5, Badalona, May 14, 2010 una noche de verano von Batiburrillo 2010 Producciones, Madrid, 3. Juni 2010

Colegio Mayor San Juan Evangelista, hall of the auditorium, the actor Maite Elissalt at the terrace during Stand der Casa Regional de Málaga Verein Juan Villar, Puerta de la the rehearsal of El sueño de una de Santa Coloma, 39. katalanisches Caleta, Fassade, Cádiz, 25. Mai 2010 Fassade des Haagen-Dazs-Theaters, noche de verano by Batiburrillo April-Fest, Parc del Forum, Sant ehemaliges Teatro Calderón, Producciones, Madrid, June 3, 2010 Adrià de Besòs, 24. April 2010 Association Juan Villar, Puerta de Verein El Chato de la Isla, Plaza Calle Atocha, Madrid, 2. Juni 2010 la Caleta, Facade, Cádiz, May 25, 2010 Emperador Carlos, San Fernando, Booth of Casa Regional de Málaga 26. Mai 2010 Facade of the theater Haagen-Dazs, de Santa Coloma, 39th April Fair former Teatro Calderón, calle Atocha, of Catalonia, Parc del Forum, Sant Association El Chato de la Isla, Proben für den Auftritt von Rocío Madrid, June 2, 2010 Boutique Lina, Werkstatt, Calle Adrià de Besòs, April 24, 2010 plaza Emperador Carlos, San Molina, 17. Flamenco-Festival Lineros 17, Sevilla, 1. Juli 2010 der Stadt Vella, Bühne im Pati Fernando, May 26, 2010 de les Dones, Centre de Cultura Boutique Lina, workshop, calle Contemporània de Barcelona, Lineros 17, Seville, July 1, 2010 Barcelona, 21. Mai 2010

Rocío Molina rehearsing, 17th Fassade des Candela, Calle Olmo 2, Flamenco Festival of the City of Ecke Calle Olivar, Madrid, 3. Juni 2010 Vella, stage at the Pati de les Dones, Pressekonferenz anlässlich der Centre de Cultura Contemporània Vereinbarung zwischen der Stadt Facade of Candela, calle Olmo 2, de Barcelona, Barcelona, May 21, Cádiz und Esperanza Fernández zur corner calle Olivar, Madrid, June 3, 2010 Realisierung des 4. Internationalen 2010 Flamenco-Workshops, geplant für Verein Antonio Chacón, Plaza Salas 2, Juli 2010; zu den Teilnehmern zählen Jerez de la Frontera, 27. Mai 2010 Cardamomo, Calle Echegaray 15, 39. katalanisches April-Fest, Antonio Castillo, stellvertretender Madrid, 3. Juni 2010 Parc del Forum, Sant Adrià de Bürgermeister und Kulturreferent Association Antonio Chacón, plaza Besòs, Samstagmittag, 24. April der Stadt Cádiz, sowie Esperanza Salas 2, Jerez de la Frontera, May 27, Cardamomo, calle Echegaray 15, 2010 Fernández, Sängerin und Leiterin des Madrid, June 3, 2010 2010 Boutique Lina, Geschäft, Calle Workshops, Städtisches Zentrum Lineros 17, Sevilla, 1. Juli 2010 39th April Fair of Catalonia, für Flamencokunst La Merced, Cádiz, Parc del Forum, Sant Adrià de 25. Mai 2010 Boutique Lina, shop, calle Lineros 17, Besòs, Saturday noon, April 24, Seville, July 1, 2010 2010 Press conference to mark the Centro Municipal de Arte Flamenco agreements between the city Tablao Las Carboneras, Calle Conde La Merced, Plaza de la Merced, of Cádiz and Esperanza Fernández de Miranda 1, Madrid, 8. Juni 2010 Cádiz, 24. Mai 2010 for realizing the 4th International Workshop of Flamenco, scheduled Tablao Las Carboneras, calle Conde Centro Municipal de Arte Flamenco for July 2010. The participants de Miranda 1, Madrid, June 8, 2010 La Merced, plaza de la Merced, are Antonio Castillo, deputy mayor Casa Patas, Tablao, Calle Cañizares Cádiz, May 24, 2010 and delegate for culture of Cádiz, Verein Pepe Montaraz, Calle de los 10, Madrid, 3. Juni 2010 and Esperanza Fernández, singer Frailes 5, Lebrija, 27. Mai 2010 and director of the workshop, Casa Patas, tablao, calle Cañizares 10, Centro Municipal de Arte Flamenco Association Pepe Montaraz, calle Madrid, June 3, 2010 La Merced, Cádiz, May 25, 2010 de los Frailes 5, Lebrija, May 27, 2010

Tangoklasse von Valeria Saura, Basilio Perona, Samstagmorgen, Hinterhof, selbst verwaltete Stand des Centro Cultural Gitano Räume, Calle Castellar 52, Sevilla, de la Mina, 39. katalanisches 1. Juli 2010 April-Fest, Parc del Forum, Sant Adrià de Besòs, 1. Mai 2010 Tango class of Valeria Saura, De Flamenco, Lager, Palacio de backyard, self-managed spaces, Basilio Perona, Saturday morning, Gaviria, Calle Arenal 9, Erdgeschoss 4, calle Castellar 52, Seville, July 1, stand of the Centro Cultural Gitano Geburtshaus von Enrique el Mellizo, 8. Juni 2010 2010 de la Mina, 39th April Fair of Calle Mirador 24−26, Barrio de Catalonia, Parc del Forum, Sant Taverne Casa Manteca, Calle Plaza del Hospitalillo, aktueller Santa María, Cádiz, 24. Mai 2010 De Flamenco, store, Palacio de Adrià de Besòs, May 1, 2010 Corralón 66, Barrio de la Viña, Standort des Caracolá-Festivals, Cádiz, 25. Mai 2010 Lebrija, 27. Mai 2010 Candela, Keller, Calle Olmo 2, Gaviria, calle Arenal 9, ground floor 4, Birthplace of Enrique el Mellizo, Madrid, 3. Juni 2010 June 8, 2010 calle Mirador 24–26, barrio de Taberna Casa Manteca, calle Plaza del Hospitalillo, current site Santa María, Cádiz, May 24, 2010 Corralón 66, barrio de la Viña, of the Caracolá festival, Lebrija, Candela, basement, calle Olmo 2, Cádiz, May 25, 2010 May 27, 2010 Madrid, June 3, 2010

Wild Laocoön Unbezähmter Laokoon 3/4

Taverne von Juan Ortiz, Tertulia Flamenca El Gallo, Cortijo Espartero, ehemalige Finca Avenida de Antonio Fuentes 20, Calle Calzadilla 8, Morón de la von Donn E. Pohren (Pore) und Santi Barber mit dem Puebla de Cazalla, 2. Juli 2010 Menkes-Geschäft, Schaufenster, Frontera, 30. Juli 2010 Flamenco-Zentrum der Morón- Verein Juan Breva, Museo de Arte Calle Marques de Larios, „acompasaor” (Taktinstrument) Calle Mesonero Romanos 14, vom Szene zwischen 1965 und 1973, Flamenco, Calle Ramón Franquelo Vorbereitungen für die Feria von des Projektes Bulos y Tanguerías Juan Ortiz tavern, avenida Tablao Torres Bermejas aus quer Tertulia Flamenca El Gallo, derzeit Eigentum und Wohnung 4, ständige Sammlungsausstellung, Málaga (Volksfest), Málaga, (realisiert in Zusammenarbeit mit de Antonio Fuentes 20, Puebla über die Straße gesehen, Madrid, calle Calzadilla 8, Morón de la von Antonio González und Málaga, 6. August 2010 7. August 2010 Raúl Cantizano), s_puma, Calle de Cazalla, July 2, 2010 8. Juli 2010 Frontera, July 30, 2010 seiner Familie, nach Jahren der Eustaquio Barrón 2, Sevilla, Verwahrlosung wird das Gebäude Association Juan Breva, Museo Calle Marques de Larios, 1. Juli 2010 Menkes shop window, calle derzeit renoviert, Morón de la de Arte Flamenco, calle Ramón preparations for the Malaga Fair, Mesonero Romanos 14, across the Frontera, 31. Juli 2010 Franquelo 4, permanent collection Malaga, August 7, 2010 Santi Barber with the “acompasaor” street from tablao Torres Bermejas, exhibition, Málaga, August 6, 2010 of the project Bulos y Tanguerías Madrid, July 8, 2010 Cortijo Espartero, former finca (realized in collaboration with Raúl of Donn E. Pohren (Pore), between Cantizano), s_puma space, calle 1965 and 1973 a center for the Eustaquio Barrón 2, Seville, July 1, Flamenco Morón scene; after years 2010 of dilapidation, the building is in the process of renovation, Morón Vorbereitungen für das Festival de la Frontera, July 31, 2010 Reunión de Cante Jondo, Hacienda la Fuenlonguilla, Innenhof, Puebla de Cazalla, 2. Juli 2010 Denkmal für Diego el Gastor, Alameda-Park, Morón de la Preparations for the Reunión de Frontera, 30. Juli 2010 Cante Jondo festival, Hacienda Park, „Fiestero“-Skulptur, Denkmal la Fuenlonguilla, patio, Puebla de Monument for Diego el Gastor, Bodega El Pimpi, Calle Granada 62, für die Verdiales, Málaga, 7. August Cazalla, July 2, 2010 Tablao Torres Bermejas, Calle Alameda gardens, Morón de la Fassade, Málaga, 6. August 2010 2010 Mesonero Romanos 11, Madrid, Frontera, July 30, 2010 8. Juli 2010 Bodega El Pimpi, calle Granada 62, Park, “fiestero” sculpture, monument fachada, Málaga, August 6, 2010 of the Verdiales, Malaga, August 7, Alameda de Hércules, Schatten Tablao Torres Bermejas, calle Flamencogeschäft, Pasillo Santa 2010 des Denkmals für Niña de los Mesonero Romanos 11, Madrid, Isabel 5, Málaga, 5. August 2010 Peines, Sevilla, 1. Juli 2010 July 8, 2010 Flamenka store, pasillo Santa Hercules Alley, shadow of the Isabel 5, Málaga, August 5, 2010 monument of Niña de los Peines, Seville, July 1, 2010 Städtischer Friedhof San Roque, Grab von Pepe Marchena, Marchena, 2. Juli 2010 Pavillon des Círculo Mercantil, Municipal cemetery San Roque, Paseo de la Alameda, Ort der ersten grave of Pepe Marchena, Marchena, XXV. Cuna de Verdiales, Abreise Veranstaltungen des Gazpacho- Fassade des Cervantes-Theaters, July 2, 2010 der Bands über die Dorfstraßen, Andaluz-Festivals, Morón de la Plaza de Jerónimo Cuervo, Almogía, 7. August 2010 Frontera, 31. Juli 2010 Vorbereitungen für die Málaga- Fassade der Sociedad General de Messe; beim Umbau der Umgebung XXV Cuna de Verdiales festival, Autores de España (Dachverband Pavilion of Círculo Mercantil, paseo und des Platzes vor dem Theater bands parade along the village der spanischen Autoren, Plaza de la Alameda, seat of the first Plaza de las Flores, an diesem wurde das Gebäude des Tablao Gran streets, Almogía, August 7, 2010 Cardenal Espinola) mit Gedenktafel editions of the Gazpacho Andaluz Platz befand sich das aus dem Taberna Gitana, das sich früher in der Rocío Alarcón und Virginia für Julio Romero de Torres, Calle festival, Morón de la Frontera, 19. Jahrhundert stammende Café Calle Zorrilla 3 befand, abgerissen; Muñoz, Abteilung für staatliche Pelayo 61, Madrid, 8. Juli 2010 July 31, 2010 de Bernardo, auch bekannt als Malaga, 6. August 2010 Zuschüsse, Agencia Andaluza Café del Sevillano oder El Sin para el Desarrollo del Flamenco Man kann den Flamenco nur Techo, Málaga, 5. August 2010 Facade of the theater Cervantes, plaza (andalusische Agentur zur als zeitgenössische Musik de Jerónimo Cuervo, preparations Entwicklung des Flamencos), Denkmal für Demófilo, Alamillo- und zeitgenössischen Tanz Plaza de las Flores, the nineteenth- for the Malaga fair; during the Kulturministerium der Region Park, bei Sonnenuntergang, beschreiben. century Café de Bernardo used to reconstruction of the surroundings Andalusien, Avenida de la Borbolla Sevilla, 2. Juli 2010 José Manuel Gamboa, Una historia be located at this site, also known and the square across from the 59, Sevilla, 1. Juli 2010 del flamenco, 2004 as Café del Sevillano or El Sin theater, the old building of the tablao Demófilo Memorial, park del Techo, Málaga, August 5, 2010 Gran Taberna Gitana was demolished; Alamillo at sunset, Seville, July 2, Rocío Alarcón and Virginia Muñoz, Facade of the Society of Spanish it was formerly located at calle Zorrilla Veranstaltungsgelände Eduardo 2010 Department for Public Subsidies, Writers (SGAE) with commemorative 3, Malaga, August 6, 2010 Ocón, Park, Málaga, 7. August 2010 Agencia Andaluza para el plaque for Julio Romero de Torres, Desarrollo del Flamenco (Office calle Pelayo 61, Madrid, July 8, 2010 Stierkampfarena, Soundcheck für Area Eduardo Ocón, park, Malaga, for the Development of Flamenco das XLIV. Gazpacho-Andaluz-Festival, August 7, 2010 in Andalusia), Ministry of Culture We only can define Flamenco as Dämmerung, Morón de la Frontera, of the Andalusia Region, avenida contemporary music and dance. 31. Juli 2010 de la Borbolla 59, Seville, 2010 José Manuel Gamboa, Una historia del flamenco, 2004 Plaza de toros, sound check for XLIV Gazpacho Andaluz festival, dusk, Morón de la Frontera, July 31, 2010

Flamenco-Taverne Pepe López, ehemaliger Tablao El Jaleo, Plaza Denkmal für Pepe Marchena, de la Gamba Alegre, Torremolinos, Calle De Los Negros 4, Innenhof, Isidoro-de-Arcenegui-Park, 5. August 2010 Málaga, 6. August 2010 Samstagmorgen, das Barrio del Marchena, 2. Juli 2010 Perchel von der Sonnenterrasse des Blick auf die Innenstadt von der Flamenco tavern Pepe López, Ich erinnere mich noch genau an Hotels Málaga Centro aus gesehen, Hacienda la Fuenlonguilla aus, Monument of Pepe Marchena, formerly tablao El Jaleo, plaza de meine ersten Nachforschungen Calle Mármoles 6, Málaga, 7. August Sitz der Reunión de Cante Jondo, Isidoro de Arcenegui parc, la Gamba Alegre, Torremolinos, über das Flamenco-Leben. 2010 Puebla de Cazalla, 2. Juli 2010 Marchena, July 2, 2010 August 5, 2010 Diese ersten entscheidenden Plaza Santa Ana, Denkmal für Erfahrungen machte ich in einem Saturday morning, the barrio del View of the city center seen from Federico García Lorca, Mittag, ehemaligen Armenviertel in Perchel seen from the solarium the Hacienda la Fuenlonguilla, seat 9. Juli 2010 Cortijo Espartero, Morón de la Málaga, das zwischen den Straßen of the hotel Málaga Centro, calle of Reunión de Cante Jondo festival, Frontera, 31. Juli 2010 Calle De los Negros und Calle Mármoles 6, Málaga, August 7, 2010 Puebla de Cazalla, July 2, 2010 Feigenkaktus Cruz Verde eingeklemmt war und Cortijo Espartero, Morón de la wo damals die meisten lokalen Unbezähmter Laokoon. Frontera, July 31, 2010 „Flamencos” lebten. Wie bist du schön Donn E. Pohren, Una forma de vida, 1980 im Licht des halben Mondes! Vielfacher Pelotari. Calle De Los Negros 4, patio, Malaga, Wie bist du schön, August 6, 2010 wenn du dem Winde dräust! Daphne und Attis I exactly remember my first Flamenco-Verein Curro de Utrera, verstehen deinen Schmerz. Ehemaliges Domizil des Cafés approach to Flamenco life. These Plaza del Porche de Santa María, Nimmer erklärbar. Cantante de Chinitas, Pasaje de first significant experiences took Utrera, 3. Juli 2010 Chinitas 6, Málaga, 5. August 2010 place in a former shanty town in Federico García Lorca, Malaga trapped between calle De Poema del Cante Jondo, 1931 los Negros and calle Cruz Verde, Flamenco Association Curro de Former site of the Café Cantante Paseo del Parque, Fotoausstellung where at that time the most of the Casa de Arte Flamenco Antonio Utrera, plaza del Porche de Santa Plaza Santa Ana, monument for de Chinitas, pasaje de Chinitas 6, im Freien, Málaga, 7. August 2010 Mairena, Plaza Antonio Mairena, María, Utrera, July 3, 2010 Federico García Lorca, noon, Málaga, August 5, 2010 local “Flamencos” were living. Mairena del Alcor, 2. Juli 2010 July 9, 2010 Indalecio Alemán, erster Organisator Donn E. Pohren, Una forma de vida, 1980 Paseo del Parque, photo exhibition in „Spanier und Ausländer sind des Gazpacho-Andaluz-Festivals, public space, Málaga, August 7, 2010 sich darin einig, dass es sich bei Prickly Pear Bar Alemán, Paseo de la Alameda 9, der Kunst des Flamencos um die Morón de la Frontera, 31. Juli 2010 hervorragendste, reichste und am Wild Laocoon. stärksten inspirierende Folklore You are so fantastic Indalecio Alemán, first organizer of Spaniens (wenn nicht Europas Under the crescent moon the Gazpacho Andaluz festival, Bar oder der Welt) handelt“, Ricardo Versatile jai-alai player Alemán, paseo de la Alameda 9, Molina und Antonio Mairena, Morón de la Frontera, July 31, 2010 Mundo y formas del cante You look so great As you threaten the wind flamenco, 1963 Küche des Colegio Salesiano, Dafne and Atis Vorbereitungen für einen potaje Flamenco-Taverne Pepe López, Casa de Arte Flamenco Antonio Know well about your pain (Eintopf) von Pepe Méndez, ehemaliger Tablao El Jaleo, Plaza Calle Beatas, ehemaliger Standort Mairena, plaza Antonio Mairena, pensionierter Koch der Schule, Unexplicable de la Gamba Alegre, Torremolinos, Mairena del Alcor, July 2, 2010 des Vereins Juan Breva, der von den Venta de San Cayetano im Barriada und Luis Pérez, Festival LIV Potaje Federico García Lorca, 5. August 2010 Sanierungsarbeiten im historischen Puerta de la Torre, Dämmerung, “Spaniards and foreigners agree Gitano, Utrera, 3. Juli 2010 Poema del Cante Jondo, 1931 that the art of Flamenco is the Zentrum betroffen ist, Málaga, Veranstaltungsort des Hauptfestivals Flamenco tavern Pepe López, 6. August 2010 der Verdiales, das jeweils am 28. most outstanding, rich and Kitchen of the Salesian School, formerly tablao El Jaleo, plaza de inspiring folklore in Spain (if not Dezember, dem Tag der unschuldigen preparations for a potaje (stew) by la Gamba Alegre, Torremolinos, Calle Beatas, former site of the Kinder, stattfindet, Málaga, 7. August even in Europe or the world).” Pepe Méndez, retired cook of the August 5, 2010 XLIV Gazpacho-Andaluz-festival, association Juan Breva, affected by 2010 Ricardo Molina and Antonio school, and Luis Pérez, LIV Potaje plaza de toros, Morón de la Frontera, part of the overall program to renew Mairena, Mundo y formas del Gitano festival, Utrera, July 3, 2010 cante flamenco, 1963 July 31, 2010 the historical center, Málaga, August Venta de San Cayetano at the Puerta 6, 2010 de la Torre neighborhood, dusk, site XLIV. Gazpacho Andaluz Festival, of the major Verdiales festival taking Stierkampfarena, Morón de la place each December 28, Innocents’ Frontera, 31. Juli 2010 Day, Malaga, August 7, 2010

Gedenktafel der Taverne Casa Pepe, Plaza Cardenal Espinola, Ecke Calle Pósito, Morón de la Modenschau der Designerin Melisa Soundcheck für Pitingo, Festival Frontera, 30. Juli 2010 Lozano, Lunares-Weekend, erste LIV Potaje Gitano, Innenhof Tagung der Flamenco-Modeindustrie, des Colegio Salesiano, Utrera, Commemorative plaque of the Stierkampfarena in der Hacienda La Verein Juan Breva, Museo de Arte 3. Juli 2010 Biznaga, Carretera de Alhaurin, sn, Bar Central, Plaza del Cabildo, Taverna Casa Pepe, plaza Cardenal Flamenco, Calle Ramón Franquelo Espinola, corner calle Pósito, Cártama, Freitagabend, 6. August 2010 Puebla de Cazalla, 2. Juli 2010 4, ständige Sammlungsausstellung, Sound check for Pitingo, LIV Morón de la Frontera, July 30, 2010 Málaga, 6. August 2010 Potaje Gitano festival, patio del Fashion parade of the designer Bar Central, plaza del Cabildo, Colegio Salesiano, Utrera, July 3, Melisa Lozano, Lunares Weekend, Puebla de Cazalla, July 2, 2010 XLIV. Gazpacho-Andaluz-Fesitval, Association Juan Breva, Museo XXV. Cuna de Verdiales, Ankunft 2010 Stierkampfarena, Morón de la first meeting of Flamenco fashion de Arte Flamenco, calle Ramón der Bands bei Anbruch der Nacht, Frontera, 31. Juli 2010 industries, plaza de toros en la Franquelo 4, permanent collection Almogía, 7. August 2010 Hacienda La Biznaga, carretera exhibition, Málaga, August 6, 2010 XLIV Gazpacho Andaluz festival, de Alhaurin, sn, Cártama, Friday XXV Cuna de Verdiales festival, plaza de toros, Morón de la Frontera, evening, August 6, 2010 arrival of the bands at nightfall, July 31, 2010 Almogía, August 7, 2010

Chronologische Bildreihenfolge Wild Laocoön Chronological image order Unbezähmter Laokoon 4/4

Calle Canales, in dieser Straße Tablao El Patio Sevillano, Paseo Israel Galván in seinem Studio, Calle Gruppe Flo 6X8, antikapitalistisches Verein La Platería, Placeta de befand sich das Posada el Rojo Cristóbal Colón 11A, Innenraum San Luis, Sevilla, 30. September 2010 Flamenco-Kommando, bekannt für Toqueros 7, Granada, 3. November 2010 „El Alpargatero”, Ursprungsort des des wichtigsten Tablao, Sevilla, Ricardo-Pachón-Archiv, Calle ihre détournements oder politische Kreuzung zwischen Camino del Gesangs von Cartagena, Cartagena, 28. September 2010 Marqués del Nervión, Sevilla, Der privilegierte Augenblick wäre Protestperformances in Banken; Association La Platería, placeta de Sacromonte und Barranco de los 11. August 2010 29. September 2010 der Augenblick, in dem Tiefe Proberaum Paca La Monea, Sevilla, Toqueros 7, Granada, November 3, 2010 Negros, wo sich verschiedene Tablao El Patio Sevillano, paseo aufscheint. In diesem Augenblick 1. Oktober 2010 Flamenco-Clubs befinden: die Bar Calle Canales, in this street Cristóbal Colón 11A, interior of the Ricardo Pachón archive, calle hört alles auf, doch nichts ist fix. Los Faroles, das Venta El Gallo, Marqués del Nervión, Seville, das Zambra de María la Canastera, used to be the Posada el Rojo main tablao, Seville, September 28, Georges Didi-Huberman, El bailaor Flo 6X8 group, anti-capitalist September 29, 2010 die Cueva del Curro; Mittag, “El Alpargatero,” cradle of the chant 2010 de soledades, 2008 Flamenco commando known for of Cartagena, Cartagena, August 11, their flamenco détournements or Sacromonte, Granada, 5. November 2010 political protest performances in 2010 Israel Galván in his studio, calle banks; rehearsal room Paca La San Luis, Seville, September 30, 2010 Monea, Seville, October 1, 2010 Crossover between Camino del Sacromonte and Barranco de los The privileged moment would Negros, where various Flamenco be the moment when profundity clubs are located: the bar Los appears. In this moment Miguel Angel Ruiz, Koch, und Jesús Faroles, the Venta el Gallo, and everything stops, yet, nothing is Moreno, Kellner, beim Abendessen Zambra de María la Canastera, fixed. im Hof des Vereins La Platería la Cueva del Curro; noon, Georges Didi-Huberman, El bailaor de während des Sonnenuntergangs, Sacromonte, Granada, November soledades, 2008 Verein La Platería, Placeta de Toqueros 5, 2010 7, Granada, 3. November 2010 Ehemalige Mine in der Sierra Compás Sur, Cuesta del Rosario 7 E, Hotel Triana, Calle Clara de Minera, von der Portmán-Bucht Miguel Angel Ruiz, cook, and Jesús Innenraum des Geschäfts, Sevilla, Jesús Montero 28, Innenhof, aus gesehen, 11. August 2010 Moreno, waiter, having lunch in the 28. September 2010 Bühne während der 16. Bienal patio of the association at sunset, de Flamenco, Barrio de Triana, Former mining facilities in the association La Platería, placeta de Compás Sur, cuesta del Rosario Sevilla, 29. September 2010 Arbeitszimmer von Mario Pacheco, Sierra Minera, from the Portmán Toqueros 7, Granada, November 3, 7 E, interior of the shop, Seville, Büro der Plattenfirma Nuevos Bay, August 11, 2010 2010 September 28, 2010 Wenn man das Produkt Medios, Calle Ruiz de Alarcón 12, vervielfältigt, muss man auch Madrid, 5 Oktober 2010 die Bühnen vervielfältigen. José Luis Ortiz Nuevo, Alegato contra Die Plattenfirma Nuevos Medios, la pureza, 2010 die die Horizonte der spanischen Tablao Los Gallos, Plaza de Musik erweitert hat, stellt ihre Hotel Triana, calle Clara de Jesús Santa Cruz, Sevilla, 30. September Aktivitäten ein. Dies kommt Venta El Gallo, innen, Sacromonte, Montero 28, patio, stage during 2010 nicht überraschend: Obwohl das Granada, 5. November 2010 the 16th Bienal de Flamenco, Unternehmen bis zuletzt noch Triana neighborhood, Seville, Tablao Los Gallos, plaza de Bestellungen ausliefern konnte, hat Venta El Gallo, interior, Sacromonte, September 29, 2010 Santa Cruz, Seville, September 30, es seit dem Tod ihres Inspirators, Granada, November 5, 2010 2010 dem Fotografen und Produzenten Tablao Albayzin, Carretera de Murcia, Verein Torres Macarena, Hinterhof, If you multiply the product, Mario Pacheco, im vergangenen Granada, 3. November 2010 you need to multiply the stages November keine neuen Platten Museo Minero (Bergbau-Museum), Calle Torrijiano 29, Sevilla, as well. mehr herausgegeben. Tablao Albayzin, carretera de Murcia, ehemaliges Arbeiter-Lyzeum, Vitrine 29. September 2010 Granada, November 3, 2010 mit Schlägeln oder Vorschlaghammer José Luis Ortiz Nuevo, Alegato contra Diego A. Manrique, El País, 31. Januar 2011 la pureza, 2010 und Bohrer (Die „minera“ bzw. Association Torres Macarena, das Bergarbeiterlied geht auf den backyard, calle Torrijiano 29, Seville, Workspace of Mario Pacheco, office Rhythmus des Schlags des Hammers September 29, 2010 of the record label Nuevos Medios, auf den Bohrer zurück), Plaza del calle Ruiz de Alarcón 12, Madrid, Liceo, La Unión, 12. August 2010 October 5, 2010

Museo Minero, former worker The record label Nuevos Medios, school, vitrines with hammers and which has extended the horizons El Sacromonte, vom Museo drills (la “minera” or mining chant of Spanish music, ceases activity. Cuevas del Sacromonte – dem comes from the rhythm of the Das Haus von Mario Maya, The end was predictable: Even Zentrum der Interpretation von beating of the hammer on the drill), Calle Atanasio Barrón, Sevilla, though the company could meet Tanzunterricht mit Schal, Escuela Sacromonte – aus gesehen, plaza del Liceo, La Unión, August 12, 1. Oktober 2010 orders, it was not publishing any new records since the death of de Flamenco Mariquilla, Calle Santa Granada, 5. November 2010 2010 Clotilde 14, Granada, 4. November Mario Maya’s house, calle its inspirator, which occurred last 2010 Bar Devorando Flamenco, Atanasio Barrón, Seville, November—the photographer and El Sacromonte seen from the Calle Joaquín Costa 18, Alameda, October 1, 2010 producer Mario Pacheco. Museo Cuevas del Sacromonte— Sevilla, 30. September 2010 Dancing lesson with shawl, Escuela the center of interpretation of Tanzschule von Matilde Coral, Diego A. Manrique, El País, Januar 31, 2011 de Flamenco Mariquilla, calle Santa Sacromonte, Granada, November 5, Calle Castilla 82−84, Triana, Sevilla, Clotilde 14, Granada, November 4, 29. September 2010 Bar Devorando Flamenco, 2010 calle Joaquín Costa 18, Alameda, 2010 Dancing school of Matilde Coral, Seville, September 30, 2010 calle Castilla 82–84, Triana, Seville, September 29, 2010

Catedral del Cante, frühere Markthalle, während des 50. Internationalen Festival des Gesangs der Minenarbeiter, Plaza Joaquín Costa, La Unión, Tanzklasse von Ana Rodríguez Hinterhof in der Calle Castellar, 12. August 2010 (Künstlerinnenname Ana de Utrera), Sevilla, 1. Oktober 2010 Tanzstudio José de la Vega, Calle Catedral del Cante, former public Aribau 19, Barcelona, 11. Oktober Verein Pies de Plomo, Calle Dársena Backyard at calle Castellar, Theater El Molino, von der Plaza market hall, during the 50th 2010 22, Sevilla, 30. September 2010 Seville, October 1, 2010 Plaza de los Aljibes, Austragungsort de la Bella Dorit aus gesehen, International Festival of Mine-Chant, des Wettbewerbs Concurso de Paralelo, Wiedereröffnung im plaza Joaquín Costa, La Unión, Dance class of Ana Rodríguez Association Pies de Plomo, calle Cante Jondo von 1922 (veranstaltet Oktober 2010, dreizehn Jahre nach August 12, 2010 (artist name Ana de Utrera), dance Dársena 22, Seville, September 30, von Federico García Lorca und der Schließung und einem langen Tanzschule von Matilde Coral, studio José de la Vega, calle Aribau 2010 Manuel de Falla), Alhambra, Granada, Prozess der strukturellen Erneuerung, Calle Castilla 82−84, Triana, Sevilla, 19, Barcelona, October 11, 2010 4. November 2010 29. September 2010 Barcelona, 8. Januar 2010 Plaza de los Aljibes, site of the 1922 Theater El Molino seen from Dancing school of Matilde Coral, Concurso de Cante Jondo (organized plaza de la Bella Dorita, Paralelo, calle Castilla 82–84, Triana, Seville, by Federico García Lorca and Manuel reopened in October 2010, thirteen September 29, 2010 de Falla), Alhambra, Granada, years after its closing and after a November 4, 2010 long process of structural renewal, Barcelona, January 8, 2010

Bar FLMNKO, Hinterhof, Calle Inneres der Agrupa-Vicenta-Mine, Castellar 52, Sevilla, 1. Oktober 2010 einer der Veranstaltungsorte des 50. Bar Quitapesares, Taverne Perejil, Festival Internacional del Cante de Pepe Peregil singt an der Theke für Wenn ein bestimmter las Minas, das parallel zur Eröffnung die Kamera, Plaza Padre Jerónimo Musiktauschmarkt erst einmal des Parque Minero stattfand, Tanzklasse von Ana Rodríguez de Córdoba 3, Sevilla, 30. September reguliert ist, dann ist es La Unión, 12. August 2010 (Künstlerinnenname Ana de Utrera), 2010 möglich, das Vorhandesein einer Gegenkultur zu behaupten, die Tanzstudio José de la Vega, Calle Interior of the Agrupa Vicenta Mine, Aribau 19, Barcelona, 11. Oktober Bar Quitapesares, Taberna Perejil, kommerziellen Erfolg hat und one of the locations of the 50th 2010 Pepe Peregil sings at the bar for the deren Sinn in dem Maße besteht, Festival Internacional del Cante de Fassade der Bar El Mantoncillo, camera, plaza Padre Jerónimo de in dem sie der konservativen las Minas, an event that took place morgens, Calle Alfarería 103, Triana, Dance class of Ana Rodríguez Mariquilla, Tanzuntericht mit Córdoba 3, Seville, September 30, Mainstream-Gesellschaft den parallel to the opening of the Parque Tag des Generalstreiks, Sevilla, (artist name Ana de Utrera), dance Schal, Flamencoschule Mariquilla, 2010 Rücken kehrt. Palau de la Música Catalana, Calle Minero, La Unión, August 12, 2010 29. September 2010 studio José de la Vega, calle Aribau 19, Calle Santa Clotilde 14, Granada, Sant Pere Més Alt, von der Plaza Francisco Aix Gracia, Lo que puede un Barcelona, October 11, 2010 4. November 2010 Facade of the bar El Mantoncillo, cuerpo y porqué lo puede, 2010 de Luis Millet aus gesehen; nach morning, calle Alfarería 103, Triana, Mariquilla, dance lesson with einem im Juli 2009 aufgedeckten general strike day, Seville, 29. Bar FLMNKO, backyard, calle shawl, Flamenco school Mariquilla, Korruptionsskandal wurde der September 2010 Castellar 52, Seville, Oktober 1, 2010 calle Santa Clotilde 14, Granada, Platz auch ironisch „Felix-Billet- November 4, 2010 Platz“ genannt (im Katalanischen Once a certain music exchange bedeutet „billet“ Banknote): in market has been regulated, it is Anspielung auf Felix Millet, den possible to confirm the presence ehemaligen Aufsichtsratspräsi- of a counterculture, which is denten des Musikpalastes, der als commercially successful and Hauptangeklagter der Unterschla- whose meaning is related to the gung von Fördermitteln bezichtigt extent that it turns its back on wurde und in diverse Polit- und Raquel Fernández hängt the mainstream conservative Immobilienaffären verstrickt war, Bar El Chiringuito, Terrasse, Calle Schülerlisten auf, Vorbereitungen society. Barcelona, 10. Januar 2010 Huelva 36, Sevilla, 28. September für den Unterrichtsbeginn, Francisco Aix Gracia, Lo que puede un Verein Antonio Mairena, 2010 Fundación Cristina Heeren de Arte cuerpo y porqué lo puede, 2010 Calle Collserola 68, L’Hospitalet Palau de la Música Catalana, calle Flamenco, Avenida de Jerez 2, de Llobregat, 28. Oktober 2010 Sant Pere Més Alt, seen from plaza Bar El Chiringuito, terrace, calle de Luis Millet, a place that has been Gerhard Steingress in seinem Sevilla, 30. September 2010 Huelva 36, Seville, September 28, Peña Antonio Mairena, ironically and popularly renamed as Studio, Calle Castilla, Barrio de Tor des Clubs Eshavira, morgens, 2010 Raquel Fernández posts the lists calle Collserola 68, L’Hospitalet plaza de Felix Billet (in Catalan “billet” Triana, Sevilla, 29. September 2010 de Llobregat, October 28, 2010 Calle Postigo de la Luna 2, of the students, preparations for 5. November 2010 means banknote) after a finantial corruption scandal that went to the Die traditionelle Kultur ist nicht the start of the classes, Cristina media in July 2009, and referring to nur einfach da, sondern sie Heeren Foundation of Flamenco Gate of the Club Eshavira, morning, Felix Millet, the ex-president of the produziert und reproduziert Arts, avenida de Jerez 2, Seville, calle Postigo de la Luna 2, November theater’s board of trustees and prime sich gemäß des Wandels der September 30, 2010 5, 2010 suspect of having embezzled theater historischen Bedingungen. funds for private benefit and of being Gerhard Steingress, Epilog zu Sobre Theater Salvador Távora de la entangled in various real-estate and flamenco y flamencología, 2004 Cuadra de Sevilla, Innenraum des illegal political party funding affairs, Theaters mit dem Bühnenbild Barcelona, January 10, 2010 Gerhard Steingress in his studio, des Stücks Rafael Alberti, un calle Castilla, barrio de Triana, Seville, compromiso con el pueblo (Rafael September 29, 2010 Alberti. Ein Zugeständnis an das Tablao Albayzin, Carretera de Büro des Verlags Signatura, Volk), Avenida Hytasa 14, Polígono Murcia, gegenüber des Mirador The traditional culture is not just Fassade des Turms 2, Calle Hytasa, Sevilla, 1. Oktober 2010 de San Cristóbal, Fassade von Astronomía 1, Polígono Nuevo there, but produces and remakes der Bushaltestelle aus gesehen, itself according to changing Torneo, Sevilla, 28. September 2010 Teatro Salvador Távora de la Cuadra Granada, 3. November 2010 historical conditions. La Chumbera, Camino del de Seville, interior of the theater with Sacromonte 147, Granada, Signatura publishing house office Gerhard Steingress, epilogue to Sobre La Carbonería, Calle Levíes 18, the scenography of the piece Rafael Tablao Albayzin, carretera de 5. November 2010 site, Facade of Tower 2, calle flamenco y flamencología, 2004 Sevilla, 30. September 2010 Alberti, un compromiso con el pueblo Murcia, in front of the Mirador Astronomía 1, polígono Nuevo (Rafael Alberti, commitment to the de San Cristóbal, side facade La Chumbera, camino del Torneo, Seville, September 28, 2010 La Carbonería, calle Levíes 18, people), avenida Hytasa 14, polígono seen from the bus stop, Granada, Sacromonte 147, Granada, Seville, September 30, 2010 Hytasa, Seville, October 1, 2010 November 3, 2010 November 5, 2010

Wild Laocoön Imperium (oder K.D.) 1/2

Die Fotografien dieser Serie wurden an ver- The second scene takes place around the pond Hernandez, New Mexico (1941) verweist, sowie schiedenen Standorten in Spanien und anderen across the palace and ends with the view from Ansichten der Plaza de España in Cuacos, die Ländern Europas aufgenommen, die mit der the upper pavilion of the palace over the land- aus derselben Richtung aufgenommen wurden Abdankung, dem Rückzug und Tod Karls V. scape of the Sierra de Gredos. wie in Charles Cliffords Fotografien von 1858 (1500–1558), dem ersten König Spaniens und – allerding aus einer größeren Entfernung. Die Kaiser des Heiligen Römischen Reiches Deut- letzten Bilder wurden im Selbstbedienungsla- scher Nation, in Verbindung stehen: Yuste den Eva aufgenommen und zeigen die Schau- und Cuacos de Yuste, Madrid und El Escorial, fenster mit seinen „Carlos I“ (so der spanische Gra­nada, Barcelona, Brüssel, Bolonia, Lille, Name Karls V.) Paprikakonserven: einem typi- Cambrai, Le Cateau-Cambrésis und Lens. schen Produkt von Cuacos.

Die Serie ist wie ein Theaterstück in drei Akte The first scene of the second act corresponds mit jeweils mehreren Szenen unterteilt. to the return from the monastery to Cuacos de Yuste. It includes a moonrise sequence in The photographs of this series were taken the German Military Cemetery, as a sort of at a number of locations in Spain and Europe version of Ansel Adams’s famous photograph related to the abdication, retreat and death of Moonrise, Hernandez, New Mexico (1941). It Charles V (1500–1558), the first King of Spain also includes an image of the Plaza de España and the Holy Roman Emperor of the German in Cuacos taken in the same direction as the Nation. The places include Yuste and Cuacos photograph made by Charles Clifford in 1858, de Yuste, Madrid and El Escorial, Granada, but from further back. The last images were Barcelona, Brussels, Bologna, Lille, Cambrai, taken at Autoservicio Eva, a grocery store, Le Cateau-Cambrésis and Lens. and show shop windows with tins of Carlos I paprika, a typical product of Cuacos. The series is arranged like a play in three acts, with several scenes in each act. Die dritte Szene beschreibt einen Rundgang durch die Innenräume der Anlage mit dem Palast und den Wohnquartieren Karls V. sowie Erster Akt der Kirche und dem Kreuzgang des Klosters. First act Zu sehen sind einige persönliche Gegenstände des Herrschers, Ausschnitte von Illustrationen aus Olivier de la Marches Schrift Le chevalier délibéré (Der entschlossene Ritter, 1483) oder die Details einiger Gemälde Tizians, die sich in Yuste befanden: insbesondere das Gemälde Gloria (1551-54), das ursprünglich den Altar des Klosters zierte.

The third scene is a tour through the interior of the compound, including the palace and living quarters of Charles V, the church and the monastery cloisters. Some of the personal objects of Charles V are represented, details of illustrations from the book Le chevalier délibéré by Olivier de la Marche (1483), or de- tails of some paintings by Titian that were in Die zweite Szene führt uns nach Brüssel und Yuste, particularly the Gloria (1551–54), origi- zeigt Fotografien, die während des Winters nally at the altar of the church. und Sommers aufgenommen wurden. Die Win- Die erste Szene des ersten Aktes nimmt uns terbilder beginnen mit einem kurzen Aufenthalt mit auf einen Spaziergang durch den Wald, des Künstlers auf der Terrasse der am Place der das Kloster Yuste umgibt. Karl V. verbrachte Agora befindlichen Brasserie Le Rubens, wo er hier seine letzten Jahre. Die Szene führt uns Zweiter Akt ein „Charles Quint / Keizer Karel“-Bier trinkt. schließlich zur Anlage selbst. Second act Die anderen Bilder beziehen sich auf Orte, die mit der Abdankung und Beisetzung Karls V. The first scene of the first act is a walk through in Verbindung stehen, darunter die Ruinen der the woods surrounding the Yuste monastery, Aula Magna im ehemaligen Palast von Brüssel where Charles V spent his last years and died. bzw. Coudenberg-Palast. Hier hielt Karl V. It finally leads to the compound itself. am 25. Oktober 1555 seine berühmte Abdan- kungsrede. Weitere Bilder zeigen das heutige Umfeld des Palastes, das sich vom Place Roya- le bis zum Parc de Bruxelles erstreckt, wo sich auch der Grand Place und die Kathedrale St. Michael und St. Gudula befinden. Ein weiteres Foto wurde in der Stadtbibliothek in Linz auf- genommen und zeigt Louis Désiré Blanquart- Évrards Album La Belgique (Belgien, 1854), das aufgeschlagen ist und die Seite mit dem Bild des Place Royale zeigt.

Die Sommerbilder wurden während des Brüs- seler Ommegang-Festes aufgenommen, ein jährlich im Juli stattfindender Umzug, dessen Ursprung auf das Mittelalter zurückgeht. Heu- te handelt es sich um eine Touristenattrakti- on, bei der die große Prozession von 1549 zu Ehren von Philip II., als dieser sich mit seinem Die zweite Szene beginnt mit der Umgebung Die erste Szene des zweiten Aktes nimmt Vater Karl V. verbündete, nachgespielt wird. des großen Teichs vor dem Palast Karls V. und den Weg vom Kloster zurück nach Cuacos Zu sehen sind Turniere im Parc de Bruxelles, endet mit dem Ausblick, der sich vom oberen de Yuste. Sie umfasst einen Mondaufgang ein Armbrustwettbewerb auf dem Place du Pavillon des Palastes aus auf die Landschaft der über dem deutschen Militärfriedhof, der auf Sablon und die Vorbereitungen für die Prozes- Sierra de Gredos eröffnet. Ansel Adams’ berühmte Fotografie Moonrise, sion selbst.

Imperium (oder K.D.) (2013–2014).196 Abzüge, Rahmen aus weißem Aluminium, Rahmung in drei Formaten: 50 x 60 cm, 30 x 36 cm und 18 x 20 cm, Wandtexte. Hergestellt mit Unterstützung des Centro José Guerrero-Diputación de Granada, Spanien, und der Fundación Helga de Alvear, Granada und Cáceres, Spanien. Courtesy Casa sin Fin gallery, Madrid, Spanien. Empire (or K.D.) (2013–2014). 196 prints, white aluminium frames, framed in three different sizes, combined: 50 x 60, 30 x 36 and 18 x 20 cm, vinyl wall texts. Produced with the support of Centro José Guerrero-Diputación de Granada, Spain, and Fundación Helga de Alvear, Granada and Cáceres, Spain. Courtesy Casa sin Fin gallery, Madrid, Spain. Imperium (oder K.D.) 2/2

The second scene takes place in Brussels and Weitere Bilder zeigen Ausschnitte von the images correspond to two seasons—winter Illustra­tionen aus Büchern der Bibliothek Die letzten Bilder stammen aus Le Cateau- and summer. Karls V. in Yuste – darunter die Bücher Le Cambrésis und Lens, zwei heute französische chevalier délibéré (Der entschlossene Ritter), Städte in der Grenzregion zwischen Frank- The winter images begin with a brief staging Historia general de las Indias (Allgemeine reich und dem ehemaligen Flandern, die of the author drinking a Charles Quint / Geschichte Indiens, 1535) von Gonzalo im 16. Jahrhundert unter spanischer (oder Keizer Karel beer on the terrace of Le Rubens Fernández de Oviedo y Valdés, Astronomicum habsburgischer) Herrschaft stand. Einige brasserie on Place Agora. The other images Caesareum von Petrus Apianus (1540) und der letzten Schlachten Karls V. fanden hier in correspond to the places associated with the Atlas von Claudius Ptolemäus (1522). Zudem den 1550er-Jahren statt. Der Palast, in dem abdication and funeral of Charles V, such as zeigen einige Bilder die Ritterrüstung Karls V. 1556 der Friedensvertrag von Cateau-Cambré- the remains of the Aula Magna of the former sis unterzeichnet wurde, besteht nicht mehr. Palace of Brussels or Coudenberg Palace The first scene of the third act is arranged as Er befand sich im Park des Palais Fénélon, (where Charles V pronounced his famous a flashback or daydream by Charles V in his dem heutigen Sitz des Matisse-Museums. Die abdication speech on October 25, 1555), and retreat, remembering some of his outstanding Bilder zeigen das Gelände während der Mit- the current surroundings of the former loca- moments of hegemony. tagspause der Angestellten. Das letzte Foto tion of the Palace, extending from the Place zeigt ein von Hans Maler um 1529 angefertigtes Royale to the Parc de Bruxelles. It also includes Such moments were: the Battle of Pavia in Porträt Anton Fuggers, des Bankier Karls V., the Grand-Place and the Cathedral of Saint 1525, represented by the bas reliefs on the das sich im neuen Museum Louvre-Lens be- Michael and Saint Gudula. One of the images façade of the Palace of Charles V in the Alham- findet. Dieses 2012 eröffnete Kunstmuseum of the surroundings of the ancient Palace of bra; the honeymoon in the Nasrid palaces wurde auf dem Gelände einer ehemaligen Brussels was taken at the Bibliothèque Munici- of the Alhambra, represented by architectural Kohlemine in der Region Nord-Pas-de-Calais pale in Lille and shows Blanquart-Évrard’s details; the 1529 “Peace of the Ladies” treaty errichtet. album La Belgique (1854) opened at an image with France, represented by the Porte Royale of the Place Royale. of the citadel of Cambrai; his coronation as The second scene begins with a set of images the German Holy Roman Emperor by Pope taken in the Charles V Palace in the Alhambra The group of summer images was taken during Clement VII in Bologna in 1530, represented at the rehearsals for the opera I pagliacci the celebration of the Ommegang, a proces- by a stroll through the Piazza Maggiore in by Ruggero Leoncavallo (1892) for the 63rd sion held annually in Brussels in early July, Bologna; and the Tunisian campaign in 1535, International Festival of Music and Dance whose origins go back to medieval times. It is represented by the paintings of the so-called in Granada. There follows a group of images now a tourist attraction that reenacts the grand “Peinador de la Reina” in the Alhambra. on the uses of the figure of Charles V as mer- procession of 1549 in honor of Philip II, when chandising for consumer products, such as he came to Brussels to be reunited with his Additional images are those of details of paprika from Extremadura, Belgian beer, Mexi- father, Charles V. The images include jousts in illus­tra­tions in books from Charles V’s per- can chocolate, brandy from Jerez, or tourism the Parc de Bruxelles, a crossbow competition sonal library in Yuste, specifically, Le chevalier in Extremadura. Also represented here is the on Place du Sablon, the preparations for and délibéré, the Historia general de las Indias by use of the figure of Charles V as a source for the procession itself. Oviedo and Valdés (1535), the Astronomicum the imperial idea in Spanish fascism, as in the Caesareum by Apianus (1540) and Ptolomey’s cover of a book of photographs of the Alcázar Atlas (1522). Also included are some images de Toledo taken during the Spanish Civil War, of Charles V’s suits of armor. and the reactionary persistence of the myth Dritter Akt of Charles V (and imperial Spain) in Spanish Third act historiography, through the detail of an illustra- tion published in a children’s book on Spanish history by Manuel Fernández Álvarez, the biog- rapher of Charles V.

The last images are of Le Cateau-Cambrésis and Lens, now French cities located on the border area between France and ancient Flan- ders, which was under Spanish (or Habsburg) domination in the sixteenth century. Some of Charles V’s last military campaigns took place here in the 1550s. The palace where the 1559 peace treaty of Cateau-Cambrésis was signed no longer exists. It was situated in the area of the present gardens of the Palais Fénélon, home to the Musée Matisse, seen during the museum employees’ lunch break. The last image shows a portrait of Charles V’s banker Anton Fugger by Hans Maler (c. 1529) and pre- Die zweite Szene beginnt mit einer Reihe sented at the new Louvre-Lens museum. This von Bildern, die im Alhambra-Palast Karls V. art museum opened in late 2012 and was built während der Proben zu Ruggero Leoncavallos on the site of an old coal mine in the region of Oper Der Bajazzo (1892) im Rahmen des 63. Nord-Pas-de-Calais. Festivals für Musik und Tanz in Granada auf- Die erste Szene des dritten Aktes ist als genommen wurden. Eine weitere Sequenz Rückblende oder Tagtraum Karls V. konzipiert, ist Produkten gewidmet, die mit der Figur der sich nach seinem Rückzug an die Höhe- Karls V. beworben werden, wie etwa Paprika punkte seiner Herrschaft erinnert. Solche Au- aus der Extremadura, belgisches Bier, mexi- genblicke waren die Schlacht bei Pavia (1525), kanische Schokolade, Brandy aus Jerez oder dargestellt in einem Basrelief im Alhambra- die Extremadura als touristisches Ziel. Zudem Palast Karls V.; seine Hochzeitsreise, auf geht es um die Aneignung Karls V. durch die die ein Architektur­element im Nasridenpalast spanischen Faschisten, die den Habsburger der Alhambra verweist; der „Damenfriede Regenten als Vater des spanischen Imperia- von Cambrai“ (1529), dargestellt am Königs- lismus feiern. Darauf verweist der Umschlag tor der Zitadelle von Cambrai; seine Krönung eines Fotobandes über den Alcázar von Toledo, zum Kaiser des Heiligen Römischen Reiches der während des Spanischen Bürgerkriegs Deutscher Nation 1530 in Bologna, für die produziert wurde. Die reaktionäre Aufrechter- die Bilder von der Piazza Maggiore in Bolonia haltung dieses imperialen Mythos schlägt sich stehen; und der Tunesienfeldzug von 1535, auch in den Illustrationen eines Kinderbuchs festgehalten in den Gemälden des sogenann- nieder, das Manuel Fernández Álvarez, der ten „Ankleidezimmers der Königin“ in der Biograf Karls V., zur spanischen Geschichte Alhambra. veröffentlicht hat.

Empire (or K.D.) Scrambling 1/2

Arbeiten Works

Sicherheit Juan Carlos Espigares, Löwenhof, Rosa Terrones, Führerin des Beginn der Nachtwache Themenrundgangs Die Eroberung Security des Wassers Juan Carlos Espigares, Lion’s Court, start of the night watch Rosa Terrones, guide of the themed tour The Conquest of Water

Gartenbau Puerta del Vino Gardening (Weintor / Wine Gate)

Hubschrauber der Guardia Civil beim Überfliegen der Büros des Archiv Stiftungsrats Lydia Rodríguez, Aussichtspunkt „Mirador de los Alijares“ Archive Helicopter of the Guardia Civil flying over the board’s offices Lydia Rodríguez, lookout David Cifuentes, Büro des “Mirador de los Alijares” Besucherdienstes, Nasridenpaläste

David Cifuentes, office of visitors’ service, Nasrid Palace Unkrautjäten, Hof des Bewässerungskanals

Weinturm Weeding, Patio of the Wine Tower Irrigation Ditch

Fotografische Erinnerung an den Besuch von SS.MM. und AA.RR. Besuch des saudi-arabischen in den Provinzen Andalusien und Ministers für Auswärtige Murcia im September und Oktober Angelegenheiten 1862, Reisealbum der Königin Norberto Pérez, Hof des Isabel II, Fotografien von Charles Visit of the Saudi Arabian Bewässerungskanals Clifford Minister of Foreign Affairs Norberto Pérez, Photographic Memories of the Patio of the Irrigation Ditch Cristóbal Romera am Königlichen Visit of SS.MM. and AA.RR. to the Bewässerungskanal Unkrautjäten, Neue Gärten Provinces of Andalusia and Murcia Weeding, New Gardens in September and October 1862, Weintor Cristóbal Romera at the royal travel album of Queen Isabel II, Wine Gate irrigation ditch photographs by Charles Clifford

Francisco Robledillo, Sicherheitskoordinator, La Silla del Moro (Sitz des Mauren) Marilola Cañas, Schalter Marilola Cañas, counter Francisco Robledillo, security Fotosammlung, Alhambra-Archiv, coordinator, La Silla del Moro Zwischenlager, Anlage 2, Neue (Moor’s seat) Museen

Photo collection, Alhambra archive, interim storage, unit two, New Museums

Zeichenklasse der Architekturschule, Zisternenplatz Ramón Rubio mit Gipsgestein aus Monte Vives, Sorte Alabaster, Drawing class of the School of Gipswerkstatt, Neue Museen Architecture, Place of the Cisterns Cuesta del Rey Chico, Erdrutsch Cuesta del Rey Chico, landslide Ramón Rubio with gypsum rock Neue Gärten Luis García, Forscher, from Monte Vives, alabaster type, New Gardens Zwischenlager des Archivs und der plaster workshop, New Museums Bibliothek der Alhambra, Anlage 3, Neue Museen

Luis García, researcher, interim storage of Alhambra’s archive and library, unit three, New Museums

Torres Bermejas (Rote Türme) Weinturm Torres Bermejas (Auburn Towers) Wine Tower Pedro Lozano und José Antonio Gamarra mit einem Praktikanten, Neue Gärten

Pedro Lozano and José Antonio Gamarra with a student apprentice, New Gardens

Dar al-Arusa

Francisco Lamolda, Chef der Abteilung für Denkmalpflege, verantwortlich für die Arbeiten am Hydrauliksystem des Löwenhofs, erste Sitzung der Mitarbeiter des Stiftungsrats, Sitzungssaal im Palast Karls V.

Francisco Lamolda, chief of the preservation service, in charge of the works on the hydraulic systems of the Lion’s Court, first conference of the board staff, boardroom at the Palace of Charles V

Scrambling (2011). 78 Silbergelatineabzüge, gerahmt 30 x 35 cm, einige Passepartouts mit Siebdrucktext. Hergestellt mit Unterstützung der Universidad de Navarra, Pamplona, Spanien. Courtesy angelsbarcelona gallery, Barcelona, Spanien. Scrambling (2011). 78 gelatin silver prints, framed 30 x 35 cm, some matts include silkscreened texts. Produced with the support of Universidad de Navarra, Pamplona, Spain. Courtesy angelsbarcelona gallery, Barcelona, Spain. Scrambling 2/2

Marketing Marketing

Wasser Water Löwen Lions

Kartenverkauf Ticket sales

Bewässerung der Zypressen, Wassertreppe Gemüsegärten des Generalife Water stairway

Watering of cypress trees, Hof der Anlage 2, Neue Museen Orchards of the Palacio de Patio of Unit 2, New Museums Generalife

Gips Plaster Öffentlichkeit Public Technische Replik des Löwenbrunnens zur Erforschung der Hydraulik und für restauratorische Tests, Hof der Anlage 2, Neue Museen

Technical replica of the Lion’s Fountain for hydraulic studies Aussichtspunkt „Romántico“ and preservation tests, patio Lookout “Romántico” Gipslabor, Testgeräte; an of Unit 2, New Museums der Wand Fotografien von Bewässerung, Buchsbaumbeet Gipsschichten der Minen Parkplatz Watering, boxwood bed von Monte Vives Parking

Laboratory for gypsum, test equipment; on the wall, photographs of the gypsum strata at the mine of Monte Vives

Sandra Baena, Buchhandlung „Tercio“-Bewässerungskanal, Restaurierter Löwe (Nr. 10) Sandra Baena, bookstore Themenrundgang Die Eroberung des Löwenbrunnens in der des Wassers Ausstellung Löwen. Die Restaurierung eines Symbols, “Tercio” irrigation ditch, themed Krypta des Palastes Karls V. tour The Conquest of Water Restored lion (no. 10) of the Lion’s Fountain, exhibited in Lions: The Restoration of a Gipslager, Lucía Rodríguez, Symbol, crypt of the Charles V Volontärin Palace

Gypsum storage, Lucía Postkarten des Verlags Triangle Rodríguez, trainee Postals, Fotografien von Lluís Casals, Carlos Moisés García und Lucas Vallecillos, Buchhandlung Buchsbaumbeet am Paseo der Alhambra, Calle Reyes Wasserbecken de la María Católicos Albercones Boxwood bed at Paseo Postcards edited by Triangle Postals, de la María photographs by Lluís Casals, Carlos Moisés García, and Lucas Vallecillos, Alhambra bookstore, Calle Reyes Católicos Arbeiten am Hydrauliksystem im Löwenhof

Works on the hydraulic system at the Lion’s Court

Tendilla-Zisterne unter dem Zisternenplatz Spuren des Königlichen Bewässerungskanals vor den Tendilla Cistern beneath the María José Calvin und Büros des Stiftungsrats und Plaza of the Cisterns Patricia Bellamy, Gipsarbeiten, des Hotels América Rekonstruktion einer im Kerker der Puerta del Vino (Weintor) Traces of the royal irrigation entdeckten Gipsstuckatur ditch in front of the board offices and the América Hotel María José Calvin and Patricia Bellamy, plaster workshop, reconstruction of a plastering found in the dungeon of the Puerta del Vino (Wine Gate) Print on demand, Fotografien von Cristina García Zarza, Jean Laurent und José García Ayola

Print on demand, photographs Francisco Lamolda, Bauarbeiten by Cristina García Zarza, Jean im Löwenhof Laurent, and José García Ayola

Francisco Lamolda, Lion’s Court under construction Wasserturm Water tower

Calle Reyes Católicos (Straße der Katholischen Könige)

Calle Reyes Católicos (Road of the Catholic Kings)

Cristina García Zarza, Hof des Königlicher Bewässerungskanal Bewässerungskanals, Dämmerung Royal irrigation ditch Cristina García Zarza, Patio of the Irrigation Ditch, dusk

Scrambling Renaissance 1/2

Die Serie Renaissance. Szenen des industriellen Renaissance: the Habsburgs and the Valois. The palace where photographic culture. The new social demands Wandels im Bergbaurevier von Nord-Pas-de-Calais Scenes of Industrial Reconversion the Cateau-Cambrésis peace treaty was signed by for cultural democratization after 1968 transformed (2014) beginnt mit einem Blick auf das um 1529 in the Nord-Pas-de-Calais Coalfield both kings’ ambassadors no longer exists. It was the institutional landscape of culture. In Mitterand’s von Hans Maler angefertigte Porträt des Bankiers located on the site of the current Parc Fénelon, France of the 1980s, photography represented, Anton Fugger im Louvre-Lens. Die Serie unter- Jorge Ribalta the gardens of the Palais Fénelon, a eighteenth- in a particular way, a kind of social-democratic sucht den Strukturwandel in Nordfrankreich von century building that is currently the home of cultural policy medium whose emblem was the der Schwer- hin zur Kultur- und Freizeitindustrie the Musée Matisse. Henri Matisse was born in Le Mission Photographique de la DATAR (promoted – mit Euralille als symbolischem Zentrum. Nach Le musée est la figure de proue d’un bassin Cateau-Cambrésis, and the museum was estab- by the French state for the documentation of the dem Modell des Ruhrgebietes wurden ausgediente minier en pleine renaissance. lished in 1951, after a big artwork donation to the transformations of the national landscape during Zechen und ähnliche Anlagen zu Industriedenk- city by the artist. The photographs show details 1984 to 1988). The Mission DATAR was an echo Brochure Louvre-Lens: L’esprit du lieu, 2013 mälern und Museen umfunktioniert. Die Region of the garden with some of the museum workers, of the Mission Héliographique from 1851, the first wurde überdies zum UNESCO Weltkulturerbe taken during a lunch break. campaign in the history of photography, for the erklärt – ein Etikett, das längst selbst ein The Nord-Pas-de-Calais coal-mining region documentation of historical monuments in France, Franchise-Modell darstellt. Das jüngste Projekt crosses the French-Belgian border and is part of The last photographs are from the Centre His- which historically represents the rise of photogra- des Wandels ist die Eröffnung des Louvre-Lens. the historical Northern European heavy industry torique Minier de Lewarde and show details of the phy as an instrument for the contemporary nation- Der Titel der Serie zitiert eine Selbstdarstellung core, which extends into the quite near German exhibition Le bassin minier, une conséquence de la state ideology and its cultural self-legitimation. In dieses Hauses, in der es sich als „Galionsfigur Ruhr area. The coal exploitation started in the bataille de Denain de 1712. This was an exhibition the 1980s, the CRP represented an impulse toward eines Bergbaureviers, das eine Renaissance erlebt“ eighteenth century, peaked in the mid-twentieth that traced the origins of the coal exploitation in small-scale, self-managed photographic educa- charakterisiert. century, and lasted until the Mitterrand presi- the region at the time of the Spanish Succession tion—public spaces that would tend to progres- dential mandate in the 1980s. At this time, the War (1701–14) motivated by the struggles between sively disappear or be reconfigured as art centers Die Serie ist in acht Szenen unterteilt, die nicht French northern region around Lille was designed the Habsburgs and the Bourbons for the Spanish in the 1990s, due to the decline of institutional starr voneinander getrennt, sondern in unter- to develop a “new economy” center for culture- monarchy, a struggle finally won by the Bourbons, social democracy in Europe and, most recently, schiedlichen Konstellationen zueinander ange- industry-related activities, strategically located be- who have held the Spanish throne ever since. One to the rise of neoliberal mass-tourism-oriented ordnet sind. Die ersten drei Szenen untersuchen tween Paris, London, and Brussels, with the new of the battlefields in this international war was the cultural policies. „von Karl V. bis Louis XIV.“ diverse historische business district Euralille as its symbolic center. future Nord-Pas-de-Calais coalfield, conquered by Kontexte der Region, die von den Konflikten After deindustrialization and the founding of a France from the former Flanders territories under The photographs of the CRP show the old dark- zwischen den Habsburgern und dem Geschlecht mining museum in Lewarde, a pioneer écomusée Spanish rule. The exhibition included a portrait of room facilities and the archive with the collection. der Valois im 16. Jahrhundert bis zum Spani- institution in France that opened in 1984, the re- Louis XIV, the Sun King, who was King of France In the archive room, former CRP director Pia Viewing schen Erbfolgekrieg im 18. Jahrhundert reichen, gion has participated in industrial heritage policies during the Succession War. holds a demolition scene photograph from the aber auch die Entwicklung der Fotografie und and campaigns, following the model of the Ruhr exhibition Le Mine en Oeuvre 1890–1990, a his- schließlich die Geschichte des Bergbaus selbst industrial area. A few of the former mining sites torical exhibition which she initiated, researched, betreffen. have been preserved, and they define a historical and curated about mining activity in the region industrial region that was declared a World Herit- Small History of Photography using the photographic archives of the Centre Eine „kleine Geschichte der Fotografie“ wird in age Site by UNESCO in 2012, at the same time Historique Minier de Lewarde, presented at the Szene 2 entlang der Aktivitäten von Louis-Désiré as some Belgian sites. The most recent last step CRP in 2010. It was a programmatic project for the Blanquart-Évrard, dem Gründer des ersten Foto- in this process of transition from industry into CRP during Viewing’s rule. The last image of this verlags (Imprimerie Photographique, 1851−1855), cultural and leisure economies is the opening of group is a portrait of three women, made behind erzählt sowie im Kontext von Fotografie- und Louvre-Lens, a Louvre museum branch at a former the CRP, at the Place des Nations. The women are Medieninstitutionen, die zum einen im Geiste der mining site in Lens, in December 2012. Fred Klaba, Marie-Jo Noclain, and Sylvie Dureuil, sozialdemokratischen Kulturpolitik der 1980er- citizens of Douchy who participated in the project Jahre entstanden sind, oder zum anderen, wie This photographic series is a tour of the monu- Humaine by Marc Pataut, made between 2009 and das Le Fresnoy, Zentrum für digitale Kultur in ments, an observation of such a historical indus- 2011 and presented in 2012 at the CRP. Simulta­ Lille, als Aushängeschild der Kreativindustrie der trial landscape. It is organized in eight scenes, neous to the opening of the Louvre-Lens and as 1990er-Jahre gelten. composed of a variable number of photographs its radical counterpart, Pataut’s project was an each. The scenes are articulated both geographi- attempt to problematize modes of representation Der Geschichte des Bergbaus nähert sich Ribalta cally and conceptually, each addressing some of the “people” and the institutional inscription in Szene 3 („Borinage“) über die diversen Dreh­ specific topic. The first three are historical exca- of artistic activity aiming at experimentation and orte des 1934 erschienenen Dokumentarfilms vations or “memory scenes.” They attempt to reinvention of the potential links between artistic Misère au Borinage von Joris Ivens und Henri visualize the longue durée, how the current Nord- methods and the activity of the social movements. Storck, der den schlechten Lebensbedingungen Pas-de-Calais mining region is part of a longer This is a discursive space to which Pataut has der Bergarbeiter der Borinage, einer Grenzregion European history that traces back to the rise of contributed in a most significant and original zwischen Nordfrankreich und Walonien, nach- the modern capitalist nation-state system in the way with his photographic activity over the last geht. Dem damaligen Elend der ausgebeuteten sixteenth century. thirty years. BergarbeiterInnen stellt Ribalta dabei die Situ- ation der prekär Beschäftigten in der Kreativin- All of the shooting for Renaissance was done in The last stop in this tour of the history of pho- dustrie gegenüber. March, April, and May 2014. The second scene is an excavation in the history tography is Le Fresnoy in Tourcoing, in the Lille of photography, taken from some local remains metropolitan area. Le Fresnoy is a flamboyant Drei weitere Szenen („Denkmäler“, „Bergbaumu­ and facts in the region. experimental institution focused on international seum, Lewarde“, „Patrimonialisierung“) nehmen artistic education and supported by the French anhand verschiedener Beispiele die Musealisie- From Charles V to Louis XIV In 1851, Louis Désiré Blanquart-Évrard established state, having opened in the early 1990s. Its pres- rung der Region in den Blick. Dabei geht es nicht his photographic printing enterprise in Loos, close ence is part of the French national decentralizing nur um die Transformation ehemaliger Indust- to Lille. This represented the first technological strategy for transforming Lille into a European rieanlagen zu Kulturdenkmälern und Stätten der revolution in the history of photography and the cultural capital in the 1980s. Le Fresnoy is a Kreativwirtschaft, sondern auch um die neuen beginning of the era of photographic reproduct- high-tech building designed by architect Bernard administrativen Gefüge – bestehend aus lokalen, ibility and multiplicity. Blanquart-Évrard innovated Tschumi in a former working-class ballroom. The nationalen und europäischen Strukturen der öf- printing technologies by introducing the albumen photographs are made in the photographic facili- fentlichen Verwaltung einerseits und neoliberalen print, and his imprimerie produced the first gen- ties, the ultramodern darkrooms, and feature Modellen der public-private partnership anderer- eration of photographic albums. But his enterprise film- and print-processing machinery, including seits –, die mit dem Wandel einhergegangen sind. had a short life and went into bankruptcy in 1855. sophisticated Lambda machines for digital printing. He was also one of the local entrepreneurs who Die letzten beiden Szenen widmen sich schließ- participated in establishing the Musée Industriel lich den Themen „neue / alte Ökonomien“ und in Lille, and he was one of the founding members „Freizeit“. Ribalta interessiert dabei zum einen of the Societé Française de Photographie in 1854. Borinage das Nebeneinander von alten und neuen Indus­ The sequence of photographs starts with a small trien und zum anderen die Überformung einstiger tour through some remnants of Blanquart-Évrard’s Arbeitsstätten als Orte des Spektakels und history in Lille. His legacy is today divided into two Konsums. local institutions: the Bibliothéque Municipale, which holds the albums and prints, and the Musée Renaissance wurde 2015/16 erstmals im Centre d’Histoire Naturelle, which holds the negatives, Régional de la Photographie in Nord-Pas-de-Calais The photographs from this section were taken in the archive, and the process materials, coming gezeigt, das auch selbst Gegenstand der Serie ist. Lens, Valenciennes, Cambrai, Le Cateau Cambrésis from the former collection of the Musée Industriel. and Lewarde. The coronation of Charles V as the In the photographs we can see the album La King of Spain in 1516 was the beginning of a pe- Belgique (1854), open next to the Place Royale riod of Habsburg hegemony in Europe, in perma- and Parc de Bruxelles plates (which is the location nent dispute with the French Valois dynasty. Part of the historical Charles V palace in Brussels, his of the current French Nord-Pas-de-Calais region 1555 abdication site, whose remains still exist in was then Flanders and thus under the Spanish the underground of the square and its surround- Empire/Habsburg rule. In the 1550s, just before ings), in the research room at the Bibliothéque his abdication in Brussels in 1555, some of the Municipale. At the photographic reserve of the last military campaigns of Charles V against the Musée d’Histoire Naturelle, one of the assistant Valois (i.e., Saint Quentin) took place in what was curators holds Blanquart-Évrard’s first album, the formerly a border region between Flanders and Album de l’artiste et l’amateur (1851) and his later France. book La photographie: Ses origines, ses progrés, ses transformations (1869). The site of the old The sequence starts at the Louvre-Lens, where Musée Industriel on 2 Rue Lombard is currently a portrait of Charles V’s banker, Anton Fugger, being renovated and transformed into a luxury The third and last “memory” scene is a tour of painted by Hans Maler around 1529, is on dis- apartment building. On the façade, the history of the sites related to the film Misère au Borinage play in the permanent collection. The so-called the building is described in an illustrated timeline (1933), shot by Joris Ivens and Henri Storck in the maison espagnole in Valenciennes is one of the that starts with a reproduction of the painting The Mons area in Belgium, very close to the French various remaining local Flemish wooden archi- Moneylender and His Wife (1514) by the Flemish border. The film is a classic from the 1930s golden tecture examples in the city from the late fifteenth painter Quentin Matsys. age of documentary that denounced the poor century. It is currently the tourist information living conditions of the coal-mine workers in the center. In Cambrai, some of the original doors of Blanquart-Évrard’s printing facility or maison im- Borinage region in Wallonie, which is part of the the military citadel still exist, like the Porte Royale. primerie was in Loos, close to the Deûle River. The same coalfield of the Nord-Pas-de-Calais region. Its columns show the characteristic Renaissance precise location is today unknown due to changes Ivens is one of the historic intellectual and artistic military style inspired by ancient Roman Empire in land registry over the last century and a half. fathers of documentary cinema in the modernist architecture adopted by Charles V. In 1529, the The photographs are taken in the surroundings of avant-garde period between the wars. He intro- peace treaty between François I and Charles V— the avenue Kuhlman and the Rue Départemen- duced the important concept and method of mise known as “Cambrai’s peace” or “peace of the tale 48, around the Deûle docks, in the current en scéne documentaire. The impulse for docu- ladies” (paix des dames), because the two mon- administrative border between Lille and Loos, an mentary in the late 1920s was the self-represen- archies were represented by women (Margaret of industrial park. tation and political empowerment of the working Austria and Louise of Savoy, respectively)—was class at the rise of mass-media democracy. Ivens signed in Cambrai and ended the second war be- Le Centre Régional de la Photographie Nord- was one of the founders of the Worker-Photogra- tween the two dynasties. The end of the European Pas-de-Calais (CRP) was founded in 1982 in Douchy- phy Dutch branch in Amsterdam in 1930, and one rule period of Charles V was marked by the 1559 les-Mines and installed in a former post office of the key artists involved in such a movement in Cateau-Cambrésis peace treaty, signed by Henry II building. The rise of photographic institutions the 1930s. Such originary impulses are part of the of France and Charles V’s son, Philip II of Spain. since the late 1970s and the 1980s in Europe was agenda of the photographic observation that this The treaty ended a sixty-year war period between part of a structural and global transformation in text describes.

Renaissance. Szenen des industriellen Wandels im Bergbaurevier von Nord-Pas-de-Calais (2014). 176 Abzüge, gerahmt 30 x 36 cm, weiße Holzrahmen, Wandtexte und separater Text. Hergestellt mit Unterstützung des Centre Régional de la Photographie Nord-Pas de Calais, Douchy-les-Mines, Frankreich. Renaissance. Scenes of industrial reconversion in the Nord-Pas de Calais coalfield (2014). 176 prints, framed white wood 30 x 36 cm, vinyl wall texts, separate text. Produced with the support of the Centre Régional de la Photographie Nord-Pas de Calais, Douchy-les-Mines, France. Renaissance 2/2

The tour includes Hornu, Wasmes, Quaregnon, The scene includes various details of the display The Archives du Monde du Travail in Roubaix, in becomes impossible to differentiate between and the Levant de Mons in Bray, the esplanade and objects in the collection exhibition. It includes the Lille metropolitan area, opened in 1993 and is labor and leisure. where the Roi Albert barracks were installed at the portraits of some museum workers, particularly part of the French state national archives, managed time of the film. Even if the extreme poverty pre- of the guides to the visit, like Daniel Francke, by the Ministry of Culture. This is an economic- In Aulnoy-les-Valenciennes, at one of the Univer- vailing in the 1930s has luckily disappeared, most former miner who is currently one of the most history research institution that holds the technical, sité de Valenciennes campuses, the Transalley of the places seem to remain as not particularly popular guides, also frequently represented in the economic, and social archives from the main fac- project—a public-private association of companies prosperous working-class areas. Some of the pho- publicity of the Centre. A younger tour guide is tories and trade unions in France. The rise of eco- and industrial organizations—has established tographs show campaign posters related to the Anna Hembise, and Aurélie Bourgois is in charge nomic archives in France started in the mid-1920s, a “technopole,” a concentration of various insti- European elections on Sunday, May 25, 2014. of the reception and ticket sales. but they were constituted only after World War II. tutional and engineering buildings, including the The French social-scientific Annales historiogra- Institut des Sciences et Techniques de Valenci- The last photographs correspond to Le Grand- phy school determined an increase in the aware- ennes. Involved in Translalley are car and railroad Hornu site in Hornu, which is a beautiful neo- ness of the relevance of preserving documents industry corporations, and the project seeks to classic former mining industrial site and housing Patrimonialisation related to economic history. But the definitive contribute to competitive, innovative, and sustain- complex, declared a World Heritage Site by (Becoming Heritage) impulse for such economic archives came in the able transportation and mobility business. UNESCO in 2012, simultaneously to the Nord-Pas- 1970s when a new awareness for industrial heri­ de-Calais sites. The mining activity ceased in the tage determined the rise of new cultural policies, Classic “men-at-work” industrial forms of pro- 1960s, and in the 1980s it was reconverted into coinciding with the rise in scientific and industrial duction exist alongside such new economy and a cultural space. At the moment it is the home culture institutions like La Villette in Paris. The ar- “immaterial labor” bureaucratic landscapes. of two institutions: the MAC’s, the contemporary chives are kept in the former cotton-textile factory Industrial and post-industrial labor overlap. In arts museum of the Fédération Wallonie-Bruxelles, Motte-Bossut, which was classified as a historical Crespin, the factory Bombardier Transport SAS opened in 2002, and Grand-Hornu Images (GHI), monument in 1978 and designated to hold these is one such company in the region that continues a design and crafts exhibition venue, managed archives in 1981. The reason for decentralizing producing trains. The photographs show the by an homonymous association. The site and its this national archive to the Nord-Pas-de-Calais assembly line for the train-coach fabrication many institutions receive public funding from vari- region was twofold: first, it was a recognition of (chaudronnerie, dressage, aménagement, and ous public and private sources, on local, regional, the important industrial history of the region; and finition). state, European, and even international scales, second, it was part of the industrial reconversion like the UNESCO. The photographs show the sur- strategy pursued in the 1980s to promote a center The Bouchain power plant or Centre de Production roundings of the complex, the museum exhibition for the new post-industrial economies in the Lille Thermique was established in 1970 and originally spaces and facilities, including the shop and the metropolitan area. Industrial heritage discourse had two production units, one of them stopped in cafeteria, and some portraits of workers at the was one of the strategic and ideological precondi- 1995. It belongs to the EDF energy group. It is one MAC’s, specifically the guide conferencier Sebast- tions for the future culture-industry-driven econ- of the few remaining coal-based power stations ien Laurent and the guard Patrizia Notarrigo. Are omy. In the photographs there are some details in northern France, and in 2014, during the shoot- the current young education and mediation work- of one of the mining-related archives. ing, it was actually in the process of turning into ers at art institutions—university trained, under- gas. The transition is scheduled for 2015. The coal paid, and precarious—the equivalent to industrial The last stop in this tour is the Familistère Godin, arrives from Russia, Australia, or South Africa by workers’ proletarian faces from the 1930s? in Guise, twenty-five kilometers east of Saint ship to France and then by train to Bouchain. Then Quentin and about the same distance south of it is stored, processed, and burned to produce en- The Maison Syndicale du Minier in Lens was the Le Cateau-Cambrésis. The Familistère is a utopian ergy, which is the sequence that the photographs main mining-trade union institution in the region. housing complex for worker families started soon follow. The big cooling tower of the plant looks like Monuments It was founded after a big mining catastrophe in after the 1848 Revolution and finished in 1859. those from nuclear plants, which makes it unique 1906, the catastrophe de Courrières, with 1,099 Jean-Baptiste André Godin was an industrialist, among coal power plants in France. deaths, which sparked mining-trade unionism in manufacturer of cast-iron stoves, and a follower the region. The building was finished in 1911, but of Charles Fourier’s utopian socialism. The central it was heavily damaged during World War I and building is based on Fourier’s phalansteries, reconstructed in 1923. It was linked to the CGT communal buildings designed to promote inter- Leisure and was the main organizational space for mine action or “social sympathy” in worker families. workers, including strikes and demonstrations, It is organized around a large, four-story-high during the period when the mines were active covered central hall that symbolizes utopian con- in the region. It also housed printing facilities viviality. Between 1880 and 1968 the Familistère where most of the trade union publications and was owned and self-managed by its residents. printed matter were produced. The last renova- Classified as a historical monument in 1991, the tion was undertaken in 1994, and two years later renovation works started in 2000 and still con- it was incorporated into the catalogue of his- tinue. Today it is a tourist attraction. The former torical monuments. Since the 1990s it has been social housing complex, self-managed by its home to the association Mémoires et Cultures working class residents, is now being privatized de la région minière. It currently serves as histori- and turned into a sophisticated apartment build- cal archive for the coal-workers’ organizations ing, with parts of it “museified” in various theme and mining-trade union activities. The structure rooms in order to explain the history of the build- holds an exhibition space and is also the site of ing to the increasing number of cultural tourists This scene is a tour of two of the former mining the organization Pays d’Art et d’Histoire de Lens- who visit. The photographs show the renovation sites now part of the UNESCO heritage declaration: Liévin. The photographs include various details work in the central hall. the Fosse d’Arenberg in Wallers and the Fosse of the building interior, including the administra- 9 et 9bis in Oignies. The photographs include tion council meeting room, the former printing exteriors, interiors, and details of machinery and facilities with piles of old trade-union printed The last scene is a tour of some landscapes of mining tools. matter, and the offices during the inventory work New/Old Economy tourism- and leisure-related facilities in former of one of the collections, where a small Lenin mining sites: bust is used as support for the photographing of the objects. At the Lille airport arrivals hall, the advertising Mining Museum, Lewarde of the new Louvre-Lens welcomes the visitors. Also in Lens, the regional Nord-Pas-de-Calais In the new Lille downtown, looking from the Pont administration started a new “identitarian” project de Flandres toward Euralille train station and called Mineurs du Monde in 2010, as a response shopping mall, an office worker rests during his to the new urban dynamic determined by the open- lunch-time break. ing of the Louvre-Lens and the UNESCO World Heritage minefield declaration. It is an attempt to In Noeux-les-Mines, Loisinord is a skiing resort contribute to the various ongoing processes for the built on a terril, one of those idiosyncratic artificial preservation and promotion of historical memory hills, made of the mineral residue from the coal of mining labor, to also create a positive public process, that is part of the landscape of this and opinion for such historical resignification of mining all coal-mining areas. labor, and to establish an international network of historic minefields turned into cultural sites as Le Métaphone is a popular experimental music part of the global industrial reconversion. Mineurs concert hall with 1,000 seats built in Fosse 9 et du Monde is not linked to any specific site but is 9bis, Oignies, opened in June 2013. It is one of defined by activities organized at different sites the most idiosyncratic new buildings on the site, in the region. The photographs were made in one conceived as an instrument itself: the building of the events promoted by the organization, spe- is covered by a skin of recycled objects and ma- cifically a lecture and screening series organized terials, including various instruments and a sound at the Faculté Jean Perrin, Université d’Artois, in system. This way, the building—designed by the Lens, around the television documentary series Hérault-Arnod architecture office in collaboration Mémoires de la Mine (TF1, 1981), with the pres- with sound designer Louis Dandrel—can be liter- ence of its filmmaker, Jacques Renard. ally “played.” The Centre Historique Minier de Lewarde is the most important historical institution related Both historical mining sites at Wallers and Oignies On December 27, 1974, there was a mining accident to the coal industry in the Nord-pas-de-Calais are currently managed by cultural organizations at the Fosse 3 bis in Liévin. With forty-two dead region. It was founded in 1982 and opened three and host offices of regional cultural administra- miners, it was the biggest mining catastrophe in years later, at the former mining site of La fosse tions. Industrial landscapes are transformed into the region after the 1906 Courrières one. After an Delloye, with the objective of providing storage for cultural bureaucracy landscapes, factories turned investigation and a trial, the managing enterprise the official archives of the coalfield mining com- into offices. Oignies is the home of the Mission Société des Houillères du Nord et du Pas-de-Calais panies before and after nationalization in 1946. Bassin Minier, which is the organization that lead was accused of negligence in 1981 and forced to The mining activity stopped here in 1971, and the proposal for the UNESCO World Heritage New economy enterprises have proliferated cease activity. This was an important event for the the galleries were closed. The museum is funded declaration in 2012. The team that prepared the in former mining and industrial sites. In Oignies, ending of mining activity in the region. The tower by the Ministry of Culture and the Nord-Pas-de- dossier for UNESCO has their office here: Catherine new minimalist office buildings made of iron has remained as a memorial of the catastrophe. Calais regional administrations, and it is managed Bertram, Catherine O’Miel, Marie Patou, Naïma and glass coexist with the old mining towers. Near Close to it there is a big shopping center with by the Centre Historique Minier de Lewarde as- Maziz, and Raphaël Alessandri, who appear in Fosses 9 and 9bis, the former housing areas for a Carrefour supermarket, built on the old site of sociation. The Centre holds a collection, archive, the photographs posing at the camera and in their miner families have been renovated and expanded the Fosse 1. and library and maintains important research, daily office routine. The “becoming heritage” as new upper-class residential areas. The Fosse education, and exhibition activity. The permanent (patrimonialisation, devenir patrimoine) reconver- d’Arenberg in Wallers was the shooting site for the Close to the Liévin memorial and shopping center exhibition includes some dioramas and presents sion of industrial labor involves an important fund- film version of Emile Zola’s Germinal (Claude Berri, in Lens, the newly built ultramodern Louvre-Lens, a didactic history of coal and its uses, a history ing role of public administrations on all scales: 1993) and has been reconverted into a film center, designed by the SANAA architecture office, of coal mining and of coal exploitation in the Nord- local, regional, national, and transnational. It including a television studio. is surrounded by new landscaped gardens still Pas-de-Calais region, a history of the site, and involves an increasing though opaque institutional in growth. The crude nakedness of the glass-iron the evolution of mining technologies from the backing by the EU (most often without funding) La Plaine Images in the Boulevard Descat, Tourco- minimalist design is reinforced by the recently seventeenth to the twentieth centuries. The visit and also a complex public-private partnership. ing, not far from Le Fresnoy, is a new cluster of planted, not yet blossomed garden in the very includes the original mining facilities of the site, This process signifies a shift in cultural policies enterprises related to digital creativity, advertising, early spring. The tour starts in the parking lot, and it ends with a dramatic descent into one of and their economies, historically related to the communication, video games, digital applications continues in the outdoor cafeteria and the garden the galleries, which is actually a fake reconstruc- logics of the nation-state. This shift is due in part and images. In this former industrial complex, and plaza at the main museum entrance, and tion, something that the visitor does not discover to the decline of cultural public funding after the a public-private fix provides a strangely informal ends in the museum lobby, where an employee until the end. 2008 global financial crisis. and ultramodern work atmosphere in which it is doing cleaning work.

Renaissance Petit Grand Tour 1/2

Seepromenade Rafael de Casanova Aussichtspunkt über dem römischen und Miracle-Strand, Tarragona, Amphitheater, Vial de William J. Bryant, Touristen, Aussichtspunkt über dem 16. September 2007 Via Augusta, Tarragona, Tarragona, 16. September 2007 Josep Maria Sánchez Mazas, Bürger; römischen Amphitheater, Vial de William 16. September 2007 Convivium (Festmahl), Associació J. Bryant, Tarragona, 29. August 2007 Sea promenade Rafael de Casanova Lookout above the Roman amphitheater, Projecte Phoenix, Garderobe des and Miracle Beach, Tarragona, Via Augusta, Tarragona, vial de William J. Bryant, Tarragona, Caixaforum, Barcelona, 29. September Tourists, lookout above the Roman September 16, 2007 September 16, 2007 September 16, 2007 2007 amphitheater, vial de William J. Bryant, Tarragona, August 29, 2007 Josep Maria Sánchez Mazas, citizen; Convivium (feast), Associació Projecte Phoenix, wardrobe of the Caixaforum, Barcelona, September 29, 2007

Calle Enrajolat, Tarragona, 16. September 2007 Fußballplatz, vom Archäologie-Pfad aus Torre de los Escipiones, Verlauf der Via gesehen, am Torre de Minerva, Tarragona, Calle Enrajolat, Tarragona, Augusta, Tarragona, 16. September 2007 Römisches Amphitheater, vom 16. September 2007 September 16, 2007 Besucherzugang aus gesehen, Torre de los Escipiones, course of Via Tarragona, 29. August 2007 Soccer field seen from the archaeological Augusta, Tarragona, September 16, 2007 pathway, in front of the Torre de Minerva, Lararium (Installation), Convivium, Roman amphitheater seen from Tarragona, September 16, 2007 Associació Projecte Phoenix, Caixaforum, visitor entrance, Tarragona, Barcelona, 29. September 2007 August 29, 2007 Lararium (installation), Convivium (feast), Associació Projecte Phoenix, Caixaforum, Barcelona, September 29, 2007

Calle Enrajolat, Tarragona 16. September 2007 Römisches Amphitheater, Calle Enrajolat, Tarragona Tarragona, 16. September 2007 Gelände des erhaltenen römischen September 16, 2007 Circus in der Calle Trinquet Vell, Tarragona, Roman amphitheater, Tarragona, Bildnis eines alten Mannes, 16. September 2007 September 16, 2007 spätrepublikanische Epoche, 2. Hälfte des 1. Jahrhunderts n. Chr., Registriernummer Area of the preserved Roman Circus MNAT 467, Museu Nacional Arqueològic at calle Trinquet Vell, September 16, 2007 Convivium (Festmahl), Associació de Tarragona (MNAT), 29. August 2007 Projecte Phoenix, Garderobe des Caixaforum, Barcelona, 29. September Portrait of an elderly man, late 2007 Republican period, second half of the first century AD, registration number Convivium (feast), Associació Projecte MNAT 467, Museu Nacional Arqueològic Phoenix, wardrobe of the Caixaforum, de Tarragona (MNAT), August 29, 2007 Barcelona, September 29, 2007

Fels, Seepromenade Rafael de Via Augusta 38, Tarragona, Casanova, Tarragona, 16. September 2007 16. September 2007

Römisches Amphitheater, Tarragona, Rock, sea promenade Rafael de Casanova, Via Augusta 38, Tarragona, 16. September 2007 Tarragona, September 16, 2007 September 16, 2007

Roman amphitheater, Tarragona, September 16, 2007

Gelände der Ringmauer, Paseo Torroja, Reste, Convivium (Festmahl), Associació Tarragona, 29. August 2007 Projecte Phoenix, Caixaforum, Barcelona, 29. September 2007 Area of the curtain wall, paseo Torroja, Tarragona, August 29, 2007 Remains, Convivium (feast), Associació Projecte Phoenix, Caixaforum, Barcelona, September 29, 2007 Ausgrabungsarbeiten am römischen Amphitheater, Tarragona, 16. September 2007 José María García, Emili Samper, Francisco Gabarrón, Sklaven; Miquel Excavation works at Roman amphitheater, Ciutat, equites (Pferd), und Josep Maria Megalithisches Tor, Mauer, Archäologie- Tarragona, September 16, 2007 Sánchez Mazas, Bürger; Convivium Pfad, Tarragona, 16. September 2007 (Festmahl), Associació Projecte Phoenix, Garderobe des Caixaforum, Barcelona, Megalithic gate, wall, archaeological 29. September 2007 pathway, Tarragona, September 16, 2007 José María García, Emili Samper, Francisco Gabarrón, slaves; Miquel Ciutat, equites, and Josep Maria Sánchez Mazas, citizen; Convivium (feast), Gelände des römischen Circus, Calle Associació Projecte Phoenix, wardrobe Oleguer und Calle Baixada Pescateria, of the Caixaforum, Barcelona, September Gerard Masalles, Convivium (Festmahl), Tarragona, 29. August 2007 29, 2007 Associació Projecte Phoenix, Garderobe des Caixaforum, Barcelona, 29. Area of the Roman Circus, the calle September 2007 Oleguer and calle Baixada Pescateria, Tarragona, August 29, 2007 Seepromenade Rafael de Casanova, Gerard Masalles, Convivium (feast), Tarragona, 16. September 2007 Associació Projecte Phoenix, wardrobe of the Caixaforum, Barcelona, Sea promenade Rafael de Casanova, September 29, 2007 In der Nähe des Torre de los Escipiones, Tarragona, September 16, 2007 Tarragona, 16. September 2007

Near Torre de los Escipiones, Tarragona, September 16, 2007

Petit Grand Tour. Tarragona, 29. August – 6. Oktober 2007 (2007). 51 Silbergelatineabzüge, gerahmt 50 x 50 cm, Siebdrucktext auf Passepartout. Sammlung Banco de España, Madrid, Spanien. Hergestellt mit Unterstützung von Caixa Tarragona, Spanien. Petit Grand Tour. Tarragona, August 29 – October 6, 2007 (2007). 51 gelatin silver prints, framed 50 x 50 cm, silkscreened texts Chronologische Bildreihenfolge on matts. Collection Banco de España, Madrid, Spain. Produced with the support of Caixa Tarragona, Spain. Chronological image order Petit Grand Tour 2/2

Claudi Domènech, Sklave; Convivium Miquel Ciutat, equites (Pferd); Convivium Ricard Bonell Beltran, Baumkletterer, Museu Nacional Arqueològic de Chirurgische Pinzette (Rekonstruktion), (Festmahl), Associació Projecte Phoenix, (Festmahl), Associació Projecte Phoenix, Museu Nacional Arqueològic de Tarragona Tarragona (MNAT), Hauptverwaltung, Projecte Phoenix, Riera de Gaià, Caixaforum, Barcelona, 29. September Garderobe des Caixaforum, Barcelona, (MNAT), Gärten der frühchristlichen Depot, Tarragona, 2. Oktober 2007 6. Oktober 2007 2007 29. September 2007 Begräbnisstätte, Tarragona, 2. Oktober 2007 Museu Nacional Arqueològic de Surgical forceps (reconstruction), Claudi Domènech, slave; Convivium Miquel Ciutat, equites; Convivium Ricard Bonell Beltran, tree climber, Museu Tarragona (MNAT), administration, Projecte Phoenix, Riera de Gaià, (feast), Associació Projecte Phoenix, (feast), Associació Projecte Phoenix, Nacional Arqueològic de Tarragona storage, Tarragona, October 2, 2007 October 6, 2007 Caixaforum, Barcelona, September 29, wardrobe of the Caixaforum, Barcelona, (MNAT), gardens of the early Christian 2007 September 29, 2007 burial place, October 2, 2007

Grabmal in tegulae, Museum und Museu Nacional Arqueològic de Tarragona Bücherregal mit Loricas, Werkstatt frühchristliche Begräbnisstätte, Museu (MNAT), Museum und frühchristliche von Enric Seritjol, Projecte Phoenix, Josep Maria Casañas, Senator; Convivium Claudi Domènech, Convivium (Festmahl), Nacional Arqueològic de Tarragona Begräbnisstätte, Gärten, Tarragona, Riera de Gaià 6. Oktober 2007 (Festmahl), Associació Projecte Phoenix, Associació Projecte Phoenix, Caixaforum, (MNAT), Tarragona, 2. Oktober 2007 2. Oktober 2007 Garderobe des Caixaforum, Barcelona, Barcelona, 29. September 2007 Bookcase with loricas, workshop of Enric 29. September 2007 Tomb in tegulae, early Christian museum Museu Nacional Arqueològic de Tarragona Seritjol, Projecte Phoenix, Riera de Gaià, Claudi Domènech, Convivium (feast), and burial place, Museu Nacional (MNAT), early Christian museum and burial October 6, 2007 Josep Maria Casañas, senator; Convivium Associació Projecte Phoenix, Caixaforum, Arqueològic de Tarragona (MNAT), place, gardens, Tarragona, October 2, 2007 (feast), Associació Projecte Phoenix, Barcelona, September 29, 2007 Tarragona, October 2, 2007 wardrobe of the Caixaforum, Barcelona, September 29, 2007

Drehbank, Werkstatt von Enric Schale aus terra sigillata itálica, stammt Seritjol, Projecte Phoenix, Riera de Gaià, Bildnis eines Unbekannten, Ricard Bonell Beltran, Baumkletterer, von einer römischen Müllhalde (PERI 2, 6. Oktober 2007 Carpe diem, Convivium (Festmahl), spätrepublikanische Zeit, Mitte des 1. Museu Nacional Arqueològic de Parzelle 13a); Forschungsstätte, Museu Associació Projecte Phoenix, Caixaforum, Jahrhunderts n. Chr., Registriernummer Tarragona (MNAT), Gärten der Nacional Arqueològic de Tarragona Turning lathe, workshop of Enric Barcelona, 29. September 2007 MNAT 45640, Museu Nacional frühchristlichen Begräbnisstätte, (MNAT), Hauptverwaltung, Tarragona, Seritjol, Projecte Phoenix, Riera de Gaià, Arqueològic de Tarragona (MNAT), Tarragona, 2. Oktober 2007 2. Oktober 2007 October 6, 2007 Carpe diem, Convivium (feast), Associació 2. Oktober 2007 Projecte Phoenix, Caixaforum, Barcelona, Ricard Bonell Beltran, tree climber, Museu Italic terra sigillata bowl, from a Roman September 29, 2007 Portrait of an unknown person, late Nacional Arqueològic de Tarragona waste dump (PERI 2, parcel 13a); research Republican period, middle of the first (MNAT), gardens of the early Christian studio, Museu Nacional Arqueològic century AD, registration number MNAT burial place, October 2, 2007 de Tarragona (MNAT), administration, 45640, Museu Nacional Arqueològic Tarragona, October 2, 2007 de Tarragona (MNAT), Oktober 2, 2007

Lares Familiares (Rekonstruktion), Projecte Phoenix, Riera de Gaià, 6. Oktober 2007 Puri Villamanzo, domina; Convivium Treffen; Francesc Tarrats, Direktor; (Festmahl), Associació Projecte Phoenix, Pilar Sada, Kuratorin; Josep Antón Remolà, Domestic Lares (reconstruction), Garderobe des Caixaforum, Barcelona, Kurator, Museu Nacional Arqueològic Projecte Phoenix, Riera de Gaià, 29. September 2007 de Tarragona (MNAT), Hauptverwaltung, Museumsshop, Museu Nacional October 6, 2007 Museu Nacional Arqueològic de Tarragona, 2. Oktober 2007 Arqueològic de Tarragona (MNAT), Puri Villamanzo, domina; Convivium Tarragona (MNAT), Hauptverwaltung, Tarragona, 2. Oktober 2007 (feast), Associació Projecte Phoenix, Lager, Tarragona, 2. Oktober 2007 Meeting; Francesc Tarrats, director; wardrobe of the Caixaforum, Barcelona, Pilar Sada, curator; Josep Antón Remolà, Shop, Museu Nacional Arqueològic September 29, 2007 Museu Nacional Arqueològic de curator, Museu Nacional Arqueològic de Tarragona (MNAT), Tarragona, Tarragona (MNAT), administration, de Tarragona (MNAT), administration, October 2, 2007 storage, Tarragona, Oktober 2, 2007 Tarragona, October 2, 2007

Josep Maria Casañas, Senator; Josep Maria Sánchez Mazas und Vital Museu Nacional Arqueològic de Julià, Bürger; Convivium (Festmahl), Museu Nacional Arqueològic de Tarragona Museu Nacional Arqueològic de Tarragona Tarragona (MNAT), Hauptverwaltung, Associació Projecte Phoenix, Caixaforum, (MNAT), Gärten der frühchristlichen (MNAT), Museum und frühchristliche außen, architektonische Elemente Barcelona, 29. September 2007 Begräbnisstätte, Grabsteine, Tarragona, Begräbnisstätte, Gärten, mit Sarkophagen, verschiedener Herkunft, Tarragona, 2. Oktober 2007 Tarragona, 2. Oktober 2007 2. Oktober 2007 Josep Maria Casañas, senator; Josep Maria Sánchez Mazas and Vital Julià, Museu Nacional Arqueològic de Tarragona Museu Nacional Arqueològic de Tarragona Museu Nacional Arqueològic de Tarragona citizens; Convivium (feast), Associació (MNAT), gardens of the early Christian (MNAT), early Christian museum and (MNAT), administration, exterior view, Projecte Phoenix, Caixaforum, Barcelona, burial place, with tombstones, October 2, burial place, gardens, with sarcophagi, architectural elements of diverse origin, September 29, 2007 2007 Tarragona, October 2, 2007 Tarragona, October 2, 2007

Petit Grand Tour Carnac

Carnac, 1. August 2008 (2008). 15 Silbergelatineabzüge, gerahmt 20 x 25 cm, weiße Holzrahmen. Sammlung Banco de España, Madrid, Spanien. Carnac, August 1, 2008 (2008). 15 gelatin silver prints, framed white wood 20 x 25 cm. Collection Banco de España, Madrid, Spain. Becoming Mr. Hyde

Becoming Mr. Hyde: YR: What is the role of photography in to the superseding of the framework that photograph: “For me, photographs The body is an interpretative apparatus, A conversation1 the present context? of the nation-state, to a post-national, of landscape (urban or country) must a sensorium, and I attempt to offer post-identitarian collective imagination, be habitable, not visitable. This longing photographic spaces for it. Intelligence JR: In my opinion, the function of pho- so to speak. Certainly, nationalism is to inhabit …, is neither oneiric (I do not begins in the intestines and meaning Yolanda Romero: I’d like to begin by tography as an instrument of visibility of part of the, shall we say, dark side of the dream of some extravagant site) nor is constructed on the basis of the move- talking about your double condition of the various ideological struggles in the force that is with us, i.e., the irrational, empirical (I do not intend to buy a house ment of bodies in the exhibition space, artist and researcher. As historian and public sphere has remained relatively desirous, perverse-polymorphic element, according to the views of a real-estate in the displacement between the images. exhibition curator you have worked with unchanged since the time of Blanquart- or whatever you want to call it, that is agency); it is phantasmatic.” Do you share and studied the tradition of the documen- Évrard in 1850, that is, since the appear- also part of us. But it is equally true that that attention to the phantasmatic quality YR: The title Monumento Máquina tary in the history of photography. As ance of positive-negative technology and a project of social emancipation in the of photography? (Monument Machine) is a nod to Heiner a photographer, how do you fit into that the possibility of mass-produced images, modern sense consists precisely in a Müller’s Hamletmachine, in which the tradition? which is, in fact, the first technological process of gaining ground on the phan- JR: Of course. The duality of photography German writer and playwright uses Ham- revolution in the history of photography. toms, on the monsters created by the between the literal description and let to question, among other things, the Jorge Ribalta: Apart from learning and Since then, photography has been an dream of reason. My work, my becoming the imaginary projection is precisely the canonical interpretation of history by tak- literally feeding off my work as a re- ideological-propaganda battlefield. Obvi- Mr. Hyde, is an attempt to make the phan- source of its fascination. I believe that ing apart the classic structure of dramatic searcher, my work as an artist has inter­ ously, we have experienced several more toms visible. that is also where the core of photog- performance. Taking Shakespeare as a nalized some mechanisms of research as technological revolutions since then. In raphy’s poetic power lies. For me the pretext, he questions official, universal an artistic method. That is to say, that for my opinion, these technological revolu- YR: One of the historic references in your discovery of this poetic dimension that history by means of a rhizome-like struc- each project to be produced, a discursive tions create a sort of geological process photography, especially to be found arises out of the overflowing or excess ture and appeals to his reader to become framework must first be created based of stratification, diversification, and accu- in Scrambling and Empire (or K.D.), is of realism is totally linked to the study players and carry out their various levels on reading and archive work. Within that mulation, rather than a linear Darwinian Charles Clifford, whom you even quote of photography in this period from 1850 of interpretation. To what extent does framework the artist begins to play and process in which the new substitutes or in very specific shots. What do Clifford’s to 1870, the time of the wet collodion your work generally share this procedure dream. To rave, even. To paraphrase Dan kills off the old. The ruins are accumulated approaches to monumental Spain and method. Helmut Gernsheim calls it the of Müller’s? To what extent can we con- Graham, we might say that the researcher in the unconscious. As we know, what is photography meant to you? Why Clifford? age of “the rise of photography.” It is clear sider photography as a machine able to builds and the artist destroys. The old persists, whether buried or not, and to me that this was its golden age be- provide an interpretation of history? researcher is Dr. Jekyll and the artist is often the living and the dead are indistin- JR: Clifford represents precisely the cause it was a technology that produced Mr. Hyde. guishable. But just look how the spaces inaugural moment in Spain of the conflu- an excess of realism in the images, like JR: I am an admirer of Heiner Müller. The and forms of public visibility of photog- ence between national-heritage discourse no other technology since. There is more title Monument Machine is obviously a My research and activity as curator of raphy are still today what they were in and photography. He is the Spanish there than you can see. There is as well a reference to his Hamletmachine, as you exhibitions about documentary culture 1850: the exhibition, the pages of books equivalent to the Mission Héliographique historic element for us, the distinct feeling rightly say, but it also refers to the “desir- in the history of photography led me and magazines, albums, slideshows and, in France or the geographical surveys in that these photographers were groping ing machines” of Deleuze and Guattari, to the argument that such a documentary more recently, the screens of computers, the United States. forward in uncharted territory with a in other words, to a conception of the discourse arose as a specific art form tablets, and mobile phones. The echo language that as yet had no grammar. processes of subjectification as becom- in the interwar period with the mission of the daguerreotype still resonates in I believe that such inaugural moments It was not clear where they had to look. ings and the ascertainment of a machinic, of visibilizing work and the working the wallpapers of smartphones, and the are decisive for the future and, indeed, In this sense I am fascinated by Timothy productivist and historical dimension in class. The documentary idea is therefore ground glass of large-format cameras my work is a form of excavating or re- O’Sullivan, some of whose images are the psyche. There is yet a third reference, inseparable from a process of political resonates on the iPad’s screen. staging those inaugural moments. The totally incomprehensible and seem ac- to the “King-machine” of Jean-Marie empowerment of subaltern classes in question or hypothesis posed is about cidental, anticipating the snapshot at a ­Apostolidès, a term he applies to Louis the context of the rise of a new visual YR: The series you present in this exhibi- the potentialities of history, the issue of time when photography was still a long XIV and presents as the historical origin culture associated with the appearance tion2 allow us to visibilize certain political why historically some options prevail way from speed and accident; it was of an entire use of image and represen- of modern mass democracy in the 1920s. mechanisms leading to complex process- over others and what might have hap- an art of slowness. This also explains my tation in political governance. The use From then on, there were, shall we say, es, such as the construction of national pened had these options been different. fascination for Clifford, who gives the of the arts made by the state was the several struggles throughout the twen- identity on the basis of its monuments. Is I believe that this issue is the basis of feeling of having been the first person way to make the King’s symbolic body tieth century for the resignification and this your way of bringing up to date that historiographic discourse and, in any to place a camera in those places that tangible—a political theology on which reappropriation of such a documentary idea of documentary photography? case, it is the foundation of my research. today constitute a hyper-codified lan- national sovereignty rested since the discourse. In the postwar years, the guage. With Clifford we see things and beginnings of the modern nation-state proletarian documentary produced in JR: Yes, that’s one of the ways, but not To return to Clifford, I think his work places as if for the first time, appearing in the sixteenth century, although its the context of the Worker Photography the only one. The first documentary survey between 1854 and 1863 is seminal for the out of nowhere. roots are medieval. Absolute monarchy Movement around 1930 changed into a in the history of photography, the Mis- construction of a grammar of offi­cial Span- consists in the identification of the state humanistic project of reconciliation and sion Héliographique in France in 1851, ish icons, of the photographic alphabet YR: Another process that runs through with the symbolic body of the King— an instrument of the cultural cold war came into being precisely with the aim of on which the representation of Spain was your work concerns the social conditions Louis XIV’s famous “L’État, c’est moi.” against the socialist block. This was the creating a catalogue of French national to be built using photography. For exam- of work through the body of the workers time of The Family of Man. In the 1970s, monuments. In other words, photography ple, his approach to Yuste is very subtle, (flamenco dancers, archivists, security And indeed, another machine comes a generation of ­artists formed by the was born as a multiple or reproducible although only three or four photographs guards, restorers, gardeners). Is this a into play in all this, which is the photo- struggles of the 1960s rediscovered the medium at the service of the discourse have been preserved. In them, he seems to manner of showing how the monument graphic apparatus. As I suggested earlier, repressed experience of Worker Photogra- of the nation-state. We must not forget melancholically restage Charles V himself, (in the form of flamenco, the Alhambra, my use of photography attempts to phy and adopted it as the foundation for that Daguerre’s invention had become in the garden or on the palace terrace the monastery of Yuste or the Palace problematize the subject-object dialectics. another understanding of prewar docu- property of the French state in 1839. above the pond. In one of his photos of of Charles V) has become converted into When I take a photograph, I am at the mentary culture, against humanism, and Inasmuch as the rise of the discourse Jarandilla with a group of people, includ- a factory? service of the camera; I try to listen to obviously established in micropolitical of national heritage is inseparable from ing a woman with a flowing dress, there what it has to tell me. I don’t think I can terms. This was the time of Allan Sekula, the ideological production of the nation- is an echo of the figure of the Virgin in JR: Exactly. I have already said that explain this any better, the camera is Martha Rosler, Jo Spence, et cetera. While state in the modern sense, the Mission Titian’s Gloria, which Charles V had at historically the documentary discourse an instrument of desubjectification that in the prewar years the documentary Héliographique also marks the birth of Yuste. It is clear that Clifford was cultured came into being to represent work and allows me to be someone else: to become movement visibilized the Fordist indus- cultural politics as we know it—if you like, and refined, and for me he is a constant that what I attempt to do is to show the Clifford, to become Charles V … It is an trial worker as a subject of the political the double drive of the state to create, source of inspiration that I continually production of the monuments, i.e., the instrument that allows me to move away avant-garde, in the 1970s, after feminism on the one hand, the national archive return to. In his repertoire, the Alhambra work. That is the reason for the images from myself and objectivize, to make and the modulations of Marxism brought of historic monuments, and to support holds a central place, as can also be seen of workers. There is also self-reflexiveness appear in this case the, shall we say, about by Foucault, Lefebvre, Deleuze and contemporary creativity on the other. This in his Photographic Scramble through and self-criticism, for I too am the worker, national unconscious which is not exclu- Guattari, cultural studies, et cetera, the double impulse (national heritage and Spain—a tourist guide to Spain for inasmuch as we all are. sively mine, but belongs to us, who share reinvented documentary visibilized the culture industry) is part of the legitimizing foreign visitors in which the Alhambra is a common cultural and linguistic space, new subjects of the post-Fordist urban discourses of the nation-state. presented as a culmination of the Spanish YR: Regarding the manners of making whether we like it or not. The camera is economy and the new microphysical monumental marvels, a strange interme- and presenting your work, you frequently not just the device I take photographs understanding of power relations. The Heritage discourse and national discourse diate zone between dream and reality. use a simultaneous accumulation of with, but the entire cultural apparatus in reinvented documentary also dismantled go together, and photography immedi- images surrounding the viewer. This type which I am located. The camera in itself and abandoned the modern myth of ately appears as its ideal instrument. In YR: The Alhambra is probably one of of montage allows you to build your is a product of the industrial era, literally photography as a transparent medium the United States, this process took place the most photographed icons since the narrative in a specific way, but also leaves a machine, and in this sense it is an ob- and universal language, and made clear through the photographic explorations appearance of photography. However, it open for the viewer to intervene by jectification of historical conditions, it is its insertion within power relations. of the West. The declaration of national your representation of it is anti-monu- choosing what they want to see. How im- a general intellect, a collective intelligence. parks such as Yellowstone arose out of mental and anti-iconic. You have chosen portant is the exhibition device for you? My work as photographer consists in My work seeks to find its place in this tra- the effect caused by the photographs of to represent it by superposing several not dominating the camera but in serving dition, but without making it into a mon- Jackson, for example. So that there, from analyses—the cross between the national JR: It is essential. There are several rea- it (or is serving it in fact the way to domi- ument, so to speak. To continue it, while the very start, a nationalist unconscious and the patrimonial, the physical space, sons for this saturation of images, but nate it?), in creating certain conditions interpreting it critically according to the was established in the use of photogra- the activities carried on inside it, the peo- two main ones. The first is the idea of and situations in which to place it and let present historic conditions. In this sense, phy in large-scale campaigns promoted ple that live and work inside it, and its seriation that I work with and take directly it act, set it free … The camera is also a the aim of my work as artist is specifi- by the State. My work is an exploration of conversion into a museum space and a from the factographic theory of Tretyakov, “desiring machine.” cally to produce a representation of work that unconscious, an attempt to objectify monument-factory. Why did you choose who said that photography’s interruption in the field in which I am active, i.e., the it and identify it using photography un- the Alhambra in your photographic of movement is not enough to explain One of my referents for thinking about field of cultural institutions. This involves derstood in the framework of a documen- project, a project in which one series social complexity, but that it also requires the monument has been Müller’s little a self-critical process of observation and tary discourse. links up to another? seriation, the relations between images. book of poems with photographs by Sibylle denaturalization, of understanding that Bergemann titled A Phantom Leaves the cultural field is not something given YR: What is your stance as regards the JR: I think it was inevitable. The Alhambra In addition, saturation expresses the Europe.3 It is a wonderful book, published but the product of collective work and an present situation in Spain? is the first national monument to be de- memory of popular and premodern in 1990, that includes a chronological up-to-date reinterpretation of the sourc- clared as such in Spain, in 1872. Clifford’s practices in photographic exhibitions, as sequence of photographs, taken between es of documentary culture, mainly from JR: The fact that my work is a critique photographs in the Alhambra between against the dogma or dominant paradigm 1975 and 1986, documenting the entire the 1920s and 1930s and the 1970s and of unconscious nationalism in the cultural 1854 and 1862, linked to the visits of of the tableau, imposed since the 1980s process of the construction of the monu- 1980s. Those sources were the classics system does not mean that it is strictly Queen Isabel II, anticipate this declaration and whose main figure is Jeff Wall. The ment to Marx and Engels in Berlin, from such as Tretyakov, Brik, Grierson, Agee, a critique of Spanish nationalism or and possibly laid the foundation for it tableau contains an idea of bourgeois the sculptor’s first sketches to its instal- Mumford, et cetera, and new classics of the Spanish State. I remember when and legitimized it. I see my work on the public space par excellence, whereas, for lation in the Marx-Engels Forum in 1986. such as Sekula, Rosler, Spence, et cetera. I presented my series on flamenco in memory of photography as an excavation, example, the spaces saturated with photos The focus is on the work of construction My method consists in taking these Barcelona, I had to explain that it was as I said earlier. It was an accident that this in flamenco clubs refer back to a sort of the monument. On the contrary, the historic theses on the documentary idea not a critique of Spain, but an analysis of series was made during the excavations of plebeian public photographic sphere, book opens with an image of May 1990 and putting them into practice today with how the cultural field contributes to the for the work on the hydraulic system of to a popular, minor, and in a way anti- (first of May?), i.e., corresponding to that maximum literality. My intention is to naturalization of a dominant nationalist the Lions Courtyard, when the monument artistic use of photography. My work is brief moment of indeterminacy after the set in movement this memory of photog- unconscious. In Spain, under current appeared in an abject fashion, with its an attempt to reactivate this other type fall of the Berlin Wall, but before reuni- raphy and documentary culture, not as secessionist pressures, there is a greater insides on display. It was a happy accident of minor public photographic space. fication. In a sort of involuntary manner a fossil, but as the building blocks of our need than ever for nationalism to be ob- that I immediately saw I had to include. the sequence of photographs in the book present visual culture. Photography con- jectified. Wallerstein’s classic explanation Obviously, there is also the reference becomes the anticipatory representation tinues to be the means of interpretation was that nationalism arose in early mod- The link with the Empire (or K.D.) series to and the memory of Aby Warburg’s of the post-communist era. The book and public representation that it always ern times as the legitimizing discourse of was a later elaboration, i.e., when I Mnemosyne, the idea of a history and makes the double mnemonic function of has been, and my aim is simply to use it the nation-states, which, in turn, were set photographed the Alhambra in 2011, I did a discourse built up on the basis of the monument appear in masterly fash- according to the function assigned it by up in response to the historical-economic not know that I was going to photograph associations of images. Out of this ion, although in this case it is a premoni- modern culture, as exemplified by what need for large coercive structures (or Yuste in 2013, nor that Charles V was to powerful amalgamation of science and tion, a memory of the future. This double Tretyakov or Mumford said around 1930: states) based on public debt. In other become such an important figure in this the unconscious emerges a distorted commemorative dimension represents photography allows us to represent, and words, the birth of the nation-state is the whole story. When I made Scrambling I idea of ­historical time. both official history and its counter-histo- therefore to understand, complex social birth of capitalism. And nationalism is did not include the Charles V Palace, nor ry, its collapse. In this way the monument processes, precisely because of its capac- an instrumental discourse in this process; was I particularly interested in that part I understand the exhibition as a space for appears through the document as the ity to interrupt movement. it is the disciplinary discourse par excel- of the history of the Alhambra. the body and not just the eye. Perception materialization of a historical unconscious. lence. I would like my work to contribute is a mechanism that includes both body The general intellect also dreams. YR: Concerning Clifford’s photograph and psyche, perception and imagination, 1. This text is an excerpt of a conversation between of the Puerta del Vino which begins your feeling and interpretation, objectuality and Jorge Ribalta and Yolanda Romero, published in: 2. Jorge Ribalta, Monumento máquina, Centro series on the Alhambra, Roland Barthes, dream. The exhibition is a dream machine. Jorge Ribalta, Monumento máquina, exh. cat., José Guerrero, Granada (January 16 – April 15, 2015) another of your referents, spoke of the It is through sensations that learning, 3. Heiner Müller, Ein Gespenst verlässt Europa, Centro José Guerrero, Granada and Fundación Helga and Fundación Helga de Alvear, Cáceres (April 25, 2015 – with photographs by Sybille Bergemann (Cologne: de Alvear, Cáceres, 2015. January 10, 2016), curated by Yolanda Romero. habitable, not the visitable quality of knowledge, and discourse are produced. Kiepenheuer & Witsch, 1990).

Becoming Mr. Hyde