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TANIA BRUGUERA in CONVERSATION with / EN CONVERSACIÓN CON CLAIRE BISHOP Copyright © 2020 Fundación Cisneros

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TANIA BRUGUERA in CONVERSATION with / EN CONVERSACIÓN CON CLAIRE BISHOP Copyright © 2020 Fundación Cisneros TANIA BRUGUERA IN CONVERSATION WITH / EN CONVERSACIÓN CON CLAIRE BISHOP Copyright © 2020 Fundación Cisneros. Cover [Portada]: Donde tus ideas se convierten en All rights reserved. No portion of this publica- acciones cívicas (100 horas lectura Los orígenes tion may be reproduced without the written del totalitarismo) [Where your ideas become civic permission of the publishers. actions (100 hours reading The Origins of Totali- tarianism)], artist’s home in [casa de la artista All works © Tania Bruguera, unless otherwise en] La Habana, 2015, detail [detalle]. Photo by credited. [foto por] Kate Flint, [courtesy of [cortesía de] Estudio Bruguera We have made every effort to contact Contents page [Índice]: Tania Bruguera, copyright holders for images. Please Havana, 2015. Courtesy of [cortesía de] address any inquiries to: Claudio Fuentes Title Page [Portadilla]: Tatlin’s Whisper #5 Fundación Cisneros [El susurro de Tatlin #5], Tate Modern, 2 East 78th Street London, January [enero] 26–27, 2008. New York, NY 10075 Courtesy of [cortesía de] Estudio Bruguera / www.coleccioncisneros.org Tate Modern Available through: Produced by Lucia | Marquand, Seattle ARTBOOK | D.A.P. www.luciamarquand.com 75 Broad Street, Suite 630 New York, NY 10004 Series editor: Gabriel Pérez-Barreiro www.artbook.com Selection of artworks: Claire Bishop, Ileen Kohn, Donna Wingate ISBN 978-0-9840173-9-3 Editors: Ileen Kohn, Donna Wingate Copyeditors: Donna Wingate [English], Library of Congress Cataloging-in- María Esther Pino [Spanish] Publication Data Translators: Kristina Cordero, Names: Bruguera, Tania, 1968– interviewee. Mariana Barrera Pieck | Bishop, Claire, interviewer. | Bruguera, Proofreaders: Elizabeth Chapple, Tania, 1968– Tania Bruguera in conversation Carrie Cooperider, Alexa Halaby, Víctor Ortiz- with Claire Bishop. | Bruguera, Tania, 1968– Palau, Mariana Barrera Pieck Tania Bruguera in conversation with Claire Series design: Zach Hooker Bishop. English. | Fundación Cisneros. Volume design: Meghann Ney Title: Tania Bruguera in conversation with Typesetting: Brynn Warriner Claire Bishop. Color management: iocolor, Seattle Other titles: Tania Bruguera en conversación Printed and bound in China by C&C Offset con Claire Bishop Printing Co., Ltd. Description: New York, NY : Fundación Cis- neros, [2020] | English and Spanish. Identifiers: LCCN 2019055228 | ISBN 9780984017393 (hardback) Subjects: LCSH: Bruguera, Tania, 1968– — Interviews. | Artists—Cuba—Interviews. Classification: LCC N6605.B78 A35 2020 | DDC 700.92—dc23 LC record available at https://lccn.loc.gov /2019055228 Contents Índice 6 Reframing Latin 138 Recontextualizando el American Art arte latinoamericano Patricia Phelps de Cisneros Patricia Phelps de Cisneros 9 Tania Bruguera 141 Tania Bruguera in conversation with en conversación con Claire Bishop Claire Bishop 272 About the Author 272 Sobre la autora 274 Image Captions 274 Fichas técnicas REFRAMING LATIN AMERICAN ART It is my great pleasure to introduce Tania Bruguera in Conversation with / en con ver sación con Claire Bishop, the eleventh volume in our Conversaciones / Con- versations series that gives us the opportunity to provide in-depth consider- ations of major artists in their own words. This latest conversation is the synthesis of years-long gestation of contemplative exchange. The two women are friends, and although Bishop challenges Bruguera on many counts, both the questions and answers are formulated with the sincere intention to delve ever more deeply into Bruguera’s work and thought. An aspect of Tania Bruguera’s work that I find fascinating is her ability to reframe the stories that we, as Latin Americans, have been told about our history, our society, our politics, and our culture. Both Tania and I realized, independently, as students in North America, how at odds our world view sometimes was with those of our fellow students and instructors. At that time in my life, I found a remarkable lack of knowledge about Latin America’s cultural richness and diversity, and it has been my life’s work to tell a differ- ent story, one that more accurately reflects the array of contributions Latin America has made to global culture. I therefore have a great appreciation for Tania Bruguera’s interest in reframing narratives—in her case, those regarding the complex relationship between art and power. Bruguera, born in Cuba, has had her art sometimes censored there, and labeled “illegal.” She has risked her freedom and safety to create work that she feels is imperative. In the process, she has challenged not only the status quo of political authoritarianism, but, as she says, of “art’s function and limits.” One of the important ways Bruguera has effected these challenges is to have changed the very terms by which her production is described. While a student at the Art Institute of Chicago, she realized that she was being asked to posi- tion herself in relation to a history of European and North American forms and attitudes regarding performance art, installation, and body art, to which she felt no connection. Instead, she understood that Latin America had tradi- tions particular to its experience, geographic locations, and history. In Latin America, Bruguera observes, “art is a way to think, a space of dissent, and it has 6 an urgency that goes beyond the self-referential” because “there is a de facto social responsibility involved in being an artist.” Bishop discusses Bruguera’s specific terminology with her, using examples of her artworks to clarify the terms’ meanings per the artist’s intentions. Arte de Conducta, Political Timing Specific Art, Arte Útil, Est-Ética, and the bor- rowed but apt term Artivism, all invoke in their particular ways an art that produces energy over objects; one that builds awareness of problems and dis- crepancies and solves those problems creatively; one that directly confronts power; one that discovers the vernacular processes of art legible to those “out- side” of art history; an art that emphasizes ethics over aesthetics and has the capacity to achieve greater social justice. I want to thank Tania Bruguera for devoting great time and candor to this project, which adds so much to our understanding of contemporary art within the grand array of cultural production in Latin America. It’s a project that has been underway since 2011, when our then curator of contemporary art, Sofía Hernández Chong Cuy, insisted on the importance of this conversation for the breadth of the series. This “Conversation” is all the better, I believe, for having simmered so long. To Claire Bishop, too, I offer my sincere apprecia- tion for her crucial part in this process; I can imagine no better interlocutor for Bruguera! Bishop’s rigorous questions have resulted in a brilliant elucidation of Bruguera’s work and thought. Jorge Sánchez and Georgia Boe, Tania Bruguera’s studio managers, pro- vided invaluable assistance for all aspects of this project, and Susie Kantor, at Yerba Buena Center for the Arts in San Francisco, was key to securing many of the images. On the CPPC team, I am grateful to Ileen Kohn and Donna Wingate for their diligent oversight of the production of this book; Kristina Cordero for her expert translation; María Esther Pino for her skillful copyedit- ing of the Spanish; and Carrie Cooperider, Mariana Barrera Pieck, Alexa Halaby, and Victor Ortiz-Palau for their indispensable editorial support. Patricia Phelps de Cisneros Colección Patricia Phelps de Cisneros 7 8 TANIA BRUGUERA IN CONVERSATION WITH CLAIRE BISHOP 9 INTRODUCTION claire bishop Let’s start by describing the structure of this book. Rather than categorizing your output by mediums or genres (intervention, installation, performance, etc.), or addressing the work chronologically, we’ve decided to organize it around four theoretical terms that you have developed over the last decade to illuminate your work—Arte de Conducta [Behavior Art], Political Timing Specific Art, ArteÚtil [Useful Art], Est-Ética [Aest-ethics]—and a fifth term, Artivism, that you have borrowed from elsewhere. Can we discuss this rationale from your perspective? tania bruguera These concepts are the best way to represent what I want to accomplish with my work. A recurrent issue I’ve encountered over the years is that critics ana- lyze my work with concepts from different art historical traditions, resulting in expectations and demands that have nothing to do with my practice. When I was studying at the School of the Art Institute of Chicago (1999–2001), I was required to learn all these European and North American terms—performance, installation, body art—and to position myself in relation to them. But I didn’t feel at all connected to North American performance art then, and I still don’t now. Latin America has its own specific traditions that respond to colonization and dictatorship—two experiences that have defined us. CB So it matters that three of these five categories are in Spanish? TB Yes, my use of Spanish for these terms is a political statement: it demands that people understand terminology from other places, and claims a Latin American art tradition of actions in public space. Making art in Latin America can have real consequences for artists who decide to engage with social or political com- mentary; sometimes those consequences are not just legal but life-threatening. The West has only a few examples of this—mainly during times of war, or more recently, when artists have worked with surveillance or state security; for the most part artists in the United States have the privilege of being able to play with ideas and stand at a distance from reality. In Latin America, by contrast, reality exceeds art: death and violence are more present; art may have to be more definitive; there is a higher threshold of pain and violence. 10 The Spanish terms I use force critics to try and understand my artistic posi- tion; it is a decolonizing act—a way to argue that some terms will never be completely understood unless we inhabit them.
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