AaRte cULtURRa nUeVoS MeTDIoS ECONTEX ARTOT CULTURE NEW MEDIA DOSSIER: CoNTrA-GeoGrAFÍAs deL ArTe coNcePTUAL / CoUNTer-GeoGrAPHies oF CoNcePTUAL ArT (M. A. López, J. Barriendos, Taller Historia Crítica del Arte, F. Nogueira, F. Davis) Páginas centrales / Centre Pages: Yoshua Okón, Esther Ferrer, León Ferrari CiberContexto • Cine / Cinema • Música / Music • Libros / Books • Críticas / Reviews 4 2 9 0 0 4 3 2 7 9 6 ISSN 1697-2341 1 7 7 9 9 Editora y Directora / Director & Editor: Colaboran en este número / Contributors to this Issue: Alicia Murría Miguel A. López, Joaquín Barriendos, Taller Historia Crítica del Arte, Fernanda Nogueira, Fernando Davis, Álvaro Perdices, José Ángel Artetxe, Coordinación en Latinoamérica Sonia Prior, María Fernanda Cartagena, Abraham Rivera, Eduardo Bravo, Latin America Coordinators: José Manuel Costa, Alicia Murría, Jaime Vindel, Paulina Varas, Agnaldo Farias, Argentina: Eva Grinstein Micol Hebron, Sema D’Acosta, Juan Antonio Álvarez Reyes, Kiki Mazzucchelli, Alanna Lockward, Carlos García de Castro, Javier Marroquí, Francisco Baena, México: Bárbara Perea Pablo G. Polite, Alfonso López Rojo, Mónica Núñez Luis, Mariano Navarro, Pedro Medina, Luis Francisco Pérez. Equipo de Redacción / Editorial Staff: Alicia Murría, Natalia Maya Santacruz, Santiago B. Olmo, Eva Navarro Especial agradecimiento / Special thanks: [email protected] A Miguel A. López por su colaboración en este dossier To Miguel A. López for his help in the production of this dossier Redactora jefe / Editor-in-chief: Natalia Maya Santacruz Responsable de Relaciones Externas y Publicidad R Public Relations and Advertising Manager: A TECONTEX TO Eva Navarro ARTECONTEXTO arte cultura nuevos medios es una publicación trimestral de ARTEHOY Publicaciones y Gestión, S.L. [email protected] Impreso en España por Técnicas Gráficas Forma Producción gráfica: El viajero / Eva Bonilla. Procograf S.L. ISSN: 1697-2341. Depósito legal: M-1968–2004 Administración / Accounting Department: Todos los derechos reservados. Ninguna parte de esta publicación puede ser Carmen Villalba reproducida o transmitida por ningún medio sin el permiso escrito del editor. [email protected] All rights reserved. No part of this publication may be reproduced or transmitted by any means without written permission from the publisher. Suscripciones / Subscriptions: © de la edición, ARTEHOY Publicaciones y Gestión, S.L. © de las imágenes, sus autores Pablo D. Olmos © de los textos, sus autores © de las traducciones, sus autores [email protected] © de las reproducciones autorizadas, VEGAP. Madrid 2009 Esta publicación es miembro de la Asociación de Revistas Culturales de España (ARCE) Distribución / Distribution: y de la Federación Iberoamericana de Revistas Culturales (FIRC) [email protected] Oficinas / Office: Tel. + 34 913 656 596 Esta revista ha recibido una subvención de la Dirección General del Libro, Archivos y Bibliotecas para su difusión en bibliotecas, C/ Santa Ana 14, 2º C. centros culturales y universidades de España, para la totalidad de los números editados en el año. 28005 Madrid. (España) www.artecontexto.com Diseño / Design: Esta revista ha recibido una subvención de la Comunidad de Madrid para el año 2009. Jacinto Martín El viajero: www.elviajero.org Traducciones / Translations: Joanna Porter y ARTECONTEXTO reúne diversos puntos de vista para activar el debate y no se identifica forzosamente con todas las opiniones de sus José Manuel Sánchez Duarte autores. / ARTECONTEXTO does not necessarily share the opinions expressed by the authors. La editorial ARTEHOY Publicaciones y Gestión S.L., a los efectos previstos en el art. 32,1, párrafo segundo, del TRLPI se opone expresamente a que cualquiera de las páginas de ARTECONTEXTO sea utilizada para la realización de resúmenes de prensa. Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra sólo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos: www.cedro.org) si necesita fotocopiar o escanear algún fragmento de esta obra. Portada / Cover: Envío postal de PAULO BRUSCKY a CLEMENTE PADÍN. Cortesía: Archivo Clemente Padín (Montevideo, Uruguay). Primera página / Page One 4 Un comienzo de temporada más triste que alegre / Some Sad Notes at the Start of the New Season / 24 / 21 ALICIA MURRÍA Dossier: Contra-geografías del arte conceptual / Counter-Geographies of Conceptual Art 10 Desclasificar el cuerpo (conceptual). Impugnar políticamente el conceptualismo latinoamericano INDEX INDEX Declassifying the (Conceptual) Body. Politically Challenging Latin American Conceptualism MIGUEL A. LÓPEZ 18 (Bio)políticas de archivo. Archivando y desarchivando los sesenta desde el museo de arte Archive (Bio)Politics. Archiving and Dearchiving the 1960s from the Art Museum JOAQUÍN BARRIENDOS 26 Conjugar el pasado plural: Hacia una historia crítica del Taller 4 Rojo Conjugating the Past Plural: Toward a Critical History of the Taller 4 Rojo TALLER HISTORIA CRÍTICA DEL ARTE SUMARIO / SUMARIO / 34 Gestionar la precariedad. Potencias poético-políticas de la red de arte correo Managing Precariousness. The Poetic-Political Powers of the Mail Art Network FERNANDA NOGUEIRA y FERNANDO DAVIS Páginas Centrales / Central Pages 42 Entrevista con Yoshua Okón a propósito de White Russians Interview with Yoshua Okon, a propos of White Russians ÁLVARO PERDICES 54 «Soy Feminista, con mayúscula». Entrevista a Esther Ferrer “I’m a Feminist with a Capital F”. Interview with Esther Ferrer JOSÉ ANGEL ARTETXE 62 Un encuentro con León Ferrari / A Meeting with León Ferrari SONIA PRIOR 74 CiberContexto Geopolítica y redes / Geopolitics and Networks MARÍA FERNANDA CARTAGENA 80 Cine / Cinema Reseñas / Reviews EDUARDO BRAVO Loos ornamental / Ornamental Loos ABRAHAM RIVERA 84 Música / Music Reseñas / Reviews ABRAHAM RIVERA ¿Recuerdan los androides un pasado eléctrico? / Do Androids Remember an Electric Past? JOSÉ MANUEL COSTA 88 Libros / Books Reseñas / Reviews ALICIA MURRÍA · FERNANDA NOGUEIRA Descentramientos políticos, dilemas irresueltos / Political Decentralisations, Unsolved Dilemmas JAIME VINDEL 92 Críticas de exposiciones / Reviews of Exhibitions Some Sad Notes at the Start of the New Season The first piece of bad news which shook us this season, in mid-September, was the wholly unexpected death of Juan Antonio Ramírez. With his passion, irony and honesty, Ramírez personified the intellectual who often swims against the tide in order to shed light on innovative trends and perspectives, both within and without the study of historic avant-garde movements, architecture and the analysis of current artistic production. A teacher, essayist and critic, he wrote some 30 books, a number of which have become essential texts in our field. His absence leaves a profound sense of emptiness in the world of art theory, as well as in the training of new researchers. We are left with his work and our fond memories of him. Scarcely a month later, we were shocked by the news of another passing, that of Chema Alvargonzález, an artist who had been based in Berlin for two decades, where he produced his work while also being involved in collaborative endeavours, such as GlogauAir, an artist residency space and exhibition centre, which became a meeting point for artists from all over the world, but especially Spain and Latin America. Almost at the same time, another dreadful event took place, when fire destroyed around 2,000 pieces and the archives belonging to the late Brazilian artist Helio Oiticica (an essential figure whose importance has only become acknowledged since his premature death in 1980). Shock was quickly followed by indignation at the neglect that was involved. The news from Rio de Janeiro was illustrated by the photograph of Helio’s devastated brother, the architect Cesar Oiticica, who had been custodian of the huge legacy. The works had been temporarily stored in a warehouse next to his home, after being removed from the Centro Municipal de Arte Helio Oiticica over financial disagreements. One cannot help but wonder how such a hugely important collection could have been left in such a precarious situation. It has been a loss to us all, but the blame for this event, which must also fall on Oiticica’s heirs, must be laid on Brazil’s cultural institutions. Other developments in the past few months included changes in the management of a number of Spanish museums and institutions. José Lebrero left his post as director of the Centro Andaluz de Arte Contemporáneo (CAAC), in Seville, to assume his new duties as director of the Museo Picasso, in Malaga. Agustín Pérez Rubio was named head of the Museo de Arte Contemporáneo (MUSAC), in León, a promotion from his previous post as deputy director. At the Centro Gallego de Arte Contemporáneo (CGAC), in Santiago de Compostela, the Portuguese curator Miguel Von Haffe was appointed director, becoming the first foreigner to take on this role at a Spanish museum. Lastly, Alicia Fernández was designated as the new director of the Sala Rekalde, in Bilbao. While the earlier appointments were made through public competitions, in Rekalde this procedure was dispensed with. It has drawn much criticism, not of the person named, but because it represents a break with a practice of transparency which has been adhered to in most Spanish regions. Those who contend that the Good Practices Document is not an effective instrument, on the grounds that