Bitácora. Jan Hendrix by Centro de la Imagen

BITﾃ，ORA JAN H F:NDRIX

O ':N'rn o DE LA I MAC I':N CONS EJO N /\ CIONA L PA HA L/\ CU L'r UHA y L AS A HTE S I~ ' I/ (' r o 窶｢ M ar z o 2000

CONSEJO NAC IONA L PA ilA L .\ CU IT UHA y L AS A HTES

CENTH O DE LA IM ACE N

I~F~E L T OVA H

Directora

P ATHl CI A M ENDOZA

P residellle Mo isés R osas

S ecrelario Técnico Ma "ía "i tin a Ga r'cía Ce p eda Secrelaria Técllica

Mel'eed es O le a Subdireclora Es te la Tr'e vi'1 0 Coordil/adora de FI/lace y Cllraduda G USlilVO Pra d o JI!! useografla A d ri a na Cil 'Ta l Coordinadora del Cen tro de Ooculflel/taciól/ f Jl1a n e/ó de obm Nata lia Bri tos Coo rdinadora del Centro d e O ocumel/ taciól/ Dig ita l ,José Ca rl os Go n zá lez

Coordinador de la Sa la del Deseo «,ideo) 1 ~ l i il d e l Ca rm e n Ha m í"e z B. Coordinadora de Eiposiciol/es Itil/eral/ tes

Ivá n Ca "" ill o Coordinador de Prel/sa f O,júsiól/ Fe li pe D ll oa Cuidado de Producciól/ Jav ie r Ha mí,'ez Li m ó n

Coordillador de ,(hlleres Na n ey Co lín Coordinadora de Servicios Lil ia n a d e l Río

Coordil/adora de E:rposiciól/ A rm a nd o Sáe n z

I~'duca tivos

Mar'iea rm e n Mil rlu see lli G. Coordinadora de COlllercialización

1'",r ic ia Go la Oireclora de Luna Córnea

Disei¡o ,Jl useográjico ¡\ CB ¡\ D EC I\ II E 'l'T OS A:

A lfo n so '11o ra les Editor de Luna Cóm ea

I-I a ll s d e Ko rve r .J OII ,ís He n d ri x

Pe dl'O F lo res Enlace Adminútrativo

Indice Contents

Presentación

f1aJáe/ Tow/! '

El gabinete de Jan Hendrix

Presentation Rafael Tovar

A 1110 1110 Sabo/'II

The cabinet of Jan Hendrix Antonio Saborit

Bitácora inconclusa

Salir de J-:Iolanda es dejar la id ea de qu e el mundo es plano

To leave Holland is to abandon the idea of the wor1d being fiat

C'l/a llltlélll oc I/edllla

Cuauhlémoc Medina

Bitácora

Curriculum

/9°

Curriculum

••

•

Presentación Presentation Ra/he! Tova,. PIIESIDE NT E rn: 1. CO I' lSE.lO NAC I O'l ¡\1. r'AnA I.A CU I.T U I\A y I.A S AnTES

Las obras quc J an H end rix reÚ n c c n Bitácora. Notas d e viaje amp lían a la vez qu e confirman nu estr o concepto actual d e la fotogra fía. Dist.intos paíscs, días y jornadas son re latados por cstas compo s ic ion cs propias dc un pc reg l' in o qu e h a h ec ho d e lo s es pacios sucesivos,y dc la s imultan e id ad d e los h ec hos , un a re prcs e nta c ión dire c ta dc su cxpcr ie n c ia se n s ibl e del mundo. U no d e l os aspectos d e csta obra qu e resullan más atractivos lal vez sea s u caráctc r e nigmático. La imaginación y las memoI' iasinscrilas del viajero , s u bitácora, son un a invitación a re alizar d e sd e la insustituibl e cond ic ión d c l espectador, un reco rrido por los es pacios qu e e n la memori a v iv a d e es t.e ca minante in ca nsabl e, se co nvi e rtcn e n im agcn hc c h a d e s ignos ca li g rá fi cos, obj e tos diversos (muchos d e ell os orgánicos), fotos rotas o inte rv e nidas , lo grando e n cada

The works presented by Jan Hendrix in Bitácora . Notas de viaje succeed at once in expanding and endorsing our current notions about photography. Different countries, days and work sessions are conveyed in these com positions, the diary of a pilgrim who has turned the successiveness 01 spaces and the simultaneity 01 events into a direct representation 01 his sen sibility toward the world and his expe rience 01 it . Perhaps one 01 the most attractive aspects 01 the ensemble is its enigma tic character. The traveller's imagination and inscribed memories-his log book-are an invitation to lollow, Irom our irreplaccable standpoint as spectators,

,,7

in the lootsteps 01 this tireless wanderer through the spaces that living memory converts into an iconography 01 calli graphic signs, objects organic and oth erwise, and photographs, torn or ma nipulated; each fragment achieving a visual style that emulates movement, like the imprint 01 a time -Iapse. With this exhibition by Jan Hendrix, the Consejo Nacional para la Cultura y

un a de e ll as una factura pl ás ti ca qll e s imul a e l mov imi e nt o () la hu ella d e un lTaJlscu lTir_ Co n es ta expos ic iún d c J a n I-I e ndri x, e l Co nsej o Nac ion a l pa ra la C u Ilura y las A r tes. a t I-avés d e l Ce n tro d e la Ima ge n , se cO II.pl a ce e n pre sentar la s im áge n es inte l-iores d el itin e ral'i o cl'l(~ e l arti s ta h o la nd és h a seguido e n dif'e .'e ntf'S m ome ntos y la titud f's dcl o rbe, y d e l que Méx ic o It a s id o d cs d e h ace allOS pal' te pri vile g ia da y re CUlTe nte e n un diá logo d e geograflas ta nto co rn o d e p e rso nal cs y I'c n ovado re s le n g u aj es ico nog rá f'if' os_

las Art s, in t ndem with the Centro de lima

n, is pleased to present

he In ermost images 01 an itinerary traced by the Dutc h artist across dil ler nt times and latitudes, recalling that Mexico has, lor manyyears, cons tituted a privileged and recu rrent seg ment 01 that itinerary, in a dialogue 01 g eog raphie s as well as 01 highly p ersona l, innovative, iconographi c languages _

El gabinete de Jan Hendrix The cabinet of Jan Hendrix ;t I//ol/io Saboril

/,0 rpa l l/O se apo,s'pl//a el/ la // ú /on á ; se ap osel//a el/ la p op,S-(a; es/o {'s,

//I ris a llá r!{' las palaúms,

What is real does not lodge in history, but is lodged in poetry, This is larther than words , Llli s C a nl o za y A ragó n

To d a co lf'cc ió ll ('S IlIl a ('v id e n(' ia e m p íri ca d c lllllllld o ;'y las hi sto ri as qll f' g ua rd a di cc lI a IIn mi s m o ti c l1lp o la blí s qll('d a d c ca d a 1111 o el c los o bj (' l os q 11 (' la i 111 (' g ra n y la CO ll s lrll c ('i ó ll (I!' f'sa In inu c iosa blí sqll e d a, As í (' S qll(' ('ad a eo lf'('c ió lI h a bl a d e l g ll s lo y d e la pc rso n a qll(, la f'ol'llla qlliell lalllbi é n sc mll es tra ( ' 11 la s ill g lll a ri d a d d e las pi ('zas .Y e ll S il a l)('go o d esapego a lIlod e lo s, En es te se nti do n o d c b e ría h a l)(' I' IIIIICh a dif'e r e n (' ia e nll'(' e l ('(~ I e br e k Ol/ sd a lll e r el!' Co rll e li s ,'a ll d e l' I-I ae c ht e n el s ig lo \\' 11 , e l kllll s / -l/ll d Wtlllderkrlll/II/ er el e Peel 1'0 el G ra ll d e c n c l s ig lo \ \ ' 111 , (' 1 I/ ó/e l p OI'lleulie!' d (' I-J o nol'<~ d e Ba lzac c n e l s ig lo \ I X y e l es p a ci o a l qll e d a n f'o rm a las 11 0 Ill e no s id cos ill c rás ic as v ilrill as d e J a n H e ndri x, Só lo qll e e n e f'e clo h ay s u s di fc re n c ia s , E l ga bill e l c d c c lIl'i o s id ad es dc J a n H Clltlri x co bl'a s ig n i f'i e a d o c o m o p 3 l' Ie el e s 11 l a n el ivc rsa o bra 31'1 íSI i(' a y n o co m o IIn cap ri c h o d c illdi v idu a l id a d ; l'

Any collection is empirical evidence 01 the world and the stories they contain speak 01 the search lor the collection's objects as well as the co ns truction 01 a meticulous quest , This is who creat ed it-which is al so present in the sin gularity 01 individual pieces and the at tac hmen t or d e tac hment to create models , Based on this, there cannot be much difference between Cornelis Van der Haecht's celebrated konstkammer Irom the seventeenth century, Peter the Great's Kunst-und Wunderkam mer Irom the eighteenth century, Honoré de Balzac's Hotel particulier Irom the nineteenth cen tury, and the c reation 01 Jan Hendrix's no less idiosyncratic boxes , Hendrix's cabinets 01c uriosities are a meaninglul element in his distinct artistic work, However, theyare not an in dMdual whim, but are worthy 01consideration as an arsenal lor subsequent work, though not as a lorm 01 escapism, but as a clear way 01 searching , once again, lor reality through art , <P From the end 01 the sixteenth ce ntu -

ry when the term cabinet 01 curiosities

began to be used to deline a space where the coll c to r exhibl ted hls o b Jecls (as s hown In numerQus Flemish 011 palntlngs WI

e cc rate r n e Ing

0 1 Ihell en lgm

IC passion lor obJec s),

one musl p Olnt o ut several importan t tranSitions , One 0 1 these tranSltions has to do with the

ate ndi bk a l'sc lI a l pa ra o b nls p os t c ri o l'cs y n o C0l110 un a for lila d c esc ap is rll o ; p o r ú ltilll O, ('0 1110 \ln a clara m a n c l'a d e vn lve l' a s alil' e n b ll s('a d e lo r ea l a t1'3\ (: s el e I a l' te , ( ' 0 111 0

Inets, an

r IS ha

lows one lo s

e artls Ins e

101 t e

pnnce , noble, connaisseur or march and-surrounded by his collec ti on 01 c uriosllles th t r Intlmalely tied to hls own exerCIS

n on the wln S o f

r ISt'S ow

<P De l fin a l de l s ig lo :\ \ 1, c u a lld o la \OZ ga bin e te e lllp ezó a se rv il' pa l'a de s ig ll a l' e l es p ac io e ll e l qlle e l cole(' c io ni s ta ex hibía s u s o bj e tos, a l fin a l d e l s ig lo _\ _\, e ll c l qllc la \'cl'dad es q lle I'es lllt a n e ni g lll á t i('os lo s n 11II1 e l'O SOS (íko s log ra dos a p:II't il' d e ta ll fl a lll e ll ca pas ió lI por los obj e tos, ca be se l-Ia la l' val'i as t 1':-111 s i('io ll cs im po l't a llt es, Ulla ti e ne qlle \ e l' con la ge ll c ra li za c ió n de los gabillet es _O tl'a f'S la qu e hoy pel'IIlit c ve l' a l a rti s ta no a l !-ll'íll('jp e 11 i a l n o blC'. 11 0 a l cO fll/ (ú s-si c l/l' lIi alll/o rc/w"d CII e l ce ntl 'O d e Sil pl'op ia co kcc ió lI , I'odeado pOI' 1111 g-a bin e tc de ('lIl'i os idades il'l'(,cllsahl eme nt e illt e l'lI o , a Ullqll(' se trata IIl ás bi e ll d c c IlI'ios idadcs li gadas es tl'CC h a lll (, lIt c a su pl'opio ej e l'c ic io, a l \'1If'lo de Sil im ag in a (' i<)II , Como lo h a h echo [-l (' lId I'i x,

IX has

achleved thls <p

At nSlus Kirch r, pro fessor o f mathe m ICS and o I ntal I ng ages i Rom nn

I 0 1 I e seve t en

c ntury, pa lently showed the tre sures in hls cablnet o f c unosilies : Ihere were perpetual mOlions, m gneIs, hooks an d Vices, clocks WI S ran e urns, dlverse unp collec lons,

Inllngs and sever I In-

di n c uriOSll les,

nd o bJects Irom n -

lure Kllcher sSlsted, explained , and elerred l o VISI ors Interesled In these kln

o spaces, to he villa o f Pn nce L OVISIO, wh re o nce the poet S lustio's viridanum was housed The pu eriJ e John Evelyn described olher objecls Wlthln t e collectlon, 'In the villa-house IS m n's fI sh n all , pe nfle , nd ev o m rble, as i was lo n In the alps , n s nt by Ihe Emperor to /J 1:2

A la n as iu s Kirc h c r, pro f'cs o l' d e ma lc lll ál icas'y d c Ic n g l, as o l' ic n la les c n la Ro nl a d c Ill c diado s d c l s ig lo \( \ ' 11 , eo n pa('i c n c ia al ul'd id a Ill os lraha los Icso r os d c s u ga bin c lc d e c uri os id a d cs: Illovilll i(' I/l oS p c rp c tuo s, IlI agn e t os , ga n c hill os 'y a p a ra lo s, re loj cs d c i III P r c d cc i b Ics .Y c x Il'a I-IOS g i I'OS , d ivc rsas co lccc ion cs s in pa ral c lo, p inllH'as'y nlHll Cl'osa s c uri os i d a d cs d c los il/di os. ('o sas d c la I/ a lura lcza, K ir(' h e r l o d o lo cxp i ic aba; 'y r Clnil ía . a <lerl/ ás, a los vis il a l/l cs intc l'('sa do s e l/ cs tc ti po d e es pa c ios , a la v ill a d e l prín('ipf' Lodov is io , e n dond c a l/l e s SI' h a ll a ba c l Vi,.ir/a,.i,1I11 d c l poc la Sa l/l s l io,'y c n ('/lYO il/l er io r c ll)/l cril.lohl/ Evc l'y I/ a l('s li g IHí cs la otra pn's('I/ e ia : " E l/ la ('asa d e la v ill a (' s lá c l ca d ,lv(' I' d e 11/1 hO/llbre, p e lrif'i ca d o , (' il/ c lu so e Ol/ ve rlido Cl/ II/ á l'll/ o l, l a l ('01110 lo e l/( 'onll'a ro n e l/ los A lp es 'y lo ( '1/v ió 11/1 0 d e los p a pas a l (' II/p e rador ; ('s la b a e l/ /11/ (' aj() I/ , o a la líd , f'o r/'a d o d c I(' /'('iop e lo I/ cg r o , .Y ( ' 0 1/1 0 /11/ 0 d e lo s brazos e s l a b a /' 0 10 se di s lil/ g uía a la p c /,f'('cc i{l/l e l 11I1('so d c la ca rl/ e la ('ual p('rII/al/ cee c nl c r a "; p/le s e n C0 /11 pa l-lía d c K irc lH'r s(' veía la ig les ia (' /1 la q /l e y a(' ía /1 c l e /l c I'po d c l /'c ll o /llbra do Ig /1 ac io de Lo'y o la , 1I/1 bra zo d c Xav ic r, c l ca r-

¡ 50

p 1'1

)?/

d (' ll a l Be ll a l'IIlill e. SIL d (' r(' II sO l', Era Iln mlllldo de' só lid os p% zzi , v i Il as , casas d e IT I i r o .Y ja 1' dill es amp li os ('0 11 rn'( ' ll(,ll c ia Irazados seg líll p a rl i(' ILlar'es 'y ('S(' 11 CU'YOS p aU'id as OI'cl e llallzas seos asomaba ll s ilcll (' io s os SIII'lidor'L's in ago l a bl(' s , rll('II1<'s d(' bro ll ce, eo b e rl izo s , a l'('ad as , o b e li s ('o s , es lal ua s. p as(' os plallla d os d e e ipre s('s,

one of the popes; it lay in a chest, on coffin, Iined with black velvet. and one of the arms being broken, you may see the perfect bone from the flesh which remains entire", In Kircher's company one could vi sualize the ch urc h were the body 01 the renamed Ignatius Loyola lay, an arm of Xaverius, and the Cardi nal 8ellarmine, hi s defender, It was a world o f solid palazzi, villas, country homes and large gardens-frequently shaped by

particular and stric t o rdinan ces-in

I':s un lIlund o ralllás l i('o 'y SO ll<í 'lI bulo e l d e l co !ecc iolli s la, P(' I'O ('s 11111<'11 0 nl ás v il a l (1 d(' qlli('II g ";II 'd a para eons lruir vollllllariarn e lll( ' a lgo c nlre ill e or' p() I'( 'O .Y I'"( 'VO, o bi('lI e l n,ulldo d c l qll(, a lt 'sora d c IIn m o do ill vo llll,l a l'io ,"i('Il Iras se e rnp e ña e ll le va lll al' los va li (' illi os d e IIll a o bra pro pia p o r IIl('dio d e lo qlle S(' <' IIln'v(' ap('II as ('omo un cO llj'"'l o d e pi('za s qllc SO Il los rrag lll(,IIl os .Y la s illl("Tup e io ll cs de la v id a II,i s ll,a ,

whose halls appeared silent end less stock, bronze fountains, sheds, arcades, obelisks, statues, and walkways plant ed wit h cyp resses <p

The world o f the collector is fantastic and somnam bulant. However, it is a far more vital world for those who wait to voluntarily build something that lies be tween the incorporeal and new, and a world that voluntarily treasUres its works to Iift the v ticination of ones own work through what the artist perceives almost

as a group o f pieces-whic h are the

Han, sc r'á la co!e('c iú ll q'lI' S(' PI'('S(, IlIt' c omo '"' ges lo a('a bado, "(' s ll e llo a plellillld ,'y qll(, 11 0 pOll ga a lll (' los ojos d e l espcc1a dol' la p as ió II p or se le ('ciollal', r(' ,", ir y ('011s(' rva r, Pe r'o s i a d e ll, ás a h í apa l'(,ce lI11 a c ie rta id ea d e o I'tI (, 11 s(' ('s la r;.í a lll e ,", a pru e b a d e UIl gas lo ('11'0 li vo 'y r'ac io ll a l qlJ e (' S (' 1 qll(, ('s labl ('('(' loda la dif'ercllcia (' 1111'(' '" 1<' co l(' cc ió n c o rno cua Iq 11 ie l' (JIra .Y

fragments and interruptions of life itself. <p

It would be unusual to find a collection that is presented as a finished , resolved, nd complete work, and that places before the spectator's eyes the pas sion for selection, gathering, and con servation. However, if a concept of order also appe rs, one would be standing before a test containing an emotive and rational outl y, which is what establishes /' I tí

UII ga b ill c te d (' (' ll r i os id ad ('s , I ~ II

Ihe difference belween a colleclion and

l a pl'i ll l(, l'a l os o h.i (' l os POS('(' II di s -

jusI another cabinet of curiosities . In the

ti ll lo s i g lli f i('a d o y IlIla lú (, l'l.a (',111 -

former, the objects possess a different

ti va dol'a p o t (' ll('i a l , IIli (' lIll'as «" ('

meaning and a potential captivating force,

en (' 1 segu n do ('SOS o h.i (' l os ('0 11 -

while in the latter these objects conform

f o 1'11 1<11 I un a a l'l'i ('sga d a PI'('s(' lIla -

to a daring tri-dimensional presentation

eió lI Il'idinl (' lI s i o ll a l d (,1

of the natural world, or of the man of

1I11111d o

n a lll l'a l o bi (' 1I d (· 1 11( 1111)(,(, (' 11 la

History and his Works. They express his

Il i s l ol' ia .Y e ll SII S O bras. d (' l a lall

own will and encyclopedia-like taste, and

Ulla \ o lllnl a d

originate in studies, writings and perhaps

1111 g ll s l o (' II (' i (' l o -

p é di('os_'y ti PI I('1I Sil o l'i g(' 1I ('11 l os

in the nature of the people who once

cs lll< l i o s_ csc l'i l os )' l a h ('('('S (1( , (' lI a 1-

decided to keep them. This is where

qllin ílld ole d (' qlli (' I H'S 1111 d ía d (' -

Hendrix's boxes belong : in his scientific

c id ie r o ll g ll a l'd a rl os ,I ': s a«lI í a d OIl -

manifesto, and the treaty of his poetics.

1)(' ('1(' 11 C('(' 11

l as \ ill 'ill as d (·

J-(ell dl'i x , s u IIl a llifi ('s l o (' i(' lIl í fi ('o

e l Il'a l a d o

d (' Sil

For over forty years, Professor Ruysch,

po (~ 1 i(' a ,

a Dutc h anatomist , who cou ld find no other way to make the world tolerable,

<p R " ,\ S(' 11 . a 11 a I 0 111 i SI a

formed an important collection and il-

ho l il ll d~s q ll(' 11 0 ('1 1<'0 1111'(') o lra

lustrated catalogue, Thesaurus Ana -

lI1a ll (' l'a d c \ o h (' 1' l o l(' l'a bl (' la \ ida .

tomicus, which sparked the interest of

fo 1'11 Hí a l o l a r g o d (' (' lI a('( 'lll a ;" -I OS

Peler the Great at the end of the seven-

P 1'0 f e s o l'

ulla ill'l JOl' l a lll (' ('o l ('( '(' i (')1I ,\ 1111

teen th century. In 1 717, Peter the Great

ca l á l ogo illl sl l'iHl o. 7 '/w,\'ol//'I/.I' 11I/ fI -

acquired Ruysch's collection-although

l o s (' lI a l ('s d ('s p (, l'l al'o ll

he preferring the anatomic theater and

10 1//;(' 1/.1'.

d(' P(' dro el

(;/'Ol/rlf' a

the conference room- as well as the

f ili a l es d e l s i g l o \ \ 11. EII

17 17, 1'(, -

reluctant Dutch pharmacist Seba's col-

e l illl ('('(~s d I'O

(,1 ( ;/'ol/rle

a dqlliri(') la ('0 1('('-

(' i ú lI d (' Ru ys (' h

l a sa l a

insects from the West Indies . The two

,as í ('0 111 0 la d ('

collections were the foundation of Rus -

f(, l' ía {' I I {'a ll'o <l lI a l <Í llli( 'o

d (' ('O llfl' l'f' II Ci as

lection who had assembled all the earthly and aquatic animals, birds, reptiles and

1' 11 l a «11 (' pl'(' -

Se b a . d l' sga ll a d o b o li ('ari o Il o lall -

sia's Museum of the Academy of Sci-

d(~s, l a (' lI a l I'{' II11 i (') l o d os l os a lli -

ences . This museum was a magnet of

IlI a l ('s 1(' I'I'cs ll'('s \ ;(' II ;í li ('os. a \ ('s.

curiosities: images, vessels, and the ob -

('(' (llil ('s (' ill s( ' (' l os d (' la s IlIdia s

jects that appeared among the ruin s of

O ri (' lIl ale s, La s d os ('o l!' ('(' i o ll ('s

a temple near the Caspian Sea; idols,

fl H' l'OH (' 1 f Olldo d e o ri g(' 1I d (' 1 \111 -

Mino taurs, oxen , geese, as well as

/) 1:;

deformed young and old men caNed

s e o d c la A ('ad c llIia de Ci e llcias d c Ru s ia . Es lc rllll S('O file ill ráll d c c'lIrio s idacles : illr ;.Íge ll es , v<lsijas 'y

on brass that came lrom near Samar· kand; elep hant tusks, lound near Vor·

las pi e zas qu c aparec iel"OII C IIU'C' las I'Irillas d c UII le llrpl o c'('I'('a dcl Ma r'

o nesh, wh ieh in Peter's imagination

Casp io ; ídolos, IIrillolalll'os, l)(I c)'cs, g a ll sos , así Corll O jcív('rlC's .Y v ie jo s d e f'orlll c s I'('alizados (' 11 la lólI

Mythology that tends to be called His -

become relies from Alexander the Great. tory pos tulates the possibility 01the ex· istenee of an inlinite Thesaurus with poetry tha t has not seen the light, even

provc lli c nlcs de la s illlllC'di a('iollcs d(' S am a r'ca lld a: ('ol llrill os dI' ele-

at the bottom 01a entangled drawer o f

fanl c . r cc upel'ados c'c'rTa de Vo,'o ll cs h , los c ll a lcs C' II la irll ag iII ac ió ll d c Pedro s c' ('0 11\ il'liel'oll C'Il r e li q lli a s dcl p<lSO d(' A lej<lll-

an adolescent Hendrix. <p

A cabinet is a space, but it is also furo niture . In other words , eaeh 01 the boxes

dl'O Mag llo. La rllit o logía qllC' sllC' l(' r'C'cib ir'e l n Ollrl)l'c de Ili s lo l'i <l poslllla desd c e llloll('('S la posihilid a el d c Ia e x i s l e 11 (' i a d e i 11 fi 11 i l os TI, e SOIll'lIS (, ll y a poc'sía 11 0 h a v is lo la lu z , ill Clll so ('11 e l fOlld o del d é dal o c ajóll de 1111 al'l isla <lelole s (' e nlc eo rll o Iklldl'i x .

Irames the rarity o f the find, o r the fu · gitive appropriation 01the objects tha t are elosed up inside. Boxes, know they eanno t imprison their music , and anx· iously shelter

sta r~,

and these , Iike res·

urree tions, allow us to see the mor· pholog ieal trait s 01 objeets in striet isola tion, where eae h objeet is unique in the cOlnpany 01other objeets. Here,

q> E l g abin c lc (' s 1111 espa('io IJC'I'O lalllbi é n 1111 IIl ob ilial'io . c'slo C' S, ('<Ida un a d e las v ill'illa s ('I1 )' a 111<1I(,,'i a liel ael h<l ('c desl<l(';II·1;r I'an'za.

each dillerent trait acquires a precise meaning in the company 01 other ob · jects. The box also shelters the detailed narrative 01 the encounte r of these

e l h a ll azg o o bi e ll la fllgil iva apl'O-

objects and the energy invested in their

"ia c ión d c los o bj e l os qllc ' e ll (' ie rra n CII Sil illtel'iol'. I.as \ ill'i Il as, a s u ve z, pOI' sabel' illall'ap<lb lc' Sil mú s ica g llal'dall ('011 (' ic' l'l <I <lll s ia la s cs f'el'a s . h <l( '(' 1I \ ('1' ( ' (lIIIO r(' s lllTccc iolles los I'asgos IItOI'fol óg icos d c los obje los qll( ' ('0 11 li c lI CII )' a s í, e ll es ll'i!'lo aisl<lllli('lIl o , c ada obj e l o ('S 1'llIi ('o ('11 la

laborious or casual obtainment. In the box one finds delianee toward the empire of the shadow, a elepsydra that hides aH . <p

Cornelis van der Haecht invited one to look al his cabinet, stopping at the pieces Ihal hung from the wall, or belore cero tain boxes. These eorridors were prom · enades 01 monomania, similar to those p l ri

CO lllp:lÍlía d e ot r'os rnll c h os o bj e los I'a sgo s qu e ad quierell s ig nifi cados pl'cc isos e ll cO lllpailía d e esos 01 1'0 S obj c los. La v ill'ill a g ll a l'd a la lllbi t- II e l 1'(' la lo Cil 'n lll s lall c ia d o del e neu e nlro c lIlrc cs los obj c l.os'y las t' " e rg ía s in vc rtid as e ll s u la bori osa o cas ual ob le n (' iú ll. E II e ll a eSI :' la illlpro lll a de 1111 d csa fío ::1 1 inlpe ri o d(' la so mbl'a , c le ps idra que lodo oC lllla.

of Leopoldo Guillermo, an archduke who must have existed because he appears in an oil painting by David Teniers. Hendrix has arranged that his objec ts obey a d ifferent kind of portent and , because of this , he prefers to look for a d ifferent kind of astonishment. The boxes of his eolleetions are those that go out into the street in seareh of a speetator, building audienees. Who thinks of moving the boxes from a eabinet? W hy so mue h work?

Co rll e li s va" d e l' Ha cc lrl ill v il aba a rC(,OI'l'CI' Sil ga binel c. d e l eni é ndose a lll e la s piez::1 s (jll e ('0 1ga ba n d c la p a l'e d () bi e n frellle a c ie r'las \ ill·ill as. Pa scos d e ilIO n o 111 a llí::1 (' I'a n csos I'('CO ITi d o s. Co mo lo s d (' Leopoldo Gu illel' mo , a l'e ll id IH.IU C q u c debiú Ir abcr' ex is lielo purqu c as í lo III11( ~s lra UII ó lc o de Da v id Teni e l' s. llclldr ix h a dislJll(' s l o <-¡ll e las ('osas o b e d e zc a ll a 0 11'0 li po de P0l' le nl () .Y po l' lo 111 iSIIlO P I'('/,ic rc b II S ca l" cli s lilllo es lllp o l'. L as v ill'i na s d c S il eo ll'('c io "i s lll o so n las ql le s::1 I(' II a la calle ('" bll sca d('1 es p c cl a do 1', ('o 11 S I I'll'ye 11 el o P lí 1> I icoso ,:A <J"i ( II se le oC' urre 1110 ve r las v ilr in as d e un g abin ele? A ve r, ,: p a ra qu é I.a lll.o u'ab aj o!)

achieved an extended and exposed work,

It is an intense voice whose dominions

C o " di/'i c lrll a d se e n co nlTa r á l1 do s ga b ill e l cs id é nli cos. M e ll os d os v ilrin as ig ual es. Do s pi c l.as, n 11 n C::1.

he alludes to in the very heart of the graphic

It is hard to find two identieal eabinets of euriosities and still harder to find two identical boxes. Two ide ntic al p ieees , nevero q>

Things do not happen in this way since it is almost impossible to find two completely d istinct cabinets , boxes, or pieees, as it is to find two people who are able to share eertain inte rests , cu rios ities , and mani as. However, they do have th is pecu li arity in eommon : they are spaces charged w ith narra tive, the test par excellence of our pas sage throug h this world. q>

An ineonclusive voiee appears beside th is series of boxes by Hendrix, who has

arsenal that the artist faithlessly began to gather at the beginning of the eighties, and that wo ul d late r become his p

own cabinet, his personal Kunst-und

As í no se da lll as cosas, pll es cuand o mu c h o ape n as se ll ega n a parccc r los di s tinlo s ga bin e les , vitrin as y p ie za s , com o c u a lld o d os pc rsonas a lca ll zall a co mpa rtir' c ie rtos in te reses, c uri os idad es, manías , Pe r'o e n co mlín li c n c n c ic rl a m e ntc es ta pec ld ia l' idad : son es pac ios ca rga dos d e narrati vid a d , la prueba pOI' excele n c ia d e n ues ll'O fJa so por cs Le mUlld o .

Wunderkammer. A work space of illusive colors , but without the substance, which Hendrix would later discover in a fervo r for the rhetoncal textures of papero A space that he visits again and again over time. One could say that on occasion it 1S a travel log that one reads between one box and another, since within each of the boxes he shelters numerous definite agendas; because this work space has been symmetrically divided into three parts . Practical spiri t , ethnog raph ic spirit.

La voz in conclusa apa rece jUlIlO a es ta sc ri e d e v itl' in as d e TT e nclr'i x, la prinl e r';;¡ e ll la qu c c ll say ó ulla empresa d e I,B'go a li c lI lo. Es ull a vo z inle n sa y e n c uyos domini os se a lud e h as ta c n filig ra na a la co ndi c ió lI Illi s m a d e l a rse nal g rá fi co qu e e l arli s la p or d esco nfi a do e mp czó a I' e unir h ac ia e l co m ie nz o d e los a l1 0s oc h e nla e n lo qu e se ría s u prop io gab in e l e . s u fJ e r so n a l KU II SI und lV ullderka mm er. I~s p ac i o d e I.rab aj o e n co lo res irTea les , y a lín s in la s u s la n c ia qu e m ás ad e la n le ve ndría a l d esc ubr'ir' H e ndri x e l fe rvor p o r las r e lór icas le xl u ras d e l p ape l. Espaci o qu e v is ita un a y otra vez a trav és d e l t ie mp o. Se diría qu e e n ocas io n es es un a bitá co ra qu e se lee e ntre una y o lra vit rin a, p e ro tamb ié n e l inte l' io r d e cada una d e las cajas guarda mu y p l'e c isas age nd as , pu es

At a quick g lance at Hendrix's cabi net give an outl ine of m iscellaneous anecd otes . However, in real ity they reach much farther than wo rds, and lie in the poet ry that aludes history and searches for life- in history that is life when touched by poetry. In the superior area of one box there is an ink d rawing of a mountain, wh ile in the center t here is a inst amatic photograph of the Toluca sky, taken in 1 981 ; and , at the boltom, there is a t oy airp lane camouflaged by a sky w ith a copious comet trail. As I said earlier, each box is d ivided into th ree parallel sec tions . Another exh ibits an ostrich egg in the superior section wh ile in the m idd le th ere is apu re b lue photog rap h dated Temascaltepec, 198 1 ; at th e boltom t here is a p iece of molten iron from Cananea, gray and fi rm as molasses , In another p 18

a hí e l es p ac Io se Il a di vidido s ,m é tri ca m e nte e n tres partes . E s píritu prác ti co , es pí,' it u e tn ográfi co. <p

E l v is ta zo m ás so m e ro a las v itrin as d e Hc nd r ix d ev ue lve e l bos qu ej o d e di s tinlo s re la tos. A unq u e loe ie r to es q u e e n e II os la r e a lid a d es Lá m ás a ll á cl e las p a l a b,'as, e n la p oes ía qu e a lud e a la hi s to ,' ia e n bu sca d e la vida - e n la hi s Lori a qu e es la vid a c ua nd o Loca la p oes ía. H e a ql,í qll c e n la parl e s up e ,' io l' d e una d e las v ilrin as h ay un dib"j o a tinta d e ulla m o nta ñ a, una rOl o ill s ta llLá n ea d e l c ic lo d e To l uca, e n e l ce nl ro, tom a d a e n 198 1 ; a b aj o un av ió n d e jug u e te ca ll1uf'l a d o d e c ic lo, ea llda losa es Le la in c lllicl a. Dee ía nlO s q u e c ad a v ilrin a se pal' l e e n tres secc io n es p a ra le las . O U'a d e e ll as e x hib e IIn I1I1 ('vo d e co d o rniz , a rriba ; e nnl e di o un a ro Lo in s ta nLá n ea e n pllro az ul , ree h a da e n Te ma sea lLe p ee e n 19 81 ; IIn Lro zo d e hi e lTo rundid o pro ve ni e nLe d e Ca nan ea co m o m e la za ti es a , g ri s, e n la p a rte inre rior de la v itrin a. As í s u ces iva m e nte. A hora s on do s va ras pintad as e n blanco y n e gro , arriba ; un a [o to in s tantán e a tomada e n P e te r s fi e ld e n 1983, s eg ún di ce la ley end a; un a pi e d,'a li sa pintada a m a no , mote ada con pince l para se r e xac -

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los. a l pi e. Lu cgo c ilo esla: a lT iba. d os eS l a lllpill as p osta les d e Islcl n d ia, co lo read as a Illano ; e ll Ilw di o Illl a rolo de l so l OC ldl O pO I' la c opa de 1111 á l'bo l; abaj o la IlI ila d de ull a h oj a a la q u e S(' ag r cga1' 0 11 las líll eas y los ('o lo l'es lI ecesa ri os p ara rOl'lIl a l' la illl age n d e 1111 volcá n . Pero e l re la l o 11 0 es ('a h a llll en le s ill e l IlI o lll aj e d e las tex lu ras qu e ca d a e le rll e lll o a p o rl a. Pi ed l'a , pape l, veg(' lac ió n . !\cá h ay a h ora IIll aS Illll es l nlS d e IlIilH'ra les d e Ca ll a ll('a, IIl1 a rolog rafía in s la n lá n ea d e 1111 IIl1 do de ('ad e ll as eon la ley e n da " P ie dras NC'gras 1985" , ull a plunl a y ull a va ill a. O lra Illue s lra IlI ill e r a l. a ll o r a IIn a foto de IlIl a y ll ca, re e h a d a e ll " V ill a h c l'lll osa 1982" (' illl e r ve llid a , UII 111111-ICCO g ri s CO II IlI a ll e h as b la ll eas. d eca pil a d o , d e e s p a ldas a l l'S p eCla d o r. POI' ú lli 1110, IIn a h oja de labaco e n ro r lil a d e sa ll amontes , ull a fo lo d e IIn c ac lu s ree h ada e ll "C lI ay rll as HJ8S·' . IlIla p ic dra d e r ío , 111111111 1-1(')11 d e peyo te. U ll a IlI c dll sa d e va ras, IIl1 a fo to el e IIn p a isaj e IIl ás (" U riqu e 1985"), UII n le lll O de gaslos e n t in la y cartó n . ,!Q ll é el e b e l'ía r eeo r da l' esle IIl e ln OI'a ll d llm !) ¿Q u é l ecció n d e p ill l lll'a d ebe verse e ll la foto inS la nl á ll e a?

box, the top sect ion contains two wands, painted white and black; in the middle is a photograph taken in Pe tersfield in 1983, according to the in · scription, wh ile at the bottom, lies a smooth stone painted by hand, or mottled w ith a paintbrush to be exact . In the superior section of another one there are two postage stamps from Iceland colored by hand ; in the midd le stands a photograph of the sun hidden by tree branches; and below Hendrix has mounted half o f a leaf to w hich he has added the lines and colors necessary to fo rm the image of a vo lcano . However, the portrait of these boxes is not complete without describing the work's textures, which are given by each element: Stone, paper, veg etation. There are samples of minerals from Cananea, a photograph of a knot of chains w ith the inscription "Pie · dras Negras 1985", a feather and a sheath. Mothermineral sample, thenaphotograph of a yucca, dated "Villahermosa 1982', and accompanied by a gray, decapitated doll covered with white stains, and w ith his back to the pub · lic . In another, there is a tobacco leaf in the form of a grasshopper, a photo of a cactus dated "Guaymas 1985", a river stone, and a stump of peyote. And fina lly, one contains a jelly-

fish , another landscape photograph ("U riq ue 1 985" ), and a list of expen-

lI a plulll a de ave en u n l ro ll c o ; IIn a ro lo insla nlá n ea co loreada a

does this memorandum remind us?

d itures in ink on cardboard. Of what

IIl a ll O; Iln a c Oll c h a nlin c raliza d a, UII:l pi e dra de III ,H , IllIa ('sea la. U II p e ll a e h o eO IIvc rlido e n ra ma ; UII ó leo IIl al' illO e onve rl.ido e n p o lal'o id ; ulla lIlu es lra Illill e l'al co n ve ltid a e ll IIn a p iecl l'a li ge ra , co mo tl'l. U n a pi e l d e v íhora a llllllla r e ll va in a vege la l, CO II los IllIl ares d e las s(' lIliIl as ; 1111 p a isaj e ele Hjalt('I'i e n 1981 co n IllI a casa d e refugio ; e l dibujo d e ull a h oj a . La tranHI d e M il'ó; un int e l'iol' : sof"í (' n Kilbul'lI . L! II trozo d e ('aiia. LJ lla I'alll a s ('ca 'y nít.ida ('01110 1111 lI a ikú . Ulla ( Ito ( 1'1(' n lll{'s tl'a u lI a e s p ec ic d c n eó lI oe l'e. U II IlIapa as tl'a l a l'l'll ga d o 'y roto.

Wha t p ainting lesson can one find in a instamatic photograph? <p

A bird feather on a t runk, a ins tama tic pho tograph c%red by hand , a pe tri fied shell, a sea s tone, and a scale. A tu ft of feathers co n ve rted into a bran c h ; an o il painting converted in to a Polaroid; a m in eral sample converted into a ligh t -weight stone, like you. A snake skin mu tates into a vegetal husk, with blem ishes of seeds; a Hjalteri landscape from 1981 beco mes a she lter ; the drawing 01 a lear A line by Miró; an interior; a sofa in Kilburn. A piece of sugar caneo A dry and c lean stick , like an haiku. A photograph that shows a kind of neon ochre A wrinkled and bro-

U II in ve llla ri o (l e fo rrn a s , tex tll ras , sO lllhl'as . EIIllUIlc!O (1'1< ' se va (' 11 la SO II!lIl';! d e Iln rostro qll e 111111 ca III ~lS volve rá a I1lira rnos. La a l'e lla qu e qll e d a (,Iltl'e las IIH1II OS.

ken map of stars . <p

An inventory 01 fo rms, textures, and shadows. The world that leaves a face in the shadows , which w ill never look at us again. Sand that remains w ithin

S ill 1111 pro g ra m a pr('e iso se e lllp e za l'o ll a ap il a r e n e l e s tudioga bin e le de llelldri x las v ill'ill as d e SIl (' llri os id a d . U II poc'o , s í, las fo rnló ('11 la (,llcl'el a del a l'l(' corre o ; pcro só lo e n los la llt eo s d C' 1 prill c ipi o , qu e lI1u c h o l e nía ll d e Cíl/p e d i clII . O lro poco i nle r v i 11 () la n os la lg ia c n es le as ulll O, es l o es , e l du e lo o la irnp os ibilid a d d c I e lIle 11 (1 i 111 i(' 111 0 q 11 e s 11<': le exp r es a r se a lra vés d( !1 co leee ioni s l1l o , s lljll s lifi eae icí ll. P(' r o e n

ou r hands . <p

Th e developme nt o f Jan Hendrix's cab inet began to p il e up in his stu d io-cabinet wit hout a precise p ro gram o He d id base t hem som ew hat on the id ea of post al art ; bu t on ly in his early attempts ; m any 01 wh ic h we re carp e diem. Nostalg ia, o r the ache , or impossibility of understand ing , al so p layed a role , which oflen expresses itse ll through collecting, fl 2 I

e l illte r'io r d e las vilrin as , 1-lC'rldr'ix ex presó m ás qu c Ilad a ull a s ll<'rl(' d e bú squ e d a fOl'ln a l e illl c l('c lll a l qu e lo ll eya ra lo rmls ce rca p os ihl e a un a v is ió n cas i a d á ni ca I'p la ti va a la po r'te n tosa vid a d c la a bs tracc iú n e ll c l mlln d o Il<llllr'a l. Ya s(' 111 (' 11cio ll ó la tridilll C' ll s ioll aJid ad d c cstas vit r'in as, p c ro n o cs s ufi c ic lll c lo d ic h o, Ha y qll e ill s is tir e n qu c c n c llas se c umpl c la inqui ctud d c Il c lldrix po r las ('m'nla s qu e oC lllla la in so p o rta bl e lil (, l'a lid a d d e los obj c tos, Es ta cs la cl ave d e l ga bin c lC' de l a rti s ta, s u o ri ge ll y d esa rroll o, Muc h os d e los a pllntes c ll ca ps llla d os c n las caj as sc co n vc l'lil'íall p oco o mu c h o li c rllp o d es pu és Cll o bras qu e s u m a ll a e n sayó a mpli a y has ta ind c pc ndi c ntc m e nte d c cSC' p rim c r' h á bita t, c ua nd o n o pa r'cc ía ll se r s in o un a c lIl'i os id ad d c ga binc te, íntim o tes tim o ni o d e l paso d e la vida, O t ros d c los a puntes ag ll ~lr da n s u ti e mp o, y a b a nd o n a r'á n s u c ri sá lid a dc vidri o y m ade ra pa ra co ns tru i l' se n 1idos e n e l t ra baj o d c ca m po,

and is its jusl ification, But, aboye a ll , inside Hendrix's cabinet he expresses a formal and intelleclual search that would take him as clase as poss ib le lO an almost Edenic vis ion rela t ive to the portentous life con tained in the abstraction within the natural world. I have already men tioned the tri-dimensionality of these boxes, bul Ih is is not enough . I must add that in Hendrix'S boxes he expresses a disquiet tha t has been lul l illed in the lorms thal h id e the unsupportable literalness 01 objects. This is the key lo the art is t's cab inet, its origin, and developmen t Many 01 the notes encapsu lated in the cases will soo ner or later become wo rks that his hands used ex pans ively and independently lO create his first habitat, when it appeared to be no more than a cabinet curios it y, an inti mate tes t imony on t he passage 01 life . Other notes must await the ir time, and one day w ill abandon their chrysalis 01 glass and wood to build sense in Hendrix's fie ldwork.

<P The lirst light never e nd s, it trembles

L a prime ra lu z nunca te rmin a, ti c mb la com o el asombl'O qu e asedi a e l en tendimi e nto d e l artis ta a ltTatar d e asir e l racim o d e lo real. E nc ié rre nse la lu z y s us evolucio nes e n e l gab i nete y aprenda m os e nto n ces a recibir' su e n cantamie nto, conte mpland o la fascinació n d e s u frío y d e s u fu ego,

like the asto ni shment that besiege s the knowledge of th e artist as he tries to size reality, Lock in the cabi net the lig ht and its evo luti ons, and then let us learn how to receive their enchant ment, contemplating with lascination t.h ei r Iros! and l ire, p

En cll'Ompecabezas de hi storias qu c es La vida: ú1slrucciones d e l¿W, Geo rges Pc rcc imaginó Ull personaj c, Pc rcival Bartlcbooth, que Ull día tuvo a bi c n hacc r d e su vida un viaj c inlc f'minab le a lo largo d el c ual realizaría este proyeclo. En com pai'íía dc un ayuda n le, Bartle booth emprende un viajc de veinte años alrededor dcl mundo co n el propósito de realizar un a sc ri e d e acuarelas de quini e ntas playas y pu e rtos de mar. Acuarela co nclu id a, acuare la rcm itid a a casa, e n donde algui e n se encarga d e hacc l' con cad a una de e ll as un rompeca bezas d e 750 pi ezas qu e cs d c pos ilado e n una c<ua de mad e ra. U na pas ión semejantc descubrirnos e n Hendrix ysu gabinete. Hendrix, al igual que e l excé ntTico Barllebooth , sabe qu e s u casa es cu alqui e r lu gar e n e l que pueda colgar su somb re 1'0 y cchar m a no d e su es llJch e de artista. Só lo que H e ndrix - a difere ncia del pe rso naj e d e Pe rec, quie n tras vo lver a casa, organ izar los rompeca b e zas e n o rde n cronológico y restaurar la apa ri e n c ia original de las ac uare las - , no só lo se muestra e n los fragm e ntos de su coleccionismo s ino qu e prese nta los fragmentos corno lo qu e son: e videncia d e l viaj e d e su v id a, e n e fecto, mas no sólo eso sino tambi é n muestra d e qu e la aparente nonada de la realidad es e l punto d e llegada, no de partida.

In the puzzle of stories, Life : A User's

Manual, Georges Perec imag in ed a c haracter, Percival Bartlebooth , who one day decided to take an endless lifeti me voyage to develope the follow ing project. Toge th er w ith his se rvant , Bartlebooth sets off on a twenty year journey around the world w ith the aim of painting a series of five hun d red beaches and seaports waterco lors. Once a watercolor was finished, he wou ld send it back home where someone was in charge of pulting to ge the r a 750-pieee puzzle w ith each one of the pai nting s wh ich was then deposited in a wooden box . We can see a simi lar passion in Hendrix and his cabi net. Toge th er w ith the ecce ntric Bartlebooth , knows that his home is where he can hang his hat and open his artist's paintbox. Only Hendrix, un like Perec 's charac ter who, after returni ng home , organizing the pieces o f the puzzle in c hronological order and restoring th e original appearance of the watereolors , not only re flects his pass ion far eol lecting in the fragme nts, but al so presents these fragme nts for what they are: an ac tual evidence of the journey of his life, and as an example that the apparent no thingness of reality is the point of arrival and not of departure .

Bitácora inconclllsa (a F iu n a

47 ('aj as d('

A Ie X3 lid (' 1')

Po la l'oid y Co l! age 1II <I <I {, l'a 'y c r ista l de 42 x

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1979-198G Co le('ciólI pri va da.

M(~x i ('()

Bitácora inconclusa 11

(for Fio a AleyancJer) 7 boyes in vVood and glass, 42 / l0 un Ai:lch 1979 1980 Prr'Jate collection HA/K.O

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Salir de Holanda es dejar la idea de que el mundo es plano

To leave Holland is to abandon the idea of the world being flat

Cuau/uémoc JII/ a fin a

D ESPAC II O S IH:S DI ': L A L UN A

D ,sPATCHEs FROM THE MOON

E n di c ie mbrc d c '1996 , mi c nU'as obse l'vaba c n co mp añ ía d e l a rti s ta bras il e ñ o M ill.o n Mac h a d o las im ágc n cs gé lid as c impasibles ' qu c so n los c uadros dc Vilja Cclmins, c l n o mbl'c d c Jan HClldri x m c vin o a la cabc za , No h a bía, p OI' s upu csto, sc m cj a nza a parClltc c ntrc las o bras d c Cc llllin s y H c n d ri x.Me s u cc di ó, m ás bi cn, lju c la rc tros p cc ti va d e esa pi nto ra le to n a a m e ri ca n a d c los a ñ os 60 vin o a co nfirm ar un a a firm ac ió n qu c Jan m e h a bía h ec h o co rn o a princ ipi os d e los a ñ os 9 0 : la id ca d e qu e la ll ega d a a la Lun a h a bía p e rtur ba d o I'a di c alm c nl.c IIU CS -

In December 1996, as mysell and the

I E n esa pa la bra Ce lrnin s d efini ó a lIl e di a d os d e los scs" nl a S il propi a ve l's ió n d e la a n f's l e s ia d c l Po p, S il p,'o pi a ve J's ió n d e la co nfes ió n d e \Va rh o l " 1 wa nt to b e a n, a cl,in c" : " Ni (, olnp os ic ió n / ni ges t os/ ni c% l' a rtifi c ia l/ ni d e fo rm ac ió n/ ni a ng us ti a ni esfu c l'Zo/ ni cco/ (c ua dros impas ibl es)." (Vilj a Ce llnin s, No tas s in publi ca r', I961¡-6:i , (' ilada s 1' 0 1' .I a lll cs Lill gwood e n " Inr áge nes d e la rea lid a d ", Vi(ja Ce/mins , Mad,'id , Mus,!o Nac io na l Ce ntro d e A rt e He in a So fía , 1997 , 1'.22. )

Brazilian artist Milton Machado were looking al Ihe icy, impassive' images that are the pictures 01 Vilja Celmins, the name 01 Jan Hendrix came into my mind, Not that th ere was any obvious kinship between Ce lmins ' works and those 01 Hendrix. But Ihe ret rospective 01 this Latvian -American painter 01 the Sixties seemed to endorse something Jan had said to me at the beginning 01 the Nineties he mentioned that man's landing on the Moon had radically al lected our notíon 01 "Iandscape', to the point, indeed, 01 jeopardizing the very poss ibility 01 such a genre in contemporaryarl .

, This is how Celmins defined in the mid Seventie s her ve rsion 01 Pop anaesthe sia, her version of Warhol's con fe ssion that ' 1 wanl to be a machine' : "neither composition/ nor gestures/ nor artificial color/ nar deform ation/ nor anguish nor effort/ nar echo/ (impassive pictures).· (Vilja Celmi ns, unpub lished notes 1964-65, quoted by James Lingwood in: "Imágenes de la realidad" Vilja Celmins, Madrid, Museo Nacional Centro de Arte Reina Sofía, 1997 , p . 22 .)

p 37

Ira id c a d e " pai sa.i e ", al g r a do d(' q"iz á

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( '11

dlld a

l a po s ihilid ad IlIi s lll a d (' 1 g(: II ('ro p a r a c l a r'l e ('O IlI( ' IIIPOl'á ll C'O , V ilj a Ce llllill s p a l'('cía (,1I('al'11 <11 '

IIll a di\ i s i(í ll qll(, .I a ll 111( '

ill s i slía IIll a

oll'a \('/ : (,I'a l a

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l e ra , o 1111::1 d (' la s ('l'olll('l'a s , 11 '(' e l p a i saj(' " posl - lllllal '"

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pn' e i s i ó lI IlIaq 11 i lIa I la s pl'i IlI e l'<IS ('o l o s c nll'('{ ' ol 'lad as , il<- g il>le s ,Y d esc lI f'oca d as d e l a Sil perf'i('i(' IlIlI a l' e n\ i a d as a l a liel'l'a por l as sO lid as , cá p s ,d a s y lI a v (' s <¡II (' l' od c an) 1I

pl' o y ('(' lo A p o l o,

Debido a l o I'Il<lilll<'lIl a l'io d(' la s I(: ('nica s de Il'allSlIlisi <'1I1 d('la (: po ('a , a l g llll as d(' esas ('olo s 1I (' gaI>all ('I'ag nlelllada s ('11 ('orill a (1<IlI o sa i c o s p S{' lIdocllhi s la s _ a d('I a lita 11 d o l a s ('01<)('0111 po s i (' i o 11 e s qu c a l'Li s l as ('0 1110 Il<-lIdl'i x pl'a('li c a r'o n , sob l'(, l o d o a pal'lil' d(' la sob l'c posi c i ó lI d (' ('01 o g l'a (,ías po l a I'o id , V i Ij a C e ll1l i li S h a bía Ira II Sf'e l'id o a l g l'af'ilo l o do (' 1 1'lIid o t éc ni c o qu e, CII l a é po ca , rod c aba es as v i s ta s d e

IJ 11

h a lo {- pic o:

Vilja Celmins appeared to embody a distinclion Ihal Jan had repealedly stressed lo me, that is, she marked the boundary, one of the boundaries, between the 'post-lunar' landscape and landscape tout court . Between 1969 and 1972, Celmins copied wilh mechanical precision those lirsl sluttering, illegible, blurred pho l ographs 01 the Moon's surface beamed to earth by Ihe probes, capsu les and spaceships 01 the Apollo expedition . Due lo the rudimenlary nature 01 transmission lechnology at the time, some 01these piclures arrived c hopped into pseudo-Cubist grids, anticipa ting the photocompositions realized by Hendrix and other artists predominantly by means 01 superimposing PolarOid prints. Vilja Celmins had meticulously reproduced with her pencil all lhe technical buzz that, back then, bestowed on such vistas Iheir epic aura: the Iragmentation, duplication and irresolution produced by the ech oes and delays of the microwave signals, as well as the f1attened, undifferentiated eHect of awkward angles, which were generally due lO the lack 01a human eye to assess the framing 01 the shot, Her drawings we re an expression 01 the d isenchanted curiosity with which we contemplated those lirst exlra-Ierrestrial land scapes They were images lormulated lrom the shock 01 moon -Ianding, It was not by c hance that Celmins brought lO such panoramas the same academic froideur with which she had drawn old photographs 01 World War 11 bombers, accidents, blank highways,

<\ l a fra g l ll e ll lac i /I II . dll p li cac i ('H I fa ll a

r('g i s ll'o pl'od l J(' id a p O I'

e l ('co." (' 1 l'e LI'[lso de las sl 'I-l a l ('s de Ill i cl'OO lld as. así ('0 111 0 1, 1 aspecIO p l [l ll o

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) ..

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un ojo l"l ll l a ll o di (' l a lld o las d l'c is i o ll (,s de l a IO lll a , 1': 1'; 111 ('SOS d i bujos lIII a ('X I" '('s i ('11 d I ' la (' 11 -

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alomic exploslons and lhe rubble-spiked plains 01 Hiroshima, War, modernlzation

n tl e s l I'a " i Sl a se posa b a so bl'l' ('SOS

and spaco Irnvot, CelrTllns seernod to bo saying, tl,j'j joir-,od torces to annu i any

rio s id a d d esl' l lI'a lll a d a ('0 11 1)" ('

pl' i ll l Cl'OS pa i sajl's ('x l l'a l l'l'l'('s l I'('S,

iink bclw(){1I' lrJ'ldscape and transcen-

Jlllft gl' l lI'S. P" ('S. IÚ l'lIltrl a d as a pa l'-

deno" !lr)( ¡I,n ' would serv e as tne sinn

t.i l' dl' l s ll o(' k d e l ;rllllli za.i (',

for cun tr,! IIr>r¡rmy icor'ological dograda-

¡\l o I' l'a I'as ll a l 1)11 1' ( :l' lllIill S

liun , I tl()~;( I limar deserls, pocked wilh

h llh i l' l'a a pli ca d o a I'SOS p a ll O l'a-

cmle'f:

llIas l a I lt i sll l a illdi f( ' I'( 'llI'i a ;lI'a-

trD.n sm i ~:ó:i ()fl

iJrJ(j

dob8sed by their sntellite

i ('a (' 0 11 1) 11 (' \ 1' 11 ía di bll.i ;IIld o

Itl'ouorl lO parabolica an tonni-JO, W!lrll nol "virgin terrilory' so much

vie.ias fo l og l' a f'ías dI' 1lO lIlh a l'd l'-

as elflrn:Jlly b:Jrren, The surprise of their

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(,; II'I '(' I I' I'<ls . cxp l os i o lll' s a l ('lIl1i -

irnJp:ion Wi ) :'; nol erocJgh to dispel the sonso ni a \¡;.jcu',;rn ol rnoaning, NO gaze 'íad orq¡'JI)l/r.¡IJ Ih¡::,:'n ' r) 'erms of ilkeness

cas ,\ pl ' l' s pcc li\ as d e l a 1J;¡lIl1l'a

and difl(-lrr ~"(:C.I,

de ('s('ornh l' os de

Ilil' os lril lla,

¡hey 1/V8r8 ,rr lplJrvious lo woros , No prorn-

I II OC)¡- I'II i z;r(' i /¡ II ,\ \ i ;I, j (' S

ised li:lncJ (hlJld bo discerned In lhem , ro scrap ()I 11101110ry WéJS nestled in tt18i~

e 11 I' I'I'a ,

I's p a(' i a l c's , p al'('('ía d l'c' i l' (:l' llIliIl S, Ila b í ;1I1 l og l'a d o c'l'I'ad i ('; II ' l oda aso(' i a(' i /,II (' 11 11'(' p a i sa j (',) Il'as('(' IIII ('II('ia, E l !\po l o \ 1 p asal'ía

110

rnyl.'1S hung over ther~l,

dunos or rrlol Hrnins, and there was '10 n()()(j lo w()r'(Jor w tlal l11igh l lie beyond

i('o ll o l l " g i co p O I' d (' III ;ís (' 0 11 1<' 111 -

lhe horilOr 1. I tl(:l Pope was right in tlis J'lforlullnl () d(lr;iwat iO'l tra t ~.'1e aslro, n8uls wt ll ) ' Idrj ftOVIfI lo ".'1eaven" VIGrO

PO I';í ll ('O, Es t os Il a ll os d e l a 1.1111 ;1.

COrfi ltt 'I;1') t O(J'( ~ sy

1'0 111 0 I'c f'l' l'c lI (' i a d (' 1111 d (' sgasl<'

i lll pac l ados d (' (, I';:ÍI<' I'('S.' d q.\'f'a-

I tI.) ¡U,,;')r :rJll('j;caoes o f '/llja Celmifls

da d os p O I' l a I 1',II 1SII1 i s i c') 1I p OI'

recorrjed . l cruc 8 1 stage In the d iser~ chan trn()"t ()f Ihe WOrlO, [he momen! a~

Il li c l'OO lld as d e l sa l (: I ; I (' a l as ;1111 1'IIas pal'a b ó li cas, 11 0 (, I'a ll " \ íl'gl'II ('S

s ill o elc l'lI ;III1 (' III (' YI' I'II1 0S,

which thn tlic:Jden god of the Romantic vision , .. ttléJl dnep glow on the horizon in

La so rpl'csa de s u a p a /' Ic lon no a lca li zaba a diluir la illlpl'es ió lI d c s u vac ío d e s ig nifi c:w ió n, Ning una mirad a los h ab ía rOl'lIIu lado e n lOl'n o a sC lll ejanzas )' difc re nc ias, nin g una mitología los rcco n'ía , sc rcs is l ía n a la s pal abras, No había a ll í nin g un a li c rra prom e lida , nin g lín tI'azo dc IlI e mol'i a d e po s ilada e n dunas )' 1II 0 ntañas , n in g un a n eccs id a d de csc l'ula l' qu é h ab6a IlI ás a ll á d c l h Ol'izontc, 1'<: 1 Papa h abía ten ido razón e ll su in feH'lu nada d ecla /'a c ió lI d e qu e los as lro n a ul as q ll e había ll vo lado a l "c ic lo" cO lll e l ían u n a h c ,'ej ía, Los p a is aje s lun a /'es d e Vi lj a Ce lmins I'cg is ll'aba n IllI a c lapa c ru c ia l d e l dc se n ca nl a llli e ll lo d c l mundo, dond e cI d ios oC llll o dcl paisaj e I'ománli c o - esc /'es p lando /' e n e l h Ol'i zo nle e n los c u ad ro s d e C a s par David Fri e dri c h )' Ca d G u s lav Ca ru s h abía s id o final m e nle ex purgado un a vez qu e la v is la lambi é n había aba ndonado e l h or iz o llle d e la ti e rra, Aque l c l'a Ull le lTi lor io qu e e r'a e nle l'amc n te p ositivo, m c ro obj e lo d e eS ludio, un obj e lo s in punto s d e re re re ll c ia ni v is ll a les ni c ultur'a les, s in dispulas cc onómi cas, si n pu n los c al'd ill a les , La homoge n e idad de la LUlla nos es impe r'm ea b le in cluso lr'as e l eve nto d e l a lTi bo d c l h ombre a 1111 fún e bre "mal' d e la lranqu ili dad " , L as im ágenes de Ce lmin s I'egis lraban ,

the paintings of Caspar David Friedrich and Carl Gustav Carus-was finally abolished, for now even the gaze itself had abandoned the horizons of the earth . This was an entirely positivist terri tory, a mere object of investigation , one possess ing neither visual nor cu ltural points of refe rence, as innocent of economic dispute as it was of cardinal points. The uniform ity of the Moon c loses it off to us, impermeable as it is even to man's arrival on some funereal "sea of tranquillit y' . Celmins' images registered the jolt of encounter with a land without land scape , a non -place as undifferentiated as any square mile of desert or ocean . They were a collection of souvenirs, pertaining to a catastrophe that went un noticed in the hubbub of the mediatic revolutions of the last third of the twentieth century: the advent of a nature bere ft of promise . P OETI C COUN TERPRESSURE

'Maybe it was out of solidarity with Mexico that I began to searc h for parallels in other parts of th e worl d, " Jan Hend rix tells me . 'After a long time in this country, you start pros pect ing for ot he r places that mirror this drastic, dramatic, continuous change . '2 Let us start with the fact that Bitácora (binnacle or log -book) is the fragment of Hendrix's work that best expresses a The verbatim quotes from Jan Hendrix appearing in this artiele relate ta eonversations heId with the authar an Oetober 14 and 15, '1999, in Valle de Bravo, Mexieo . ?

•

pu es, e l s h oc k de e nf'r'e nta r' lo que e l'a un territol' iosin paisaje, un 11 0lu ga r indife re n c iado c o rll o lo es c ualq ui e r m e tro c uadl'ado de un desierto o en a lta m a r, Eran una colección de souven ires de unacatásb'Ofe que pasó inadvertida bajo e l estru e ndo d e la revolución mediáti ca d e l último te rc io del s ig lo xx, El aco ntec imi e nto de una n a tural eza s in prom esa ,

commitment to his Mexican experience, simply because it is, thematically, incompatible w ith a series con cerned wi th this country and/or its people,The journeys to the ends of the earth undertaken by Hendrix throughout the Nineties are a lengthy deployment of the aesthetic model founded during a primary voyage w ith no fixed term . the mig rati o n of a Dutch artist. b orn in Maasbree in 1949, to a Latin American nation t hat was typ ically charged, perturbed and intense , W hen Jan arrived at Mexico City in 1978, as the partner of artist Martha Hellion, he was not only changing countries and conti nents , but also temperatures of experience , For a European hailing from what must be the most domesticated, controlled, secu re and stable environment in all the west. to spend the linal quarter of the century in Mexico City meant to participate in the volatile experience 01 the succession 01 betrayed pledges, systemic c rises, bouts of pseudo-development, rocky democratizations, sem i-silenced disasters and ecological or demographic reversals, that accompanied Mexico's paradoxical en· trance into the global economy In t he shadow 01 the Caro ling ian c hurches and boutiques 01 Maastricht, w ith their air 01 provincial good lellowship and pious, bourgeois comlort, one has the sudden vis ion 01 linding onesell in the exact, perfect reverse of Mexico O,F, It is this differential, rather than any

CON TH¡\PIIESI(l N I' () I~ TIC;\

"F u e quizá por so lid ar id ad co n Méx ico que empecé a buscar lu ga res que son paralelos e ll otras partes del mundo ", m e dice Jall Hendl' ix, "D es pués d e un buen ti empo e n Méx ico, emp iezas a bus ca r ot ros s iti os que so n paral e los a ese cam bio drástico, dmmélti co y co ntinuo,"l Pal' tamos d e qu e Bitáco ra es e l fragm e nto d e la ob ra d e Jan H e ndrix qu e I'orrnula m ej o r un punto d e vista comp rometid o co n s u ex perien c ia d e M éx ico, y es to porque tem á ti ca m e nte es todo lo opuesto a una seri e sobre ese territorio y / o su población. Los v ia j es a los extremos d e l mundo q u e Hendrix hizo e n los años 90 SO Il un despliegue del modelo es té ti co qu e pI' ov ie n e d e un v iaj e " La s c itas t ex tua lcs d C' dC'clara c io ll cs de J a n lI e nd,'ix (' 11 ('5 1(' arlíc"lo p" o · v ie nel1 de c onvf' r s3(' i o ll es ('011 (, 1 auto,' rea li zadas e nlre e l 14'y 1;) tl e ocl"bre d e 1999 e n Va ll e de B,'avo , M,;x ico. p 44

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dlsc ussion 01 origins , Ihat must lorm the starllng poinl lor any examination of the reflned, pared-down aesthetic of

(' n I D49 a UIl p a í s la ti Il oa 111 c ri ca 11 0 ca I'ac l e r í st i ca 111 ('11 t (' SI' 1, I"('('a rga( l o, eO ll v ll1 SI' (' i 11 t (' 11 SI ,. ( ;ll a 11 d o .! ;:¡ II lle gó a I;:¡ (' illd ad d c M(~ x i ('o

Hendnx's work Whlle It would be a mls take to approach Ihls work Irom the angle of an aesthetics 01 dlaspora (Ior in hls case, the change 01 latilude responded lo no

Cll I D78 corno la I'<l n'.i a d (' la arti sta ~ l a rt h a II e ll iOII . 11 0 st', lo ('a 1111 , ia I ,a d e p ;:¡ís 'y de CO lltill (' IlI<' . Sill O (I!t ('1 11 pe ra t 11 r a d e ex 1)(' ri (' 11 (' ia. Pa r a

political pressure, economic coercion or other sligma 01 marginalization). it is wholly relevant lo inquire into what the work involves Irom a Iranscullural perspective . Conlrary lo lhe more orthodox tenets 01Mexican official culture, loreigners have

1111 Cll ro p ('o IH 'O \ (, lli ('llt e d (' 1 <¡II C <¡lli zá es (' llf'rrit o ri o III r.S d Oll wst i ('a d o , CO llt r o lad o. s<'f.~· llr o,) ('S ta bl t' d e O('(' id (' III<' . haJ, c r \ i\ id o CIl l a (' illd ;:¡ d d (' \I (~ " i(' o 1, 1 1'lIt i -

always played a decisive role in the pro· duction, evaluation and promotion of art in this counlry. I could 90 so lar as to say that to be-or even to speak like-a loreigner conslitules a basic ingredienl 01 the local value syslem, lor all thal il is undermined from lime lo time by the latenl xenophobia braided into the regime's

111 0 (, ll a rto d (' 1 s i g l o s i g lliri ('t', (,o lllp a rt ir l a ('x p c ri (, ll (' i a \ o l :í t il d c l a SII C('s i lí ll d (' PI'OIIl ('SaS ill rlllld ad as , cr isis s i s t (~ llIi ('as , PS(' II d o - d csa rTo ll o. d ('lll o(' r a t i za(' i ú ll a('(" i d e ll t ;:¡ d a. d esas t rcs S(' 11l i -s il c 11 (' iad os y (' a t :ís t r o rcs c('o l t"g i ('o/ d (, lI lOg rári cas <¡II(' a('o lllpal-Iaro ll la pa radóji ca illt ('g ra(' i t" 11 d c \I (~ '( i ('o

repert oire 01 unconscious tics. But in con trast lo lhe bulk 01 Ihe migranls who have inhabited and articulated the Mexican Iwenlielh cenlury (from Jean Charlol and Carlos Mérida lo Malhias Goerilz and Francis Alys, or fro m Luis Cardoza y Aragón lo Raquel Tibol, Olivier Debroise

a l a ('('O Il Olll ía g l o " a l . A l a SO IlI bra dc I;:¡s i g l es i as ('a r o lill g i as .\ las b Ollti<¡I I('s d c ,\-I aas tri (' ht. ('0 11 Sil a irc d c t o l ('ra ll (' ia prov ill (' i aIl a)' (,o lll o did ad ('a t t', li ('a .\ 1)llr-

and Osvaldo Sánchez, to name bul a lew) , Hendrix's migralion did nol derive Irom Ihe effecl 01 a choice, nor was il condilioned, even secondarily, by an in latualion wilh lhings Mexican . He simply lound himsell having lo deal wilh a milieu and a socio-cultural code which for him, beyond Ihe privileges implied by being a European in this post-colonial -society, entailed no fixed symbolic stance.

g u csa , 1111 0 t iCIl(' la v isit'l Il d (' ('s t ar. p r ec isa m e nt e. e ll e lrev(~s pc r["cc to d e l a v i ve ll e i a M ~x i ('o. D. F. I':s (' d ife r e n c ia l , IIl r.S <¡II(' ("I la l(J!li e r a r g um e n t o el e o l-i ge ll . d e " (' scr e l p u nlo el e parLid a para illd aga r so bre la es l ét iea d e rd i mulli ellt o )'s illlpli [ i eac i ó n d e s u t ra b ajo. 1': 11 ta llt o l' I¡ (i

.,,

•i ,ff_.T

sc ría UII ab ll so di sc lllir cs t a obnl a p a rtir d c la fi g ura d e la l's t (~ ti ca d e la d i::ís por<l (plI<'S CII Sil carnbio d c la titll(if' s 110 IlIlb o ni prcs ió " po líti ('a , Ili coacc ió n cco n {l nli ca ni es ti g m a d c m a r g ill a e icí ll a lg ll n o ) Il O cs e ll a bso lut o ill exac to 1'1'('g Ull t a r se por lo lIll<' Sil tr a b a.io in vo lll e r a d cs d e IIl1 a Iw r s p cc ti va tr a ll s cldtllral. N o ob s t a nt c las orto d ox ias fi g llra d as p o r la c ultura lI ac io n a l, (' 11 re a lid a d lo s c x tr a ll.i e ro s h a n t Cllid o 1111 p a p(· 1 d cc is iv o C II la prOdll('('i(í ll. c !' íli ca y pl'OIIl O-

No doubt this is w hy his outlook on the country does not stem from abrace of sentimental illusions or prejudices, and has no truck Vvith the ideological baggage of 'Mexicanism'. Jan's day -to-day perceptions of Mexico are pretty dry, as befits the sustained experience of a country eroded by a vexed , half-baked capitalism in which notions of public transparency and accountability are beyond appeal; a country whose landscape is unrelentingly assaulted by the brutalities o f development and under-development, to the tune of an astounding d isregard far nature. Hendrix'S move to

c ió lI (1<-1 a rt e e n Vlé x ic o . S ic ll<l o

Mexico was thus a migration into a space

"i g o ri s t as , podría ll e g ar a d (' cirsc qll e s e r e x tr a n.i c r o o h a bl a r CO IlIO ('x tra llj c ro es un in g re diellt e fUll d a ln (' lIt a l d c l s isll' lll a d c \ aJo r :-!c iú lI loca l. oca s ioll a llll c llt c pllcs to e ll ('lle s t iÓII por las IlI alas 11 1é1l1 (' raS dc la lali' lIt(' X('IIO -

of perpetual crisis-in which he has de-

fob ia el" C s e a lo.i a C II c lrc pert o rio dc a llt (Jllla t iSlll OS ill('OIl Sc ic llt es del ré g illl c lI lIH' x ic<l II O. Pe r o a diferc lI c ia (1<- 1 g l'll(' s o d c cs o s IlIi gnlllt es quc IJll c bl a ll 'y ar ti(,ld ;1I1 c l s ig lo \\ III('x i('a ll o (d(' ,k a ll C h a rlot .Y M{'rida a Ma thi as C Ol' ritz y a F r a ll c is A I,)i s , y de Llli s Ca rd oz;l .Y A rageí ll a Baqll e l Tibol , O li v(' !' D c broi se y Osva ld o S:1 l1 c ll (·I., por d ce ir 1I11 0S (, lI a llt os n o mbrcs ) la Il,i g r ac iú n d e Ile lldri x 110 d c ri va d c l c fcc to d e IIll a e lecc ió lI , lI i cs t "í e lllll a r cada , ni late !'a lm e llt c , pOl' lIn a fa sc in ac ió lI m cx ica ni s t a.

livered himself of a body of work founded on the values of arder, refinemenl and dislance. In short, Jan's relationship with Mexico is one of inevitable counterpoint. far he remains unmoved by the siren song of the nalionalist ideological canon. And yet, aiong Vvith the incidence of cinematic sequential narration , ecological predication and the compelling pull for many years of the figure 01 the nomad , perhaps it is possible to speak of this artist's Mexican experience in terms of translucence , of backlighting. In his passage from the first to the third world , from north to south, Europe to Mesoamérica, Jan has evolved a strategy that should in all rigor be viewed as modemist. Nol just because of its purism , or the formalism of its approach, or the specificity of the medium lhat narrows concentration down to the potential of paper and of serigra,ohic procedures. Not even because

•

V p' A

(~ I

S illlplcllH'1I11' 1(· 10( ,('1 '("I'S ("

la s 1'011 1111 III('dio .'

of Hendrix'S allraclion lO figures such as Mondriaan, Rolhko, Elsworth Kelly and

1111 (·(',di g o

("Id 1III ·a l ., soci al allll' (·1 '1'1( ', III :ís all:í d(·II ;l\ol'ili s lllo '1'1(' S('I"(' III'0II('O i 111 P I i e a ('11 (' I 1('j ido d (' (' s a ("\ di 11 '

Clemen l G reenberg Nor is it con fined to the way his s n raphic output Involves a re sponse lO the modernist issue o f the lension belwe n lechniques of reproduc·

I'a posl!"olonial. 110 1(' lIía II11a po · s iei ú lI s i'llb ó lica pn ·(·slahll-l'ida .

tion and aesthetic p resence, tackling the obsolescence c ri SIS o f print·making by opting fo r Ihe med ium with the great-

0"i;-.:í por e llo S il IlIi"ada SOh' T (· 1 país 110 p :II'I(' dI ' 1111 III:lllojo dI' i I IIsioll CS o pl'('j 11 ieio s s('1I1 i· IIH'lllal('s , ni dI ' Ilill g líll lazo ('011 (' 1 ha g aj(' id co l('lg ieo dI' " lo 1I11 ·,i·

est industrial conno tations (serigraphy) in order lO c reate one·of pieces . More 1m · portant is Ihat like all modernism, Hen ·

eallo" . 1': 11 la ,ida diaria la 111 ' 1" ('('IH"il'lll dI' J a ll s oll!"(' \l 1~ ,il ' o ('S Ill :ís

drix'S aesthetic takes shape as a reaction to the environment The simplicity and ab o

hi( ' 1I d( 's ('arllada, la (" p( ' l'i l' lI e ia

sorption of IS Imagery is executed be· fore the landscape-both physical and metaphonCi'lI- o f the megalopolis It en·

('olidialla d c '"1 país (' I'osiollado p () l' 11 11 a a 1l' i ¡, 11 Ia da ., p a re i:1I 11 1( • 11 ( . rallida IIlOd (, I'IIiz:wil"II eapilalis .

sues loglcally from thls that he hé;lS forged, over the years , an affinity w ith those Wf10

la , dOlldl' la s IIo('iolll' S d(' Il'all s pa · l"('lwia pl'l 111 iea) I'I'spollsahil id :ld pOSllll:III dl'llIalldas d( ·s (·olllH"idas .

like Seamus Heaney exert a poetic coun· terpressure to the social and visual un · gainliness o f the contemporary world The nobilily o f poetry, says Wallace

) dOlld(· (' 1 paisaj(' (' sl :í ('ollslall ' 1('1111'111(' ascdiado pOI' la hl'IIla · lid ad ,11- 1 s IIh d(' s al'l'ollo , II11a

Stevens, "is a violence from within that protects us from the violence with· out • I IS the imagination pushlng back

(' ,ll'aol'd i Il a l·ia di lapidae ' ie '," d I' la ll a llll ·;¡ I(·z a . El d ('s pl :l/allli e' ll ' lo de ' I k'lfll'i, a \I (~ ,i ('o 1"11' II11a

against Ihe pressure 01 reality.··

IIIi g l':wil'lIl a '"' ('sp:wio dI ' el'isis 1H'1'1H'III a ('n (' 1 '1"(, Ira ido 1'01'11111 ' 1;11 Ido ,",a ohl'a eal':wle'l"íslie:IIIII'III('

. Seamus Heaney, The Redress of Poetry Oxfard Leclures, I andon and Baston, Faber and Faber, 1995, p 1. l' f¡!J

fllll(l:I<I a CII \ :d ol'('s d e ol'( le ll. I'(·fi Il a llli e nl o ,\ <I is la ll (' ia, I ~ II po('as p ala bras la I'e la(' i c> n dI' .Iall (' 0 11 ¡VI ¿;x ico es d e co nll'a plllll o ill l'\ il a hl c lll Clll e p o r cs la r lo la hll l' lIl e libre d e las illl e rp e la(' io ll cs d e l (' ali o li id eo l(')g i('o lI a(' io ll a li s l a , y s ill e lllha l'go. jlllll o ('0 11 la ill (' id e ll cia de la lI a lTa li\ a sC'(' lI c ll e ia l d e l (' i 11 1' . la p ,'pd iea e('o log is la_ y e l e fee l o <fil e pO I' IIIII('J.O S a l-lo s 111\ o e ll é l la fas(' i Il a(' i{)11 p o r (' 1 II lO d e lo <1 1' 1 IHí lll a d:l . qlli z:í s('a p os ihl (' h a bl a l' d I' la (''' I)( 'ri (' II (' i:1 ti e VI é x i e () ti e .1 a 11 IIe 11 d l' ix (' o 111 o 1111 (' fc ('l o a cO lllra lll)'" 1-: 11 Sil ('1'11 ('(' d (' prilll c r o a le l'('('I ' IIIIIIHl o, 1I 0 l'Ic a Sil 1', I ~ ur o p a a lIe,\'O(III1 /!' ¡'(,fI • .l a 11 h a pro du('i d o 1I11 a ('s l, 'a leg ia <fil e , e ll ri go ,'. h a bría d c di sc lllir ('(H il O II/ O d C /'IO:\'{ fI, \Jo es p OI' Sil PIII'is II IO. lIi p OI' c l fOl'lll a li s ll 1O (1<- Sil IIli ra d a. n i la es p ec ifi c id a d d (' llIl e di o q ll c ri gl' Sil cO ll cc nlrac i{) 1I C II las pos i bilid a d cs d c l pa p c l y 1'1 p ro( '(' d ill1i c nl O s c ri gnífico, \J i s iqlli e ra pO I' la s illl pa l ía qll c l le lldl 'ix li l'nc p OI' p c rso ll aj es COIII O i\ lo lldri aa ll , Rot J.k o, E lswo l'lh K(' II <')I .Y C ie n le lll C rcc lI bc "g , Ta IIIJ )()('O p OI' la m a n Cl'a c n Sil u'a b aj o sc ri gd f ico in vo lu c ra ull a rcs pll C's la a lll c la le mátiea 1l1 0 d Cl'lli s la d c la 1(' 11 s ió n e n ll'e las léellieas d I' I'('p r o dll ct i b ili dael y pl'ese n c ia esté l ica , pO/' la fO l'ma e n q u e J a n h a abo l'd a do la e l' is is ele obso lesce ll c ia d e l g r abado m e d ian t e la ap li cac ió n

01 course , as Heaney himsell notes, it is not the case that suc h "high matters 01 poetics" must occupy the artist's mind at every stage 01 his task , 'AII these ac c umulated pressures and issues ', he writes, are lelt by the painter or writer in the lorm 01 a 'abiding anxiety", but they are no! to become the mainstay 01 his work, II they are invoked to explain the pleasure we take in the product, it is because they are vastly more signilican! than the humdrum matters 01 !echnique that actually do take over the maker's brain at the moment 01 making, "The movement is from deligh! to wisdom and no! vice versa ,"-1 P U N ITiVE E XPEDITIO N S

Nostalgia and travel seem to be indissociable concepts , On the one hand, the myth ical idea 01 the voyage as a retum , But also, the modem yeaming lor the days 01 authentic exploration , A trope 01 present journeys is the sense that we have come here too late, To travel brings up the paradox 01 modemist auto-criticism: we become aware that the very lactors that made this joumey possible- the extension 01 the means 01 transport , the tourist economy, the homogenization 01 social modes-are also the ones that make it no longer ajourney. II the world has grown increasingly the same, to go here or there is neither here nor there, beyond the restless hunt lor different addresses in a single global amusement park, As a result 01globalization , travel has cea sed to be a quest lor c ivilizing alter' " Ibid , , p , 5 , p

:-;0

p 51

/' :, 2

d c l IlI c di o g ,'á f'i co COII IlI ay orcs a lll s ioncs indu s u 'ia les (la s<, rigraría ) e ll la c r eac ió II d e pi czas úllicas, CO III O l odo Ill o d e l'ni s rno , la ('s lé li ca d e ll e lldri x es IIIl a 1'0 1' III;rei ó ll N' o c/ iva anl e s u <' 11101'110, La simpli c ida d y la a bso rc ióll d e SIl S illl áge n es se ej e r c ell a llLe e l p aisa.i e fís ico y rn e La f'ú l' ico de la IlI cgalop o li s , E s lóg ico tI" C a lo la rgo d e los a ll os h ay a e ll eO IlIra do af'illidad e n <¡lIi e lle S, COIlI O Sc alllu s Il ea ll ey, e.i e r e il a ll l a lllb ié ll IIll a eO IlLra pres ió ll po (. lie a a 111 e la b r 11 La I i el a ti es 1 é l i ca )' soc i a d (' lo cO IILe lllp o l' á ll co: La Ilobl eza d e la poes ía , di ce \Vall aee S leve ll s, "cs IlIl a v io1(,lle ia d esd e n e llLro ti 11 (' II 0S prolege d e la viole n c ia d e a 1'11 e nl" , I '~s la illla g ill ació ll Clllpll.ialld o ('olllra la pres i(í n d e la rea lid ad , \ C la r o qu e, COIIlO II ('a ll e)' IIli s lllO a l'lara , n o se." Il'a la dc qu c es l as "a li as c ues lion es d e poé li ca " es Lé n e ll lel ca b eza d e l pro dll e lOl' a rlís 1 ieo a ea da rn OlllClll o el e S il larca,

natives . The lover of exotica falls into the ethnolog ical paradox so masterfully set out by Lévi-Strauss in Tristes Tropiques: the journey is not exploration, so much as the self-consumption by the West of its own effects. Today, when Polynesian islands are cemented over and turned into airc raft carriers, heavily chained to the bottom of the South Seas , when all of Asia begins to sicken and decay l· ..] when commercial and military aviation withers the bloom of American and Melanesian forests even before ravishing their virginity, how could the much-vaunted escapism of travel ach ieve anything other than to confront us with the most wretched forms of our historical existence? 1, .. ] What you show us aboye all , O journeys! is our squalor fl ung into the face of humanity. And thus I understand the pas sion, the fo lly, the deceit of traveller's tales They peddle the illusion of what no longer exists, and what would have to exist still for us to escape the crush ing evidence that 20000 years of history have been squandered . l.. .] Mankind has settled for monoculture

.,S.',,, 11 li S Ilpalle); 71I(' Red, c~H!lnx'/IJ' (J/fim/ London all d l3oSlolI , F"I)('I' " lid FalH' l; 199:; ' 1'. l .

r ee/l/reS ,

/' :; '1

"Todas l's l as plT S I Ol lC S , aSI "I lo s a('IIIIIII I"dos"

di('( ' I ka 11( "

apal'('( ' (' II a l a l'l i s la o (, 1 ('s(,l'i l ol' ('01110 II11a "allsicdad ('0 111 illlla ··. pCl 'O 11 0 Ir a 11 d (' ,oh e l 'S (' 11 IIa di 1'('( ' ll'i z d e S il 1;11'1' ;(. S i SO ll 11(' ('('sa l'ia s pal'a ("

ldi (' ;11' cl pla( '(','

( 11'1 PI 'Odll(' l o ('S pOl'qllc SOII ill ' III( ' II Salll e lll (' III ;ís si g llil'i('al i, as qll c la s a l )l "'I'id as (' II (' s li o l l( ' S d (' 1 o I'i (' i o q 11 e . (' 1'( ' (' 1i, a 11 1(' 11 I (' . o (' 11 pall Sil 111('11« ' al a('o lll('l (' 1' Sil Il'a ba.io . "Se , a d (' 1 pl a('('1' a l sa l )(' 1' , 110 , i ('(' , (' I'S; I. .. "

1': \1'''1)1 1: 1(')'\

1'1 \ 1'1'1\ \

\ o s l a l g i a,' ,iai(' p a l'('( '( '1I do s ('0 11 ('(' plo s illdi so ('iahlcs . POI' 1111 lado ('S l ;í la i d ea IIlíl i('a d c l ,iai( ' ( ' 0 11 10 1'( ' 101' 11 0 . p('I'O l a ll ,h i (~ II (' s l ;í l a II 0S l a l g i a III 0( II'I'II a p O I' (' l l i (' II'p o d(' l as , ('l' d a d c l'as ("p l ol'a('iolll's .

Il'opo dcl , i a.i(' III Od(,1'1I0 (' S S( ' II lil' qll(' S(' Ir a ,i a.iado d C lll as iad o l al' d ('. ' ·i a.ial' ill\ o ll H'!'a l a p ;II 'a do.ia d('l a a lll()('!'íli('a IlIod ('l'lIis l ;l : 1111 0 ('al' (' 11 ('11( ' 111"

'1" ('

l os IlIi s-

it is preparing lor the mas s produc· tion 01 civilization as though it were sugarbeet. 5 Is this merely the lament 01 an ethnolo gist mourning his raw material? Is it the sourness 01 the intellectual who condemns the expansion 01 travel as a phenomenon that will devour, disenchant or devalue its objects? Is it the exoticist and his successors insisting on their exclusive 1 rights to the elsewhere, bemoan ing the 1I way modern tourism has democratized I the material, spiritual and sexual privi 1 leges 01 a male bourgeois elite?6 In Hinduism, whose sacred plaees are seattered up and down the land , the t thirthayatra or pilgrimages to bathe in the divine rivers, lollowa holy man or reach the temple 01 a powerful image are a lun· damental aspeet 01 religious praetiee. Sacrifiee and diffieulty were traditionally among its prime merits. It is therelore hardly surprising that a devotee 01 Ayyappa's temple, in Sabarimalai, Kerala state, should have warned in the lollowing terms 01 the dan · gers 01 making the journey too easy and all- inclusive:

"' OS I'a('lol'('s qll(' Ir a ll I((' (' lr o (, 1 ,ia.i(' p o s i hl( ,

la (',I(' II Si /1 1I d ('

Ill c dio s d(' Il'all Sp(II '((' , ( ' ('o ll olllía 1III' ís I i ca "

d('

la II O III Og (' II ( ' i z;ll' i ('11I

I'e g l a s so(' ial( 's

SO Il I'('SPOII -

s a Ir I (' S de q 11 (' (~ S C 11 o Sca,' a (' /

v/rué. S i elllllllldo ('5 ('I '('( 'i (' III ( ' IIIl'III( ' i el (~ 1I1 i (' o , d cs p la Zéll 'S(' pi c I'd (' Sil sc nlid o nl ás a ll á de l a I)lísq 'l('d a

Ibid. , p. 5 .

Claude Lévi·Strauss, Tristes trópicos, Buenos Aires, Paidós, 1988, p. 42. 6 For a discussion of the way in which Mod· ernist criticism and literature strained des perately to establish a value distinction between ' travellers' and "tourists, " as well as lor a good introduction to the con temporary theorization of travel, exile, immi · gration, nomadism and disp lacement, see Caren Kaplan, Questions of Travel. Postmodern Discourses of Displacement, Durham and London, Duke University Press, ,1996, xv-238 pp, esp. 49 -64. 5

dI' IlIl cva s dil'l'l' c ioll C's del IIII SIIIO pal'<¡lIC' dc di ve l'sioll cs g lob a l.

•

[... ] it may notbe desirable to provide any more 'get-there-quick' ... conveniences etc. to the pilgrims ... If the present trend is continued, the day

Co n la g loh:tli/.aci/HI , \ iaj a r d ej a

n a b lí s q 11 e d a d e a I1 (' l' 11 a -

d l'

SI' l' 11

1in

l s I'i\ilizalol'ia s . El

(')0.0 1 is la

when womenfolk irrespective of their ages flocking [SiC] Sabarimalai will not be far offtl

('al'

('11 IllI a pal'adoja I' ln o l ('}g ic a des(, I'il a a l a 1)(,l'k('('ic'HI pOI' L(~ v i

'liis/('s /I ápicos: l'1I Itl g al' d e (' x p I o n i (' i (í 11 . c I \ i aj l' s e It a S ll'a ll SS CII

SURREPTITIOUS MONTAGE

If Bitácora is a self·analysis, what it does is make patent the degree to which Jan Hendrix's landscapes are founded on a ceaseless labor of sub/imation. The pages of this Log-book can be read as the nar-

('OII 'v('l'lido (' 11 1111 a lll(}( 'OIlSIlIlIO <¡II(' O('cidellll' II:Ice d c SI I S PI'O pi os e rec t os : 11 0 )', c ll a lul o i s la s polillesia s alH' g a dn s de Itol"llli g/} II SOIl Il'all sf'o l'lllada s (' 11 pOI'I 'HI\ i oII( 'S p c sa d a lll( ' lll e a ll('l a do s ('11 el I'ondo

(k l os Ill ar('s d e l Slll',

(' llalldo As ia ('III( ' l'a cohl'a e l s( 'lnblalll!' d(' IllI a 1.0 1la (' lIl'e l'111 iz a [ .. . 1 (' llalld o l a a \ i a(' i('}!1 _

4' p

('olncl'Cia l 'y IlIililal' Ill a l'c ltila

(, 1 I'alldol' de l a s se " as allH' -

-r

I'i('all a s

1lll'Iall es ias a l'lll :t Ill es

de podcl' d es ll'llil' Sil \ il'g illi -

between aesthetic decanting and the technical phases of this working method. In the successive transcriptions-from photog raph to sketch, from inky stroke to blot, from the collected specimen to the emulsion on the serigraphic mesha methodology of aesthetics by dint of abstraction and rarefication is under way; it is this that causes the final work to look like the sudden emanation of a contained experience that would not be recuperable in the so-called everyday world . The technique with which Hendrix applies white gouache over his Polaroids

dad . ¿e¡')1l10 ('S <¡II( ' l a !lITI('IIdid a c \ as i('}1l d e l \ iaj e podl'ía ('o ll seg ll i l' nll'a ('osa <¡ 11(' po II('I'II OS I'n ' llle a las ''ol'lllaS Ilt:ís des g r ac iad as de 11I1( 's ll'a e x is lell c i a lti s l c'}I 'i(' a ? [ .. . 1 1,0 <¡II( ' II OS 111 0 SII>:íis (' 11 pl'illl( ' l' Ill ga l'. jolt v iajes! . es 1Ill(' sll'a illlllllll -

ti i e i a

rative (we might say, the baring) of the successive steps whereby Jan moves from the problematic recording of a place, to the transposition and purist manifes tation of an appearance in the finished print . A homological relation is revealed

a !'I'oj a ti a a I 1'0 sIl'o dI' la

Itllln a nidad . E III OII( '( 'S ('() IIII)I '( ' IHl o la pa -

Quoted in: Simon Colernan and John Elsner:

s ió n , la 10(' lll'a , e l c ll ga l-Io dI' los

!'c la tos d c \ iaj e . Tra('1I la iItISic'}11

Pilgrimage Past and Presento Sacred Trave/ and Sacred Space in World Re/igions, London,

d c l o qllC'

no e x isll'

y <¡"( '

.' British Museum Press, 1995, p. 151 . /) :i (¡

d e b e r ía ex is li nllí ll para <¡tI(' p" di (~ ra lll o s ('scapa r <l la ago biad o ra (" id e ll c ia d c qu e Ir a ll s id o jll ga do s 20 000 a ll os d( ' Iri s lo ri a [... ] L a Irulll a llidad S(' ill s la la (' 11 e l 11 10 1IOCIdI ivo: se d is p o ll (, a 1)1'0dll('ir la e iv iliz<le ió II ('11 IlI asa , ('01110 la I'c I11 0 Iac!1;I. :-'

• • r

,: I ~ s {'s la ull a I11 Cl'a illlposi(' i6 11 d (' 1 (' 1 II {, lo go d es p ojado d(' Sil IlI a l(' ri a

prillla ? ¿ I': s s<Í lo e l II ega li v is II' o d(' los illl e !c'e lll ::l lC's e l <¡" (' ' (' (' 11 la (' Xpallsi(í ll del v iaj e ('0111 (' II'I )()I ':í 11 ('0 1111 ('('( '(' 10 e rosivo, d(' s(' ll('a lll a dor, d( ',alllalorio ? 1: I ~s s(í lo (' 1 e;,.o li s la

to build panoramas has paradigmatic value here: the paint serves as well to block out the background as to highlight and simplify shadows , or synthesize the inner structure of a branch or trunk. This dual function (simplification and accentuation , isolation and condensation) unites the various transformations to which Hendrix subjects the fragments he portrays . On top of this, there is the recourse to montage by repetition . In order to create the sensation of a leafy canopy, a sky, rocks or mountains, Hendrix tends to isolate a fragment of the whole and surreptitiously

y PO SI -('XO li s la qlli e ll S( ' a l: llla (' 11 _ _ repeat it, as in a pattern. Variety does (' o ll s id (' rar a l v iaj e a p a rl ir d I' Sil ('x(' llI s iv id a d , PI'('O(' III J<ld o por el IIlodo (' 11 <¡ lI e e llllri s II lO d Clll o('ra l iza los privil eg io s Illal e ri afcs , esp iri IlIa l('s )' s('x ll a les d(' la ('Iil( ' IIla s (' 111 i 11 isl a b lIrg llc S:1?" 1': 11 e l lrilldlli s lIl O para (, 1 (' lIal lo sag rad o es l :í difllso a lo la r go

.Y a ll (' lr o d e 1::1 g('og r afía . (,1 1)(' 1'('g rillaj(' (tlllú/w'ya/"(f ) p a ra b :II-I:II'S(' .-, <: 1'"ld, ' I. ,~v i-S l rallS S, " i '/s l(' s I n ),"(·os , ll'I<'IIOS ¡\;n 's , I'a ;d ,')s . I!¡¡';¡';. I' .I¡L. P : ll'a 1111 : 1 di s(' II S i t')ll de ' 1:1 IIlall( ' I':I ( ' 11 '1'1<' la ('ríl;(' a y 1;I('ral ll ra III 0 d, 'r ll; s l a

;1I1<' lIl a ll d, 's l' s l't'radallll ' III" rO I'lI l1 ll ar IllIeI clislill (' i(',1I el e-' va lol' (, llln ' ·· \ia.i(·l'os l' ) " turi stas" . así

('0 11101111 ;1 1111('11 : 1

inll'o -

'd ll ('(, ;,')II" la s d; s l'Il s ;Olll's so brl' la 11'0 1'; z:U , jj 'HI ( ' 0111 (' !tI pOI'.í I )(' ;1 de' las r IO( ' jO ! U 'S tI{· \ iaj{ " (·xi li n. illllli g r:l(' if'II, . ll oll lacl is lll o ,) d ,'s l'l azalll;"1I10. \1 ' 1': <:an' lI "- "1' 1' "1 . (jIIf'SI/OI/S (~/'/ i'(/('I'/, P OSII/II)(!t-nl /J i.'TO I//' ,!/ /Ji.,¡J/o('{' I//{' I/I. I)lIrllalll all d 1..,11 dO Il.l)lI k, ' l 1I; Vl' rS;I ) I'n'ss. I!J!J(i, '\ \ -L'1i; 1'1'. I'S 1' . I¡ !J - (i l¡.

.1'(' .1'

¡-

not spring from alterations in the design of, let's say, the branch , but from its position, weight and orientation. An element that faces up is almost unrecognizable when rotated to the left or downward, and so the repetition goes unnoticed. What the mind does register here is the sense of having to compose the image step by step , The viewer does not spot the fact that an apparently rounded scene is actually serially fabricated, in the same way as the stamped pattern on a sari; yet she feels an urge to unify the image in the mind, in the bodily sensation of it, since it is not wholly persuasive to the eye in detail. AII these technical procedures are freighted with a range of allusions. Hen drix effective ly believes that nature disposes of a limited catalogue of forms, a stock of archetypes . Given the principies of combinability and interchangeability

f' 1 vado de los ríos di v ill os, e n pos d e un h Olllbre sa lIta o h ac ia e lle lllpl o d e un a iln agC' n imp o rla lll e es IlIl a p ,';;íe li ea reli g io sa fundamf'n la l. I.a re nun e iac ió lI 'y la difi e ull a d e l'a ll tl'ad ie io n a llll e ll l e U II O d e los I1l C: ri lo s de la jo rli a d a, N o 1I 0S ha d e CX ll'a ll al' qll e llll d evo lo de lle mp lo de Ay)'appa , e n Sa bari lll a lai e ll Ke l'a la , se qu ej e as í de l dese ll ea ll lamie lll o qu e !J 1'ind a ll la s I"ac ilid ad es d e l v iaj e a l lo rll a rlo ill c lll s ivo: [ . .. ] 11 0 se ría d esea ble pr'o \ ee l' má s v ías de e llll'a da p a ra " ll ega r-a lr í-m ás - I'á pido " [... ] I"a ci li dades , e le .. a los p e l'eg l'ill os [... ] De cO lllinu a l' la It'lId e ne ia prese nle , 11 0 e s l al'á lej a11 0 e l día qu e las lIl11j e l'es s ill imp 0 l'l a l' s u e dad Il eg u e ll e ll I,'o p e l a Saba l'illl a la i. 7

underlying all elementarism , it is not size but scale that is emotionally declsive In Australia, Hendrix homes In on c racks and furrows In the ground that measure only a few inches. 't turns out that the view from close up to the redd ish dust is much the same as the one we perceive from twenty thousand fee . Minute faults behave exactly like great nvers and mountain ranges . This rule is what allows the landscape -effect to be conveyed through the lIusory medium of a sheet of paper It is, too, the underlying princ' pie of a host of formal resonances attrib uted by Jan to the elements of the earth , Among other fictional devices , Bitácora offers itsel f as the field notebook of a naturalist intent on morphologies . The nb of a leaf in Australia resembles the curve of the horizon , and a crooked length of branch twists like the meanderings of a stream. In Ireland, the dlstance between two stone slabs d ctates the slope of a gully. and all the arch tecture appears ultimately to der ve from the play of tension and balance drsplayed in geologlcal formatlons . The Moon and the silhouetted cliffs suggest alphabets, and the creeping stains of lichen are the maps of continents yet to be discovered .

(' 11

M () \1 T '\.1 E S LT 1111 ,.: " T , <:1 ( ) S i B il rlrol"rt e s 1111 a lll oa ll :'Í li s is, lo qll e co n s ig u e es mos lra r h as la qué punlo e l p a isaj e de .I a ll Il e ndri x es lá run dado e ll 111 1 e ons la lll e 1 nlb aj o de ,m blilllarió". Las I<í 111 i lI as d e Bitácora pu eden ve r's e co m o la lI a l' ral iva ( UII O p odr' ía dec ir qll e e l d es nll(l a llli e nlo ) d e lo s pa s os s u ces ivos co n qu e .J a ll lra n s il a

TH E0 8 F TICAL Eou P M E"'T Journeying, mObility, disp/acement, nomadism, exile, immigration, tourism, cartographies, geographles . pi/grimage , itinerary. {rontier, uprootedness, dlssemination, transference, contagion ... a veri table topology has come into being across

C i1.ado e n: S ill1ol1 Co lc lIlall a lld .Io"n E ls n e r', Pilg rim age Pas t and Presellt. Sacred 7i'ovel alld Sacral S pa ce in ¡he I;j/orld Relig io ns , L ondo ll , Bl" i1. is " Mu seurn Pl'ess, 1995 , JJ . 15 1. 7

1,58

d e l I'egis ll'o pl'obl('III;íl i('o d(' 1111 lu g 3 1' a l a Il'aIl Sposi('i( 'l Il .' 11I ;lIlir('s ta c i ó lI plll'iSla d(' IllIa apal'i('II('ia e ll e l g l'ahad() 1(' l'lIlilla<lo . <)ll('da exp l ícil() !jll(' Il al

IllIa r< ' l a(' i, '1I1

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s i va !jllt' , a

l a ("ologl'aría a l

b occlo. (!c-I ras go d( ' lillla a

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S(' 11 ;1('t' ()p(,l'al' IllIa

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1111( '

I a s di, (' l' Sa S I 1"<111 S ro 1"111 a (' i o 11 (' S a l as <¡II( ' lI t'ncll' i " sOIlIl'I(' l os rl'ag 11I( ' lIl os <¡II( ' 1"1' 1r a l a. ,\d l' llI ;;S es l ;; e l liSO del 111011 Laj(' por I'l' pcliciún. Para (' I'('a l' l a S(' II Sal" i ú lI

un 3 c llra lll a d a, 1111

recent literary and theoretical discourses, A1though it may be true, as Caren Kaplan points out , that modernist and poststructuralist th inking about mobility has tended to flatten and obscure the terms o f human interchange and ci rc ulation beneath such theoretical fi gures of speech, it is fair nonetheless that displacement should 100m so large in works of theory. Never until the twentieth cen tury had so many people been sev ered fro m their national, regional and ethn ic roots; there are tens of million s o f refugees , and a scarcely lesser number have been internally displaced by civil strife. Even larger are the commu nities of immig rants created by the flow of asp iri ng workers towards the richer world , w hile touri sm is on the verge of becoming the leadi ng service sector on a global scale, In some parts of the world it is not un usual for people to hold down two jobs in different countries, only hours apart by plane . The theorization of travel is likely to reinforce its political and metaphorical im portance in the future, and en han ce the need for discussion of the modali · ties of displaced thought and the eth ics of travel: As travel , change of environment , and distance from home turn into main· stream experiences for an ever greater number of people in modern life , so the diffe renc e between the ways we move around , the reasons for our journeys, and the terms of our participa · ·'tion in this dynamics w ill req uire to be

('i('lo , l as ro(,as o IllI a 1I101lIa'-] a. Ilc-lIc1ri x s u e le a i s l ar 1111 rl'a g lll e lllo p ara rep <, 1i 1'10

S il

hl'( ' pl i('iaIlICII'

l e h as l a <' I'<,a l' 1111 pall'{, II. L a \al'i e· d a d 110 pl'o v i c ll( ' l a lllo d( ,1 (': lIl1hio de rOl'lIla de I'a lll a , ('()! 1I0 d( ,

Sil

s iIU a ci(í ll , P(' so )' dil'('('('i{'II , U II 111 i SllIO r a s go es ('a s i i l'I'e('o ll()(,i hle y a s i sc oriellla Ila('ia al'l'iha () ha c i a la iZ ( l'li c l'd a. P () I' lalll() p asa ill sos p ('(' h a do e ll l a IlIi s llla I':íg ill a, 1,0 CJII C l a IIlellle s í I'('gis ll'a d (' e sas r c itel'acioll es

('S

la ('0 11\ i('-

('i { )!1 d e I CI1('1' (jll e ('OIlII)()l1('1' la illl agell (' 11 UII 1'('(,() I'I' id o. 1': 1 espec l a dol' 11 0 dcl e('!a llasla <jll(~ 1'"1110 l o qu e p <II '('ec IIl1 a eS( '('lIa ('Ollli 1111 a cS , C 11 I'ea lid a d , 1111 p :lI l () 1'<1 111:·1 f ~lC tllI'a do ('011 la IlIi s llliI 1(~(, lIica ('011

qll l' ('s l <lIlIpa l a lel a 1111 f'ahl'i('alll(' d (',I'(fI'('es·. Pel'(lal lll asíi'('g isll'a la S(,IIsac i ó ll

d('

1(' 11 (' 1' (jll( ' IIl1iri( ' al' l a

illl age ll CII la 111('111('

.Y (, 1 ('lIel'I)(I .

pll CS 11 0 l'('slIlla CO II'lHI('la para e l o j o CII e l d (· l a ll e. T o ci os cs os pl'o('('dilllielllo s t éc lli c os 110 d eja ll

(le- a('al' l'('ar ('011

(' ll os IIll a s erie de aIIlSioli(· s . 1': 11 e f ecto , H e lldl'i x CI'( ' (' <jll(' la lIalll r a l c za cO llli e l1e 1111 vo ('allldal'io d(' l' (iO

l'o rillas lilllil a do. 1111 Sll Sll'alo .1 ("

regis tered from a historical and political point of view. 8 I'Olll hill alo l'i a e illl ('I T; lIl1hi ;d ,i lidad =_--"':=-=="<. Such an imminent, thorough and merdI' (' ll a lqlli e l' (' I (' lI l(' lIlal'i s lllo . 110 c iless stock-taking will amount to strip· I'S (" 1 lalll a ii o s illo la diIII('II Si ('1I1 ping any voyage of its innocence: even l o ('III(wiollallll('lIl( ' d( '(' i s i, o . 1': 11 discourses such as nomadology are ¡\ IISll'alia. llelldl'i, S( ' ( 'Oll('('llll'a nowadays put through the mili of critical s o hl'l' gTil'ln s ., Illal'l' aS dI' 1( ' 1')'('110 revision, alert to the connections between qll(' Illid('1I 1I11 0S (' ll a lll os ("('11 1í llll' the search for a roofless thinking and the Iros (' llad I'a d os. 1,0 q 111' S(' '( ' a .1 i( 'z language of colonialism 9 1t is Iikely that ('(' 111 í ll l(' ll'OS d (' 1 p o h I'0.ii zo .1 (, 1 in the near future, traveling will cease to dl's i( ' l'l o es l o Illi s lllO q"( ' 11110 be synonymous with escape, Tourists can 1H' I'('iIH' a di ez lllil 11 1(' 1ro s .1(, al no longer waltz through regions in con· 11 11'a . I. as rallas Illililll(" ll'i ('as S(' f1ict, for they are increasingly seen as fair al'qll(' lip os. Dado (,1 p l'ill(" ipi o .1( ,

(' OlllpOl'l a ll dI' lll a lll'l"a id(~ lIli( ' a (1'11'

game for guerrillas, answerable for local social deadlocks, and treated as knowing or unknowing participants in the polemics of the place and moment at which they happen to find themselves , Communications and teleworking make it im· possible for the traveller to cut her affective, political or economic ties; they follow us to whatever ends of the earth we thought to take refuge in. The concept of the 'virtual office' emerges at the same time as the tendency to homogenize hotels and catering , while facilitating episodes of viro tual travel at work, I myself am typing these words on my home computer while Iistening to a live BBC Radio 3 broadcast, in almost uninterrupted communication with a friend in Maastrichl, and planning to send an email of condolence for the

los r íos.) (,ol'dill( ' l'as d( ' d (' ('(' ll aS .1( , kil(',"l('ll'o s. I': sa lllisllla I'('gllla I'i dad ( 'S l o quc 1H'l"IlIil(' qlll'

('1'( '(' -

10 - p ;li s a.i 1' SI' Pll('da 1l'as l ;1I la l' a l lIH' di o illl so l'i o .1 (. IIl1 a h o.ia .1( . p a 1H'1. I': s (· Ipl'ill('ipi o. ad(· lll ;ís . .1 (. IlIl a IIl1 dl illld d e )'(' so ll a lll'i as fOI'III ;lIl' s ( 1"(' .la 11 a l l' il ll l.'( · a l os (· I( ' IIl( · lIl os dI' l a 1i (· ITa. 1': 111)'( ' SII S (, I ('III1 ' lIlo s .1( . fi (' (' i(" ll. H i l fÍco l'{f S(' OS I (' lll a ( ' 01110 (·1 (' llad( ' 1'1I 0

(11-

o h s(' 1'\ ;lI'iOIIl 'S .1(,

1111 Ilallll'ali s l a dI' la s apal'i('III ' ia s, I ,a s 11('1'\ ad lira s .1( . 1111 ;1 ho.ia ( ' 11 \lI s ll'alia pl'c fi g lll';1I1

la I'l'dolld(·z

d l' lh o l'i zo IlL¡',' 1111 lH'da zo .1 (. I'alll ;l (, 1 (' III'SO a('('id (' lll a d o .1( , 1111 r ío , 1': 11 Il'l a lld a l a di s l a lll ' ia ('1111'(' d os la.ias .1 (, pi e dra di (' la l a 1H'lIdi('1I11' dI' lllla ('; II-lada ."

l o d a al'qllil('( '-

Kaplan, op, cil , , p, 102. For a critique of the colonial vocabulary that haunts the theme of nomadism in post·mod· em thought from Baudrillard lo Deleuze and Guattari, see Kaplan, op, cit, , pp. 65- ' 00,

Illl'a pa)'( '('(' dCI'i,al'. (' 11 1'lIlilll a ilI Slalll'i a . d l' l.iII(' g o .1 (, 1( ' II Siolll 'S ,' l' q 11 i 1i h l' i os d ( ' 1a s 1'0 l' 111 a (' i ( 1111 'S 1I

(i I

gco l úg i(' as. La Lllll a'y la s illl('l a de l os b al' l'all(,o s pl'opon e ll al)('-

I iq 11('11

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Il'aZa l1 m apas d c III <le i zos ('O llli 1I (' lllal es a líll p or ('III('rge l'.

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i"je, III Opilir/"r/, r/CSjJ/o~(/llIic///o , //o///or/iSII/ O, ('. rilio, i//llu"g l"f,ci,; //, /1/I"i.l"II/O , ca l"Iogl"((/i'os , geogl"oji'os , / i(' I '('g l 'i// o

e/o // es, i/ i// e 1"0 I"i(), j i 'o 11 -

/ (' 1"0 , r/cSOI"l"{/igo, r/ise ll/ i // oci,; // , /I"f/lIsj(: I"e// c i a , co ///ag i o ... ulla \('1' d a d c l'!I lop o logía h a ido fOl'lIlalldo l os d i s(' llrsos lill ' l'al'i os \ I (,ú l'i ('OS ("('( ' i(' III ('s. S i hi c' lI ('S ('i( ' l'lo. ('0 111 0 sC I-l a la Ca l'( ' 1I I\. ap l a ll .

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l os di s(' lIl'sos IlIod(,l'lli s l as,) p os1('s ll'll('llIl'a li s l as d c l d('splaza IIli (' 1I1 0 li e lldc' lI a hOlll ogc lH'i z:l 1' \ OS('III'('(,CI' lo s I (- I'mill os d (' l os illl('I'('alllbios v l a c il'culaci ú lI d e P( ' l'so lla s bajo ('sas f'i g llra s I'i('a s . ("(' s llll a l ríg i ('o

( 11 1('

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plazallli c llt o se \ oh i e l'a 1111 1(' llI a IIbi (' lI o d e la I(, o l'iz a(' i rí ll . \1I11('a ('U III O e n e l s i g l o \\ hllb o l a llla g ('IIIC se p a r a d a d e s u s lo('alidad(' s lIa e i o ll a !cs , I'c g i o n a lc s'y {- IIli(' as . L os r e fu g iad os se CII Clllall por d ece n as d e nlilloll es. l o IlIi s111 0 l o s d es plazado s a l intc l'iol' de l os p a íses e n (,ollf"lielo . ¡\Iás g l'a lldc s q

iz á so n l as eO I11 11 11 id a c! cs

d e inllli g ralllcs pl'oclll c id as por l a e i I'c ul ac i ó lI d e Ira b aj ado l'cs h ac i a los cc nll'Os d e d esarr o ll o ,

y (' 1

lUl'i s m o es l á p,'unt.o a co nvel'lil'se

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e ll la 1'<11 11 a d e sc n ' ic io s 1l1 ;ÍS siglli I'i ('a li, a l' n la ('('O ll o lllía g lob a l. 1': 11 ;tlglllI:-tS regionl's d (' 1 1I11111do \a 110 ('S raro que I, aya <¡lli('1I di, ida Sil II o l'a ri o d c la se lllalla ('lIll'e dos (' 1I1pl cos s ilu ados ('11 lI a(' io Il<'S se p a ra d as por, a ri as hora s d(' 'Ill'l o. Es l)I'c , is ible qll (' la I(,o l'i za(' i(í ll d e l , ·ia.i e inl<'lI s iriqll (' Sil illlp o l'l a ll cia políli('a ., 1Il(' la f/ ll'i ('a (' 11 1' 11'111111'0 . ' CO II (' 11 0 la 11 ('(' (' s id a d d (' d e l a II a l' d i s (' 11 S i (') 11

. .

so br e las nlOd a lid a d ('s d('1 1> (' 11 sa llli (' 1I10 d esp laza do ., la (~ I i('a d (' 1 , 1;'.1 (' 1'0: ,\ 1I1 c did a qu e , ia.i a l'. ('alllhial' d e lo('a lid ad y apal'lal's(, d (' la casa se "u c h (' 11 e" p (, l'i (' II (' ia s ('(' lIll'a le s para lil a ., 01' 111'1111 1'r o d e p Cl' so n as (' 11 la IlIod (' l' lIidad . la dife l'c n('ia (' 1111 '(' (' 1 111 () d () e n q 11 e ,i a ja 11 lO S. I a s razon es para lIu cs ll'O d(' sp lazamielllo. , los l é nllillo s d (' III1 ('s ll'a p a rl ici paci(í ll (' 11 cs l a dill á llli ca d e b c lI SC I' I'eg is ll'ad os hi s t ó ri cay polílicalll<'lIle .H Es a <111 s Cu Ita c ió n p I'C, . i s i h le. 111 i li"I é lri ca C inmi sc ri co l'd e 1('lIdl'á po r r es ultado r cs t a rl c illo cc ll c ia a l v iajc: ill c lu so dis c lll'sos ('()lllO la n Olll ado log ía SO Il s Olllcl id os h oya lln a r c" is ió n cl'ílica 1>1'('o(' llp a d a p o r las r c lac io ll cs ¡¡ll e h ay c nlr c la b,í s q u c cla dc un p e 11 s a 111 i e nto a la i 111 e 11 I pe l' i e y H

Kaplan . op. e/l. , p. 102. p

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death 01 a Brazilian gallery-owner. Suc h Iragmentations, interferences, complicatio ns and sim ultane ities ove rride our habitation of immediate space, and destabilize the here·and-now By constituting the stuff 01 post-modern experience , they certainly expand the radius 01 involvement. We are at the threshold 01 a new mode of politics whic h incorporates the traveller, no longer as a remote obseNer, but as a problematic subject. Even rightwing jitters about the surge in ' revolutionary to uri sm' are an un mistakab le symptom 01 this transition.

c l v ocab ul a ri o del cu l o lli a li s rn o .!! I ~s pl'cvi s ibl e qu(', e ll

(' 1("111111"0, \ iaja r

d('j e el c s(' r s ill ó nilll o (le ('s("ape: c l IlIl'i s l a )'a 11 0 ('I' II Za illO ('( ' III( ' m c nt e l a s I'e g i o ll cs d t' ('o nf'li (' l o , ('oll ve l t id o cada v(~z III ;ís CII I>l a ll co d e at.aq ues g U(' ITi Ileros , (,ol'res pOll sél hl c d e lo s pro('(' SOS so(' ia les lo ca les

i lll e l'vc lllor vo ltllll a ri o

o d cs ap c l'c ibido de l as pol ¿' lIli (' a s d c l lu g ar c ill sla lll e d Olld c SIlc c d e qu e sc c ll c u c IIll'a . L os IlI e dios (1 (' com ulli ca(' i ó ll )' e l Irab aj o 1'('-

111 0 10 h ac(' II illlpo s ibl e a <¡lIi('II v iaj a ('orlar I'CHJ i c a l 111('111 e ('011 SII S II (' XOS l abora l es, se lll illl(' IIl a l ('s , t'('O ll {' -

FROM PERIPHERY TO PERIPHERY

IlIi c os )' po líli('o s <¡lI e /r o )' por /ro)'

The Euro-American center and its allegedly cosmopolitan capitals are not what attract the gaze and the footsteps 01Jan Hendrix. He heads lor China, Egypl, Ireland , Turkey, Australia, Mexico, the confines of the world, the zones 01 friction between econom ics, tradition and poli· tics , the critical interfaces of the tradi tion/westernization binomial. But belore objecting here to the imposition of a neocolonial vision with a weakness fo r the exotic , we should consider whether the reasons for his choice may not be other. Counter to any idea of ' mill ena ry China' or 'eternal Mexico", Hendrix's compas points him toward situations in wh ic h tradition is pitted against change. He gravitates to the landscapes most stressed by c ultural, econom ic, even political extremes, and to those scarred by the outreach tourism 01 capitalist glo · balization . It's a tour that includes some

aca lTc a c Oll s i ¡j'o , 110 illlporl a (' II ;í ll r e nIot.o e s c I P u 11 I o (1 e l a I i (' l'I'a e/ond e h a CI'cíe/ o l'('f'lIgial's('.

1':1('0 11-

("cp l O d e l a " o f'i (' i II a 1'('1I10Ia " es (' ocxi s l c IIl. e COII IIII a Il'IHlcllcia a 11 IIi f'ol"ln a l' l a eApC I' i( ' ll<'ia /rol c l e l'a 'y c o n l a i 111 rod 1I('(' i (', "

d (' II)() -

III <' IIl o s d e \ i ajc \irlll a l (' 11 e l I r ahajo. A /r o l'a IlIi s lllO ('S( Till o ('0 11 l a e Ompl ll.a (l o r a , I'('('ibielldo la Il'él ll Sllli s i ó II e ll v i vo d (' la /3/3C '1, ell (' 01111111 i c;t<' i /1I 1 ('asi ('011 I i 11 11 ;'1 CO II 1I11 am igo CII iVlaas lri c lll ,'y P('IIsando e ll (' 11 v i ..,, ' 11 11 1I1( ' II saje d (' p é s a rn e p OI' l a IlllI l' l'l e

d ('

1111 ga -

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la(' ió lI , illU 'O llli s ió ll , ('o lllpli ca(' ic') 11 y Iraslape , la a llld ac i{)J1 d e la ('xpl'rie ll c ia d e es pa(' io, la in cs la bilidad de l aq llí ,\ a ho r<l_ qll c ('O Il Sliul,)'(' 1I la expe ri e ll c ia POS llll o d('rll a c ic rl a111(' 111 (' expand e la arc n a d e l eO IlI prOlll iso, I ~s lalllos a lll e las pu e rl as de IllI a forllJ<1 1III('Va d e po l í li ('a qlle ill co rp o ranl a l \ iajero CO III O UII SIl,; c IO pr'oIJ IeIlI <l li co y n 111 I (,:cJ llI::ís ('0 1110 un o b sC' r vado r di s lanl(' , III('IIISO las pa r a lloi as CO ll se l'\' ado ra s a lll c e l acoso d e l " lllrisla I'('vo lll (' io n a rio" SO Il 1111 s ínlolll:J c la l'ís illl O d c esa I ra ll s ic iÓlI ,

ro F. I\ 1·\ 1': 1\ l' E 111 jo' 1': 111 .\ ('(' lllr o 1'~ III 'oa lll e r' i ca ll o , las Slll " lcs l as ca pilale s eos rn o polilas, 11 0 es lo qu e atnle la mirada y los pa sos d e .I a ll llelldri x, S í {'II ('a lllhio s ili os CO IIIO C hin a, Eg iplo, Irlalld a, Tllrquía , A ll s lra li a, J\1é-x i('O, los con fill es d e l Inlllld o, las zO ll as de fri cc ió lI d c CCo ll o lllía , Irad ic ió lI y políli ca, los es pa c ios el e (' ri s i s d e l b i 11 o Jn i o Lr'ad i c i (l 11 / o( 'c id('lIl a li zac ic'l Il. A lll es de dicta lllill a r so bre la illlp os ic ió lI d (, IIl1a v is ió lI lI eo('o lo lli a l y la blí sqll c da d e lo exó ti co , h abd quc di s(' lIlir s i las n lZ Oll es d e esa S('Ic(' ('iólI so n 0 1 r as, CO lllr'a la id ea d e la " C h i ll a IlIil c ll ar ia " o e l "Méx ico e l e r'n o " , los p asos d e Il e lldri x se e l1callli lI a ll h ae ia s iluac io ll cs d e abr upl a cO lllrapo s ic ió n (, lIlr'e lrad ic iÓII y 1) 1': 1'1': 111

I'~ I

ca ll1bi o , h ac ia la es t ~ ti ca d e pa isa, jes co lo re a d os por ex tl'l' III OS c llltu I'a les , eco n ó lllic os'y a llll p o lít i('os , pOI' un turi s lll o d e las I'( 'g io ll es (' 11 ec los ió n por la g loha li zac ió lI capit a li s ta , UII reco rrido qlle acep ta Sll S pUllt oS a lll a r'gos , p OI' eje lllplo, la d e s ilu s ió n d e l!elld I'i x p or' la b a n a li dad d e los 111 :1 li s, ltrr'istas y la soc ie d a d bl a n ca de A li ce Sp l' in gs, Ésta es un a fo rlll a dc tur is m o , p e l'o qu izá h ab l'á qll e e lllp eza r a c las ifi ca rl o co m o 1111 gé ll e l'o qu e 11 0 se oc ult a q u e lodo viaje es !r oy lIn as " va c ac io n es e n la IIli se r'i:1 aj c na " , G ua r'dand o las di fe l'e ll e ia s es d ec i r, s i n la o b ses ió lI po s l izqu ie r'di s ta por la d e rTo ta hi s tó rica, ni la é ti ca libi d ina lly o la rdi a ll a quiz á va lga e o mpal'ar e l tUl'is nr o d e He ndri x co n la c lase d e se n s ibilid ad pos tlll od e l'll <l (lil e li p if ican los A busos de A lplt o n so Lin g is, P OI' ej e mpl o , c ll a nd o Ling is d es c rib e e l c ini s lll o p a ll sa do qu e arTo p a Sll pl ace r a l v ls ll ar Maeh u Pi ecl lll a m e diad os d e los a li aS 80: E n Macl lu Pi cc hll lIII O pu e d e co nt c lllpl a r las 111 II ra ll as s ill eo n s tl'll cc io n es es p a l-lo!<ls p osl e ri o r'es q lI e las to nl CII CO III O c imi e nlo s , y a h o r'a d es bn)Zadas de s ig los d e s e lva , Talll b ié n las cO llle lllpla UII O s ill turi s l as , fOl óg r a fo s , g llías d e tUl' is l as y Sll S e x plic ac io n es

bitter pills, such as the disappointment he lelt at the tacky malls, holiday-makers and white society 01 Alice Springs , His is c learly a lorm 01 tourism too, Yet it is one that should start to be recognized , perhaps, as a new kind , one which does not balk at the knowledge that today all travel amounts to "vacationing in the misery 01 others', Without going too lar-that is , without wallowing in the post-Ieftist obsession with historical deleat. or in Lyotardian li bidinal ethics- we might align it with the kind 01 post-modern sensibility epitomized in the writings 01 Alphonso Lingis, For in, stance , when Lingis explains the mea su red cynicism that colors his pleasure at visiting Machu Picchu, during the midEighties: At Machu Picchu one can contemplate the walls without 01 any subsequent Spanish constructions cemented on them, and cleared now 01 the lour centuries 01 jungle, One can also contemplate them without tourists, photographers, tour guides with their spurious explanations , It is one 01 the advantages 01 going to countries lull 01 what the corporate press calls terrorists, that is, armed guerrillas lighting lor the overthrouw 01 a U,S,-supported capitalist regime, Tourists are terrilied 01 terrorists, I was alone waiting lor and watching the sun rise over Machu Picchu ,10 10 Alphonso Lingis: Abuses , Berkeley/Los Angeles/London, University of Califomia Press,

" 1994 , p , 52 , p (j(¡

es pll ri as. És a es tilla de las ven taj as d e ir a p aíses pl agado s d e lo qlle la pl"('lI s a de los ("o ll so r e ios lI a lll a t e lTor is ta s. es to es , g u e lTill as élrl ll adas IlIc h a nd o p o r la a holi('i c'lIl d e l (' a pit a li s ll' o apoya do !l0r los I ~s t ados LJ 11 ido s. I ,os t IIri s t as t i(' lI e n t e n 'o r d e los \('rro ri s taso Yo e staba so lo ag llarda lld o y cO llte mpl a nd o e l a lll a lH'ee r so bre Ma c hu Pi CC'llll. lO Q llizá e l r e fill a mi e nLo y la abst ra('c i6 n d e la p a isaj ís t iea de .l a 11 s ea e n g r a ll nl e dida I'('s ldt aclo d e IIlI a habilid a d p a ra a b s trac r la illt e nsid a d d e la Pl'cs('II('i a de a qll e ll os ra sgos polít ic a .Y sO('ia lIIl e nte prob le m á ti cos qll(' brilld a , a (1' I i e n h a e 11 t I'e n a d o s 11 S (' 11 s ibilid a d . e l es p eeUí c ld o a lll a r go/ sa ladolre \'ld s ivo d e la (kri va tCI'(·crlllundi s la . Un a ex pe l'iCIH'i a qllC' 110 Pll e d e m ás qll c \'(~rse j a lollada (' ntrc lo s llblim c 'y lo IlIortíf'ero. As í, e ll C lrill a J a ll Ilclldri x S( ' s ic llt e a tra ído s obre t odo !l0rla s balld e l'as roj as , las 1I 1<1 1'('as (kl pod c r .Y los i 11 ti i e i os s i le 11 (' i oso s de v io le ll c ia d e las rc pr( ' s iollc s (' 11 la pl aza d e Ti a ll a lllll c lI , lo IlIi s111 0 fili e p o r la se r e nidad illlpertllrb a bl e d e la IlI on ta l-1<I sagrada. L a p e r s p cc tiv a d e II CII(Iri x sc POlI(' (' 11 C\ id c l)('i a po r so bre to do

Perhaps the grace and synthesis of Jan's take on landscape is largely the consequence of his Ski ll at abstracting the intensity of the w retched POlitical and social conundrums thrown up, for any moderately sensitive person, by the bitter/salt/sickly spectacle of third world drift. An experience that cannot but be torn between the sublime and the deathly. In China, then, Jan Hendrix was attracted above all by the red fiags, the insignia of power and the silent traces of violent repression in Tiananmen Square, as weli as by the impassive serenity of the sacred mountain. His· particular perspective is revealed in the relationship between these two iconic poles of mod · ern China. The mountain is the only piece of territory exempt from the pitiless productivism that has been forced on a nation already devastated by Mao's fantasies. It is the exception that ideology leans on-as w ith Mexico's archaeolog ical complexes- when economic reform threatens to blast away what is left of the failed nationalistic project. Hendrix detects a complicity between the famous finesse of Chinese sensibility, and a history of political violence : Chinese culture, Jan says, is steeped in blood . It's the most violent culture in the East, ahead of Korea, Japan and Turkey. That violence is a coun terpoint to the stunning beauty of its objects. l· ,, ] 1have never seen such a subtle , such a truly great, reverence towards a tree as in China.

.\lpll(.lI so l .ill g i s. / I /JIIsrs, Ikl'k(' I") / 1,o s '\lI gl' I(' s/ L o lld o ll . 1 ni v(' l'sil y "('Cali!',,I" lIi :1 I'('('ss, 1!J91¡. p . :. 2. 111

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A T HEORY OF L ANDSCAPE The fact that the Moón is devoid of ¡andscape and contains only locations, recorded on photographs and videos, throws light on the fundamental conneetion be tween the designation of "Iandscape" and the way a culture formu lates itself, Land sea pes are not created by their mere topographieal visibility, but by a particular order of investment in this or that sort of seenery. The metaphorical charge of any territory arises from the projection onto it of social hopes and fears, or from its infusion with utopian nostalgia. Its authority derives not only from beauty, but from the association made between this type of beauty and its implications, One and the other are so enmeshed that it is impossible to disentangle whieh of them counts most in our perception, Only a lame semiotics would inquire whether the beauty came first, and afterward the meaning; only a poor theoretician would imagine that symbols are avai lable ready-made in reality, their signifieds being mere appendages, In the strict sense, there can only be landscape on a terrain touched by culture, or one on which a culture has pro. jected the image of its social and natural

p o r l a r e l ar i {, 1I dc illlpli (';!(' i {, 1I e ll li T ('sos d os polos i ('{)lli c'os dc l o q Il e es ( : h i lI a ho,\ ' I ,a 111 0 111 <1I-Ia es

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Quc la Luna no co nte n ga paisaj es s ino la ll só lo locac ion es qu e se rnanifi es lan e ll fOlo g ra fías y vid eos pu e d e serv ir para s uhray ar, por co nlras te, la imb r icac ión fUlld a m e llta l c ntrc la d es ig n ac ió n d e pai saj e y la forrnu lac ió n qu c sc h acc d c s í ulla c ullura, A l paisaj c no lo c rea la m e ra v is ibilidad lo p og rá fi ca , s in o un c ie r'Lo lip o d e la zo c inlc r'és, E l ace nlo qu e Cél r'ga UII te rriLori o d e se nI ido In e lafóri c o d c p e nd e ya d e la proyecc ió n d e mi e do s y es p e ranzas socia les , o d e la infu s i ón de ulla in, agen d e v id a ulóp ica. La co nvi cc ión qu e nos ofrece un p a isaj e no es lan só lo la b e ll eza d e una locación, s in o e l la zo e nlrc esa b c ll e za y s u s in'pli cac io n es. L o un o y lo olro so n La n so lid a l' ios q ll c r'es ulla imp c n sa bl c prcg unlar s iqui cra qu é d o rnilla nu es lra cO llle lllpl ac ió lI. Só lo ull a IlI a la se mi ó li ca preg unla ría s i pr'irn e ro es lu vo la bell eza d c l lu ga r, y Ill ego s u se nlid o . Só lo ulla mala Leo ría im ag in a que los símbo los está ll ya di s ponibl es y co n s truido s e n la realid ad, y qll e s us s ig n ifi cad os so n m erame nle a ñadid os. En se lltid o es tri clo , pais (~ie só lo pu cdc h a b cr' sob re la l.i e rTa acu lLlI l'<ld a , o c n aq ll c ll a so brc la qu c un a c ullul' a ha p,' oy c cla do la im agen d e s u op u es lo nalura l

opposite. This requi rement is graphi cally manifest in the common etymolog ical li nk between landscape and rural order. In English , as inthe Dutch landskap, the word derives from the Germanic root Landschaft, meaning ajurisdiction, or unit of human occupation, as much as some pleasing scene of contemplation . " The Spanish palsaje-adapted from the French paysage in the early eighteenth centurydescends from pago, an old word fo r an agricultural estate. Like país, 'country', or indeed our own 'pagan', it derives from the Latin term pagus, translated as village, hamlet or district. 12 Without this input from cu lturally-established mean ings applied by an active population to its environment, a stormy sky or a towering cliff do not qualify as landscape. They can only be viewed as cli matological and geological accidents , By traveling to places renowned as "Iandscapes' on the far removes of the earth, Jan Hendrix establishes a consumption of symbolic motifs and historical con11 Simon Schama, Landscape and Memory, London, Fontana Press , 1996, pp. 11- 12. 12 Joan Carominas, Breve diccionario etimológico de la lengua castellana . 3 rd ed . Madrid, Editorial Gredos , 1973, p . 433 .

p G9

y soc ial. Ese requIsito s e manifi e sta de man e ra muy gráfica c n e l la zo qu e e l lenguaj e h ace e ntre paisaj e y orde n rural. Paisaje - la voz caste llana derivada d e l francés pa.ysage hacia principios d e l s ig lo X V !II - s e v in c ula con p ago , e s d ec ir, "distrito agrícola ". Como paú , paisano o pagano, paisaje provi e n e de la voz latin apagus , "pueblo, aldea o distrito". 11 De modo muy s imil a r, e n holand é s lanelskap o in glés landscape, derivan d e la l'aíz g e rmáni c a Landschaji, qu c impli ca lo mismo una jurisdi c c ió n d e finida pOI' una oc up ac ión hum ana , q ue e l te l'reno digno d c s e r obs e l'vado. 12 S in esa inte l'fe re ncia d e la s ig nificación cu ltul'alm e nte estab le c id a por una población activa sobl'c s u entomo, un pedazo d e c ie lo y un a e xte ns ió n d e tel'reno no so n paisaje. Sólo se les puede imaginar como un accid ente ge o lógico o un mom e nto climatológico. A l p e l'egrinar a los sit ios d e notados como "paisaj e s" e n la perife l' ia g loba l , J an H e ndl'ix estab lece un consumo de motivos simbó li cos y de los con fli c tos hi stó ri cos. C ie l'tam ente é sta es una mirada formulada por la

flicts . His is certainly an attitude molded by the search for things that differ from the polite econom ic routine of Europe . Exoticism was based on the presumption of the essential ahistoricity of the Other; in Hendrix's case , what is non-western , or peripheral, owes its fascination to the contrary, which is the spectacle of con stant flux. By "non-European', he understands the paradoxical, complex and often brutal effects of the adaptations fuelled by under-development and postcolonial conflict. This continues to be an Otherness with regard to Europe, but with a crucial novelty: while the devel oped centers languish in the apparent stasis of "post- history', it is on the edges that the action of modernization become visible : a landscape racked by socioeconomic forces. What has become reduced , in the metropolis, to the mild scenario of a service economy ticking over, is seen at the peripheries to be the corrosive effect of exponential change . THE PLAC E TH AT IS METAPHO R

It is understandable that for the Romans, only the land made fruitful by civilization was agreeable to the eye . According to Simon Schama-whose Landscape and Memory (1 996) is an unparalleled excursion into the ways cultural tradition has shaped our notions of landscape-when Tacitus was writing of the lands of the Germans as informem terris , the adjective meant both 'shapeless' and 'dismal' . In Europe at least , the c/ass vis ion of the pastoral Ia,ndscape, epitomized by Poussin and

11 Joa n Coromi n as , Breve diccionario etimológ ico de la leng ua caslel/ana. 3a ed. Madrid , Ed itor ia l Gre dos, 1973, p.433. 12 S imon S chan;l3: Larzdscape and Memor:r, Londo n, Fontana Press, 1996, pp. 11-12.

bú sq u (' da de lo qll(, difi e r e de la rulin a eco ll ú lllica y c iv ili za lori a d e E llrop a.E I ('x oli s lIl O se fUIId ó e n la bú s qu e da de la s upu es la ahi Slorie iel a d d e l 01 ro. E n e l caso el e Il e lldri x , lo lI o-0c c id e lll a l y pel'ifé ri('o d e be Sil illl c rés a l ('a nlbi o ill cesa nl (' . Por " lIo E uropco " H e ndri x clll ic lld(' ('1 efc e to par adójico, co mplejo ya veces brlllal d e l c amb io ill ('C'sa ll le d e l s lIbel eS:H'I'O I lo y e l f'o llf'licto pO SICO10 11 i a l. S i g il (' s i (' lid o ¿. s i c 11 11 r e p('r l or io d e lo s olro s d e I -~ II

C laude Lorrain , harked back explicitly or implicitly to the myth ' of Arcadia as the underlying image of lost harmony between nature and c ulture, to express a dissatisfaction with present tribulations. It is with reference to this inherited tradition that it became possible to "make landscape out of mere geology and vegetation' . The same nostalgia is perceptible d uring the early phases of Modern ism, in the pastoralism of French painting's quest for "luxe, calme et volupté". 13 In an opposite direction, it is possible to track the precise historical motives that make a society want to preserve, recre-

r o pa . p (' r o IlIl a \ ('1. <¡li t' e l """' do d ('s arroll a do la ll g llid cc (' (' 11 la apa r('lIl(' estab ilidad de Sil " pos lhi sloria ", 1:1 p e ril'cria ('S e l á mbito d(' la v is ihilidad d (' la Illod cr lli za(' i{)Il: e l p:1 isaj e \'io lc lll a lll (' lIl(' re d e finido I)o r ca li sas soc i()('( 'O ll< í l n icas. ' I()do CII ,1I11 o ('11 la IlH'If'(')poli se a lClllI :l e n (,1 d('corado d(' los sc rvicios , (' 11 la pcriferia ('s ('1 (, f('c lo corros ivo dC' 1 ca ll1hi o ex p o lH ' llci a l.

ate or outright simulate expanses of supposedly unsullied nature, offered as a metaphor of transcendence. The reverence for 'virgin" wilderness that led the United States to fence off its national parks, worship the photographs of Anselm Adams and produce the Unq.bomber, is directly related to the manner in which nineteenthcentury Protestant preachers like the Bostonian Thomas Starr King claimed that 'this purity of nature is part of the revela-

1-: 1.

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tion to us of the sanctity of God'. In his

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H('s llll a ex pli cah le qll(, para lo s rOlllallOS só lo la li e rra so br(, la <¡"(' la ci v ilizaci/) Il Il a iJí:1 d ej a do fr lllo cra ag rad a hl e d e ve r. Seg lí 11 S i m o n S e Ir a 111 él q UI e 11 e 11 M clll o ,.ia Pa isa/c ( 1!)96) se ha dedica do eO lllO lIadi c a e xp lo ra r la illlbri cac ión e lllre pai saj e y tradic' ióll c lrllura l f' 1I :1ndo T áe ilo re fcría a la li c ITa d e los ge l'lllanos COIllO IIll a illjorlllcllIle,.,.ú, " info rm e "

famous "Letters on Landscape Painting" (1855). Asher Durand , president of the 13 'The interest', said Clement Greenberg, 'in nature (etc) ... por la naturaleza y los personajes en reposo y el arte en movimiento que han dado expresión a la insatisfacción con los sentimientos que prevalecen en los centros de desarrollo.' On the relationship between pastoralism and Modemist thinking, see John O'Brian: "Greenberg's Matisse', in Serge Guibault ed., Reconstmcting Modémísm: M ín !VeN York, París, and Montrea/ 1945-1964, Cambridge, Mass./London, The Mrr Press, 1990, p. 148.

/,7 1

s ig llifi ca ba lo 11Ii s lll O ('a l'( ' lIte d e fOI'IIl a q ll e m o ti vo d c d esco ll s ll e lo. A l m e n os C' II E u nlpa , la v is ió n C'l as iC' is t.a d e l pa isaj e p i 11 tor'C'sC'o, C' II ca rn a d a por POlI ss ill y C la lld e LOITa ill , refe ría ex p líc it a o i,,"pl íc it a lll e nte a l mit o A rca di a CO III O inl agC' n s ubyace nte d e la illt eg l'a c ió n el e n a tura k za y c llltlll 'a y la rn a nifes tac ió II d e ill sa t is f::'cc ió n p o r las a tl' il)lll ac io ll es d e l pl'ese llt e. Es p OI' re fe re n c ia a csa t rad ic ió n h e re dada qll(' e ra pos ibl e h accl' (Jfllú!je a partir d e la " IIl('l'a g eo log ía y vege tac ión " . Nos ta lg ia qll(' se hacc prese nte in c lll SO CII la pl'illlel'a fase el e l modcl'n is llI O, d a do c l pa s tol'a li s mo d e la bú sqlled a d e I lij O, C'a hn a y vo luptuo s idad de la pilltlll'a fl'a n eesa. I ·1 I-: n se ntido o pu es to , es p os ibl e l':1s t l'{'a l' lo s Ill o ti vos hi s t(í l'icos PI'Cc isos qll e c Olldu ce ll a 111 1<1 soc ied a d a int e nta r pr'eSe l'Va l', 1'('('I'('al' () d e p la n o s ilnlll a l' UII es p ac io d c Sllpll CSla pur'e za n a tLlI'a l y fOl'lIIlIl a d o CO III O m e lá fo ra el e t n lscelldC'lI c ia .

,.. " 1':1 illl p r(.s d ecía C I" II" ' 1I1 en " ' lI h('rg por la n a l"I'a l<-za 'y lo s lH' rso ll aj ('s (' 11 re p oso y e l a rl (' , ' 11 III o v illli " II 10 '1'''' h an d a d o ,' xl"','si {)1I ;, la ill sa l is f'a('ció lI eO Il los sf' lIlillli" lIl o s '1''' ' I" ','va l,, , '(' 11 {' II los cC lltros de d f'sa rro ll o ." So hn ' la r" lae ió n {, lIlre p as lora lis lll o y lo s arg lllll Clll os d e l Ill o d f' rlli s lllI>. v" r .l o hll O ' Bria ll , " C I'ce llb e rg 's i\ la l iss," ', (' 11 S" rge e ll i Iba ut ({'d.), Hecol/s lr/lcti/lg ,l1orlerl/i\'ll/: / 11'/ il/ N ew Vork, Prll i~, 01/(/ ¡I/ol/Ir('o/ /915· /.961, Cambrid g" , Mass./I.olldoll , I':lI g l<l lld , I h e ¡"li T Pre ss, I D!J O, p . ItíR. ,,72

L ~I d evoc ió n po ... la n a lu ... a leza "virge n " qu e ll evó a los Es la d os U nidos a e ...ea ... s us pa "'ques nae iollal es , idol al ...a rl as folo g ...a fías d eA ll se lrn A d a lll s y p ... o dll e i ... a l Unaboll/ ber, es tá di ... ee la lrl e nle ... e lae io ll a d a al m o d o e ll qu e e n e l s ig lo XIX o l'a do ...es pmleslan tes como el hoslollian o Th o mas S la ...... Kin g eO ll e ibi e l'On " la pure za d e la n a tura leza" a m e ri ca n a eo rll o un a forma d e '-reve la c ió n d e la sa nlidad d e Di os" . lin s us fa m osas " Ca rlas so bre Pintur'a d e l Pai saj e " (1855) As h e ... DIl...a lld , teó logo y Pres id e llle d e la Aea d e rni a 1 ae io n a l d e Di se ñ o d e Nll eva Yo rk a f'j¡'llI a b a qu e lo s pa n o ra m as a m e ri c an os , a p a rl e d e brind a r bi e ll es l.a r'y m edi os d e s llbs is le n e ia a los eo lo ll os , "es la ba n p ... e ñ ad os d e lecc io n es d e s ig nificac ió n a lla y sag ra d a, la ll só lo s up e ra d as po ... la luz d e la R e ve lac ió n" . Los vis il.a ntes d e los bos qu es d e Sequ o ia s e n Yo se mile, Califo rni a se co n cebíall co m o pe ... egrino s vis il a ndo te mpl os natu... a les , co n ve ll e id os d e qu e es o s á rbo les h a bía n ge r'm i n ad o a ll ie mp o qu e C ri s l.o ve ía la lu z e n He le n. !4 As í fu e co m o e l p a isaj e s llpu es la m e lll.e inloca do d e N orI.eam é ri ca adquiri ó s u h a lo d e lras ee nd e n e ia. S i hubi e r'a p os ibilid ad d e ge ne ra liza r esos casos se l' ía necesa ri o

Natbnal Acaderny 01 Design in NeNYorkand the effective theologian 01the later Hudson Valley school, declared that the American wildemess, apart from supptying vvell-being and sustenance lo its coIonists, was 'fraught with lessons 01 high and holy meaning , only surpassed by the lighl 01 Revelation.' \lisi tors to the Sequoia lorests in Yosemite, Cali-

loma, saN~ as pgtns l.1siti'Ig retural shrines, convinced \hal the Big Trees had sprouted around the time that Christ was being bom in Bethlehem. 14 Thus it was that lhe 'unprolaned' landscape 01North America acquired its aura of transcendence, If we were to generalize Irom these cases, we should have to conc lude that landscape, lar Irom being a positivist practice, belongs to the genre 01 alle gory, In other words, that what makes a location into a landscape is the idea that this place hints at the presence 01 another. Landscape is invariably ' metaphor' . The overwhelming effect 01 a landscape is to pos it a transportation to somewhere else. T HE IOEOLOGY OF ART I

Jan Hendrix : I was the most rabid ideologist in town when I was sixteen , I saved Ihe whole country, but nobody lound out. I was even a Communist, though befo re I grasped the difference between Leninism and Maoism , I liked Mao badges a lot. much more than Lenin badges , WhBt I mean to say is , I was sucker lar ideologies , I'm Irom the generation of 1968,

" SC' ha rn a, Oj). cI/. , pp. 8 1-83, 189- 190 , 197.

7'3

Schama,op. cit"pp. 81-83, 189-100, 197 .

l'O ll s ll'lIil' la II oc ió II d e qu e e l p a ls aje' , lej os d c se r ull a p" á(' t inl POs iti v isla , pertclle('(' al g(~ IIero d c la a lcgo ría . E II o tras pa la hras, qll e lo qllc h ace paisaje d e 1111 IlIga r ('S <jll e ese s iti o in vo ltLCr<l la prcse llt;rciúII d c //11 fllgar o/ro. Pai saj e s ie lllpre ('S " 11 letMe)!'a" . E l c recto prill c ipa l d e 1111 pa isaje es propon e r 1111 tra ll s port e. !- \ I D ¡.: () 1. () e í \

J a ll l/clldr¡.r: Yo fúi

l': 1.

You have to remember that it was very bad form in those days not to take a position . It was the only way to be in the anti-Vietnam war protests or the student barricades. AII that was part of my adolescent training, and it was essential for my understanding of ideologies: as soon as I was out of the Catholic church , I went running after the next fix, because I needed another, urgently. The fashion able line was Marxism . So I had to join the smallest, most obscure and most extreme party there was in Holland , of all places . Cuauhtémoc Medina: Which was that? J. H. The Socialist-Pacifist Party. C. M. The most recondite of all. J. H. The smallest party in Holland, the most radical, the most angry, the most exaggerated, the most sincere, and the most attached to the most way-out ideo ology, which happened to be Maoism . C. M. And when did that stage come to an end? J. H. In the Seventies ... No, I guess almost the Eighties . C. M. Here, in Mexico? J. H. No, little by little, first in Holland and then here . I moved on to the ideology of arto Like I swapped one for the

\1 \ T E

(' 1 id( 'ó logo

III :1S a re rrado d e Illi pll<'hl o (' 11;rll -

do tCllía IG a l-lOS. Flli e l sa h a (/ o r dc toel a mi ti er r a , p c ro II <l di e 111 (' reco ll oc ió. F ui CO lllllllista , i 11('1 li SO; p c ro <l ntes d c e nt c lld e l' ('1I;il e r a la d i re re 11 c i a c 11 t r e e I le 11 i 11 i S 111 o .Y el rn ao ís lll o , lil e g llst a h a ll 11111c h o los botollcs de \I ao, 1IIII<'h o III :1S qll e los d e !-c llill . Lo qll c q 11 i c ro d e c i l' e s q 11 e fú i 11 11 a rcrrado a las id co lo g ía s. SO) el e la ge ll cr<le ió II d c l sese llt a., o(' h o. To m a e ll cue ln a <jU( ' ('lItOIWCS era 1I111.Y IIl a l vis to que 11 0 tll viel'a s tll p os t lira . ¡": ra la l'llli(':-I f()f'llI a d e , i, ir las I)l'olestas cOlltl'a la g ll e l'ra d e Vidrr a lll , las balTic<ldas de estlldialltes. ' I()d o es lo ru e partc d e IIli aprclldizaje d e ado lesce llt e .Y ril e ('s(' Il<'i a l pa ra e nle nd e l' e l li SO d e la s id eo log ías: d es p u és d e h a b e r sa lid o d e la ig les ia ea lóli ea, lil e VO'Y cOITic lld o a 1<1 s ig lli e nle , pll es II c('es it aba otra y urge nleme nt e. l_a que ('staba de IlIoda era el marxi s lllo. r:lltollces Irl e hi ce mi e mbro d e l p arlid o IIl ás peqll c ii o l' 74

\ 0( '11110 \ cx ll'c nli sl a '11 U' IIIIIJo ('11

q[allploccs, ('IIOUI,léllloc I/cdil/o: / :II ;í l c l'a :'

Il o la ll da

J I/. E l pa rti do So('ia li s l a· Pa(' il'i s t a, ( ', 1/, E l m ás I'C(,(', IIdil o d (' l os

p a l'l id os ,

.J I/. Era e l pal'li do III ;ís 1)(''1" ('1-10 (' 11 Il o la ll d a

(, 1 III ;ís (''( II'(' IIli s l a.

,\ c l III ás f'c r oz. ,\ e l III;ís 11'(' 111 (' 11 ' d o . ,\ (' IIII ás si n('(' l'o. ,\ (' 111I;ís al(ol'l'a· d o a la id co logía III;ís (''( l n' lI la '1" C (' 11

CS(' II 10l n enlo ('I'a la IlI aoísl a,

(: J/. ¿Y c uáll do ('('I'I ~ Is l (' ('sa 1'1 a I )a:'

.l ll.

I ~ II l os s('I(' lIl a ... \Jo . .\ 0

d il'í,I ('a s i c n t r a ll do (' 11 los o(' l w lll a. ( '. 1/. ¿A q u í ,

( '11

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.J t/. No, pau lalill a ll l(' lIl ('. pl'ill l('. 1'0

(' 11

Il o la n d a

I" ego ;I(';í . 1.0 (';1111 ·

hi é p or la id eo lo g ía d (' 1 a l'l ('. A l fili a l d e ('Il(' lI l as ull a la (,; "" IJa l;1(' 11(" por o l l'a. Porqu c el a l'l e ('S IIII a ('s l )('(' ic de id ('o logía la", hi é ll . II lI a ('S I H'(' i(' d(' ('slado cs p iri luall alllh i (~ II . q U(' S(' PII('· d(' ( ' 0 11\ c r'l ir f'á c illll e lll c ( ' 11 ,," a id ('o · logía : la d c f'e n sa d e l al'l ('. 1:,

N () T !\

<: l . \ 1\ \ T () 1\ I \

N o l a lll o u n (, II sa y o , s ill o a l g '" 1I 0S

a l'g u lllC lll o s 1(' \ '(' II I(' IIl c ('O ·

11 ('('la d os. a rl i e ld ados IlI ás (' 11 ull a Sc (' u (' n c i a d e p l a lt os I'ílllli ('os '1 11(' (' /1

ull a s u ces i ó n l óg i(' a. i\'o l a s ('s·

cl'itas c n l u ga r es

li ('IIIP OS d i s ·

1i lll o s d isp ucstas a sc r !c'íd as l alll b ié ll 1:, C OII\"'I'Sac ió n e nl ,.e e lla" Ir I';II" '" \I ,'d ill:l .l .Ja ll II ('nd,.ix , Va lle d e 13,.;1\0, dOIl,i ll go II¡ ti" 0('1" b,." de 1999.

7:3

fra g m e nt a ri a lll e nte. lnle lltos p o r hab lar má s a ll á de Ja di eo lomía eslúpid a d e forma )' eonle nido. E l h ec h o s impl e es qu e los art is tas d e la ge n e rac ión d e J a n aú 11 pl a nlea ro n s u trabaj o e n e l CO I1te xlo d e Iln 1Illlndo d e finid o p o r las id eo logías. In c lu so c u a nd o s u lrabajo no a p arecía co m o inln ed iatanl e nt (' políti co, e l'a esa r('fl'a cc ió n lej a n a d e la po líti ca lo qu e o lo rga ba se ntid o d e urge n c ia a SIl S irn áge n es)' estéticas . 1': 1 p artid ar is lll o por IIIla búsqu c d a d(' la be ll e za e n la co nle fllpOl'a n e id a d parlía d e una lecc ió n p OI' d es illls ión: la co nfron lac ióll po lít iea n o lo definía todo. E s te s ile ll c io s ignifi cativo res ulla d ifíc il d e e nle nd c l' pa l'a e l arti s ta poslideo lóg ico , que n o pel'e ibe los e nlre le lo n cs d e la s eS lraleg ias es lé li eas . La s llblimae ió n mod e rni s ta n o e ra Ul nlo un esca p e co m o una tra n s fe re n c ia d e la inte n s idad d e los d il e m as d e la é p oca a l campo d e lo vis u a l.

other, really. Because al1 is a kind of ideology as well, a kind of spiritual state, too, Ihat can easily turn into an ideology: the defense of art o15 CLARIFICATOR Y N O TE

Not so much an essay, as a string of loosely-connected arguments, arranged like cinematic sequences rather than in logical progression. Notes jotted down at different times and places, able lo be read no less disjointedly. Attempts to outplay the dumb dichotomy of form and content. The simple fact is that artists of Jan's generation first evolved their work in the contexl of a world defined by ideologies. Even when their art was not directly political, it was the over-arching refraction of polil.ics Ihat lent a sense of urgency to their imagery and aesthetics. Jan's decision to seek beauty in contemporaneity sprang from a lesson in disillusion : political confrontation does not encompass everything . This significant silence is hard to understand for post-ideological artists, blind to the underlying motives of cer-

T ,-: 0 1\ í i\ IH: r. Pi\ I S i\ .11': l l Creo qu e rn i posi c ión no es un rn e l'O c ulturali s mo. U n o p o dría pre -

15 Conversat ion between Cuauhtémoc Medina and Jan Hendrix, Valle de Bravo, Sunday 14 October, 1999. .

g Uill a rse, sig l lf' nd o a ~'I e rl ea u - POllly,

tain aesthetic strategies. Modernist sublimation was not so much escapisrn , as the translerral 01 the intensity 01 the dilemmas 01 the day to the visual domain .

de qll(~ m odo pC('ldiar cs qllc l os g l'abados d c .l a ll Ilclldl'i x sc 0( '11 pa ll d(' " lI acc l'll os \ (' 1' l o \ i s ibl e "

,1/ ;

ha hl a l' dc la dis('iplilla CII qllC l a

THEORY

pal'c d dc s u cs ludi o 1(' se l-Iala 1111

j IICgO

OF LANDSCAPE

Sil I'ollllldi dad a l a cO llfro lll ac i ó lI

I don't think that my position is a mere lorm 0 1culturalism . One might ask onesell, echoing Merleau- Ponty, in what way exactly do Jan Hendrix's engravings set about ' making us see the visible.' 160ne might speak about the discipline whereby the wall 01 his studio dictates a play 01 proportions on paper, alter w hic h the artist concentrates on making the body leel that the printed tree has, even remotely, the consistency and rotundity 01 treehood. Ves indeed: to give onesell up to the dillicult task 01 speaki ng Irom a phenomenolog ical point 0 1view would be in order, since Hendrix's graph ics are pre -eminently concerned wit h clawing back the rotundity 01 presence . Especially w hen in 1991, with the series Yagul/The Golden Bough, he moved Irom small lormat to large (Irom cham be r prints to mural pO lyptychs), at the same time marking a departure Irom the tradition 01 graph ic work as an irlustration 01 mental images or descrip tive reports. From then on, he has dedicated himsell to inventing a graphics 0 1 visual, corporal and psycholog ical presence. His works are an attem pt to record natu re as a sensible apparition,

1,, " ('i(' (' }\ed e a ll ' I'olll y. 1,'/ 'No.rel {'.lp,-,.i. Il'ad . Jo('ge ROIII"I'O Bn 's l , B<lI'l'l' lo ll a, 1'" id ,',s. 1D}i6, p. 2·~.

,,; Maurice Merleau· Ponty, B ojo y el espíritu, transo Jorge Romero Srest. Barcelona, Paiclós, 1986, p . 23.

de propol'('iolles sobl'e e l

p:'lJ H' 1 a IHIl'lil' d (' la s qll(' e l a l'li sla se e llll)('I-l a CII h a('(' l'l e se nl i l' a l (, ll erpo qu e e l á r'bol illl prcso li e ll e la cO ll si sl c n c i a y l a l'o lllll(Ji dad de l á r b o l aU 11 así

sea Sil I'e m olo sí -

IlIi\. S í : d a r se a l a l a l'e a pOI' d eIII:ís difí('il dc hahlal'desde e l plllltO de \ i sla d c lllla fellolll c ll o l o g ía ve lldr'ía a l c aso , plles l a g r :i r i c a de Ilclldr'i x 1iell(' ('01110 ('al'a('lel ,ísl i('a sa li e lll e la ('oIHli('iúlI d c IH'O('l Il'a l'Se

la I'o lulldid a d de l a presel/ 1() d o a p a 1'1 i l' q U e C 11 19!) 1, ('0 11 la sC l'ie de )'Og ll// /J I Rall/o

CO II

cia. S o b I'e

f)o/'{f{/o , I lc lldl'i x ('alllbia d e l pe-

qllel-lO a l g r a ll fOl'llI a l o (d c l g r abado d e ga bi I1 c l C a l poi ípl ico sob l'e 111111'0) l a lll b ié ll pOIlC di sl a ll c ia a lll (' la Irad i c ió lI de la grárica

('OIrlO

illl s-

Ira('ión d e i ll Hí g e ll es IlI c lltales () illfol'lll c S d es cr ipli vos. D es d e e ll1011('('S se h a dedi cado a invelll a l' IllI a g r áfi ca cO I'P 0ra l

pl'ese ll c ia v i sl ta l ,

p s i co!<'l g i('a. Lo s g r'a-

bados d e Jan \I c ll cli'i x so n 1111 inlclIl o d e I'eg i stl'ar a l a lI alul'a leza CO IIlO a p a ri e ll c i a se ll s ibl e Ira n s firi e nd o

11 ; \

111,

('lllre cs p cc lador 'y pap c l. li l;r 11 O 1a n 1o

S(' Irad c I a i 111 i l.a c i {) 11 d (' I

aspeclo C O I1IO del ef'eelo. 1': 1 s ldl a d o d Olllill a lll ('

translerring its rotundity to the conlron tation between th e spectator and the papero ' 7 This call s lor imitati ng not SO

1' ('-

d(' 1<1 s(' ri g raf'ía

d e Il e lldri x (' S, (' I'('c l i\ a lll e lll (' . 1111

muc h the aspect, as the effect . The overwhelming impression 01 Hend rix's serigraphy is, then , a being· there in the presence 01 the print, shifting lrom a vision 01 it as a means 01 scenography to a new vision of it as a scene in itself; shifting it Irom fullilling a 'graphic func tion" to producing a sensation of transport. We are not only momentarily placed in front of a panorama, but also literally compelled to make, so to speak, an appearance befare an unkx;alizaOO place-the place par excellence . In a sense, the aim not for the print to represen! a landscape, so much as to inve st itsell wi th the status of landscape .

('s ial' a hí a lll c l a pre s e n c i a d e l g rahad o , Ira ll s il a r de v c rl o CO III O 1111 IJ)edio d e eS('(' llil'i c<l c i o IH'S a l a 1111 (' \ a f'un c i ó II d e se r v ir de eS(Tn a , de s pl a zar l o de l e ll cr IlIl a "f'IIII ('i<S11 grá fi ca" a pr'Od II(' ir' lllla SCIIS<I( 'i/ )lI d (' u'allsporlc. No só l o se Ira l a d (' pOll e rll os (' II f'r('III(' 1111 1ll0 nl Clllo d('1 p a ll o r a lrr a , s ill o lil (' ralrll (' III (' oh li g a l'll os a h a c(' l'. di g'a lll os, 111 1<1

pOl'ecellc/a

('0 111 -

a nl e 1111 s ili o il oca li za lJl ('.

p e ro p or e so IIl ás s ili o . 1': 11 c i e rla fi)l'IIla , se lr<l l a d (' CO II sc g llil' qu e l a g r;:íl'ica 11 0

11 11 II'sl 1'('

1111 p<lisajc, s ill o qllf' adq lli ('ra (' ll a IIli s lll a l a dcsigllaciólI de pai saj (' .

P J\

1S '\.1 1': () 1. 1' (; !\ 1\

I ,;r di s lin c i ó lI l e h a cc l' ('n i

1'('

'I" C llelluri x Sll ('po i.\·({je .Y /11 g o l' (' S

LAN D SCA PE OR PLACE

The distinction pursued by Hendrix between landscape and place is essentially intuitive, less an objective visual trait than a quality of experience that transmits its condition to the gaze . When you reach 'a place that merits the repose of alten· tion", you have reached landscape Places are only 01 transit, good lor stays but not for stations , They are not rendered sig-

(' 11 (' s c ll c i a inlllil i\ a: 110 la l!l o IllIa ca r ac l erís li ca v i s ll a l obj(' li\ a hl (' , ('0 1110 IIl1 a ca lid a d d e l a ('x lH'r i (' II c i a <¡lIe dicla IlIla ('orrJi(,i()1I a la IlIira d a. C I HIIHl o se lle ga a " 1111 IlI g<II' qll c 111 (' 1'('('(' (' 1 r ('poso

(k la

a l c ll c i ó ll " e s <¡II (, 1111 0 s c ha l o pa do CO I! e l paisaje. I ,os hl g <II '('S SO l!

" crr. C":"",I{'"",,,

\1.-d i"iI . "1\( ,(''''' '''('.1

" CI. Cuauhtémoc Medina, "Recovered Sen-

SC'lI sa liolt . I .a S ('II S; I( ' ; f')l1 1'(·(·obr;I<Ia ". ( ' 11

sation. La sensación recobrada", in Cuauhtémoc Medina and Carla Stellweg. Jan Hendrix,

(:":II'''''',,,)()(, \I ,'di " " -' ( :,,1'1:. Slt' lhll " ·g../fI/I //"/l r/,.ú . I': idl,(),,',, - \ ir""r\. \ c l 111'1'1 :,," Is. f,." "'I H' "I)" hlislll'rs! ( :" " :II '"Ii " [ I!)!)!¡ . I,.:¿-l.

Eindhoven·Airport. Netherlands. Kempen Publishers/Conaculta [1994], p. 23. jJ

s (í lo d (' tl' á ll s it o.

S O Il

('s tall('i a s

nificant by the respect of standstill. 'Places go past one, landscapes are to be paused in,' says Jan. It has all to do with that interruption, that emotional click that gives us pause and changes our outlook. Thus whatever passed unseen, or did not stop

P (, I'O " O ('s t a(' io n cs, n o se s ig lli f"i(, <l 1I co n e l r cs p e t o d e la d (' t(' lI (' ió lI . "A lo s lu ga res LII' O los v(' p a s a r, los p a isaj es lI11 0 s e los p a s a hi (' II ", di ('(' Jall . T o d o S(' ('( 'lItl'a ('11 ('sa ill\( " TI'I )(' ió ll , (' 11 e l " c li (' k "' (' II ]() -

us in our tracks right away, is out. 'To detect is always what matters most."

ti v o qll c o bli g a a la p ;lII sa .Y (, 1 (' a ll,bi o d e ac titud . A sí lo <¡11l' 1111 0 11 0 v io , lo qll (, 11 0 Ilalll ¡') la at (' II (' i(í ll d (, pl'i 11)( ' 1' ¡,;-o l pI' , 11 0 (' 11 (' 11 -

DEATH ANO REPROOUCTI ON

Milton Machado and 1, strolling through the galleries of the ICA in London. AII of a sudden, the specimens in a vitrine standing in the center of the room strike us dumb with amazement. Eleven pairs of identical stones, alike down to the last detail, sitting side by side as though the world itself had beco me impregnated with a spooky logic. Vilja Celmins had made bronze molds of eleven common pebbles, and painted them to make them look indistinguishable from the originals, save for a slight difference in sheen. Her title for the ensemble, To Fix the Image in Memory (1977 -1982) was no doubt in tended to demonstrate that only by reiteration can an image be hammered into the culture. But to us the hyper-realist prank felt more like an ominous, apocaIyptic sign oAs with' wax museums, real -

ta . " S i(' II'pl'e e l d e t ('(' t a l' (' S lo <¡I I(' il)'p o rt a ." 1\1 1 ¡.: 1\ T I': ,

\1 i I t (

1\ l': l ' 1\ ( ) 1) I

I a (' h a ti o .Y y o

<: e 1( ) \

i 1) a 11 ti o p o r la s ¡,;-a le l' ía s d (, 1 IC \ d (' 1.0 11 dn's . 1) (' pl'Ol)t o los ('s l)('('í ,II (' I)(' S 1)

1'<11 1)

d (' 1" Ia v i t r i 1) a b aj a (' 11 '" it a ti ti (' la sa la 1I 0 S hi c ie l'oll g ll a l'd a r s i 1('II (· io d e a s o ll,bl'o . 0 ,1( '(' p a l'('j as d (' p i(, tI r a s irl é llt i(' as h as t a (' 11 (, IIII;ís ,"í"i'" 0 d e la ll e ('s ta h a ll ; \(' 0 ,"orl ada s IIl1a jllllt o a la o tra . t;-II ('0 '"0 s i ('1 1I1111,tl O 'lIi s ll'O e s tll\ i('l'a illl pl'('¡';-II á lld osc d c IlIl a ItÍ g i('a f ~'lIt as ," a l. Vi lj a C CI,"ill s h a h ía lu ,(' h o IlI o ld (,s (' 11 bl'o ll ce p a l'a I I ¡';-IIij a l'l'os ('Olllllll ('S,) f'o 'Ti(, llt e s.)' l'll'g o los h a hía pi lit a d o h a s ta h a ('(,rl os ('a s i /' 7!:l

illlli s lill g uibl cs, sa lvo por un ca mb io c n e l br ill o, d e l o ri g in a l. S i Cc lmin s había ululado aJ co njunlo Para ./tiar la imagen en la memoria (197 71982) eroa quizá para mos lra r q ll c só lo la in s istcnc ia fija una im agC II c n la c ultura. Pero la broma h i pcrrca I iSla n os par'cc ió IlI ás bic lI Ull s ig n o ominoso .Y apoca lípti c o. CO III O s u ce d e CO II los mll seos d c cc r'a , la co pia hipcrrca li s ta pro'yccta un c fec to fanla s m a l. S i la im agc n d c esas rocas sc fij a b a e ll la III c m o r'ia c l'a por lo que esla c op ia c xacla s ig nifi c aba c n rc la CIOII co n la mu c rtc dc la bc ll c za n a tll rél 1.

looking copies exude a ghostly effect. If the image of those stones stuck in the memory, it was because of what the perfect reproduction meant with regard to the death of natural beauty. FICTIONS

From 1979 to 1986, Jan Hendrix made a series of collage -boxes on three semantic levels-consisting in most cases of Polaroid, collected specimen, and sketch or other pic torial composition . Through these he was evolving a formal , argumental and narrative matrix for his later graphics on lan·d scape . 'B Th is Unfinished Logbook appeared wrapped in a literary device: its model was the naturalist's fi eldbook, in which eager foragers from the seventeenth to the nineteenth centuries annotated samples destined for museum cabinets , absorbed in an al ready -forgot ten descriptive project of natural history. Unfinished Logbook was an ill ust rated fiction, the half-c lass ified materials of an exploratory enterprise that never took place; fragments of notes as they might have been unearthed by a historian of

F ¡ .. ClO N ES Enu'e 1979 'y 1986 Ja n H Clldrix fa brica u lI a sc ri c dc caj as-co ll agc dond c, c n lres ni ve les semánlicos (po r lo gC ll c ra l fotogra fía po lal'O id , cspécimcn rccogid o'y bocela o co mposic ió n pi c ló ri ca ) fu c c labo ra nd o un a m al riz fo r'm al, a rg um c nla l y n a n'a li va para s u posler ior' g ,'á fi ca dc pa isaj c. 'K Esa B itácora,lnconcfu sa apa r'ec ía arropada e n un a lra rn a li lel'a l' ia : c l modclo c ra el diari o d c viaj c d e l na l.lll'ali s t.a d e los s iglos XVII a l X I X , quc iba rccogic lldo IrIII CStras para los gab in e les dc mu seos y c rnp c ,~, ado cn el pl'ü'yCClo d csc l' ipI.ivo 'ya o lvidado d c lil hi s lo ri a n a tura l. BiLácora inconclusa e l'a una

lB/bid., pp. 13-1 6 .

'" Ibid. , p p. 1'1- 16. p

f'i ('c i ('n 1 ihl s t l'3 d a: l os III <l t (' I'ial es a IlI c di o (' l a b o r a l ' d e IlIl a CIIII'I '('Sa d e ('x pl o l':J('i ('nl j a lll :ís o(, lIl'1'id a, I ,os r es t os d (' esos a plllltcs ('0 11 10 l os hllbi (' I'a l oca li za d o 1111 hi s t o ri a d o r d( ' l a (' i e ll c i a CII la s b o d ega s d (' 1111 III1I S('O 111 (,tl'o p o lit a ll o, Q I H' ('s ta nll (' \ a

Si/áco/'o

d (' l os

II O\ (' lIt a I'e fí em a l a (" q )(, l'i l' ll c i,1 el c \ i a.i l's )'( ,: d ('s 11 0 c: lll1hi a s ill (' llIha l'go SIl )'( 'sgll a nlo (' 11 l a ri cc i(" 11. Pl'i III CI'O,S(' tra ta d (' 1I11 a s ill1lll;J('i('H1 d l' l :q)llllt l', ( :s t os 11 0 SO Il l os 1)(1('(, t 05 to n lad os ('11 e l ICIH'II0 , sillo la n ,1( 11'11111 l ac i¡'l ll a rt ís ti ca

\ 11 (' lt a a casa d (' l os

<l I))I lIt ('S \ l' l'da d e l'os, e l 1'('(' 11<' I'd o , (' 1 I'CC ll( ' lIt O I(¡ t ogl ':í líco.) l os I' lI sa,\ OS d e s(' I'i gr a f'ía, Se s illlld a, ta lllhi (: II, l a lib re ta d (' a pullt es dl'l a l'ti s ta 111 0d e l'lIi s ta : la s fases d e l a abs t 1': )('c ilÍ lI _ d c la s d c ci s i o ll l's t (:1' 11 i eas, l a d ec i s i ó lI (' lit 1'(' a lt e l'lI a t i vas d e a(, ah a d o de l a o hl'a, L' lI a o lJl'a así 11 0 s(' l'ía p os ihl (' s ill e l a ll gl' <¡II C l a IJllbli cac i ó ll d (' ('SOS a lJllllt(' S h a t('llid o (' 11 e l P )'( 'S(' II t(" s i 11 e l IIl o d o CII q 11 (', ('1'('c i c llt e l ll(' llt e, (' 1 pl'oceso d I' ( 'I'(':J(' i t'l ll es e l ('(' litro c/c a t('II Ci ó lI IHí hli ('a p OI' e ll e illla d (' 1 pl'olhH't o ('o lldllid o , Fill a lll J(' lIlc_ <¡lli z;Í, cs t;í t :lll1h ir ll l a fí c(' i t'l ll d c l \ i a.i (',

\ 0 S(' tl'at a, lIi

much() 1I1( ' II 0S, d(' 1111 ),(,(,ll<'lIt() d e inlilllid a d( 's, lIi

d (' iIl Cid (' llt ('S, lIi

dc ull a I'Ilt a illll'os l'ec ti\a,I ':s tos \ iaj es fI H'I'OIl I wcl l os ('0 111 0 p a I't l' d (' 1111 p r oceso d e tra b a.i o, ('0 111 0 1111 :1 ('O II Statae i ('l ll qll e i ba rO l'lllul :í lld os(' (' 11 l a p;igill a ('as i desd e 1111 illi c i o, ('0 11 10 /J K I

lIlI a ta rc a pro fe s io n a l /jII C e l!lp czaba e n la dllch a y l(' I'llIill a ba e ll la c a ll1 a. CO ln o J a n 111(' lo exp li ca. es ta bit á co ra " 110 es e l diario ele I11I via.i e l'o. I ~s e l ("Iwd e i"ll o d e aplllltcs dc UII g rabado r -'.

l. \

science in the vaults of a metropolitan museu m . The fact that this new Bitácora of the Nineties collates the experience of genuine journeys does not, however, cancel its fictional credentials. In the first place, what we see is a simulation of the field note. These are not sketches made on the ground, they are the artistic reformula tion when back home of those real notes, using memory, photographic documents and serigraphic trials. Furthermore, there is a simulation of the modem artist's sketchbook: the stages of abstraction , the technical decisions, the doubts over choice of finish ... allusions that would not be possible without the current popularity of re-edited facsimiles of such working tools, reflecting increasing public curiosity about the process of creation, to the detriment, almost, of the completed product o Lastly, of course, we shou ld mention the fiction of travel. Nothing here that resembles the classic anecdotary of intimacies, incidents , impressions and introspections. These joumeys were carried out as part 01 a working process, as a statement that too k shape on the page almost Irom the word go, as a professional task that began every day in the shower and ended in bed . As Jan put it to me, this logbook 'is not a traveller's diary. It's the notebook 01 an engraver.'

\ 1) 1': l . \ 1\ TI': I I ,I{ edil/a : ¡!\.i ;í! " La reli-

1 1) l': ( ) 1. () ( ; í

ltWI/I¡lé Ill UC

g ió n d e la ddc ll sa de l a rt e." P CI"<) CII tu ob ra de lo s se tc llt a 110 h ay li a d a <.jlle y o se pa o l)(I cda Iw rc ibir qu c h aya implicad o habc r /j1H'l"id o n ' la (' io Il a l' a rt e ('011 1111 P roy e ('\ o p o Iít ico llIarxis ta . .JOI/ l/el/dnJ: : ¡'\J o , CII ('se III Olll e ll toya n o. l .o qll (' tlí c Oll oces ya n o. C 11. 1,0 d CIII ;ís, ,;ha s ido dcsLru ido s is t('llIá lica lil e 1I te, d est c ITado!' .J. 11. Sí. Q ll c d a r á ll r e s to s todavía . Pcro CI"<I III ;1S la a('titlld a llt e los IlI c dios <.jll(' es taball ('11 ese m 0 1l1 C11 t o lil a 11 e.ia 11 d o e I a rt e , c ra por c.i C111 pi o e l h e (" h o de h a e Cl' libro s de arti s ta. e r a IllI a d cl"c ll sa d(' la a llt o llolllía d e l a rti s ta () d e la a ll a rquía d c l a rti s t a t a m bi é n . UII p oco e l post - p os t - po s t flll Xll S qllc ('11 cse 1I10 1llCllt o ta lllbi é ll I'c ill ab a . I': r a t a lllbi é ll la a bs o lu ta i l' r e ve 1'(' 11 Ci a p o r Ia s (' lí P ul a s el e l a rle. La prill c ip a l ta l'c a ('01110 ar ti s ta 11 0 e r'a ta llto (' 11 la ob r a qu e es ta b a h ac ie n do , s ill o CII tll forlll a ele co la horar ( ' 11 pl"(»'cctos d e ílldol c a ulóno lll a pa r a los a rti s l as: h a ce l' libros d e ar ti s tas p o r ej e lllpl o , I1 o l'ga lli/,a r Cxpo-

T HE IOEOLOGY OF ART II Cuauhtémoc Medina: Aha! 'The religion 01 the defense of art." But in your Sev. enties work there is nothing I know of, l' XL

s i (' i o ll c,; ('ll c l'a de l o,; (' in ' lIil os ('slahl ('c id os , Todo es(' lip o d( ' a('-

'1"( '

l os

(' 11 esc I i ClllpO S(' \ i (' I'O II

(' 01110 a(' lo ;; d e r e b e ldía ahsolllla , La pos ició lI p o i ítica (,I'a III :ís 1111 pl'O ( '('SO IIl e llLa l qll(' 11I1 PI'O('('SO d(' obra ,

C. 11,

U n (' 1(' 111 (' 111 0 ('01111'111 (I!-

lo s (' III'0 I )('OS I'adi ca l l's d (' l os S(' -

or can perceive, that suggests any ef-

illlp osib ilid a d de ha(' ('1' l a ('('\0 -

fort to relate art to a Marxist pelitieal project.

hll'i ('I iI l' 1I E lll'opa a l T(,I'( '('!' \lllIldo

Jan Hendrix: No, not any more, Nothing

s('l ll a \ s(' l e lll a 1'11( ' II'a ll s l'( ' l'il'

in what you've seen,

,\ a I , al i IlO a lll P rica ( '11 p a l'l i (, lllal'_

la 1'(' -

(I!- I (' Idl o a l C h p al a p o \ o a

\ O llll'i (')ll sa lldilli s la , ,: I':s o 111111 ('a 11' pa stÍ ~)

¿ I .a l illOalll (''!'i('a

M. So what about the rest, was it

systematically destroyed. o r turfed out?

11I11(('a

J. H, Yes, Trere are sorre bits and pieces

s i g llil ú ' <Í es e Ilol'i zo lll (' 1'( ' \ 0 111 -

left , But it was more a question of an atti-

(' i o ll a l'i o ?

tude towards the media that were manipu-

./. 11.

N o , e ill (' III SO 111( ' 11< ' (' lIi -

lating art at the time, for example the fact of

dado d (' 1(' II l' 1' (' sa id ('a_ P 0 I'IJII< '

making artists' books, that was a defense

l a p o d ía h a h('1' 1( ' llid o 0 11\ iallll ' lIl (' ,

of the artist's autonomy, or the artist's anar-

chy too, A sort of pest-pest-post-Fluxus,

d ('(' il'. " ya l e n g o ('olllado s ('011 l os

which was dominant then as well. And an

e 11('-

absolute irreverence towards the upper

1'1'('1'0 " , (' il'llI l' ca d a II'(,s III(' S( 'S a

echelons of art , The main task of an artist

'o p o día ('(' g l'('sal' a Ilol a lld a g l 1(' lTi 11 (' r os c 11 I a s i (' ITa d ('

e lc, p(,!,o 111 (' (, lIid(~ d(' ('SO

lay not so much in the work you were do-

H(' -

ing. but in your way 01collaborating on ar-

\oh(('i <Í 1I d e (¡S , L a ('orilla (IIJ(' 111('

tistic projects of an autonomous kind ~ artists'

( :"ha

('(c ..

por l a d('('cpc i <Í 1I alll('l'iol' d(' la

salí d (' l o d o es lo 1'11(' I Olllal' (, 1 al'll'

books, like I said, or organizing exhibitions

o 10 1ll a l' l a Pl'o l'('S i ('1i1 ('01110 al'lisla

outside the established circuits. A11 such kinds

('011101111 aS lllllo s('l'io. IJII(' 111(' iha

of propesals were seen in those days as

a 0 ('11 p a r )' oC llp a l o do IIli li (' IIIP O,

acts ofllv'ay-out rebelial. One's poitical posture

C. ,11. l' i ('11I

CO II

¿I o l e preoc llpa e ll 1'(' l a-

consisted of a mental process, rather than

ese " po sl - flIl XII S" l a lIoci(í ll

a productive one,

d (' prol'e s i o ll a l i za c i ó lI ? ,!1': I'('s p a l' -

C. M. One thing common to radical

I i dal'i o d e l a prol'c sio llali zaci t'l il del

Europeans of the Sixties and Seventies

al'l i s l a ?

was to shift the revolution tha! had f10pped

./. /1 ,

Sí ,)'o so)' 1111 pal'l id a l'i o

at home, outward to the third world, to

d( ' l o d o pro f ('s i o ll a li s lllO , Yo (' ITO

Latin America in particular. from the Che /' in

qu e e l c ríti co se ti e ne qllc dedi ca r' a la cf'Ítica; e l direc tor de' mll seos se ti e n e quc d e di ca r a diri g ir e l IIl1l seo; e l c Ul'ad o r se ti e n e qu e d e di ca r a c ur'a r la ex po s ic i(lIl , y e l ::tr'ti sta ti e ll e la ob li ga(' i(lIl a Ir a('f' r' S il ob ra é l so lo, I~ L l' () 11 \ . r-: \' I 11 1) ¡.: 1, \ I i\ .1 1': Viajar. di ce I, u cy I, ipp an l, cs e l lílli co cO llt ex t o e ll qllc a lg llll os mira n a s u a lrc dcd o r, Y s ill c lllba rgo Ir ay qll e r'eproc h a r a " lII ov ilid ad d e l s ig lo '\ '\ Ir aber t rall s ('ol'ln a do las reg io ll es pobrf' s c n es('cllarios e n ti" e s u s c illd a d a n os a(' t lí a n t a l CO III O s u s a nte p asa do s, para b en e (,i c io d e a qu e ll os qu e Ir a ll perdid o n exo co n s u t n ldi('iúlI " , 1<: 1 tllri s m o, que proll to podría il ega l' a sc r la In ayo l' ('lI e llt e de elnpleo a ni ve l g lobal. ill vo lll (,l'a la " m e !'ca n ti Ii za('ió lI d c la v i d a" d c mill o n es, La b,',s qu e d a d(' lo sagra do qll f' ::t llt es g lli a ba los pa sos de los p e reg rin os Ir a s id o I'C(' llIpl azada por' c l des pl aza ll,i e nt o d e l ce n lr'o a la p c r'ire r'ia e ll blí s qllcda de' la illl s ión elc la a llt l' lIt i('idad y pri IIliti vis lll o,l!J ¿i\ qu é viajar c lltoll( '(' sr O qlliz;.Í la pr'cgu nla sea ('c) III0 .Y para qll é \ iaj ar' sa bi e lld o de la ('on'pli('idad e lltl'(' e l viaj e y esa distors i/lIl g lol>a l d e la vid a ('o ti d ial la dond e (' 1

Guevara cult to support committees for the Sandinistas . Oid it ever happen to you? Oid Latin America ever represent that revolutionary horizon for you? J. H. No, in fact I made sure it didn't, because I could so obviously have shared thal idea, I could have gone back lo Holland and said, "Hey, I'm in touch with the guerrillas in the mountains of Guerrero", I could have gone over to Cuba every three months, and all the rest. But I was wary of it, because of the let ·down of the 1968 revolution . The way I got out of all that was to take art, or my profession as an artist, as a serious business that would occupyall my time. Which it does , e, M. Ooesn't the notion of profeso sionalization bolher you, in the light of post·Fluxus altitudes? Are you a parti· san of the artist as a professional? J. H, Yes, I'm in favor of all profeso sionalism . I believe that c ritics must devote themselves lo criticism, museum directors to direcling museums, curators to c urating, and that artists have the obligation to make their art themselves. THE FU TUR E OF TRAVEL

'" 1.lll) ·1,ipl »l r~I ;" I¡ :wd '\dvi>;<>I) ··. ('III I1/1irwo/k / l./ol/ma/q/'f./lIIgI/OW·(lIIrI ·I/I. 1"'. '{7: 1i111I'is ls. \ O.W:l llI 'S.a lld Ex il .. s ( 1!1.J(i), I'I •. I¡:' ·lí(i.

Travel, writes Lucy Uppard, is the only conlext in which some people Iook around them . l' 84

O t ro e sce n if'ica lo que e l U II O 1' ('qlli c r(' pa ra a f'irnl a l's e (' 11 Sil 111 0 lI o po li o d e la Il1od e rllid a d . U ll a rcs p ll es ta pos ib le es d esa rTo ll a r 1111 g u s to a ll1<lI'go 11 0 tanlo po r' los g ra d os d (' occ id e llt.a li zae iólI , ('( Hil O P ( )J" la p C(' IIli ar ida d d e l mak llt (' lIdid o q II e eje r'ee la pe rf'i c ri a so bre (, 1 m o do d e vid a h ege lll ó lli ('o. De s taca r lo inf'IIl1 ciona l, II la l adap ta d o 'y te rg ive rsa d o d e l pro('es o g loba li zador', ca ta loga r aq ue ll as clf'sviac io ll c s q ll c OC llITe l1 e n la p er ife ri a po r (' r'r'o r d e illlit a e ió n. F ija r' la Illira d a 'ya 11 0 la llt o ' 11 e l hi b ri di s lllo, lIi ('11 lo (,o ll ge la d o d c la l rad ie ió lI , ( ' 0 111 0 e ll la res is le ll (' ia ('j c llI p lif'i ('a d a po r la f ~d sa ill leg rac ió lI : la illt e rprc ta c ió lI d e la c a ll e 'y e l li SO d e l (' laxo lI CII la IlId ia , la a d a pt ac ió lI d e l 1'11 11 c io ll a li s lll o a lo vc rll ac lll a r e n la a ll\()('O Il Sl ru cc i<Í 1I qllc h a f'o l'lll a d o las IlIa ll (' has d(' ('o nc re to ill ('O llll1 e ll s II ra hlc s co mo la c iu da d d e M(~x i c o . I'; nt o ll ccs, ( ' 0 111 0 d ir'ía M iclH' 1 Lei ri s, po d e rnos p a r l ir d e II UCVO e l1 lI11 es lras e xp lo ra c io ll ('s , " pe ro cs ta V('''. ¡s in illl s io n es! " . l O P \1 \ \ s I T () S ¡.: , l': l . 11 () T I': 1. E l di <Í lo go se int (' lI s if'i ca , (,O llt il"'la. D III',IIlt e II1<Í s d e ('II al ro ;II-IOS f'u e r'a d (' M(~x i co , e ll ull a pa re d d (, IlIi c asa e ll LOll dres co lgaba 1111 0 de SII S g ra ba d o s d e Ya g il I h ec h os ('11 pape l :., ~ l idl(' ll

.(' il' i s.

" Plo a lll o lll ·\ fl'ica ". /J/',:s·,:(,s: 1)01\ is. Sall Fra ll ci sco, \0 1'110 Po illl PI·;'SS. I!JK!J, " , f¡(i .

/Jm !w l/ /Jml/ ches, I l'a d . 1.\ d ia

Nevertheless, it can be argued that one of the results of 'twentieth century's mobility is the transformation of poor regions into stagesets on which their citizens act like their forebears for the benefit of those vvm fee! supe¡br because they have lost touch with their own backgrounds .. ' Tourism, which rnay shortly oonstitute the leading souroe of employrnent world -wide, involves "commercializing the lives" of millions. The search for the sacred that once guided the steps of pilgrims has been supplanted by a mass package-tour to the periphery, in pursuit of the mirage of authenticity and primitMsm. 19 Why do we travel, then? Or perhaps the question should be, how and to what end do we travel, in the knowledge of the complicity between our excursions and the global distortion of everyday life, in which the Other acts out what the One demands in order to reassert its monopoly of modemity? A possible answer might be to develop a bitter taste, not for the fluctu ating degrees of westemization, but for the peculiarities of the misunderstandings applied by the periphery to hegemoníc lifesty1es. To foreground the more disfunctioral, iII-adapted and perverse facets of the globalizing process, cataloguing the deviations that occur in the periphery due to glitches in the mimetics . To center one's attention not so much upon the simultaneously hybrid and petrified state of tradition, as upon the resistance exemplified by fake integration: the interpretation of the street 19 Lucy Lippard, 'Travel Advisory' , Whitewalls. A Joumal of Language and M . 1\1" 37, Tour-

ists, Voyeurs and Exiles (1996), pp. 45-46.

japon és. E l cac tu s no rc mitía n o tanto al " país" d c l 01.1'0 lado d c l mundo , s in o a do s o lr'cs tard es dc so l e ntre las ruin as mir'ando los órganos d csga rra r e l horizontc y la s pi e dra s ant iguas c ubi e rtas d e e njambres d c c hapulin cs amarillos y n e gl'Os. Lu cgo, a m e diados d e 1999, la ca s ualidad nos hizo e n co ntr-a rn os c n Maastricht, s u c iud ad natal dond e cs tuv e r-e s idi e ndo c n la Acadcm ia Va n Eyc k, la esc u c la dond c cs l.udi ó .Jan. " Son d e ma s iadas coincidcnc ias - m e dijo tomando ulla ccrve za co n una palm c r'ita c n la c t iq u e ta - : üí a q u í c n mi p u cblo ye n mi alma matc r. " Es obvio qu e e n nu es tl'O diálogo J an y yo h e mo s ido ha c ic nd o c rccc r' nu cs tra s dife rc n c ias . M i vcrsión d e l ar-te co ntc mpor'án co cO ll s istc c n la apo logía d c c ic r'l.a c lasc d e amateurismo, c n tanto para é l nada sc acentúa co rn o c l valo r' d e la di sc i pi in a y la co ncc ntrac ión . Ocasiona lm e ntc la c lcgan c ia d e s u trabajo c mpi c za a e ho car' co n mi prcjui c io gcnc r'ac io nal c n favor dcl índi ce socia l inm c dia1.0 o los s ignos d c un gusto cnrarec id o. ("A lgunos m c dic c Jan - aún es tán co n csc d e monio d e la es té ti ca d e trá s d c la pu e r'ta, y s igu e n d cjándosc al.l'apar' por' la b e ll e za. Habr'á otros qu e bu scan rec mplazar- a ese diablo .") Finalm c nte, pos tmod c rno a l fin ,

and the use of car horns in India, the adaptation of functionalisrn to the vernacular in the unbridled building that has led to the forrnation of limitless concrete sprawls like Mexico City. Then, as Michel Leiris might say, we can set off again on our travels, 'but this time, with no illusions!'2Q PARAS ITES IN THE HOTEL

The dialogue is intensified, prolonged . For over four years I had one of Jan's Yagul prints, on Japanese paper, hanging on my wall in London. The organ cactus it portrayed did not stand for that 'Iand' on the other side of the wOrld, but distilled a couple of sunny afternoons spent among the ruins , where tall, straight cactus shafts pierce the horizon, and swarrns of black and yel · low grasshoppers era

over the old stones .

Then, in summer '99,

we met up by chance

in Maastricht, the town of his birth . I was staying at the Van Eyck Academy, where Jan had once studied. 'Too many coinci· dences!' he told me, as we drank beer with palm trees on the labels. 'Vou here, in my town, and in my alma mater.· Need les s to say, our dialogues only widened the differences between us. My take on contemporary art has me championing a certain kind of arnateurisrn, whereas for hirn, and in his work, nothing can match the value of discipline and concentration. At tirnes the elegance of it all begins to chafe with my general inclination in favor of immediate social markers, along with erup:>o Michel Leiris, 'Phantam Africa', Brisées, Broken Branches . trans o Lydia Davis, San Francisco, North Paint Press, 1989, p. 46.

p 86

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lions of lhe quirky and lhe bizarre o('Some of us', says Jan, 'are still wrestling with the demon behind the door called aesthetics, and still being captivated by beauty. Let others try to defeat that devil. ') In the end-post-modern to the end-I succumb lo lhe evidence thal lhere is no more lravel, only tourism. Jan corrects me swiftly: we are nothing but parasites taking advantage of the facilities afforded by Wagon Lits .

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