STATE by Greta's Books

Paolo Woods

STATE

Curated by Andrea Tinterri and Nicola Pinazzi

Paolo Woods STATE

Haiti’s identity by Andrea Tinterri

What happens when a state goes bankrupt? The Haiti case, if one can call it that, comes across as an unstable phenomenon in which a government of dubious legitimacy exists side by side with an intense and constant presence of NGOs and UN forces in an attempt to cope with an endemic economic crisis. In 2004 Haiti experienced a popular uprising which saw the president Jean-Bertrand Aristide forced to step down, followed by a struggling political presence which led the country to its current position as the poorest in the Americas. The afore-mentioned situation was worsened by the 2010 earthquake which further aggravated the state of affairs, bringing the necessity for a physical, emotional and social reconstruction to the forefront. This was the starting point for Paolo Woods’s project State (2010-2013), which investigates the Caribbean island, the first to have seen the landing of Christopher Columbus’s ships at the end of the 15th century. “After my work on Iran, which had forced me to travel back and forth a lot, I wanted to take on a project which would allow me a certain stability, I wanted to live on location”. This premise led him to move to Haiti, to the South of the island, far from the capital of Port-au-Prince. Woods became a kind of country photographer, examining the variety of situations of everyday life. The attempt was to distance himself from the iconographic overload which followed the 2010 earthquake, where the Western world engorged themselves on images of that media circus thrown to them by journalists and photographers, fed by an innate excess of sanctimoniousness. Photographic saturation is the key to interpreting Woods’s long and constant work: avoid the iconic shot, avoid the lure of the front page, in order to construct and tell stories and accounts – even the most seemingly insignificant – which could go beyond the circumstances of the Haiti situation. A geographical read-

ing, characterised by slow timing, adaptation, and reciprocal relationships. A new image of the island which required real life and real experiences; daily and assiduous participation in politics, schooling, means of communication, houses and people’s lives. Micro-stories which focus on specific problems and become the reflection of macro-stories. Problems like communication, of means of communication. A number of shots in the project were dedicated to local radio stations: interiors which showed the work areas, the instruments, and the protagonists. A nun dressed in white and light-blue, seated behind two microphones and framed within a window surmounted by a poster depicting the Last Supper. They are usually austere rooms where the prevailing need is that of transmitting some kind of sound: Radio Men Kontre, Radio Superdigital, Radio Paradis, Radio Nouveauté, Sud FM, Radio Super-Génie, RTMS, Radio Lebon, Radio Macaya, Radio Lumière. The ties with religion and the various faiths, the UN occupation and the tense relationship with the local population that followed, the country’s ruling classes depicted in their homes, highlighting the separation between the haves and have-nots, the prisons, with the recent inauguration of a new institute in Croix-des-Bouquets, the white population, an ancient legacy of colonialism. And the State, in its various iconographic forms. The latter an apparently unusual aspect in a country where external political and humanitarian organisations seem to substitute the destiny of the State itself. But this does not stop a Haitian boy from showing off a necklace with four pendants depicting the country’s last four presidents: François Duvalier (1957-1971), Jean-Claude Duvalier (1971-1986), Jean-Bertrand Aristide (1990-1991; 1994-1997; 2002-2004), Michel Joseph Martelly (2011-2016); or the uncovering of signs of the 19th century republic, such as the equestrian statue of Jean-Pierre Boyer, who was president from 1818 to 1843, transformed into

From the left: A borlette office. Haitians invest two billion dollars every year in these private lotteries – nearly a quarter of the GNP. They are often referred to as “banks” since the poor invest their money in them. Camp Perrin. Electric poles in the Jalousie (“Jealousy”) district, where official private and clandestine lines run side by side. Pétion-Ville.

Paper-mâché masks representing the last nine Haitian presidents, in chronological order from right to left, at the Jacmel carnival. Current president Michel Martelly, to the far left, holds the hand of his prime minister, Laurent Lamothe. Jacmel.

the support for a makeshift tent for a number of groups of evacuees following the 2010 earthquake. Or again the sight of crowds celebrating the 2011 election of Michel Joseph Martelly: a procession where the ancient symbols of the Haiti revolution float in the form of masks and historical reconstructions. Examples which bear witness to an iconographic presence which oscillates between traces of history and contemporary icons, expressing the tangibility of the State, at least in a mass, public imagination. Woods shows us what survives the collapse in the form of past and present memory, objects of (secular) cult towards which calls for help are directed, almost underlying the need for a political presence which, although being, in reality, weak and guided by external forces, can, however, be presented. Themes which go beyond the circumstances of the Haitian situation. The Caribbean island serves as a pretext. Woods finds microareas of political, religious and social interest, recognising Haiti as a symbolic place through which to speak of a state of affairs which is not dissimilar to apparently distant geopolitical situations, such as, for example, the presence of the UN or external powers which lead or (here a polite euphemism) ‘interact with’ the local situation. Recent events in the Middle East quickly come to mind. Haiti as a starting point, a place in which to find common evolutions to be examined in a comparative study. Private stories which describe public situations spread throughout a fragmented geography.

Cosa succede quando uno Stato fallisce? Il caso Haiti, se così è possibile definirlo, si presenta come un fenomeno instabile, dove un governo di dubbia legittimità convive con una massiccia e cronica presenza di ONG e di forze dell’ONU, nel tentativo di fronteggiare una crisi economica endemica. Nel 2004 Haiti è stata oggetto di una rivolta popolare che ha visto il presidente Jean-Bertrand Aristide costretto a dimettersi, a questo è seguita una presenza politica galleggiante, in affanno, che ha relegato il paese ad essere il più povero delle Americhe. Allo scenario sopra descritto va aggiunto il terremoto del 2010 che ha nuovamente aggravato lo stato di fatto, portando in primo piano la necessità di una ricostruzione fisica, emotiva, sociale. È questo il punto di partenza del progetto State (2010-2013) di Paolo Woods che vede come oggetto d’indagine proprio l’isola caraibica, la prima a vedere approdare le caravelle di Cristoforo Colombo sul finire del Quattrocento. “Dopo il lavoro sull’Iran che mi ha costretto a numerosi spostamenti, volevo affrontare un percorso che mi consentisse una stanzialità, volevo vivere sul posto.” Un presupposto progettuale che lo vede trasferirsi ad Haiti, nel sud dell’isola, lontano dalla capitale Port-au-Prince. Woods si trasforma in una sorta di fotografo di paese, attento alle diverse situazioni quotidiane. Il tentativo è quello di allontanarsi dal sovraccarico iconografico determinato dal terremoto del 2010, dove giornalisti e fotografici hanno gettato in pasto all’occidente immagini di quella pornografia mediatica, nutrita da un congenito eccesso di pietismo. La saturazione fotografica è la porta d’accesso per interpretare il lungo e costante lavoro di Woods: evitare lo

scatto iconico, evitare il contagio della prima pagina, per costruire e raccontare storie, narrazioni anche minime che potessero oltrepassare la contingenza del caso haitiano. Una lettura geopolitica, caratterizzata da tempistiche lente, d’assestamento, di rapporti reciproci. Una nuova immagine dell’isola che necessitava di vita reale, vissuta, una partecipazione quotidiana e assidua alla politica, alla scuola, ai mezzi di comunicazione, alle case, alle persone. Microstorie che insistono su problematiche specifiche. Come quella della comunicazione, dei mezzi di comunicazione. Alcuni scatti del progetto sono dedicati alle radio locali: interni che testimoniano gli spazi di lavoro, gli strumenti e i protagonisti. Una suora vestita di bianco e azzurro, preceduta da due microfoni, una finestra che incornicia la scena, sormontata da un poster raffigurante l’ultima cena. Solitamente stanze spoglie in cui sembra prevalere la necessità di trasmettere un suono: Radio Men Kontre, Radio Superdigital, Radio Paradis, Radio Nouveauté, Sud FM, Radio Super-Génie, RTMS, Radio Lebon, Radio Macaya, Radio Lumière. Il legame con il culto e le diverse confessioni, l’occupazione dell’ONU e il conseguente rapporto con la popolazione locale, la classe dirigente del paese immortalata all’interno delle loro abitazioni, dove viene evidenziata la separazione tra alto e basso, le carceri, con la recente inaugurazione di un nuovo istituto a Croix-des-Bouquets, la popolazione bianca, quasi un antico retaggio di colonialismo. E lo Stato, nelle sue diverse declinazioni iconografiche. Aspetto, quest’ultimo, apparentemente insolito in un paese dove organizzazioni politiche/umanitarie esterne sembrano sostituire le sorti dello Stato stesso. Ma questo non impedisce ad un ragazzo haitiano di esibire una collana con quattro pendenti raffiguranti gli ultimi presidenti del paese: François Duvalier (1957-1971), Jean-Claude Duvalier

Grégory Brandt is a businessman whose German grandfather emigrated from Jamaica at the beginning of the last century. He presides over the FrancoHaitian Chamber of Commerce. The garden of his residence, Pétion-Ville.

L’IDENTITà DI HAITI

After the January 12th, 2010 earthquake, the capital’s public squares were taken over by displaced people living in tents. Here, an equestrian statue of Jean-Pierre Boyer, president from 1818 to 1843, is used to support a tent made of tarps from international aid organizations. Place Boyer, Pétion-Ville.

(1971-1986), Jean-Bertrand Aristide (1990-1991; 1994-1997; 2002-2004), Michel Joseph Martelly (2011-2016). Oppure di ritrovare segni della repubblica ottocentesca, come la statua equestre di Jean-Pierre Boyer, presidente dal 1818 al 1843, trasformata in sostegno per una tenda improvvistata per alcuni gruppi di sfollati dopo il terremo del 2010. O ancora la folla in festa per l’elezione, nel 2011, di Michel Joseph Martelly: un corteo dove antichi simboli della rivoluzione haitiana galleggiano sotto forma di maschere e ricostruzioni storiche. Esempi a testimoniare una presenza iconografica, oscillante tra residui storici e icone contemporanee, ad esprimere la tangibilità dello Stato, almeno in un immaginario collettivo, di massa. Woods ci racconta quello che nel fallimento sopravvive sotto forma di memoria passata e contemporanea, oggetti di culto (laico) a cui chiedere aiuto. Quasi a ribadire la necessità di una presenza politica che, seppur nella realtà dei fatti debole e guidata da agenti esterni, possa essere esibita. Tematiche queste che oltrepassano la contingenza del caso haitiano. L’isola caraibica funge da pretesto. Woods individua macroaree d’interesse politico, religioso, sociale, riconoscendo in Haiti un luogo simbolo attraverso cui raccontare uno stato di fatto, non dissimile da situazioni geopolitiche apparentemente distanti. Come, ad esempio, la presenza dell’ONU o di forze esterne, a guidare o interagire (gentile eufemismo) con la realtà locale. A tale proposito basterebbe riportare i recenti fatti di cronaca in Medio Oriente. Haiti come punto di partenza, come luogo in cui ritrovare evoluzioni comuni, da confrontare in uno studio comparato. Storie private per descrivere dinamiche pubbliche, sparse in una geografia frammentata.

The inauguration of Michel Joseph Martelly, the 56th president of Haiti. In the crowd, on horseback, a man is dressed as Jean-Jacques Dessalines (1758-1806), leader of the Haitian Revolution and the first chief of state. May 14th, 2011. Port-au-Prince.

Radio Paradis, 92.3 FM. The station is on the air 10 hours a day from a building still under construction. It was financed by a member of the diaspora living in the United States. Tiburon.

Opening of the new prison in Croix-des-Bouquets, north of Port-au-Prince. The penitentiary was financed by Canadian money. The cells are supposed to hold only those found guilty, convicted criminals make up only a small fraction of inmates in Haitian prisons. Croix-des-Bouquets.

Radio Superdigital, 96.9 FM. Wilkenson Charles has to choose between the air conditioning and the transmitter in order not to overload his little generator. Les Cayes.

Next pages: Philippe Dodard and his wife RaphaĂŤlle Villard in their living room. An artist and the director of the National Arts School, his abstract sculptures are part of many private corporate collections. RaphaĂŤlle Villard is known for cultivating rare types of orchids. Montagne Noire. (particular)

In the Hôtel Karibe, above Port-au-Prince, two go-go girls dig into fried chicken after dancing for hours at the concert of a local singer J Perry. Juvénat, Pétion-Ville.

Radio Men Kontre, 95.5 FM, a Catholic station of Les Cayes diocese. Sister MĂŠlianise Gabreus hosts a show that features practical advice and takes listenersâ&#x20AC;&#x2122; questions. Les Cayes.

Radio Nouveauté, 103.7 FM. Denord Altéma is a DJ who specializes in Caribbean rhythms. Les Cayes.

PAOLO WOODS STATE PUBLICATION This catalogue is published on the occasion of the exhibition State at BAG GALLERY in Parma (IT), May 13th - July 17th 2016 Curated by Andrea Tinterri and Nicola Pinazzi Organized by BAG GALLERY (www.bag-gallery.com) Publishing house Greta Edizioni (www.gretaedizioni.com) Art direction Bildung Inc. (www.bildung-inc.com) Text Andrea Tinterri English translation Daniel Clarke Images and artworks Paolo Woods The artworks of Paolo Woods of the project STATE are inkjet print. Print sizes: 60x60 cm, 60x80 cm, 100x100 cm, 100x120 cm, ed. 10 + II AP All rights reserved, no part of the publication may be reproduced and/or stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of copyright holders and of the publisher. PAOLO WOODS, STATE ISBN 978-88-99367-18-3 Print in May, 2016 by Graffietti Stampati, Italy Circulation 300 copies numbered N.

/ 300

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978-88-99367-18-3 ISBN 978-88-99367-18-3

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