Catálogo exposición Sustenazo Lament II

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CURADORAS / CURATORS

María José Bunster y / and Julia P. Herzberg EDITOR GENERAL / GENERAL EDITOR

Julia P. Herzberg ENSAYOS DE / ESSAYS BY

Julia P. Herzberg y / and Adriana Valdés

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Publicado en ocasión de la exposición / Published on the occasion of the exhibition Monika Weiss: Sustenazo (Lament II) Organizada por / Organized by Museo de la Memoria y los Derechos Humanos Santiago de Chile 13 de diciembre, 2012 – 7 de abril, 2013 / December 13, 2012 – April 7, 2013 A ser exhibida en / Also exhibited at The Patricia and Phillip Frost Art Museum Florida International University, Miami, Florida 26 de abril, 2014 – 3 de agosto, 2014 / April 26 – August 3, 2014 Curadoras / Curators: María José Bunster y / and Julia P. Herzberg Editora de textos en ingles / English Text Editor: Frances Kianka Editora de textos en español / Spanish Text Editor: Cora Sueldo Traducción de inglés a español / Translation from English to Spanish: Cora Sueldo Traducción de español a inglés del ensayo de Adriana Valdés: Neil Davidson Translation from Spanish to English of Adriana Valdés’ essay: Neil Davidson 'LVH³R JU£ĆFR Graphic Designer: Paz Moreno Israel Impresión / Printer: Ograma Impresores Derechos reservados. Ninguna parte de esta publicación puede ser reproducida sin autorización / All rights reserved. No parts of this publication may be produced in any form without prior written consent

© 2012 Museo de la Memoria y Derechos Humanos © 2012 Textos de los autores / The authors’ texts © 2010-2012 Obras propiedad y cortesía de Monika Weiss /Artwork copyright and courtesy of Monika Weiss ISBN :

Portada / Cover Sustenazo (Lament II), 2010-2012 Fotograma de video con composición de sonido, 5:79 / Still from video and sound composition, 5:79 Dimensiones variables / Dimensions variable

Índice / Contents 02 Introducción / Introduction Ricardo Brodsky Baudet / María José Bunster

04 Prólogo / Preface Julia P. Herzberg

08 Agradecimientos / Acknowledgments Monika Weiss

11 Conversación con Monika Weiss / Conversation with Monika Weiss Julia P. Herzberg

36 Lamento y lugar para la memoria: Sustenazo (Lament II) de Monika Weiss / Lamentation and the Locus of Memory: Monika Weiss’s Sustenazo (Lament II) Adriana Valdés

44 Fotogramas de video / Video Stills 66 6HOHFFLµQ GH GDWRV ELRJU£ĆFRV GH OD DUWLVWD Artist’s Selected Biography 72 Colaboradores / Collaborators 75 Lista de obras en exposición / List of Works in the Exhibition

IntroducciĂłn Ricardo Brodsky, Director Museo / MarĂ­a JosĂŠ Bunster, Jefa de MuseografĂ­a y Exposiciones

'H OD PHPRULD GHO GRORU QDFH XQ ODPHQWR LQĆQLWR TXH LQWHQWD DOHMDUVH GH XQ HWHUQR UHWRUQR Sustenazo (Lament II) de Monika Weiss. Sustenazo invita a la audiencia a vivir una experiencia sensorial –inspirada en la evacuación forzada GH P£V GH PLO RFKRFLHQWRV SDFLHQWHV \ SHUVRQDO PGLFR GHO +RVSLWDO 8MD]GRZVNL KR\ &HQWUR GH $UWH &RQWHPSRU£QHR GHO &DVWLOOR 8MD]GRZVNL GXUDQWH ORV G¯DV GH OD 6XEOHYDFL¾Q GH 9DUVRYLD ü GRQGH OD YLVXDOLGDG JHVWXDO \ HO VRQLGR VH XQHQ HQ XQD UHSUHVHQWDFL¾Q GHO GRORU XQLYHUVDO expresado en una danza de lamento continuo, como si fuera un rezo, una súplica, una expresión de pesadumbre, arrepentimiento y denuncia. :HLVV GHVGH HO DUWH FRQWHPSRU£QHR FRQYLHUWH OD PHPRULD GH OD YLROHQFLD LUUHćH[LYD GH OD JXHUUD HQ XQ HMHUFLFLR SRWLFR TXH LQYLWD D XQD UH VLJQLĆFDFL¾Q FRQFHSWXDO \ PDWHULDO GH OD PLVPD 5HVXOWD DOWDPHQWH VLJQLĆFDWLYR RIUHFHU DO SŸEOLFR OD H[SRVLFL¾Q GH OD DUWLVWD SRODFR QRUWHDPHULFDQD Monika Weiss: Sustenazo (Lament II), SUR\HFWR GH LQVWDODFL¾Q TXH IXH SURSXHVWR SRU OD FXUDGRUD Julia P. Herzberg, especialmente para ser emplazada en el Museo de la Memoria y los Derechos Humanos de Chile, en el marco de la programación de exhibiciones temporales del aùo 2012. Desde la misión-visión del Museo de la Memoria y los Derechos Humanos, interpretada en la exposición permanente, se establece un evidente puente de diålogo con Sustenazo, interpelando el abuso de poder desde lo particular hacia lo universal. Agradecemos especialmente a la artista y a la curadora Julia P. Herzberg, por haber escogido el Museo de la Memoria para la exhibición de este importante proyecto de investigación artística. Asimismo a la Galería Samuel Lallouz por su compromiso, colaboración y apoyo, al Sam Fox School of Design & Visual Arts, Washington University en St. Louis, Missouri, a Roxana Varas por su DSR\R HQ PHPRULD GH VX SDGUH D OD (PEDMDGD GH 3RORQLD HQ &KLOH SRU VX FRODERUDFL¾Q \ D WRGDV ODV SHUVRQDV TXH KDQ KHFKR SRVLEOH HVWD PDJQ¯ĆFD H[SRVLFL¾Q

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Introduction Ricardo Brodsky, Director / MarĂ­a JosĂŠ Bunster, Head of Museology and Exhibitions

)URP WKH PHPRU\ RI SDLQ LV ERUQ DQ LQĆQLWH ODPHQW WKDW VWUXJJOHV DJDLQVW DQ HWHUQDO UHWXUQ Sustenazo /DPHQW ,, by Monika Weiss. Sustenazo invites viewers to undergo a sensory experience inspired by the forced evacuation of more than eighteen hundred patients and medical personnel from the Ujazdowski Hospital (today, the Centre for Contemporary Art Ujazdowski Castle [CAA]) during the Warsaw Uprising in 1944. In this video, gestures and sounds combine to evoke the universal pain expressed through a dance of continuous lament, as if it were a prayer, a plea, or an expression of grief, remorse, and condemnation. Within contemporary artistic modes or language, Weiss transforms the memory of the thoughtless violence of war into a poetic exercise, which encourages a conceptual and material reinterpretation of brutality. ,W LV YHU\ VLJQLĆFDQW WKDW WKH YLGHR LQVWDOODWLRQ 6XVWHQD]R /DPHQW ,, by the Polish-American artist Monika Weiss is presented here to the public. The installation was proposed by the curator Julia P. +HU]EHUJ WR EH VSHFLĆFDOO\ LQVWDOOHG DW WKH 0XVHXP RI 0HPRU\ DQG +XPDQ 5LJKWV LQ &KLOH EHFDXVH LW VR SHUIHFWO\ ĆWV WKH PXVHXPèV PLVVLRQ IRU LWV WHPSRUDU\ H[KLELWLRQ SURJUDPPLQJ LQ 6XVWHQ]R /DPHQW ,, creates a dialogue with the Museum’s permanent collection, which closely questions the abuses of power, both local and universal. We offer special thanks to the artist and to the curator for having chosen the Museum of Memory DQG +XPDQ 5LJKWV WR H[KLELW WKLV LPSRUWDQW DUWLVWLF UHVHDUFK SURMHFW ZH DOVR WKDQN 6DPXHO /DOORX] *DOOHU\ IRU LWV FRPPLWPHQW FROODERUDWLRQ DQG VXSSRUW WKH 6DP )R[ 6FKRRO RI 'HVLJQ DQG 9LVXDO $UWV :DVKLQJWRQ 8QLYHUVLW\ LQ 6W /RXLV 0LVVRXUL 5R[DQD 9DUDV IRU KHU VXSSRUW LQ PHPRU\ RI KHU IDWKHU WKH 3ROLVK (PEDVV\ LQ &KLOH IRU LWV FROODERUDWLRQ DQG HYHU\RQH ZKR PDGH WKLV PDJQLĆFHQW H[KLELWLRQ possible.

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PrĂłlogo Julia P. Herzberg

Ha sido un gran privilegio colaborar en la exposición Monika Weiss: Sustenazo (Lament II). (O SUR\HFWR FXUDWRULDO PH EULQG¾ OD RSRUWXQLGDG GH WUDEDMDU QXHYDPHQWH FRQ XQD DUWLVWD FRQ cuya obra he estado involucrada durante muchos aùos. Esta videoinstalación, en particular, es especialmente apropiada para el Museo de la Memoria y los Derechos Humanos, una institución dedicada a traer a un primer plano la memoria histórica como un acto de resistencia al olvido. /RV PŸOWLSOHV VLJQLĆFDGRV GH Sustenazo (Lament II) son evocados a travÊs de una secuencia de LP£JHQHV TXH PXHVWUDQ HO WRUVR GH XQD PXMHU TXH VH PXHYH OHQWDPHQWH KDFLD GHODQWH \ KDFLD DWU£V en direcciones opuestas, encarnando en sus gestos la expresión del lamento. Estas imågenes sirven GH IRQGR D RWUDV TXH UHSUHVHQWDQ DQWLJXRV PDSDV GH (XURSD LQVWUXPHQWRV PGLFRV XWLOL]DGRV FRQ DQWHULRULGDG D \ GXUDQWH OD 6HJXQGD *XHUUD 0XQGLDO XQD IRWRJUDI¯D PGLFD GHO SHFKR GH XQD PXMHU \ XQD PDQR FXELHUWD SRU XQ JXDQWH EODQFR TXH VH GHVOL]D VXDYHPHQWH VREUH O /D QDUUDFL¾Q YLVXDO VH YH GUDP£WLFDPHQWH LQWHQVLĆFDGD SRU OD FRPSRVLFL¾Q PXVLFDO GH OD DUWLVWD TXH LQFOX\H HO UHFLWDGR GH WH[WRV OLWHUDULRV (O UHODWR YLVXDO RPLWH FXDOTXLHU UHIHUHQFLD HVSHF¯ĆFD D OD H[SXOVL¾Q GH ORV SDFLHQWHV \ HO SHUVRQDO GHO +RVSLWDO 8MD]GRZVNL REOLJDGRV SRU HO HMUFLWR DOHP£Q OD :HKUPDFKW D UHDOL]DU XQD HYDFXDFL¾Q IRU]DGD \ HFKDGRV D ODV FDOOHV GH 9DUVRYLD HQ HO WUPLQR GH PHQRV GH YHLQWLFXDWUR KRUDV $XQTXH OD H[SXOVL¾Q IXH XQ DFRQWHFLPLHQWR HVSHF¯ĆFR TXH HQ SDUWH PRWLY¾ D OD DUWLVWD D GLIXQGLU ORV HIHFWRV GHYDVWDGRUHV GH ODV LQYDVLRQHV WRWDOLWDULDV y sus consecuencias inhumanas, el lamento se convirtió en el vehículo para expresar los estados HPRFLRQDOHV GH SURIXQGD SHQD \ GRORU TXH OD KXPDQLGDG KD VRSRUWDGR D WUDYV GH ORV WLHPSRV (O ODPHQWR HV XQ JHVWR GH UHVSXHVWD WDO YH] P£V VLJQLĆFDWLYR TXH OD H[SUHVL¾Q KDEODGD D ORV HVWDGRV opuestos de guerra y paz, totalitarismo y libertad, enfermedad y salud, vida y muerte. Esta exposición nos ofreció a María JosÊ Bunster y a mí una esplÊndida oportunidad de FRODERUDU HQ XQ SUR\HFWR XQD RSRUWXQLGDG TXH WRGR FXUDGRU GHVHD WHQHU /H DJUDGH]FR FRPR mi contraparte en el proceso curatorial, por haberse ocupado de innumerables detalles, por su contribución relativa a aspectos institucionales y por su pronta respuesta a cada desafío en el

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£UHD GH OD RUJDQL]DFL¾Q WHQGLHQWH D TXH HVWH SUR\HFWR SXGLHVH OOHYDUVH D FDER HQ 6DQWLDJR GRQGH Monika Weiss presenta su obra por primera vez en Chile. $JUDGH]FR D WRGRV ORV PLHPEURV GHO HTXLSR GH 0DU¯D -RV %XQVWHU TXH WUDEDMDURQ HQ HVWD H[SRVLFL¾Q \ HQ HO GLVH³R GHO FDW£ORJR TXH OD DFRPSD³D \ TXH KLFLHURQ SRVLEOH OD SUHVHQWDFL¾Q de la performance de la noche de la inauguración. Y por último, si bien no menos importante, DJUDGH]FR DO GLUHFWRU H MHFXWLYR 5LFDUGR %URGVN\ %DXGHW SRU VX UHFRQRFLPLHQWR GH OD EULOODQWH FRQFHSWXDOL]DFL¾Q GH OD PHPRULD KLVW¾ULFD TXH UHDOL]D 0RQLND :HLVV HQ VX REUD /DV OHFFLRQHV aprendidas de la historia posterior a la Segunda Guerra Mundial, así como temas relacionados con HO DUWH TXH SODQWHD OD DUWLVWD VRQ HVSHFLDOPHQWH PHUHFHGRUHV GH UHćH[L¾Q HQ HO FRQWH[WR GH HVWH museo y mås allå de Êl. Quiero expresar mi agradecimiento personal a Samuel Lallouz por su generoso apoyo para la realización del catålogo y por facilitar muchos elementos importantes para la muestra. Dentro del marco del catålogo, expreso mi mås amplio reconocimiento a Adriana ValdÊs, cuyo poÊtico ensayo UHćHMD OD SURIXQGLGDG GH OD YLVL¾Q \ OD FRPSRVLFL¾Q GH VRQLGR HQ OD REUD GH OD DUWLVWD 7DPELQ deseo agradecer a Neil Davidson, cuya excelente traducción de este ensayo permite a los lectores angloparlantes apreciar la creativa respuesta de la autora a Sustenazo (Lament II). (VSHUDPRV HO PRPHQWR HQ TXH HVWD H[SRVLFL¾Q VH SUHVHQWH HQ HO 3DWULFLD DQG 3KLOOLS )URVW $UW Museum en Miami, donde tendrå lugar una nueva conexión y un nuevo intercambio entre los dos museos.

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Preface Julia P. Herzberg

It has been a great privilege to collaborate on the exhibition 0RQLND :HLVV 6XVWHQD]R /DPHQW ,, . The curatorial project gave me the opportunity to work once again with an artist whose work I have been involved with for many years. This particular video installation is especially appropriate for Museo de la Memoria y Derechos Humanos, an institution dedicated to foregrounding historical memory as an act of resistance to forgetting. The multiple meanings of 6XVWHQD]R /DPHQW ,, are evoked through a sequence of imagery featuring the torso of a woman moving slowly backward and forward in opposite directions, embodying in her gestures the expression of lament. Against this imagery are those of old maps of Europe, medical instruments used before and during World War II, a medical photograph of a woman’s chest, and a white-gloved hand moving gently over it. The visual narrative is dramatically enhanced by the artist’s musical composition, which includes recitations of literary texts. 7KH YLVXDO QDUUDWLRQ H[FOXGHV DQ\ VSHFLĆF UHIHUHQFHV RI WKH SDWLHQWV DQG PHGLFDO VWDII RI WKH 8MD]GRZVNL Hospital, who were forced to evacuate by the German Army (Wehrmacht) onto the streets of Warsaw ZLWKLQ OHVV WKDQ WZHQW\ IRXU KRXUV $OWKRXJK WKH H[SXOVLRQ ZDV D VSHFLĆF HYHQW WKDW LQ SDUW PRWLYDWHG the artist to communicate the devastating effects of totalitarian invasions and their inhuman consequences, lament became the carrier of the emotional states of grief and sorrow endured by humanity throughout time. Lament is a responsive geture, perhaps greater than speech, to oppositional VWDWHV RI ZDU DQG SHDFH WRWDOLWDULDQLVP DQG IUHHGRP VLFNQHVV DQG KHDOWK OLIH DQG GHDWK This exhibition offered María JosÊ Bunster and me a splendid collaborative occasion, one that every curator hopes for. I am grateful to her as my curatorial counterpart for dealing with countless details, for the institutional input she provided, and for her prompt responses to every organizational challenge so WKDW WKLV SURMHFW FRXOG EH UHDOL]HG LQ 6DQWLDJR ZKHUH 0RQLND :HLVV LV SUHVHQWLQJ KHU ZRUN IRU WKH ĆUVW time in Chile. I thank all the persons on María JosÊ Bunster’s team who worked on this exhibition and the design of its accompanying catalogue and who made the opening-night performance possible. And last, but not least,

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, DP JUDWHIXO WR WKH H[HFXWLYH GLUHFWRU 5LFDUGR %URGVN\ %DXGHW IRU KLV UHFRJQLWLRQ RI 0RQLND :HLVVèV brilliant conceptualization of historical memory in her work. The lessons learned from post-World War ,, KLVWRU\ DV ZHOO DV WKH DUWLVWLF LVVXHV UDLVHG E\ WKH DUWLVW DUH HVSHFLDOO\ ZRUWK\ RI UHćHFWLRQ ZLWKLQ WKH context of this museum and beyond. I personally wish to thank Samuel Lallouz for his generous support of the catalogue and for facilitating many important elements of the exhibition. Within the framework of the catalogue, I express my great appreciation to Adriana ValdĂŠs, whose poetic essay mirrors the depth of vision and the sonorous composition of the artist’s work. I also thank Neil Davidson, whose excellent translation of this essay enables English-speaking readers to appreciate the author’s creative response to 6XVWHQD]R /DPHQW ,, . We look forward to seeing the exhibition travel to the Patricia and Phillip Frost Art Museum in Miami, where a new connection and exchange between the two museums will take place.

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Agradecimientos Monika Weiss

/D DUWLVWD GHVHD H[SUHVDU VX DJUDGHFLPLHQWR D ODV VLJXLHQWHV LQVWLWXFLRQHV \ SHUVRQDV TXH contribuyeron a la concreciĂłn de Sustenazo (Lament II): Escuela de DiseĂąo y Artes Visuales Sam Fox, Washington University en St. Louis, Missouri, Estados Unidos; Galerie Samuel Lallouz, Montreal, 4XHEHF &DQDGÂŁ (PEDMDGD GH 3RORQLD HQ 6DQWLDJR GH &KLOH &KLOH ,QVWLWXWR *RHWKH GH 1XHYD <RUN Estados Unidos; Instituto Goethe de Chicago, Estados Unidos; Instituto Goethe de la Ciudad de MĂŠxico, Ciudad de MĂŠxico, MĂŠxico. Desea extender este agradecimiento a: Mark Dorrance, Karina *XWLÂŤUUH] /LVD +DHJHOH -DYLHUD -DTXH +LGDOJR <X &KHQJ +VLHK ,JQDFLR ,QIDQWH .U\VW\QD -DQGD Katherine Lorimer, Irmi Maunu-Kocian, and Godiva Reisenbichler.

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Acknowledgments Monika Weiss

The artist would like to thank the following institutions and individuals who contributed to Sustenazo /DPHQW ,, : Sam Fox School of Design & Visual Arts, Washington University in St. Louis, Missouri, United 6WDWHV *DOHULH 6DPXHO /DOORX] 0RQWUÂŤDO 4XHEHF &DQDGD 3ROLVK (PEDVV\ LQ 6DQWLDJR &KLOH *RHWKH ,QVWLWXWH 1HZ <RUN 8QLWHG 6WDWHV *RHWKH ,QVWLWXWH &KLFDJR 8QLWHG 6WDWHV *RHWKH ,QVWLWXWH 0H[LFR &LW\ Mexico City, Mexico. Additional thanks to: Mark Dorrance, Karina GutiĂŠrrez, Lisa Haegele, Javiera Jaque Hidalgo, Yu-Cheng Hsieh, Ignacio Infante, Krystyna Janda, Katherine Lorimer, Irmi Maunu-Kocian, and *RGLYD 5HLVHQELFKOHU

Siguiente pĂĄgina / Next page Sustenazo, 2010 VideoproyecciĂłn de tres canales, dos composiciones de sonido, libros y objetos mĂŠdicos. Vista de la instalaciĂłn en el Centro de Arte ContemporĂĄneo del Castillo Ujazdowski, Varsovia, Polonia Three-channel video, two sound compositions, books, and medical objects. Installation view at the Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland

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ConversaciĂłn con Monika Weiss Julia P. Herzberg

Sustenazo (Lament II) es uno de los tres videos presentados en cinco salas de exposiciĂłn contiguas en HO &HQWUR GH $UWH &RQWHPSRUÂŁQHR GHO &DVWLOOR 8MD]GRZVNL &&$ HQ /D H[SRVLFLÂľQ WDPELÂŤQ LQFOXÂŻD GLEXMRV IRWRJUDIÂŻDV \ XQD LQVWDODFLÂľQ GH OLEURV GH ÂŤSRFD PXFKRV GH HOORV FRQ GLEXMRV GH OD DUWLVWD MXQWR FRQ REMHWRV PÂŤGLFRV FRORFDGRV HQ HO SLVR GH XQD GH ODV VDODV /D KLVWRULD GH IRQGR GH HVWH SUR\HFWR DUURMD OX] VREUH OD H[KDXVWLYD LQYHVWLJDFLÂľQ GH OD DUWLVWD TXH VH FRQYLUWLÂľ HQ OD EDVH para la transformaciĂłn conceptual de la narraciĂłn en mĂşltiples capas de Sustenazo (Lament II). 0RQLND :HLVV IXH LQYLWDGD SRU 0LODGD Ă?OL]LĂŒVND H[ FXUDGRUD HQ MHIH GH H[SRVLFLRQHV LQWHUQDFLRQDOHV GHO &HQWUR GH $UWH &RQWHPSRUÂŁQHR GHO &DVWLOOR 8MD]GRZVNL &&$ GH 9DUVRYLD D SUHVHQWDU una exposiciĂłn y tambiĂŠn a participar como artista residente en el Laboratorio de Artistas en 5HVLGHQFLD EDMR OD GLUHFFLÂľQ GH OD FXUDGRUD ,ND 6LHQNLHZLF] 1RZDFND 1 Durante 2009, la artista desarrollĂł tareas de investigaciĂłn tanto in situ como en los alrededores, comenzando por el Castillo 8MD]GRZVNL GRQGH VH LQWHUHVÂľ HQ OD HYDFXDFLÂľQ IRU]DGD GHO +RVSLWDO 8MD]GRZVNL 6XV LQYHVWLJDFLRQHV continuaron con las colecciones reservadas de la Biblioteca Central de Medicina de Varsovia, el Museo del Levantamiento de Varsovia, el Museo HistĂłrico de Varsovia y Media in Motion en BerlĂ­n. :HLVV WUDEDMÂľ HQ OD GLYLVLÂľQ GH FROHFFLRQHV HVSHFLDOHV GH OD %LEOLRWHFD &HQWUDO GH 0HGLFLQD GRQGH ĆOPÂľ PDWHULDO GH DUFKLYR GDÂłDGR WDO FRPR GRFXPHQWRV FDUWDV IRWRJUDIÂŻDV H LQVWUXPHQWRV PÂŤGLFRV TXH KDEÂŻDQ VREUHYLYLGR D OD HYDFXDFLÂľQ IRU]DGD GHO +RVSLWDO 8MD]GRZVNL (Q HO 0XVHR +LVWÂľULFR GH 9DUVRYLD :HLVV IRWRJUDĆ¾ PDSDV DÂŤUHRV PLOLWDUHV GH ORV DOHPDQHV TXH KDEÂŻDQ VLGR LQFRUSRUDGRV a la colecciĂłn del museo algunos aĂąos antes del comienzo de la Segunda Guerra Mundial. Muchas imĂĄgenes incluidas en el proyecto Sustenazo tienen su origen en los archivos de estas instituciones. En las instalaciones de Media in Motion, Weiss grabĂł las voces de oradores alemanes recitando SDVDMHV GHO Fausto II GH *RHWKH TXH VH FRQYLUWLHURQ HQ SDUWH GH OD FRPSRVLFLÂľQ ĆQDO GH VRQLGR GH Sustenazo. Monika Weiss dirigiĂł, grabĂł, compuso y diseùó la coreografĂ­a de Sustenazo. Las siguientes personas contribuyeron a la producciĂłn de Sustenazo (Lament II) ODV YRFHV TXH VH H[SUHVDQ HQ DOHPÂŁQ HQ OD 3ULPHUD 3DUWH SHUWHQHFHQ D .ULVWLQD +DKQ \ 0DMD /LQNH OD YR] TXH VH HVFXFKD HQ LGLRPD SRODFR HQ OD 3ULPHUD 3DUWH HV OD GH .U\VW\QD =DOHZVND HO FRQWUDWHQRU HQ OD 6HJXQGD 3DUWH HV $QWKRQ\ 5RWK Costanzo; las voces en alemĂĄn en la Tercera Parte son las de Barbara Caveng, Heiko Daxl, Andreas Matthias Grimm, Max Hannes, Anna Hope, Cordula Hufnagel, Ralf Niebuhr, Christoph Rasch, Bele 3DSSHULW] +DQQHV :ROIJDQJ 6WUDQNRZVNL \ -HQV 8PODXI *LOOLDQ /LSWRQ HV OD EDLODULQD TXH VH YH HQ el video.

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Sustenazo (Lament II) SUHVHQWDGR HQ HO 0XVHR GH OD 0HPRULD FUHD XQ HVSDFLR TXH GHYXHOYH OD memoria histĂłrica al presente.

JPH: Sustenazo (Lament II) es uno de los tres videos que componen Sustenazo (2010), una obra performativa que engloba a la historia, la memoria y el lenguaje a travĂŠs de la superposiciĂłn de ritmos y formas. Hablemos sobre cada uno de estos temas y sus subtextos, comenzando por tu relaciĂłn con la historia en general, su dinĂĄmica polĂ­tica y el acontecimiento particular que tuvo lugar durante la Segunda Guerra Mundial y que inspirĂł en parte el proyecto. MW: Tal como yo lo entiendo, la historia se compone de historias paralelas - nunca se trata de una sola historia. MĂşltiples historias convergen y ocasionalmente se superponen- &UHR TXH VHU DUWLVWD FRQOOHYD XQD UHVSRQVDELOLGDG TXH HV HQ SDUWH SRÂŤWLFD \ HQ SDUWH SROÂŻWLFD HVFXFKDU \ abordar el archivo de los acontecimientos, prestando especial atenciĂłn a las narraciones y las YRFHV ROYLGDGDV 1R PH LQWHUHVD HO FRQFHSWR GH QDFLRQDOLVPR GH QLQJÂźQ WLSR 0ÂŁV ELHQ FUHR TXH HV QHFHVDULR TXH SUHVWHPRV DWHQFLÂľQ D OD QDWXUDOH]D JOREDO GH ORV VLVWHPDV RSUHVLYRV \ GH OD violencia concebida desde lo institucional. 3DUD MXVWLĆFDU HVD YLROHQFLD D PHQXGR VH XWLOL]D OD LGHRORJÂŻD GH OD ĂŞSURWHFFLÂľQĂŤ TXH JHQHUDOPHQWH enmascara agendas econĂłmicas y colonialistas ocultas. Sustenazo se desarrollĂł en torno a la QRFLÂľQ GHO ODPHQWR FRPR XQD IRUPD GH H[SUHVLÂľQ DMHQD DO OHQJXDMH OD H[SUHVLÂľQ DWHPSRUDO GHO ODPHQWR VH \X[WDSRQH DO DUFKLYR GH XQ DFRQWHFLPLHQWR KLVWÂľULFR HVSHF¯ĆFR - la repentina HYDFXDFLÂľQ IRU]DGD GHO +RVSLWDO 8MD]GRZVNL HQ HO VH[WR GÂŻD GHO /HYDQWDPLHQWR GH 9DUVRYLD en 1944. El antecedente histĂłrico de este acontecimiento es la invasiĂłn de Polonia del 1 de VHSWLHPEUH GH TXH PDUFD HO FRPLHQ]R GH OD 6HJXQGD *XHUUD 0XQGLDO \ OD VXEVLJXLHQWH divisiĂłn y anexiĂłn de Polonia por parte de Alemania y la UniĂłn SoviĂŠtica.2 -3+ 6ÂŤ TXH WX DEXHOR WUDEDMDED HQ OD KR\ KLVWÂľULFD 2ĆFLQD GH &RUUHRV SRODFD HQ 'DQ]LJ DFWXDO *GDĂŒVN (O GH VHSWLHPEUH GH GÂŻD GH OD LQYDVLÂľQ DOHPDQD D 3RORQLD GHIHQVRUHV FLYLOHV FRPEDWLHURQ GXUDQWH TXLQFH KRUDV KDVWD TXH ORV PLHPEURV GHO SHUVRQDO GH ORV GLIHUHQWHV HGLĆFLRV de correos se rindieron. Él fue uno de un puĂąado de empleados que logrĂł escapar y mĂĄs tarde fue

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capturado e internado en un campo de concentraciĂłn, donde falleciĂł un aĂąo mĂĄs tarde.

/ CONVERSACIĂ“N CON MONIKA WEISS

MW: /D GHIHQVD GH OD RĆFLQD GH FRUUHRV SRODFD HQ 'DQ]LJ *GDĂŒVN IXH XQD GH ODV SULPHUDV DFFLRQHV GH JXHUUD TXH WXYLHURQ OXJDU HQ OR TXH VHUÂŻD OD 6HJXQGD *XHUUD 0XQGLDO HQ Europa.3 /XHJR GH VX UHQGLFLÂľQ FXDUHQWD HPSOHDGRV GH FRUUHRV IXHURQ FDSWXUDGRV MX]JDGRV VXPDULDPHQWH \ HMHFXWDGRV SRU XQ HVFXDGUÂľQ GH IXVLODPLHQWR GH OD :HKUPDFKW 0L DEXHOR Leon Knopik, un empleado de correos, fue capturado poco despuĂŠs, encarcelado y trasladado DO FDPSR GH FRQFHQWUDFLÂľQ GH 6WXWWKRI FHUFD GH *GDĂŒVN \ OXHJR DO GH 6DFKVHQKDXVHQ Oranienburg4, en las proximidades de BerlĂ­n. Algunos meses mĂĄs tarde, mi abuela, a la sazĂłn HPEDUD]DGD GH PL PDGUH UHFLELÂľ XQ SDTXHWH SURYHQLHQWH GH 6DFKVHQKDXVHQ 2UDQLHQEXUJ MXQWR FRQ XQD FDUWD TXH H[SOLFDED TXH PL DEXHOR KDEÂŻD PXHUWR HQ HO FDPSR FRPR ĂŞFRQVHFXHQFLD GH XQD QHXPRQÂŻDĂŤ (O SDTXHWH FRQWHQÂŻD VX VREUHWRGR HPSDSDGR HQ VDQJUH TXH PL DEXHOD ODYÂľ FXLGDGRVDPHQWH \ UHJDOÂľ DO SULPHU H[WUDÂłR TXH YLR TXH QHFHVLWDED XQ DEULJR HQ HVH LQYLHUQR WDQ crudo de 1940. JPH: TĂş creciste en los aĂąos setenta en Varsovia bajo un rĂŠgimen comunista. ÂżQuĂŠ te enseĂąaban formalmente en la escuela acerca de la Segunda Guerra Mundial, enseĂąanza que presumo serĂ­a enfocada a travĂŠs de la lente comunista? ÂżQuĂŠ recuerdos o experiencias relataba tu familia, si es que lo hacĂ­an, con respecto a crecer durante y despuĂŠs de la guerra? MW: (Q OD HVFXHOD SULPDULD PH HQVHÂłDURQ TXH OD 8QLÂľQ 6RYLÂŤWLFD HUD HO ĂŞKHUPDQRĂŤ GH 3RORQLD \ HQ ORV OLEURV GH KLVWRULD HO /HYDQWDPLHQWR GH 9DUVRYLD WDPELÂŤQ FRQRFLGR FRPR HO $O]DPLHQWR GH 9DUVRYLD VLPSOHPHQWH QR KDEÂŻD H[LVWLGR - los libros guardaban absoluto silencio sobre este acontecimiento. De hecho, estaba prohibido mencionar el Levantamiento en pĂşblico.5 De niĂąa, PH HQWHUÂŤ GHO $O]DPLHQWR D WUDYÂŤV GH PLV SDGUHV TXH JXDUGDEDQ OLEURV GH KLVWRULD ĂŞLOHJDOHVĂŤ FODQGHVWLQRV \ HVFXFKDEDQ ODV QRWLFLDV HQ OD UDGLR ĂŞLOHJDOĂŤ 5DGLR (XURSD /LEUH 5DGLR /LEHUWDG 0H HQWHUÂŤ GH TXH HO /HYDQWDPLHQWR GH 9DUVRYLD KDEÂŻD VLGR XQD LPSRUWDQWH RSHUDFLÂľQ GH OD 6HJXQGD *XHUUD 0XQGLDO OOHYDGD D FDER SRU OD 5HVLVWHQFLD SRODFD FRQ HO ĆQ GH OLEHUDU D 9DUVRYLD GH OD RFXSDFLÂľQ DOHPDQD SURJUDPDGD SDUD FRLQFLGLU FRQ OD OOHJDGD GHO HMÂŤUFLWR VRYLÂŤWLFR D ORV VXEXUELRV GHO HVWH GH OD FLXGDG (O GH MXOLR GH ORV VRYLÂŤWLFRV D WUDYÂŤV GH OD HPLVRUD de radio Kosciuszko ORFDOL]DGD HQ 0RVFÂź GLIXQGLHURQ HQ LGLRPD SRODFR XQ OODPDGR SDUD TXH FRPHQ]DUD HO /HYDQWDPLHQWR SURPHWLHQGR TXH HO HMÂŤUFLWR VRYLÂŤWLFR VH XQLUÂŻD D ORV SRODFRV HQ su lucha contra los alemanes.6 El Levantamiento comenzĂł el 1 de agosto de 1944 y se prolongĂł SRU HVSDFLR GH VHVHQWD \ WUHV GÂŻDV $XQTXH ORV SRODFRV WRPDURQ HO FRQWURO GH OD PD\RU SDUWH del centro de Varsovia, los soviĂŠticos no acudieron en su ayuda. Permanecieron en la margen opuesta del rĂ­o VĂ­stula.7

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Shrouds, 2012 Fotograma de la videoproyecciĂłn de dos canales, 32:41 Vista aĂŠrea del antiguo campo de concentraciĂłn de Gruenberg en Zielona GĂłra, Polonia Still from the two-channel video, 32:41 Aerial view of the former Gruenberg concentration camp in Zielona GĂłra, Poland

JPH: En tu obra, te has referido a menudo a la memoria, \ HVSHF¯ĆFDPHQWH D OD PHPRULD GH OD FLXGDG  &¾PR VH desarrolla la representación de la memoria de la ciudad en Sustenazo"  3RU TX DćRUD HO WHPD GHO ODPHQWR HQ relación con la memoria de una ciudad? MW: Mi obra reciente, incluida Sustenazo, considera aspectos de la memoria y la amnesia pública en la construcción del espacio de una ciudad y de su SODQLĆFDFL¾Q XUEDQ¯VWLFD /RV PDSDV GH ODV FLXGDGHV son planos; sin embargo, sus historias contienen HVWUDWRV YHUWLFDOHV GH DFRQWHFLPLHQWRV  (Q TX OXJDU de la topografía y la conciencia de una ciudad podemos ubicar a su memoria? El cuerpo de una ciudad puede compararse metafóricamente con nuestro cuerpo y su memoria. Una de las manifestaciones de la memoria

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GH XQD FLXGDG HV VX DUTXLWHFWXUD WDO FRPR HQ HO FDVR

/ CONVERSACIĂ“N CON MONIKA WEISS

GH 9DUVRYLD /XHJR GH OD FDSLWXODFL¾Q GH ORV FRPEDWLHQWHV TXH SURWDJRQL]DURQ HO /HYDQWDPLHQWR GH 9DUVRYLD ORV DOHPDQHV GHVSHMDURQ OD FLXGDG GHVDORMDQGR D ORV KDELWDQWHV TXH DŸQ SHUPDQHF¯DQ DOO¯ en el transcurso de los siguientes tres meses, prendieron fuego a la infraestructura de cada barrio \ P£V WDUGH GHPROLHURQ DTXHOORV HGLĆFLRV TXH QR KDE¯DQ VLGR FRQVXPLGRV FRPSOHWDPHQWH SRU ODV OODPDV 'XUDQWH WRGR HVH WLHPSR HO HMUFLWR VRYLWLFR SHUPDQHFL¾ GHO RWUR ODGR GHO 9¯VWXOD XQ U¯R PX\ DQJRVWR TXH SHUPLW¯D XQD YLVWD HQ SULPHU SODQR GH OR TXH HVWDED VXFHGLHQGR HQ 9DUVRYLD D PHGLGD TXH VH FRQYHUW¯D HQ XQ SDLVDMH GH HVFRPEURV 8 Parafraseando a Saskia Sassen, las ciudades son espacios potenciales de resistencia al poder militar: VRQ êUHJ¯PHQHV GELOHVÍ 6L ELHQ ODV FLXGDGHV QR SXHGHQ GHVWUXLU HO SRGHU SXHGHQ GHVDĆDUOR 9 Mi proyecto reciente, Shrouds (2012) VH FHQWUD HQ XQD FLXGDG SRODFD =LHORQD *¾UD TXH KD ROYLGDGR partes de su propia historia. Los mapas actuales representan un årea rectangular vacía y sin QRPEUH VLWXDGD HQ HO FHQWUR GH OD FLXGDG \ FXELHUWD SRU HVFRPEURV GH HGLĆFLRV GHVWUXLGRV 'XUDQWH OD 6HJXQGD *XHUUD 0XQGLDO HVH VLWLR IXH XQ SHTXH³R FDPSR GH FRQFHQWUDFL¾Q SDUD PXMHUHV MXG¯DV 10 En Sustenazo presento en forma simultånea, y superpuestos, primeros planos del pecho de una PXMHU FXELHUWR GH GLEXMRV TXLUŸUJLFRV GH XQ PDSD DOHP£Q GH (XURSD GHO (VWH TXH GDWD GH \ GH PL PDQR HQJXDQWDGD HPEDGXUQDQGR HO PDSD FRQ FDUE¾Q 9HU IRWRJUDPD (Q Shrouds WDPELQ FRQWUDVWR \ VXSHUSRQJR XQ SULPHU SODQR GHO SHFKR GH XQD PXMHU FXELHUWR GH YHQGDMHV \ YLVWDV DUHDV FRQWHPSRU£QHDV GHO DQWLJXR FDPSR GH FRQFHQWUDFL¾Q GH *UXHQEHUJ =LHORQD *¾UD KR\ UHGXFLGR D HVFRPEURV (O FXHUSR GH PXMHU HQ HVWRV YLGHRV UHSUHVHQWD XQ FXHUSR DQ¾QLPR HO tuyo o el mío, como si se tratase de una membrana entre el yo y el mundo externo. JPH: ¿Existe el lamento en la vida contemporånea de una ciudad? Y de ser así, ¿quÊ forma adopta? MW: Nuestra sociedad occidental a menudo sublima el duelo, transformåndolo en otras formas de expresión o en monumentos conmemorativos de distintas clases. Utilizamos carteles o placas para conmemorar holocaustos o genocidios; tenemos rezos públicos para llorar a los muertos; publicamos libros de historia para recordar el pasado, y llevamos a una fracción de los individuos responsables de esos genocidios ante tribunales internacionales. Sin embargo, no estamos habituados al duelo colectivo expresado en la forma de antiguos rituales de lamentación. El lamento como reacción emocional parece estar estigmatizado por una asociación con la esfera de lo privado y por lo tanto es considerado inapropiado o vergonzoso en público. JPH: ¿Así que dirías que el ritual público de la lamentación se ha vuelto obsoleto a todos los efectos y propósitos?

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MW: (O OHQJXDMH GHO ODPHQWR SŸEOLFR SRGU¯D RIUHFHU XQD SRVLELOLGDG GH H[SDQGLU QXHVWUD FRQFLHQFLD y responsabilidad hacia el Otro. Al representar antiguos gestos de lamentación, Sustenazo toma en consideración contextos contemporåneos de apatía, indiferencia, invisibilidad y amnesia histórica dentro del foro público y la polis. El lamento es una expresión extrema ante la pÊrdida. En última LQVWDQFLD FRPR HVFULELHUD -XGLWK %XWOHU êHO GXHOR SHUPLWH HODERUDU HQ IRUPD FRPSOHMD HO VHQWLGR GH XQD FRPXQLGDG SRO¯WLFD FRPHQ]DQGR SRU SRQHU HQ SULPHU SODQR ORV OD]RV TXH FXDOTXLHU WHRU¯D VREUH QXHVWUD GHSHQGHQFLD IXQGDPHQWDO \ QXHVWUD UHVSRQVDELOLGDG WLFD QHFHVLWD SHQVDUÍ 11 El duelo grupal es un acto de fuerza política y no solamente una respuesta al dolor individual. Deberíamos, por lo tanto, preguntar:  OD YLGD GH TXLQ HV R QR PHUHFHGRUD GH GXHOR" (Q XQ FRQWH[WR EOLFR OD SUGLGD HV FRQ IUHFXHQFLD OD pÊrdida del Otro, pero en realidad el Otro es tambiÊn una parte de uno mismo. La empatía y el duelo FROHFWLYR LQFOX\HQGR HO GXHOR SRU OD SUGLGD GH RWURV TXH VRQ VXSXHVWDPHQWH QXHVWURV HQHPLJRV pueden convertirse en una herramienta política poderosa opuesta a las heroicas fantasías masculinas GH FRQTXLVWD \ SRGHU -3+ (O FXHUSR HV XQ SRUWDGRU GH QDUUDFLRQHV 7Ÿ ĆOPDVWH D XQD DUWLVWD SDUD OD FXDO FUHDVWH XQD FRUHRJUDI¯D que expresaba el gesto del lamento. En esta obra, el lamento es una respuesta a la guerra y una metåfora del sufrimiento. Håblanos de la superposición de relatos. MW: En Sustenazo el gesto atemporal del lamento es confrontado con el archivo de un acontecimiento KLVW¾ULFR HVSHF¯ĆFR -la repentina evacuación forzada de los mil ochocientos pacientes y el personal GHO +RVSLWDO 8MD]GRZVNL HO GH DJRVWR GH - (Q OD 3DUWH , GHO YLGHR OD PXMHU DSDUHFH FRPR GRV SHUVRQDV TXH VH PXHYHQ HQ GLUHFFLRQHV RSXHVWDV -presentada en tiempo real y reproducidos VLPXOW£QHDPHQWH VXV PRYLPLHQWRV HQ UHYHUVD JUDFLDV D ODV WHFQRORJ¯DV SDUD OD HGLFL¾Q GH ĆOPHV \ videos- 9HU IRWRJUDPD 6X FXHUSR HVW£ SUHVHQWH DXQTXH H[LVWH IXHUD GHO WLHPSR HVSHF¯ĆFR +LFH OD coreografía y dirigí los movimientos de la intÊrprete. Sus gestos lentos de lamentación o duelo son a la vez teatrales y mínimos. No narran un relato histórico: el espectador desconoce los motivos de su duelo. El lamento -performativo y comunitario- se convierte en una experiencia emocional compartida. Decidí no actuar en Sustenazo QL HQ PLV UHVWDQWHV REUDV UHFLHQWHV SDUD HYLWDU LQWHUSUHWDFLRQHV DXWRELRJU£ĆFDV Sustenazo QR WLHQH TXH YHU VRODPHQWH FRQ 3RORQLD R FRQ OD KLVWRULD SRODFD R HXURSHD Trata mås ampliamente de la pÊrdida de vidas causada por la guerra y por otros actos políticos y organizados de violencia y opresión. Para mí, la guerra no sólo es devastadora: es inaceptable. JPH: ¿Por quÊ elegiste la obra de Goethe como uno de los elementos centrales en Sustenazo? &RPHQFHPRV FRQ ORV WH[WRV \ VXV VLJQLĆFDGRV $O FRPLHQ]R GHO YLGHR KD\ GRV SDVDMHV GH *RHWKH HO

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segundo de los cuales reza:

/ CONVERSACIĂ“N CON MONIKA WEISS

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MW: (VWH VHJXQGR SDVDMH HQ PL YLGHR HV XQR GH ORV GRV IUDJPHQWRV GH Faust, Der TragĂśdie zweiter Teil (Faust II) / Fausto, Segunda parte de la tragedia, de Johann Wolfgang von Goethe. Este famoso Coro MĂ­stico VH HQFXHQWUD DO ĆQDO GH OD REUD *RHWKH HVFULELÂľ Fausto II sesenta aĂąos despuĂŠs de la primera parte de la Tragedia HQ HO WUDQVFXUVR GH VX ÂźOWLPR DÂłR GH YLGD (O IRFR GH DWHQFLÂľQ en la segunda parte no es ya el alma de Fausto, vendida al diablo, sino mĂĄs bien los fenĂłmenos VRFLDOHV FRPR OD SVLFRORJÂŻD OD KLVWRULD \ OD SROÂŻWLFD DGHPÂŁV GH WHPDV PÂŻVWLFRV \ ĆORV¾ĆFRV 0H LQWHUHVD OD FRPSOHMD UHODFLÂľQ HQWUH GRV IHQÂľPHQRV DSDUHQWHPHQWH LUUHFRQFLOLDEOHV -la alta cultura y el genocidio; y en este caso en particular, entre el legado simbĂłlico de Goethe y el moderno VLVWHPD GH RSUHVLÂľQ \ OLPSLH]D ÂŤWQLFD GHO +RORFDXVWR 3RU HMHPSOR PL QXHYR SUR\HFWR LQFOX\H DO famoso Goethe Eiche ĂŞHO 5REOH GH *RHWKHĂŤ HQ ODV FHUFDQÂŻDV GH OD FLXGDG GH :HLPDU XQ ÂŁUERO EDMR el cual Goethe solĂ­a sentarse a escribir. Alrededor de este ĂĄrbol, los alemanes construyeron, en HO FDPSR GH FRQFHQWUDFLÂľQ GH %XFKHQZDOG 13 uno de los primeros y mĂĄs grandes campos GH FRQFHQWUDFLÂľQ HQ VXHOR DOHPÂŁQ $XQTXH XQ DWDTXH DÂŤUHR HVWDGRXQLGHQVH GH DJRVWR GH GD³¾ DO Goethe Eiche ORV QD]LV SUHVHUYDURQ FXLGDGRVDPHQWH HO WRFÂľQ TXH VH PDQWLHQH aĂşn en la actualidad como parte del monumento conmemorativo en el campo de concentraciĂłn GH %XFKHQZDOG &RPR VHÂłDOD HO VHFUHWDULR GH *RHWKH HQ HO WUDQVFXUVR GH OD YLVLWD TXH KLFLHUD HO poeta a su Eiche HQ VHSWLHPEUH GH *RHWKH PDQLIHVWÂľ ĂŞ+H HVWDGR HQ HVWH VLWLR FRQ PXFKD IUHFXHQFLD \ HQ HVWRV ÂźOWLPRV DÂłRV KH SHQVDGRĂ°TXH GHEHUÂŻD GHVSUHFLDU GH DTXÂŻ HQ PÂŁV D ORV UHLQRV GHO PXQGR \ VX HVSOHQGRUĂŤ14. De acuerdo con Shifting Memories: The Nazi Past in the New Germany, GH .ODXV 1HXPDQQ VH SRGUÂŻD FRQVLGHUDU TXH OD IXQFLÂľQ SULQFLSDO GH :HLPDU HV OD GH EULQGDU HO HVFHQDULR SDUD FRQPHPRUDU D *RHWKH ĂŞ6L VH WRPDUD D ç*RHWKHè FRPR XQ VÂŻPEROR WDTXLJU£ĆFR -es GHFLU VL ç*RHWKHè HQJOREDUD D 6FKLOOHU :LHODQG +HUGHU 1LHW]VFKH %DFK /LV]W \ RWURV UHQRPEUDGRV HVFULWRUHV \ FRPSRVLWRUHV TXH UHVLGLHURQ HQ :HLPDU -HQWRQFHV VH SRGUÂŻD DUJXPHQWDU TXH QR H[LVWH :HLPDU VLQ *RHWKHĂŤ 15 /RV FLXGDGDQRV GH :HLPDU KDQ ERUUDGR D %XFKHQZDOG GH VX memoria y su historia, tratĂĄndolo como un intervalo irrelevante. En Sustenazo no hay un Goethe VLQ PLO RFKRFLHQWDV SHUVRQDV H[SXOVDGDV GH OD QRFKH D OD PDÂłDQD GHO +RVSLWDO 8MD]GRZVNL GHO

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PLVPR PRGR TXH QR KD\ XQ *RHWKH VLQ ODV PDQFKDV ODV sombras y los rastros del Holocausto. JPH: En tu instalaciĂłn, colocaste libros de Goethe y Schiller junto a libros de medicina alemanes publicados FRQ DQWHULRULGDG D DVÂŻ FRPR DOJXQRV LQVWUXPHQWRV mĂŠdicos sobre el piso y en la vitrina. ÂżCuĂĄl es la relaciĂłn entre los libros de medicina y la poesĂ­a alemana? MW: En Sustenazo, los libros de medicina y el instrumental mĂŠdico hacen referencia al Hospital 8MD]GRZVNL TXH HQ HO PRPHQWR GHO /HYDQWDPLHQWR era el hospital mĂĄs grande de Varsovia y uno de los muchos hospitales cuyos pacientes y personal fueron evacuados forzadamente a las calles de la ciudad en llamas. La mayorĂ­a de los mil ochocientos pacientes IDOOHFLHURQ SRFR GHVSXÂŤV (O DFWR GH ĂŞGHVDORMDUĂŤ XQ KRVSLWDO YD HQ FRQWUD GH WRGR OR TXH XQ KRVSLWDO GHEHUÂŻD ser: un lugar donde se salvan vidas humanas. Sustenazo evoca ese acontecimiento como una metĂĄfora de la Sustenazo-Drawing on Goethe, 2009–2010 7LQWD FDUEÂľQ YLQR VDOLYD \ JUDĆWR 110 dibujos sobre pĂĄginas de obras de Goethe, 16,5 x 10,1 cm cada una Ink, charcoal, wine, saliva, and graphite 110 drawings on pages from Goethe’s writings, each 6 ½ x 4 inches

JXHUUD HQ JHQHUDO 0LHQWUDV TXH ORV OLEURV GH PHGLFLQD alemanes eran escritos para enseùar cómo salvar vidas humanas,16 los libros de Goethe y tambiÊn los de Schiller representan la esencia de la alta cultura alemana y eran atesorados por los nazis por esa razón. Hay preguntas contenidas en esta conexión entre la medicina y la poesía -SRU HMHPSOR SRGHPRV SUHJXQWDU FX£OHV VRQ ODV FLUFXQVWDQFLDV TXH SHUPLWHQ TXH XQD FXOWXUD DOWDPHQWH VRĆVWLFDGD PRGHUQD \ KXPDQLVWD dÊ origen al Holocausto. Zygmunt Bauman ha escrito TXH QXHVWUD PRGHUQLGDG HQ HYROXFL¾Q VH HQFXHQWUD aún en peligro, y al mismo tiempo continúa creando activamente este peligro.17 Bauman hace referencia

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D XQ MDUGÂŻQ FRPR PHWÂŁIRUD GH OD GLVSRVLFLÂľQ GH OD

/ CONVERSACIĂ“N CON MONIKA WEISS

PRGHUQLGDG SDUD PHMRUDU HO PXQGR SDUD FRPSRQHUOR GH QXHYR SDUD OLPSLDUOR -de manera muy VLPLODU DO MDUGLQHUR TXH VH OLEUD GH ORV \X\RV HQ HO MDUG¯Q-. Los holocaustos contemporåneos se relacionan con sistemas de opresión a escala masiva y a menudo son el resultado de la política de OD êMDUGLQHU¯DÍ JPH: Hablemos de tu formación musical, ya que ha constituido una parte tan importante de las primeras etapas de tu formación y de tu obra actual. SÊ que estuviste expuesta a la música desde la infancia, aunque mås no fuera por el hecho de que tu madre era concertista de piano. Estudiaste PŸVLFD GH QL³D HQ OD (VFXHOD GH 0ŸVLFD GH 9DUVRYLD HQ ODV GFDGDV GH \  &¾PR WH prepararon tus estudios allí para tu trabajo como compositora? MW: Cuando pienso en la música, tambiÊn pienso en el silencio. No obstante, John Cage nos UHFXHUGD TXH OD DXVHQFLD GH VRQLGR QXQFD HV HQWHUDPHQWH SRVLEOH R FRPSOHWD 'HQWUR GH PLV SUR\HFFLRQHV GH VRQLGR \ GH YLGHR HO VLOHQFLR HV OD SXQWXDFL¾Q TXH GD IRUPD DO HVSDFLR \ SHUPLWH TXH OD REUD UHVSLUH &RPSRQJR VRQLGR EDV£QGRPH HQ WHVWLPRQLRV UHFLWDFLRQHV ODPHQWRV HO entorno, y medios musicales como mis propias improvisaciones de piano. Transformo y escalono ODV SLVWDV JUDEDGDV SDUD FRQVWUXLU QXHYDV DUPRQ¯DV FDPELDQWHV &RQ IUHFXHQFLD WUDEDMR FRQ YRFHV KXPDQDV \ VXV UHODFLRQHV FRQ HO OHQJXDMH (Q PLV SUR\HFWRV UHFLHQWHV HO ODPHQWR FXHVWLRQD DO OHQJXDMH 0L WUDEDMR VH HQIRFD HQ HO PRPHQWR HQ TXH HO OHQJXDMH FRODSVD DQWH OD SUGLGD GH OD FDSDFLGDG GH VLJQLĆFDU (Q WUPLQRV GH OD LQćXHQFLD GH OD PŸVLFD HQ PL REUD DFWXDO VLHQWR TXH WRGD PL REUD HV PXVLFDO 3RU HMHPSOR IXVLRQR QDUUDFLRQHV GLVSDUHV HQ XQD FRPSRVLFL¾Q polifónica. JPH: Compusiste el video y el sonido como tres partes distintivas siguiendo la tradición de la música clåsica. ¿Por quÊ, dónde y cuåndo elegiste a los oradores y los cantantes? MW: (Q ORV HMHPSORV P£V DUFDLFRV GH ODPHQWR HO HQFXHQWUR HQWUH HO PXQGR GH ORV YLYRV \ el mundo de los muertos es representado como un diålogo entre dos seres, uno presente y otro ausente, o entre dos grupos antifonarios de dolientes. En las tradiciones del lamento, el GLVFXUVR XQD DSHUWXUD HUD VHJXLGR GH XQ OODPDPLHQWR QDUUDFL¾Q UHFXHUGR GH HYHQWRV SDVDGRV LQWHUYLQLHQWH \ ĆQDOPHQWH SRU OD UHLWHUDFL¾Q GHO GLVFXUVR LQLFLDO (PSOHR HVWD IRUPD WHUQDULD HQ Sustenazo (Lament II) 2UDGRUHV JHUPDQRSDUODQWHV OHHQ YDULRV SDVDMHV GHO Fausto II de Goethe y del Schneepart de Paul Celan. En Sustenazo &HODQ FX\RV SRHPDV IXHURQ TXHPDGRV SRU ORV 1D]LV alemanes, representa el simbolismo opuesto al de Goethe.

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Phlegethon-Milczenie, 2005 AutofotografĂ­a en la performance e instalaciĂłn de video monocanal, con composiciĂłn de sonido Self-shot photograph in the single-channel video, sound composition, installation, and performance Collection Cisneros Fontanals Art Foundation, Miami, Florida, USA

'XUDQWH PL UHVLGHQFLD DUW¯VWLFD HQ %HUO¯Q LQYLW D XQ JUXSR GH DOHPDQHV D UHFLWDU OHQWDPHQWH SDVDMHV GH Fausto II. Mås tarde ese mismo aùo, durante mi residencia en el Centro GH $UWH &RQWHPSRU£QHR GHO &DVWLOOR GH 8MD]GRZVNL JUDE OD YR] GH XQD VREUHYLYLHQWH GH OD H[SXOVL¾Q GHO +RVSLWDO 8MD]GRZVNL TXH HQ HO PRPHQWR GHO /HYDQWDPLHQWR HUD XQD HQIHUPHUD adolescente. Su frågil voz de persona de edad se escucha en la Parte I del video, mientras se VXSHUSRQH D OD YR] IHPHQLQD MRYHQ \ ELHQ GHĆQLGD TXH UHFLWD HQ DOHP£Q IUDJPHQWRV GH *RHWKH /D YR] SRODFD UHSUHVHQWD XQD êPDQFKD V¾QLFDÍ XQ UDVWUR TXH QR SXHGH VHU ERUUDGR 3DUD OD 3DUWH ,, GHO YLGHR JUDE D XQ FRQWUDWHQRU DO TXH OH SHG¯ TXH FDQWDUD EUHYHV IUDJPHQWRV GH ODPHQWRV

-FRPSRVLFLRQHV IRUPDOHV TXH H[LVWHQ HQ OD PÂźVLFD FOÂŁVLFD- DXQTXH VLQ QLQJÂźQ DFRPSDÂłDPLHQWR MĂĄs tarde, recortĂŠ digitalmente notas y palabras individuales, aun sĂ­labas, y las mezclĂŠ, creando XQ VHQWLGR GH OHQJXDMH \ PHORGÂŻD TXH VH GHVLQWHJUD SDUD GDU RULJHQ D XQ VRQLGR LQGHVFLIUDEOH convirtiĂŠndose en lamento.18 JPH: Me has relatado que dibujas desde que tienes uso de memoria. Aparte de tus dibujos como tales, a menudo has incorporado el dibujo como elemento en tus videos y performances. Por ejemplo, en

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Phlegethon-Milczenie y Leukos-Early Morning Light DPERV GH GLEXMDVWH DOUHGHGRU GH

/ CONVERSACIĂ“N CON MONIKA WEISS

tu cuerpo. El dibujo continua siendo un vehículo de expresión importante en Sustenazo. ¿Por quÊ GLEXMDVWH ODV O¯QHDV ODV ĆJXUDV \ ODV PDQFKDV HQ ODV S£JLQDV GH ORV OLEURV LQFOXLGRV HQ Sustenazo? MW: /RV UDVWURV GHMDGRV VREUH ODV S£JLQDV GH OLEUR HQ Sustenazo FRQQRWDQ RWUD FDSD GH VLJQLĆFDGR TXH LQWHUUXPSH X RFXOWD ORV VLJQLĆFDGRV \D H[LVWHQWHV \ ODV KLVWRULDV SDVDGDV TXH ĆJXUDQ HQ ORV libros. Las manchas fueron hechas escupiendo tinta de mi boca sobre las påginas de los libros. /DV O¯QHDV IXHURQ GLEXMDGDV SRU PHGLR GH WHQGHUPH \R VREUH ORV OLEURV $PERV WLSRV GH PDUFDV GLEXMDGDV DSDUHFHQ HQ HO YLGHR GRQGH PL PDQR FXELHUWD SRU XQ JXDQWH EODQFR HVWUHOOD XQ WUR]R de carbón, cubriendo lentamente un mapa de Europa con una nube oscura de cenizas. El mapa se transforma gradualmente en una fotografía en blanco y negro tomada de un libro de medicina DOHP£Q GH TXH PXHVWUD HO SHFKR GH XQD PXMHU VX SLHO FXELHUWD FRQ HO GLEXMR GH XQ PGLFR SUHVXPLEOHPHQWH FRPR SUHSDUDFL¾Q SDUD OD FLUXJ¯D 9HU IRWRJUDPD 'HVSDUUDPDGRV VREUH HO SLVR VH HQFXHQWUDQ OLEURV DELHUWRV H LQVWUXPHQWDO PGLFR SUHVHQWDGRV FRPR REMHWRV YXOQHUDEOHV

Leukos-Early Morning Light, 2006 Lienzo, carbĂłn, piedra, video de dos canales y composiciĂłn de sonido Vista de la instalaciĂłn en Remy Toledo Gallery, Nueva York, EUA Canvas, charcoal, stone, two-channel video, and sound composition ,QVWDOODWLRQ YLHZ DW 5HP\ 7ROHGR *DOOHU\ 1HZ <RUN 86$

21

Sustenazo, 2010 Tinta, libro de Goethe, Fausto (1944) Dibujos de la artista en las pp. 160–161 y 180–181 Ink, book by Goethe, Faust (1944) Drawings by the artist on pp. 160–161 and 180–181

TXH FRQQRWDQ OD FRQGLFL¾Q GH HVFRPEURV $O ODGR GH ORV libros de medicina se encuentran obras de Goethe y Schiller publicadas en el siglo XIX y a principios del siglo XX. 7DPELQ GLVHPLQDGDV SRU HO SLVR VH HQFXHQWUDQ MHULQJDV DPSROOHWDV FRQWHQLHQGR KLOR GH VXWXUD \ XQD FRĆD GH enfermera. Algunos de los libros e instrumentos mÊdicos estån colocados en la vitrina, donde pueden ser observados de cerca. Hay dos clases de manchas en Sustenazo. La voz SRODFD HQ OD FRPSRVLFL¾Q GH DXGLR UHSUHVHQWD XQD êPDQFKD V¾QLFDÍ ODV PDQFKDV GH WLQWD \ FDUE¾Q ODV PDUFDV GLEXMDGDV a mano en las påginas de los escritos de Goethe, simbolizan YHVWLJLRV GH OD KLVWRULD TXH QR SXHGHQ VHU ERUUDGRV /D voz de Goethe, y por extensión, la voz de la cultura, ya no pueden existir sin esta otra voz -la voz de las personas TXH IXHURQ GD³DGDV FRPR FRQVHFXHQFLD GH VX DEUXSWR

22

encuentro con el poder.

Shrouds, 2012 Fotograma de la videoproyecciĂłn de dos canales, 32:41 Still from the two-channel video, 32: 41

23

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(O SUR\HFWR H[SRVLWLYR GH UHFLEL¾ HO JHQHURVR DSR\R ĆQDQFLHUR GH OD (PEDMDGD GH (VWDGRV 8QLGRV HQ 9DUVRYLD \ del Trust for Mutual Understanding de Nueva York.

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La invasión de Polonia de 1939, tambiÊn conocida como la Campaùa de Septiembre o el Polenfeldzug, fue la invasión GHO PHQFLRQDGR SD¯V SRU SDUWH GH $OHPDQLD OD 8QL¾Q 6RYLWLFD \ XQ SHTXH³R FRQWLQJHQWH HVORYDFR (VWD LQYDVL¾Q marcó el comienzo de la Segunda Guerra Mundial en Europa. La invasión alemana comenzó el 1 de septiembre de XQD VHPDQD GHVSXV GH OD ĆUPD GHO 3DFWR 0RORWRYü5LEEHQWURS DJRVWR PLHQWUDV TXH OD LQYDVL¾Q VRYLWLFD dio comienzo el 17 de septiembre de 1939, a continuación del Acuerdo Molotov-Togo, suscrito entre Alemania y -DS¾Q VHSWLHPEUH /D FDPSD³D ĆQDOL]¾ HO GH RFWXEUH GH FRQ $OHPDQLD \ OD 8QL¾Q 6RYLWLFD UHSDUWLQGRVH y anexando la totalidad de Polonia. En el protocolo secreto del Pacto de No Agresión Molotov-Ribbentrop, la Unión 6RYLWLFD \ $OHPDQLD DFRUGDURQ GLYLGLU D ORV 3D¯VHV %£OWLFRV \ D 3RORQLD D OR ODUJR GH ORV U¯RV 1DUHZ 9¯VWXOD \ 6DQ /DV IXHU]DV SRODFDV VH SUHSDUDURQ SDUD XQD ODUJD GHIHQVD \ DJXDUGDURQ HO DSR\R \ DX[LOLR TXH HVSHUDEDQ UHFLELU GH )UDQFLD y el Reino Unido. Ambos países tenían pactos con Polonia y habían declarado la guerra a Alemania el 3 de septiembre, SHUR HQ ŸOWLPD LQVWDQFLD VX D\XGD D 3RORQLD IXH H[WUHPDGDPHQWH OLPLWDGD /D H[LWRVD LQYDVL¾Q PDUF¾ HO ĆQDO GH OD 6HJXQGD 5HSŸEOLFD 3RODFD DXQTXH 3RORQLD QXQFD VH ULQGL¾ IRUPDOPHQWH 3DUD XQD OHFWXUD P£V GHWDOODGD YHU HO OLEUR GH Norman Davies, Heart of Europe: The Past in Poland’s Present 2[IRUG 1XHYD <RUN 2[IRUG 8QLYHUVLW\ 3UHVV

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/D RĆFLQD GH FRUUHRV SRODFD LQFOXÂŻD YDULRV HGLĆFLRV HQ OD &LXGDG /LEUH GH 'DQ]LJ :ROQH 0LDVWR *GDĂŒVN FUHDGD HQ FRPR UHVXOWDGR GHO 7UDWDGR GH 9HUVDOOHV \ VXV HGLĆFLRV VH FRQVLGHUDEDQ SURSLHGDG H[WUDWHUULWRULDO GH 3RORQLD 4

6DFKVHQKDXVHQ 2UDQLHQEXUJ HUD XQ FDPSR GH FRQFHQWUDFL¾Q DOHP£Q XWLOL]DGR SULQFLSDOPHQWH SDUD DORMDU SULVLRQHURV políticos desde 1936 hasta la caída del Tercer Reich en mayo de 1945. Alrededor de treinta mil prisioneros fallecieron DOO¯ FRPR FRQVHFXHQFLD GHO DJRWDPLHQWR ODV HQIHUPHGDGHV OD GHVQXWULFL¾Q \ OD QHXPRQ¯D 0XFKRV IXHURQ HMHFXWDGRV o murieron como resultado de brutales experimentos mÊdicos. Un artículo publicado el 13 de diciembre de 2001 en el New York Times DĆUPDED TXH ê(Q ORV SULPHURV D³RV GH OD JXHUUD ODV 66 SUDFWLFDURQ PWRGRV GH DVHVLQDWRV HQ PDVD TXH IXHURQ XWLOL]DGRV P£V WDUGH HQ ORV FDPSRV GH H[WHUPLQLR QD]LVÍ (Q HO DQWLJXR FDPSR GH FRQFHQWUDFL¾Q DOHP£Q GH 6DFKVHQKDXVHQ 2UDQLHQEXUJ VH WUDQVIRUP¾ HQ HO ê&DPSR (VSHFLDO 1R Í VRYLWLFR HO P£V JUDQGH GH ORV tres campos de internación soviÊticos en la zona de ocupación soviÊtica. Desde la muerte de mi abuelo en el campo GH FRQFHQWUDFL¾Q GH 6DFKVHQKDXVHQ 2UDQLHQEXUJ VH KDQ GHVFXELHUWR IRVDV FRPXQHV FHUFD GHO FDPSR GH concentración de Sachsenhausen. Se estima el número de muertos en doce mil. Para referencias adicionales, ver los DUFKLYRV GHO 0HPRULDO \ 0XVHR GH 6DFKVHQKDXVHQ KWWS ZZZ VWLIWXQJ EJ GH JXPV HQ LQGH[ KWP 5

ĂŞ$ SHVDU GH OD GUDPÂŁWLFD OXFKD \ ODV WUHPHQGDV SÂŤUGLGDV HO $O]DPLHQWR GH 9DUVRYLD HV XQR GH ORV FRQćLFWRV PHQRV conocidos de la guerra. La razĂłn es simple: el dar a conocer los acontecimientos de agosto y septiembre de 1944 no HUD GHO LQWHUÂŤV GH QDGLH GXUDQWH OD HUD FRPXQLVWD 3DUD HO UÂŤJLPHQ JREHUQDQWH HQ 3RORQLD VH WUDWDED GH XQ DWDTXH directo a su legitimidad. La lucha tambiĂŠn ha sido olvidada en gran medida fuera de Polonia. El Alzamiento constituĂ­a XQ LQFÂľPRGR UHFRUGDWRULR GH TXH 3RORQLD \ ODV QDFLRQHV GH (XURSD &HQWUDO KDEÂŻDQ VLGR FÂŻQLFDPHQWH DEDQGRQDGDV HQ PDQRV GH 6WDOLQ GXUDQWH \ GHVSXÂŤV GH OD JXHUUD 1LQJXQR GH ORV RĆFLDOHV DOHPDQHV UHVSRQVDEOHV GH ODV EUXWDOHV UHSUHVDOLDV FRQWUD FLYLOHV HQ OD FLXGDG IXH MX]JDGR HQ 1XUHPEHUJ 'H KHFKR ORV DFRQWHFLPLHQWRV GH DJRVWR \ VHSWLHPEUH GH DSHQDV IXHURQ PHQFLRQDGRV SRU PLHGR D HQWXUELDU OD WHQVD UHODFLÂľQ FRQ 0RVFŸÍ $QGUHZ &XUU\ :DUVDZ 5LVLQJ +RSH DQG %HWUD\DO en World War II Magazine HQ KWWS ZZZ KLVWRU\QHW FRP ZDUVDZ ULVLQJ KRSH and-betrayal.htm 6

24

(O \ GH MXOLR GH UDGLR Kosciuszko OD HPLVRUD VRYLÂŤWLFD TXH WUDQVPLWÂŻD HQ SRODFR GHVGH 0RVFÂź GLIXQGLÂľ XQ OODPDPLHQWR D ORV UHVLGHQWHV GH 9DUVRYLD LPSORUÂŁQGROHV ĂŞ/XFKHQ FRQWUD ORV DOHPDQHVĂŤ 9HU ORV DUFKLYRV GHO 0XVHR GHO /HYDQWDPLHQWR GH 9DUVRYLD RQOLQH KWWS ZZZ SO KLVWRULD HQF\NORSHGLD SRZVWDQLHBZDUV]DZVNLH "T 0RVNZD

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/RV KLVWRULDGRUHV KDQ OOHJDGR D OD FRQFOXVL¾Q GH TXH 6WDOLQ GHWXYR W£FWLFDPHQWH D VXV IXHU]DV SDUD SHUPLWLU TXH OD ciudad de Varsovia fuera aplastada. Churchill intercedió ante Stalin y Roosevelt -sin ningún resultado- SDUD TXH ayudaran a los aliados polacos de Gran Bretaùa. Lugo, prescindiendo de la liberación del espacio aÊreo por parte de ORV VRYLWLFRV &KXUFKLOO HQYL¾ P£V GH YXHORV FRQ VXPLQLVWURV E£VLFRV TXH HUDQ DUURMDGRV HQ SDUDFD¯GDV SRU OD 5HDO )XHU]D $UHD OD )XHU]D $UHD 6XGDIULFDQD \ OD )XHU]D $UHD 3RODFD RSHUDQGR EDMR HO $OWR 0DQGR EULW£QLFR Mås tarde, luego de obtener autorización soviÊtica para operar en la zona, la Fuerza AÊrea de Estados Unidos envió una misión de alto nivel para el lanzamiento masivo de abastecimientos en socorro de Varsovia como parte de la 2SHUDFL¾Q ê)UDQWLFÍ 9HU WDPELQ 'DYLHV Heart of Europe: The Past in Poland’s Present.

8

/D PD\RU¯D GH ODV SHUVRQDV TXH FDPLQDQ SRU ODV FDOOHV GH 9DUVRYLD HQ OD DFWXDOLGDG QR VH GDQ FXHQWD GH TXH FDVL WRGRV ORV HGLĆFLRV TXH YHQ IXHURQ FRQVWUXLGRV R UHFRQVWUXLGRV GHVSXV GH OD JXHUUD /D QRFL¾Q GH VLPXODFUR YLHQH D OD PHQWH HQ HVSHFLDO HQ OR TXH UHVSHFWD D OD &LXGDG 9LHMD GH 9DUVRYLD TXH IXH UHFRQVWUXLGD ODGULOOR SRU ODGULOOR UHSURGXFLHQGR D OD DQWLJXD FLXGDG VREUH OD EDVH GH GLEXMRV GH VX DUTXLWHFWXUD DQWHULRU D OD JXHUUD TXH KDE¯DQ VLGR SUHVHUYDGRV

9

Para un anĂĄlisis mĂĄs detallado, ver Saskia Sassen, 7HUULWRU\ $XWKRULW\ 5LJKWV 3ULQFHWRQ 1 - 3ULQFHWRQ 8QLYHUVLW\ 3UHVV

10

*UXHQEHUJ =LHORQD *¾UD HUD XQ VXEFDPSR GHO FDPSR GH FRQFHQWUDFL¾Q GH *URVV 5RVHQ HQ OD %DMD 6LOHVLD ê+DFLD ĆQDOHV GH OD JXHUUD ORV SULVLRQHURV GH ORV FDPSRV GH FRQFHQWUDFL¾Q IXHURQ HYDFXDGRV D FDPSRV P£V DOHMDGRV GH ODV ĆODV HQHPLJDV 8QD GH HVWDV êPDUFKDV GH OD PXHUWHÍ FRPHQ]¾ HQ *UXHQEHUJ =LHORQD *¾UD 9HU 'DQLHO -RQDK Goldhagen, Hitler’s Willing Executioners: Ordinary Germans and the Holocaust 1XHYD <RUN $OIUHG $ .QRSI S 333. 11

Judith Butler, Precarious Life: The Powers of Mourning and Violence /RQGUHV 1XHYD <RUN 9HUVR S

12

Johann Wolfgang von Goethe, Faust. Der TragĂśdie zweiter Teil, WUDG 5DIDHO &DQVLQRV $VVHQV 0DGULG $JXLODU

13

(O FDPSR GH FRQFHQWUDFL¾Q GH %XFKHQZDOG IXH FRQVWUXLGR HQ VLJXLHQGR D OD FRQVWUXFFL¾Q GH ORV FDPSRV de Sachsenhausen y Dachau. Propuesto originalmente por Fritz Saukel, el alcalde de Thuringen, fue aceptado por 7KHRGRUH (LFNH XQ RĆFLDO GH ODV 66 D FDUJR GH OD UHRUJDQL]DFL¾Q GH ORV FDPSRV GH FRQFHQWUDFL¾Q DOHPDQHV 3ULVLRQHURV recluidos en el campo provenientes de toda Europa y Rusia -MXG¯RV SRODFRV QR MXG¯RV HVORYHQRV SULVLRQHURV SRO¯WLFRV y religiosos, criminales, homosexuales y prisioneros de guerra- UHDOL]DURQ SULQFLSDOPHQWH WUDEDMRV IRU]DGRV HQ fåbricas de armamento locales. Desde 1945 hasta 1950, el campo fue utilizado como campo de internamiento por las autoridades de ocupación soviÊtica. Según cifras conservadoras consignadas en archivos de las SS, el número GH PXHUWRV HQ HO FDPSR GH FRQFHQWUDFL¾Q GH %XFKHQZDOG IXH GH DOUHGHGRU GH VREUH XQ WRWDO GH prisioneros. 14

Johann Peter Eckermann, Gesprache mit Goethe in den letzen Jahren seines Lebens HG )ULW] %HUJHPDQQ )UDQNIXUW ,QVHO WDO FRPR VH HQFXHQWUD FLWDGR HQ .ODXV 1HXPDQQ Shifting Memories: The Nazi Past in the New Germany $QQ $UERU 8QLYHUVLW\ RI 0LFKLJDQ 3UHVV S 15

Klaus Neumann, Shifting Memories: The Nazi Past in the New Germany $QQ $UERU 8QLYHUVLW\ RI 0LFKLJDQ 3UHVV S 16

Tras la Segunda Guerra Mundial, los experimentos mĂŠdicos realizados con prisioneros de campos de concentraciĂłn \ GH WUDEDMRV IRU]DGRV SRU PÂŤGLFRV DOHPDQHV WXYLHURQ XQ LPSDFWR QHJDWLYR VREUH QXHVWUD RSLQLÂľQ DFHUFD GH OD FLHQFLD moderna de la medicina.

17

Ver Zygmunt Bauman, Modernity and the Holocaust ,WKDFD 1 < &RUQHOO 8QLYHUVLW\ 3UHVV

18

EtimolĂłgicamente, la palabra lamento se deriva del griego leros ĂĽ ĂŞQRQVHQVH ĂŤ WRQWHUÂŻD :HEVWHUèV New Collegiate Dictionary & * 0HUULDP &RPSDQ\ 6SULQJĆHOG 0DVV S

25

A Conversation with Monika Weiss Julia P. Herzberg

6XVWHQD]R /DPHQW ,, is one of three videos presented at the Centre for Contemporary Art Ujazdowski &DVWOH &&$ LQ LQ ĆYH FRQWLJXRXV JDOOHULHV 7KH H[KLELWLRQ DOVR LQFOXGHG GUDZLQJV SKRWRJUDSKV and an installation of vintage books, many with the artist’s drawings, together with medical objects SODFHG RQ WKH ćRRU RI RQH RI WKH JDOOHULHV 7KH EDFNVWRU\ RI WKLV SURMHFW VKHGV OLJKW RQ WKH DUWLVWèV H[WHQVLYH research, which became the foundation for the conceptual transformation of the multilayered narrative of 6XVWHQD]R /DPHQW ,, . Monika Weiss was invited to do an exhibition by Milada Ă?OL]LĂŒVND, the former Chief Curator of the International Exhibitions at the Centre for Contemporary Art (CCA) in Warsaw and, as well, to be an artist LQ UHVLGHQFH DW WKH $UWLVWV ,Q 5HVLGHQFH /DERUDWRU\ XQGHU WKH GLUHFWLRQ RI WKH FXUDWRU ,ND 6LHQNLHZLF] Nowacka.1 During 2009 the artist did research both on-site and off-site beginning at the Ujazdowski Castle, where she became interested in the history of the Ujazdowski Hospital’s expulsion. Her research FRQWLQXHG LQ WKH FORVHG FROOHFWLRQV DW WKH &HQWUDO 0HGLFDO /LEUDU\ LQ :DUVDZ DQG DW WKH :DUVDZ 5LVLQJ Museum, the Historical Museum of Warsaw, and Media in Motion in Berlin. :HLVV ZRUNHG LQ WKH VSHFLDO FROOHFWLRQV GLYLVLRQ DW WKH &HQWUDO 0HGLFDO /LEUDU\ ZKHUH VKH ĆOPHG GDPDJHG archival materials such as documents, letters, photographs, and medical instruments that had survived the Ujazdowski Hospital expulsion. At the Historical Museum of Warsaw, Weiss photographed German aerial military maps that had entered the museum’s collection some years after World War II. Many images in the Sustenazo project originated in the archives of these institutions. At Media in Motion, Weiss recorded the voices of German speakers reciting passages from Goethe’s Faust II ZKLFK EHFDPH SDUW RI WKH ĆQDO VRXQG composition in Sustenazo. Monika Weiss directed, recorded, composed, and choreographed Sustenazo. The following persons contributed to the production of 6XVWHQD]R /DPHQW ,, : the German voices in Part One are those of .ULVWLQD +DKQ DQG 0DMD /LQNH WKH 3ROLVK YRLFH LQ 3DUW 2QH LV WKDW RI .U\VW\QD =DOHZVND WKH FRXQWHUWHQRU LQ 3DUW 7ZR LV $QWKRQ\ 5RWK &RVWDQ]R WKH *HUPDQ YRLFHV LQ 3DUW 7KUHH DUH %DUEDUD &DYHQJ +HLNR 'D[O $QGUHDV 0DWWKLDV *ULPP 0D[ +DQQHV $QQD +RSH &RUGXOD +XIQDJHO 5DOI 1LHEXKU &KULVWRSK 5DVFK

26

Bele Papperitz-Hannes, Wolfgang Strankowski, and Jens Umlauf. Gillian Lipton is the dancer in the video.

/ A CONVERSATION WITH MONIKA WEISS

6XVWHQD]R /DPHQW ,, presented at the Museo de la Memoria creates a space that restores historical memory to the present.

JPH: Sustenazo (Lament II) is one of the three videos of Sustenazo (2010 D SHUIRUPDWLYH ZRUN WKDW embraces history, memory, and language in overlapping rhythms and forms. Let’s talk about each of these subjects and their subtexts beginning with your relationship to history in general, its political dynamics, and to the particular event during World War II that in part inspired the project. MW: My understanding of history is that it is composed of parallel histories—it is never one history. Multiple histories coincide with each other and at times overlap. I believe there is a responsibility that comes with being an artist, which is in part poetic and in part political: to listen to and to address the archive of events, paying special attention to the forgotten narratives and voices. The concept of QDWLRQDOLVP RI DQ\ NLQG GRHV QRW LQWHUHVW PH 5DWKHU , EHOLHYH ZH QHHG WR SD\ DWWHQWLRQ WR WKH JOREDO QDWXUH RI RSSUHVVLYH V\VWHPV DQG LQVWLWXWLRQDOO\ GHVLJQHG YLROHQFH 6XFK YLROHQFH LV RIWHQ MXVWLĆHG E\ the ideology of “protection,â€? which usually veils hidden economic and colonialist agendas. Sustenazo developed around the notion of lament as a form of expression outside language: the timeless expression RI ODPHQW LV MX[WDSRVHG DJDLQVW WKH DUFKLYH RI D VSHFLĆF KLVWRULFDO HYHQW ĂŚWKH IRUFHG RYHUQLJKW HYDFXDWLRQ of Ujazdowski Hospital on the sixth day of the Warsaw Uprising in 1944. The historical background for this event is the invasion of Poland on September 1, 1939, which marks the beginning of World War II and, subsequently, the partition and annexation of Poland by Germany and the Soviet Union.2 -3+ , NQRZ WKDW \RXU JUDQGIDWKHU ZRUNHG LQ WKH QRZ KLVWRULFDO 3ROLVK 3RVW 2IĆFH LQ 'DQ]LJ *GDĂŒVN 2Q 6HSWHPEHU WKH GD\ RI WKH *HUPDQ LQYDVLRQ RI 3RODQG FLYLOLDQ GHIHQGHUV IRXJKW IRU ĆIWHHQ KRXUV XQWLO WKH SHUVRQQHO LQ WKH GLIIHUHQW SRVWDO EXLOGLQJV VXUUHQGHUHG +H ZDV RQH RI D KDQGIXO of employees who escaped and was later captured and imprisoned in a concentration camp, where he died a year later.

27

MW: 7KH 'HIHQVH RI WKH 3ROLVK 3RVW 2IĆFH LQ 'DQ]LJ *GDĂŒVN ZDV RQH RI WKH ĆUVW DFWV RI :RUOG :DU ,, in Europe.3 $IWHU WKH VXUUHQGHU RI WKH 3ROLVK 3RVW 2IĆFH IRUW\ SRVWPHQ ZHUH FDSWXUHG TXLFNO\ WULHG DQG H[HFXWHG E\ D :HKUPDFKW ĆULQJ VTXDG 0\ JUDQGIDWKHU /HRQ .QRSLN D SRVWDO FOHUN ZDV FDSWXUHG VRRQ WKHUHDIWHU LPSULVRQHG DQG WDNHQ ĆUVW WR 6WXWWKRI FRQFHQWUDWLRQ FDPS QHDU *GDĂŒVN DQG WKHQ PRYHG to Sachsenhausen-Oranienburg concentration camp,4 near Berlin. Some months after my grandfather’s capture, my grandmother, then pregnant with my mother, received a package from SachsenhausenOranienburg with a letter explaining that my grandfather died in the camp “due to pneumonia.â€? The package contained his winter coat soaked in blood, which my grandmother washed carefully and gave to WKH ĆUVW VWUDQJHU VKH VDZ ZKR QHHGHG D FRDW GXULQJ WKDW YHU\ FROG ZLQWHU RI -3+ <RX JUHZ XS LQ WKH V LQ :DUVDZ XQGHU D &RPPXQLVW UHJLPH :KDW ZHUH \RX IRUPDOO\ taught about World War II in school, which I assume was taught through the Communists’ lens? What memories or experiences did your family relate, if any, about growing up during and after the war? MW: In primary school I was taught that the Soviet Union was Poland’s “brother,â€? and in the history ERRNV WKH :DUVDZ 8SULVLQJ DOVR NQRZQ DV WKH :DUVDZ 5LVLQJ VLPSO\ GLG QRW H[LVWĂŚWKH ERRNV ZHUH completely silent about it. In fact, mentioning the Uprising in public was forbidden.5 As a child I learned about the Uprising from my parents who kept “illegalâ€? (underground) history books and who listened to ĂŞLOOHJDOĂŤ QHZV RQ WKH UDGLR 5DGLR )UHH (XURSH 5DGLR /LEHUW\ , OHDUQHG WKDW WKH :DUVDZ 8SULVLQJ ZDV a major World War II operation conducted by the Polish resistance to liberate Warsaw from German occupation, timed to coincide with the Soviet army’s arrival at the city’s eastern suburbs. 2Q -XO\ WKH 6RYLHWV WKURXJK 0RVFRZ 5DGLR 6WDWLRQ Kosciuszko, broadcasted in Polish a call IRU WKH 8SULVLQJ WR EHJLQ SURPLVLQJ WKDW WKH 6RYLHW DUP\ ZRXOG MRLQ WKH 3ROHV LQ WKHLU ĆJKW DJDLQVW WKH Germans.6 The Uprising began on August 1, 1944 and lasted for sixty-three days. Although the Poles established control over most of central Warsaw, the Soviets did not come to their aid. They remained on WKH RWKHU VLGH RI WKH 9LVWXOD 5LYHU 7 -3+ <RX KDYH RIWHQ VSRNHQ DERXW PHPRU\ DQG VSHFLĆFDOO\ WKH FLW\èV PHPRU\ LQ \RXU ZRUN +RZ GRHV a city’s memory play itself out in Sustenazo? Why does the subject of lamentation surface in relation to a city’s memory? MW: My recent work, including Sustenazo, considers aspects of public memory and amnesia in the FRQVWUXFWLRQ RI WKH VSDFH RI D FLW\ DQG LWV XUEDQ SODQQLQJ 0DSV RI FLWLHV DUH ćDW \HW WKHLU KLVWRULHV FRQWDLQ

28

vertical strata of events. Where in the topography and consciousness of a city can we locate its memory?

/ A CONVERSATION WITH MONIKA WEISS

The body of a city may be compared metaphorically to our body and its memory. One of the manifestations of a city’s memory is its architecture, such as in the case of Warsaw. After the capitulation of the Warsaw 8SULVLQJ WKH *HUPDQV FOHDUHG WKH FLW\ RI LWV UHPDLQLQJ LQKDELWDQWV RYHU WKH QH[W WKUHH PRQWKV WKH\ VHW ĆUH to the infrastructure of every neighborhood and later demolished those buildings that did not completely SHULVK LQ WKH ćDPHV $OO WKH ZKLOH WKH 6RYLHW DUP\ UHPDLQHG RQ WKH RWKHU VLGH RI WKH 9LVWXOD D YHU\ QDUURZ river that offered a close-up view of what was happening in Warsaw as it became a landscape of rubble.8 To paraphrase Saskia Sassen, cities are potential spaces of resistance to military power: they are “weak regimes.â€? While cities cannot destroy power, they can contest it.9 My recent project 6KURXGV focuses on a Polish city, Zielona GĂłra, which has forgotten parts of its own history. Current maps depict an empty unnamed, rectangular area located in the center of the city, which is covered with debris from destroyed buildings. During World War II this site was a small concentration camp for Jewish women.10 In Sustenazo I juxtapose and overlay close-up views of a woman’s chest covered with surgical drawings, a 1942 German map of Eastern Europe, and my gloved hand smearing charcoal on the map. (See video still 15) In Shrouds I also contrast and superimpose a close-up view of a woman’s chest covered with bandages together with contemporary aerial views of the former Gruenberg (Zielona GĂłra) concentration camp, now in rubble. The female body in these videos stands for an anonymous body, yours or mine, as if it were a membrane between the self and the external world. JPH: Does lamentation exist in the contemporary life of a city? And if so, what form does it take? MW: Our western society often sublimates mourning into other forms of expression or of memorials of GLIIHUHQW NLQGV :H XVH VLJQV RU SODTXHV WR FRPPHPRUDWH JHQRFLGHV RU KRORFDXVWV ZH KDYH SXEOLF SUD\HUV WR PRXUQ WKH GHFHDVHG ZH SXEOLVK KLVWRU\ ERRNV WR UHPHPEHU WKH SDVW DQG ZH EULQJ D IUDFWLRQ RI WKH SHRSOH responsible for those genocides to international tribunals. However, we are not accustomed to collective mourning in the form of ancient rituals of lamentation. Lament as an emotional reaction seems to be stigmatized by an association with the private sphere, and is thus considered inappropriate or shameful in public. JPH: So would you say that the public ritual of lamentation has become obsolete for all intents and purposes? MW: The language of public lament could offer a possibility for expanding our awareness of coexistence and responsibility for the Other. By enacting ancient gestures of lamentation, Sustenazo considers contemporary contexts of apathy, indifference, invisibility, and historical amnesia within the public forum and polis. Lament

29

is extreme expression in the face of loss. Ultimately, as Judith Butler wrote, “grief furnishes a sense of political FRPPXQLW\ RI D FRPSOH[ RUGHU DQG LW GRHV WKLV ĆUVW RI DOO E\ EULQJLQJ WR WKH IRUH WKH UHODWLRQDO WLHV WKDW KDYH implications for theorizing fundamental dependency and ethical responsibility.� 11 Group mourning is an act of political force, and not only a response to individual grief. We should ask then, whose life is or is not worthy of grief? In the context of war, loss is often about the loss of the Other, but in reality the Other is also a part of oneself. Empathy and collective mourning, including mourning the loss of others who are supposed to be our enemies, can become a powerful political tool, in opposition to heroic, masculine fantasies of conquest and power. -3+ 7KH ERG\ LV D FDUULHU RI QDUUDWLYHV <RX ĆOPHG D ZRPDQ SHUIRUPHU ZKRP \RX FKRUHRJUDSKHG WR express the gesture of lamentation. In this work, lamentation is a response to war and a metaphor for suffering. Tell us about the overlapping narratives. MW: In Sustenazo WKH WLPHOHVV JHVWXUH RI ODPHQWDWLRQ LV FRQIURQWHG ZLWK WKH DUFKLYH RI D VSHFLĆF KLVWRULFDO event—the forced overnight evacuation of the Ujazdowski Hospital’s eighteen hundred patients and staff on August 6, 1944. In Part I of the video, the woman appears as two persons moving in opposite directions— VLPXOWDQHRXVO\ SUHVHQWHG LQ UHDO WLPH DQG UHYHUVH PRWLRQ WKDQNV WR YLGHR DQG ĆOP HGLWLQJ WHFKQRORJLHV 6HH YLGHR VWLOO +HU ERG\ LV SUHVHQW DOWKRXJK LW H[LVWV RXWVLGH RI VSHFLĆF WLPH , FKRUHRJUDSKHG DQG GLUHFWHG the performer’s movements. Her slow-moving gestures of lamentation or mourning are at once theatrical and minimal. They do not tell a historical narrative: the viewer does not know the reasons for her mourning. Lament—performative and communal—becomes a shared emotional experience. I decided not to perform in Sustenazo (or in my other recent works) to avoid autobiographical interpretations. Sustenazo is not solely about Poland or Polish history or European history. It is more EURDGO\ DERXW WKH ORVV RI OLYHV LQćLFWHG E\ ZDU DQG E\ RWKHU SROLWLFDO DQG RUJDQL]HG DFWV RI YLROHQFH DQG oppression. For me, war is not only devastating: it is unacceptable. JPH: Why did you choose Goethe’s writing as one of the central elements in Sustenazo? Let’s begin with the texts and their meaning. At the beginning of the video there are two passages from Goethe, the second of which reads:

30

All that is transitory LV RQO\ D V\PERO what seems unachievable KHUH LV VHHQ GRQH what’s indescribable KHUH EHFRPHV IDFW 12

Alles Vergängliche Ist nur ein Gleichnis; Das Unzulängliche, +LHU ZLUGèV (UHLJQLV Das Unbeschreibliche, +LHU LVWèV JHWDQ

/ A CONVERSATION WITH MONIKA WEISS

MW: This second passage in my video is one of two fragments from Johann Wolfgang von Goethe’s )DXVW 'HU 7UDJ¸GLH ]ZHLWHU 7HLO )DXVW ,, / Faust, Second Part of the Tragedy. This famous Chorus Mysticus is located at the end of the play. Goethe wrote Faust II VL[W\ \HDUV DIWHU WKH ĆUVW SDUW RI WKH Tragedy during the last year of his life (1831). The focus in the second part is no longer on the soul of Faust, which has been sold to the devil, but rather on social phenomena such as psychology, history, and politics, in addition to mystical and philosophical topics. I am interested in the complex relationship EHWZHHQ WZR VHHPLQJO\ LUUHFRQFLODEOH SKHQRPHQDĂŚKLJK FXOWXUH DQG JHQRFLGH DQG LQ WKLV FDVH between Goethe’s symbolic heritage and the Holocaust’s modern system of oppression and cleansing. For example, my new project involves the famed *RHWKH (LFKH ĂŞ*RHWKHèV 2DNĂŤ near Weimar, a tree under which Goethe used to sit and write. Around this tree, in 1937, Germans built the Buchenwald concentration camp,13 RQH RI WKH ĆUVW DQG ODUJHVW FRQFHQWUDWLRQ FDPSV RQ *HUPDQ VRLO $OWKRXJK DQ American bombing raid (August 24, 1944) damaged the Goethe Eiche, the Nazis carefully preserved the stump, which is still maintained today as part of the memorial at KZ Buchenwald. As noted by Goethe’s secretary, during the poet’s September 1827 visit to his Eiche, Goethe stated: “I have very often been in this spot, and as of late years I have thought‌I should look down hence on the kingdoms of the world, and their splendor.â€? 14 According to Klaus Neumann’s Shifting Memories: The Nazi Past in WKH 1HZ *HUPDQ\, one could consider Weimar’s main function as providing the stage for memorializing Goethe: “If one took ‘Goethe’ to be a shorthand symbol—that is, if ‘Goethe’ encompassed Schiller, Wieland, Herder, Nietzsche, Bach, Liszt, and other famous writers and composers who resided in Weimar—then one could argue that there is no Weimar without Goethe.â€? 15 Weimar’s citizens have erased Buchenwald from their memory and their history, treating it as an irrelevant intermezzo. In Sustenazo, there is no Goethe without eighteen hundred people expelled overnight from Ujazdowski Hospital, just like there is no Goethe without the stains, shadows, and traces of the Holocaust. JPH: You placed books by Goethe and Schiller together with German medical books published before DV ZHOO DV VRPH PHGLFDO LQVWUXPHQWV RQ WKH ćRRU DQG LQ WKH YLWULQH LQ \RXU LQVWDOODWLRQ :KDW LV WKH relationship between the medical books and German poetry? MW: In Sustenazo, medical books and medical instruments refer to the Ujazdowski Hospital, which, at the time of the Uprising, was the largest hospital in Warsaw and one of many hospitals that were forcibly evacuated onto the streets of the burning city. Most of the eighteen hundred patients died shortly thereafter. The act of “throwing outâ€? a hospital contradicts everything a hospital ought to be: a place where human lives are saved. Sustenazo evokes that event as a metaphor for war in general. While German medical books were written to teach about how to save human lives,16 books by Goethe

31

as well as Schiller represent the essence of German high culture and were cherished by the Nazis for that reason. There are questions embedded in this linking of medicine and poetry —for example, we can ask what are the circumstances that allow for a highly sophisticated, modern, and humanistic culture to give birth to the Holocaust? Zygmunt Bauman has written that our evolving modernity is still in danger, and at the same time it is still actively producing this danger.17 Bauman speaks of a garden as a metaphor for modernity’s disposition to improve the world, to compose it anew, to cleanse it —much like a gardener is getting rid of weeds in the garden. Contemporary holocausts are related to systems of oppression on a massive scale and often result from the politics of “gardening.� JPH: Let’s talk about your musical background because it has formed such an important part of your earlier training and current work. I know you were exposed to music from infancy, if for no other reason, because your mother was a concert pianist. You studied music as a child at the Warsaw School of Music in WKH V DQG V +RZ GLG \RXU VWXGLHV WKHUH SUHSDUH \RX IRU \RXU ZRUN DV D FRPSRVHU" MW: When I think of music, I also think of silence. However, John Cage reminds us that absence of sound is never entirely possible or complete. Within my sound and video projections, silence is the punctuation that forms the space and allows the work to breathe. I compose sound from testimonies, recitations, laments, the environment, and musical instruments such as my own piano improvisations. I transform and layer the recorded tracks to construct new shifting harmonies. I often work with human voices and their relationships to language. In my recent projects, lament questions language. My work focuses on the moment when language FROODSVHV LQ IDFH RI WKH ORVV RI WKH DELOLW\ WR VLJQLI\ ,Q WHUPV RI WKH LQćXHQFH RI PXVLF RQ P\ FXUUHQW ZRUN , IHHO that all my work is musical. For example, I merge disparate narratives together into a polyphonic composition. JPH: You composed the video and sound as three distinctive parts in the tradition of classical music. Why, where, and when did you choose the speakers and singers? MW: In the oldest archaic examples of lament, the encounter between the world of the living and the world of the dead is performed as a dialogue either between two beings, one present and one absent, or between two antiphonal groups of mourners. In the traditions of lament, the address (an opening) would be followed E\ DQ DSSHDO LQWHUYHQLQJ QDUUDWLYH UHFROOHFWLRQ RI SDVW HYHQWV DQG ĆQDOO\ WKH UHLWHUDWLRQ RI WKH LQLWLDO address. I employ this ternary form in 6XVWHQD]R /DPHQW ,, German speakers read several passages from Goethe’s Faust II and from Paul Celan’s Schneepart. In Sustenazo, Celan, whose poetry was burned by German Nazis, represents the opposite symbolism to that of Goethe.

32

NOTES / A CONVERSATION WITH MONIKA WEISS

During my artist residency in Berlin (2009), I invited a group of Germans to slowly recite passages from Faust II. Later that year, during my residency at the Centre for Contemporary Art Ujazdowski Castle, I recorded the voice of a survivor of the Ujazdowski Hospital’s expulsion, who at the time of the Uprising was a teenage nurse. Her elderly and fragile voice is heard in Part I of the video, as it overlaps ZLWK WKH \RXQJ DQG ZHOO GHĆQHG IHPDOH YRLFH UHFLWLQJ LQ *HUPDQ IUDJPHQWV IURP *RHWKH 7KH 3ROLVK voice represents a “sonic stain,â€? a trace that cannot be erased. For Part II of the video, I recorded a countertenor whom I asked to sing short fragments of laments—formal compositions that exist in classical music—however without any accompaniment. Later, I digitally cut single notes and words, even syllables, and moved them around, creating a sense of language and melody that disintegrates into indecipherable sound, becoming lament.18 JPH: You have told me that you have been drawing for as long as you can remember. Aside from your independent drawings, you have often incorporated drawing as an element of your videos and performances. For example, in Phlegethon-Milczenie and Leukos-Early Morning Light ERWK RI \RX GUHZ DURXQG \RXU ERG\ 'UDZLQJ FRQWLQXHV WR EH DQ LPSRUWDQW YHKLFOH RI H[SUHVVLRQ LQ Sustenazo :K\ GLG \RX GUDZ WKH OLQHV ĆJXUHV DQG VWDLQV RQ WKH SDJHV RI WKH ERRNV LQ Sustenazo? MW: Traces left on top of the book pages in Sustenazo connote another layer of meaning that interrupts or veils already existing meanings and past histories contained in the books. The stains were made by spitting the ink out of my mouth onto the book pages. The lines were drawn by my lying down on top of the books. Both types of drawn marks appear in the video, where my white-gloved hand smashes a chunk of charcoal, slowly covering a map of Europe with a dark cloud of ashes. The map gradually changes into a black and white photograph taken from a 1930s German medical book, showing a woman’s chest, her skin covered by a doctor’s drawing, presumably in preparation for surgery. (See video still 16) Open ERRNV DQG PHGLFDO LQVWUXPHQWV DUH VFDWWHUHG RQ WKH ćRRU SUHVHQWHG DV YXOQHUDEOH REMHFWV FRQQRWLQJ rubble. Alongside the medical books are works of Goethe and Schiller published in the nineteenth and early twentieth centuries. Syringes, ampoules with surgical threads, and a nurse’s cap are also scattered around. Some of the books and medical instruments are placed in the vitrine, where they may be viewed up-close. There are two kinds of stains in Sustenazo. The Polish voice in the sound composition represents D ĂŞVRQLF VWDLQĂŤ WKH LQN DQG FKDUFRDO VWDLQV WKH KDQG GUDZQ PDUNV RQ WKH SDJHV RI *RHWKHèV ZULWLQJV symbolize traces of history that cannot be erased. Goethe’s voice, and by extension the voice of culture, can no longer exist without this other voice—the voice of the people who were damaged by their abrupt encounter with power.

33

The artist has provided the historical accounts in the endnotes and has cited authoritative sources for those interested in IXUWKHU UHDGLQJ RQ VSHFLĆF VXEMHFWV WRXFKHG XSRQ KHUH

1

7KH H[KLELWLRQ SURMHFW RI UHFHLYHG JHQHURXV ĆQDQFLDO VXSSRUW IURP WKH $PHULFDQ (PEDVV\ LQ :DUVDZ DQG IURP the Trust for Mutual Understanding in New York.

2

The 1939 Invasion of Poland, also known as the September Campaign or Polenfeldzug, was an invasion of Poland by

Germany, the Soviet Union, and a small Slovak contingent. This invasion marked the beginning of World War II in Europe. 7KH *HUPDQ LQYDVLRQ EHJDQ RQ 6HSWHPEHU RQH ZHHN DIWHU WKH VLJQLQJ RI WKH 0RORWRYü5LEEHQWURS 3DFW $XJ ust 23), while the Soviet invasion commenced on September 17, 1939 following the Molotov-Togo agreement between Germany and Japan (September 16). The campaign ended on October 6, 1939 with Germany and the Soviet Union GLYLGLQJ DQG DQQH[LQJ WKH ZKROH RI 3RODQG ,Q WKH VHFUHW SURWRFRO RI WKH 0RORWRY 5LEEHQWURS 1RQ $JJUHVVLRQ 3DFW WKH Soviet Union and Germany agreed to divide the Baltic countries and Poland along the Narew, Vistula, and San rivers. Polish forces prepared for a long defense and awaited expected support and relief from France and the United Kingdom. The two countries had pacts with Poland and had declared war on Germany on September 3, but ultimately their aid to 3RODQG ZDV H[WUHPHO\ OLPLWHG 7KH VXFFHVVIXO LQYDVLRQ PDUNHG WKH HQG RI WKH 6HFRQG 3ROLVK 5HSXEOLF DOWKRXJK 3RODQG never formally surrendered. For further reading, see Norman Davies, +HDUW RI (XURSH 7KH 3DVW LQ 3RODQGèV 3UHVHQW (Oxford/New York: Oxford University Press, 2001). 3

7KH 3ROLVK 3RVW 2IĆFH FRPSULVHG VHYHUDO EXLOGLQJV LQ WKH )UHH &LW\ RI 'DQ]LJ :ROQH 0LDVWR *GDĂŒVN ZKLFK was created in 1920 under the Treaty of Versailles, and its buildings were considered extraterritorial Polish property.

4

Sachsenhausen-Oranienburg was a German concentration camp used primarily for political prisoners from 1936 to WKH HQG RI WKH 7KLUG 5HLFK LQ 0D\ 6RPH WKLUW\ WKRXVDQG LQPDWHV GLHG WKHUH IURP H[KDXVWLRQ GLVHDVH PDOQXWULWLRQ and pneumonia. Many were executed or died as the result of brutal medical experimentation. An article published on December 13, 2001 in the 1HZ <RUN 7LPHV stated: “In the early years of the war, the SS practiced methods of mass killing there that were later used in the Nazi death camps.� In 1948 the site of the former German SachsenhausenOranienburg concentration camp became the Soviet “Special Camp No. 1,� the largest of the three Soviet internment camps in the Soviet Occupation Zone. Since my gradfather’s death in KZ Sachsenhausen-Oranienburg (1940), mass graves have been discovered near Sachsenhausen concentration camp. The dead were estimated at twelve thousand. For further references, see the archives of the Memorial and Museum Sachsenhausen: http://www.stiftung-bg.de/gums/en/ index.htm 5

ê'HVSLWH WKH GUDPDWLF ĆJKWLQJ DQG WKH WUHPHQGRXV ORVVHV WKH :DUVDZ 5LVLQJ LV RQH RI WKH OHVVHU NQRZQ FRQćLFWV RI the war. The reason is simple: publicizing the events of August and September 1944 was in nobody’s interest during the Communist era. For the ruling regime in Poland, it was a direct attack on their legitimacy. The struggle has been largely IRUJRWWHQ RXWVLGH 3RODQG DV ZHOO 7KH 5LVLQJ ZDV DQ XQFRPIRUWDEOH UHPLQGHU WKDW 3RODQG DQG WKH QDWLRQV RI FHQWUDO (XURSH KDG EHHQ F\QLFDOO\ DEDQGRQHG WR 6WDOLQ GXULQJ DQG DIWHU WKH ZDU 1RQH RI WKH *HUPDQ RIĆFHUV UHVSRQVLEOH IRU the brutal reprisals against civilians in the city was tried at Nuremberg. In fact, the events of August and September 1944 were barely mentioned, for fear of roiling the tense relationship with Moscow.� Andrew Curry, :DUVDZ 5LVLQJ Hope and Betrayal, in World War II Magazine, 2012 on http://www.historynet.com/warsaw-rising-hope-andbetrayal.htm 6

2Q -XO\ DQG 5DGLR 0RVFRZ 6WDWLRQ Kosciuszko broadcasted an appeal to Warsaw residents imploring WKHP ĂŞ)LJKW DJDLQVW *HUPDQV ĂŤ 6HH 7KH :DUVDZ 5LVLQJ 0XVHXP RQOLQH DUFKLYHV KWWS ZZZ SO KLVWRULD encyklopedia/powstanie_warszawskie/?q=Moskwa

7

34

Historians have concluded that Stalin tactically halted his forces to let the city of Warsaw be crushed. Churchill

NOTES / A CONVERSATION WITH MONIKA WEISS

SOHDGHG ZLWK 6WDOLQ DQG 5RRVHYHOWÌWR QR DYDLOÌWR KHOS %ULWDLQèV 3ROLVK DOOLHV 7KHQ ZLWKRXW 6RYLHW DLU FOHDUDQFH &KXUFKLOO VHQW RYHU ORZ OHYHO VXSSO\ GURSV E\ WKH 5R\DO $LU )RUFH WKH 6RXWK $IULFDQ $LU )RUFH DQG WKH 3ROLVK $LU Force under British High Command. Later, after gaining Soviet air clearance, the U.S. Army Air Force sent one high-level mass airdrop as part of Operation Frantic. Also see Davies, +HDUW RI (XURSH 7KH 3DVW LQ 3RODQGèV 3UHVHQW 8

Most people who walk through the streets of Warsaw today do not realize that almost every building they see was newly built or reconstructed after the war. The notion of a simulacrum comes to mind, especially with regard to the Old Town of Warsaw, which was rebuilt brick by brick, replicating the former city based on preserved prewar architectural drawings. 9

For further discussion, see Saskia Sassen, Territory, Authority, Rights (Princeton, N.J.: Princeton University Press, 2006). 10

*UXHQEHUJ =LHORQD *ÂľUD ZDV D VXEFDPS RI *URVV 5RVHQ LQ /RZHU 6LOHVLD ĂŞ7RZDUGV WKH HQG RI WKH ZDU the prisoners in concentration camps were evacuated to camps further from enemy lines. One such ‘death march’ began in Gruenberg (Zielona GĂłra).â€? See Daniel Jonah Goldhagen, +LWOHUèV :LOOLQJ ([HFXWLRQHUV 2UGLQDU\ *HUPDQV DQG WKH +RORFDXVW (New York: Alfred A. Knopf, 1996), p. 333.

11

Judith Butler, 3UHFDULRXV /LIH 7KH 3RZHUV RI 0RXUQLQJ DQG 9LROHQFH (London/New York: Verso, 2004), p. 22.

12

Johann Wolfgang von Goethe, )DXVW 'HU 7UDJ¸GLH ]ZHLWHU 7HLO 1832, trans. Stuart Atkins (Princeton, N.J.: Princeton University Press, 1984), p. 305.

13

Buchenwald concentration camp was built in 1937 following Sachsenhausen and Dachau. Originally proposed by )ULW] 6DXNHO WKH PD\RU RI 7KXULQJHQ LW ZDV DFFHSWHG E\ 7KHRGRUH (LFNH DQ 66 RIĆFHU LQ FKDUJH RI WKH UHRUJDQL]DWLRQ RI *HUPDQ FRQFHQWUDWLRQ FDPSV &DPS SULVRQHUV IURP DOO RYHU (XURSH DQG 5XVVLDÌ-HZV QRQ -HZLVK 3ROHV DQG 6ORYHQHV religious and political prisoners, criminals, homosexuals, and prisoners of war—worked primarily as forced labor in local armament factories. From 1945 to 1950 the camp was used by the Soviet occupation authorities as an internment FDPS $FFRUGLQJ WR FRQVHUYDWLYH ĆJXUHV LQ 66 DUFKLYHV WKH GHDWK WROO LQ .= %XFKHQZDOG ZDV DERXW RXW RI WKH 240,000 prisoners.

14

Johann Peter Eckermann, Gesprache mit Goethe in den letzen Jahren seines Lebens, ed. Fritz Bergemann (Frankfurt: Insel, 1955), as quoted in Klaus Neumann, 6KLIWLQJ 0HPRULHV 7KH 1D]L 3DVW LQ WKH 1HZ *HUPDQ\ Ann Arbor: University of Michigan Press, 2000), p. 179.

15

Klaus Neumann, 6KLIWLQJ 0HPRULHV 7KH 1D]L 3DVW LQ WKH 1HZ *HUPDQ\ (Ann Arbor: University of Michigan Press, 2000), p. 180.

16

In the aftermath of World War II, the medical experiments executed on camp prisoners by German doctors in concentration camps and in labor camps have negatively impacted our thinking about the modern science of medicine.

17

See Zygmunt Bauman, Modernity and the Holocaust (Ithaca, N.Y.: Cornell University Press, 1989).

18

Etymologically, the word lament derives from Greek leros – “nonsense.â€? :HEVWHUèV 1HZ &ROOHJLDWH 'LFWLRQDU\ (C. & * 0HUULDP &RPSDQ\ 6SULQJĆHOG 0DVV S

35

Lamento y lugar para la memoria: Sustenazo (Lament II), de Monika Weiss Adriana ValdĂŠs

“There is a delicate empiricism which so intimately involves itself with the object that it becomes true theory� (Goethe)1

I 'RV WLHPSRV VL QR P£V 6H LQWHUĆHUHQ HQWUH V¯ FDVL VH IXQGHQ VH VHSDUDQ YXHOYHQ D FDVL IXQGLUVH 6RQ \ QR VRQ XQ PLVPR SHUĆO SXUR \ Q¯WLGR 'RV WLHPSRV VL QR P£V GH OD PLVPD ĆJXUD TXH se superpone a sí misma lenta y obstinadamente, haciendo los JHVWRV FRQ TXH XQ FXHUSR GH PXMHU YLYH FRQ ORV RMRV FHUUDGRV KDFLD DGHQWUR HO LPSDFWR GH XQ GRORU SURIXQGR TXH YXHOYH una y otra y otra vez sobre sí mismo. Tocar el cuerpo, anudar y desanudar, cubrir y descubrir, en una pureza espartana de los JHVWRV (Q GRV WLHPSRV VL QR P£V HQ TXH HO FXHUSR LQWHUIHULGR por el dolor busca —D RMRV FHUUDGRV— TXL]£V TX LPSRVLEOH OXFLGH] TXL]£V TX LQDOFDQ]DEOH FRQVXHOR (VR HQ OR YLVXDO $O R¯GR OD SXUH]D FO£VLFD OD FODULGDG GH XQD YR] TXH OHH SRHPDV de Goethe va siendo interferida por otra voz, cascada y superpuesta. Es la del relato de una sobreviviente de los hechos de Varsovia, 1944. Un tiempo —el de la poesía— TXH VH TXLHUH intemporal, deslocalizado y nítido, va recibiendo el impacto de RWUR TXH FRQIXQGH HVD QLWLGH] OD FRQWDPLQD FRQ RWUR WLHPSR P£V herido y confuso, el de una historia particular, local, con fechas,

36

TXH OR HQVXFLD \ OH SHQD REVWLQDGDPHQWH

/ ADRIANA VALDÉS

II (Q OD VHJXQGD SDUWH HV OD PŸVLFD OD TXH DVXPH D OD YH] HO tiempo y el destiempo, la consonancia y la disonancia. Muchos ODPHQWRV HO ODPHQWR HV XQ JQHUR PXVLFDO OOHJDQ D VHU XQ VROR VRQLGR HQ TXH VH FRQIXQGHQ ODV SRFDV \ ORV WRQRV HQ TXH XQRV y otros van, vuelven, reaparecen, se pierden una y otra vez. A la vista, unas manos enguantadas, profesionales, realizan RSHUDFLRQHV VREUH XQ FDPSR HQ TXH YDQ IXQGLQGRVH ODV LP£JHQHV GH YLHMRV OLEURV GH PHGLFLQD —FRPR ORV TXH VH materializan en el espacio frente a la proyección del video —con las de antiguas escrituras difícilmente descifrables, donde DSDUHFH HO QRPEUH GH *RHWKH FRQ ODV GH YLHMRV PDSDV GH XQD ]RQD GH (XURSD FRQ WRUVRV KXPDQRV IRWRJUDĆDGRV KDFH mucho tiempo, algunos con las marcas para operaciones TXLUŸUJLFDV /RV JHVWRV GH ODV PDQRV HQJXDQWDGDV FXLGDGRVRV y lentos, hacen sus propias operaciones, con un instrumental FDGXFR TXH WDPELQ VH PDWHULDOL]D I¯VLFDPHQWH HQ HO HVSDFLR de la instalación. Hurgan, pero tambiÊn acarician, recorren. 'H QXHYR HQ ODV LP£JHQHV WLHPSRV TXH VH VXSHUSRQHQ \ GHVGREODQ XQRV HQ RWURV TXH YXHOYHQ SDUD FRH[LVWLU HQ HO modo de la interferencia. III El rostro otra vez, pero ahora de frente, y cubierto por las PDQRV /RV RMRV FXDQGR OOHJDQ D YHUVH HVW£Q REVWLQDGDPHQWH FHUUDGRV 6L H[LVWH XQ SDLVDMH HVWH VH HQFXHQWUD GHQWUR HQ un espacio mental íntimo, el del duelo. Pero muchas voces resuenan en ese espacio interior, muchas, superponiÊndose XQDV D RWUDV DXQTXH D YHFHV SDUH]FDQ GHFLU OR PLVPR 'H nuevo, son textos de Goethe, leídos por varias personas de LGLRPD DOHP£Q LQWHUĆULQGRVH XQRV D RWURV KDVWD YROYHUVH inarticulados, a la manera del lamento.

37

IV (Q HO DUWH êIRUPDVÍ \ êFRQWHQLGRVÍ QR VH GLVWLQJXHQ HQWUH V¯ OD inteligencia artística se hace y se descubre a sí misma mediante ORV PDWHULDOHV TXH HVFRJH \ ODV RSHUDFLRQHV TXH KDFH FRQ HOORV La descripción minuciosa de las operaciones de una obra es a la vez una exploración de sus posibles sentidos. Sustenazo II surge de hechos sucedidos en otra geografía, en Varsovia, Polonia, y en otro tiempo, los últimos aùos de la Segunda Guerra Mundial. Sin embargo, sus gestos resultan muy próximos, y sus operaciones, reconocibles. El dolor GH QXHVWUD SURSLD KLVWRULD OD TXH HVW£ HQ HVWH PXVHR GH OD memoria, en Santiago de Chile, empalma en esta obra con GRORUHV PXFKR P£V DQWLJXRV QRV UHFXHUGD TXH ORV JHVWRV GH la pÊrdida nos acompaùan desde los inicios de nuestra cultura. Recuperarlos es apelar a una experiencia común, mås allå de los distintos lugares y fechas. Es ahondar en ella —\ DV¯ RMDO£ HQ ODV dimensiones del duelo propio—. V El dolor, en esta obra, es obstinadamente femenino, y se expresa, tanto al oído como a la vista, en las formas del lamento. Sustenazo es palabra griega: lamento, gemido, sonido indistinto TXH VXUJH GH XQ JUXSR GH GROLHQWHV DQWHULRU DO OHQJXDMH DUWLFXODGR XELFDGR HQ HO OXJDU WUDXP£WLFR HQ TXH HO GRORU GHO cuerpo y el de la mente entran en una densa convergencia. El lamento es a la vez manifestación y silencio. Se produce ante una mudez —la de la ausencia, la de la muerte— TXH VH UHVLVWH D WRGR RUGHQ DUWLFXODGR \ D WRGD LQWHUSUHWDFL¾Q /R TXH R¯PRV es, como gÊnero musical, un lamento intemporal, hecho de YDULRV RWURV TXH VH LQWHUĆHUHQ HQWUH V¯ FRPR OR KDFHQ WDPELQ ODV YRFHV /R TXH YHPRV HV XQ FXHUSR FHUUDGR VREUH V¯ PLVPR LQYDGLGR SRU YRFHV H[WHUQDV TXH UHVXHQDQ \ VH DQXODQ XQDV D

38

otras.

/ ADRIANA VALDÉS

(Q OD DQWLJXD $WHQDV HO H[FHVR LQDUWLFXODGR GHO GRORU GH ODV PXMHUHV es tratado como una amenaza para la polis: no debe contaminar la ciudad.2 Como conducta, dice Platón, el lamento es indigno de un hombre.3 Al varón, al ciudadano, le cabe la expresión articulada en palabras —en el ågora— \ HO DUGRU JXHUUHUR /DV PXMHUHV HQ $WHQDV HVW£Q H[FOXLGDV GH OD FLXGDGDQ¯D MXQWR FRQ ORV HVFODYRV

VI De cultura en cultura, sin embargo, el lamento se niega a desaparecer. Desde muy antiguo existen los mås diversos espacios dedicados a suscitar, a convocar colectivamente, de alguna manera, la mudez de las ausencias, el dolor de los cuerpos, los rituales de un apego brutalmente interrumpido. Locus memoriae, machina memorialis...4 (Q ODV DUWHV DFWXDOHV TXH KDFHQ WDQWD UHIHUHQFLD D FXHUSRV extremos5 HV SRFR IUHFXHQWH SHQVDU HQ HO FXHUSR TXH VLHQWH en carne propia la pÊrdida de un otro, el corte de los vínculos, la desposesión de su propio ser ante la ausencia de otro. Por eso, esta machina memorialis construida por Monika Weiss piensa el lamento en tÊrminos no sólo conmovedores, sino tambiÊn sorprendentes. /HMRV GH OD FHQVXUD SRO¯WLFD TXH OH LPSRQ¯DQ ORV DWHQLHQVHV OHMRV WDPELQ GH XQ GRORU TXH VH DJRWD HQ V¯ PLVPR HO ODPHQWR TXH QRV trae esta obra invita a pensar de manera mås contemporånea el SURFHVR GH GXHOR FRPR XQD WUDQVIRUPDFL¾Q FX\R UHVXOWDGR ĆQDO es imprevisible.6 Este proceso se vive en el fuero interno, con ORV RMRV FHUUDGRV SHUR HVWH êIXHUR LQWHUQRÍ WLHQH GLPHQVLRQHV KLVW¾ULFDV FXOWXUDOHV \ VRFLDOHV (O GRORU TXH 0RQLND :HLVV SRQH poÊticamente en escena esboza una historia y una comunidad SRO¯WLFD PXFKR P£V FRPSOHMDV \ H[LJHQWHV GH OR TXH VH VXHOH

1

)UDVH GH *RHWKH FLWDGD SRU :DOWHU %HQMDPLQ HQ ê/LWWOH +LVWRU\ RI 3KRWRJUDSK\ Í HQ %HQMDPLQ Selected Writings, vol. 2: 1927-1934, ed. Michael W. Jennings (Cambridge, Mass.: Belknap Press/ +DUYDUG 8QLYHUVLW\ 3UHVV S (Q OD WUDGXFFL¾Q DO HVSD³RO GLFH ê+D\ XQD H[SHULHQFLD GHOLFDGD LGHQWLĆFDGD WDQ ¯QWLPDPHQWH FRQ HO REMHWR TXH VH FRQYLHUWH SRU HOOR HQ WHRU¯D Í :DOWHU %HQMDPLQ Discursos interrumpidos I 0DGULG 7DXUXV S 3UHĆHUR êHPSLULVPRÍ HQ HVWH FDVR VH WUDWD GH XQ PWRGR GH GHVFULSFL¾Q DO TXH DVSLUR GH OHMRV

2 Nicole Loraux, Madres en duelo, trad. Ana ,ULDUWH 0DGULG $EDGD (GLWRUHV S 3

Loraux, Madres en duelo S FLWD WRPDGD de Platón, /D 5HSXEOLFD ,,, ( $UTXLORFR IU :HVW 4 Mary Carruthers, Machina memorialis, Meditazione, retorica e costruzioni delle immagini (400-1200) 3LVD (GL]LRQH GHOOD 1RUPDOH HGLFL¾Q RULJLQDO HQ LGLRPD LQJOV The Craft of Thought [Cambridge: Cambridge University 3UHVV @ ê,O OXRJR LQVHJQD $OEHUWR 0DJQR DTXHOOR FKH OèDQLPD FRQVWUXLVFH LQ VH SHU FRQVHUYDUH OèLPPDJLQH Í S 5

9HU )UDQFHVFD $OIDQR 0LJOLHWWL )$0 Extreme Bodies: The Use and Abuse of the Body in Art 0LOÂŁQ 6NLUD

6 ĂŞ4XL]ÂŁV HO GXHOR WHQJD TXH YHU FRQ DFHSWDU sufrir XQ FDPELR WDO YH] GHELHUD GHFLUVH VRPHWHUVH D XQ FDPELR FX\R UHVXOWDGR QR SXHGH FRQRFHUVH GH DQWHPDQRĂŤ -XGLWK %XWOHU Vida precaria. El poder del duelo y la violencia, WUDG )HUPÂŻQ 5RGUÂŻJXH] l HG %XHQRV $LUHV 3DLGÂľV S 7 ĂŞ0XFKD JHQWH SLHQVD TXH XQ GXHOR HV DOJR

SULYDGR TXH QRV GHYXHOYH D XQD VLWXDFL¾Q VROLWDULD \ TXH HV HVWH VHQWLGR GHVSROLWL]D 3HUR FUHR TXH HO GXHOR SHUPLWH HODERUDU HQ IRUPD FRPSOHMD HO VHQWLGR GH XQD FRPXQLGDG SRO¯WLFDÍ Butler, Vida precaria, pp. 48–49

pensar,7capaces de incorporar —y no de segregar— D TXLHQHV KDQ estado siempre ausentes: las víctimas y los vencidos.

39

Lamentation and the Locus of Memory: Monika Weiss´s Sustenazo (Lament II) Adriana ValdÊs

“There is a delicate empiricism which so intimately involves itself with the object that it becomes true theory� (Goethe)1

I Two time sequences, if not more. They interfere, almost merge, separate, all but merge again. They are and yet are not the same SURĆOH FOHDU FXW DQG GLVWLQFW 7ZR WLPH VHTXHQFHV LI QRW PRUH RI WKH VDPH ĆJXUH VORZO\ DQG LQVLVWHQWO\ RYHUOD\LQJ LWVHOI ZLWK the movements a woman’s body makes as, eyes closed, inwardly, she feels the shock of a deep grief that returns upon itself time and again. Touching her body, tying and untying, covering and uncovering, in a spartan purity of gesture. Two time sequences, if not more, in which the body with its interference of sorrow seeks, eyes closed, for who can say what impossible lucidity, what unattainable comfort. This is what we see. What we hear is a classically pure, clear voice reading poems by Goethe, but overlaid by the interference of a broken voice that tells the story of a survivor of the events of 1944 in Warsaw. A time sequence, that of poetry, purportedly clear, beyond time or place, receives the shock of a different one which confounds that clarity, contaminates it with another sequence which is more wounded and confused, that of a particular history in a time and

40

SODFH DQG ZKLFK LQVLVWHQWO\ GHĆOHV DQG KDXQWV LW

II In the second part, it is the music that both establishes and disrupts the time sequence, creates the consonance and the dissonance. Numerous laments (the lament is a musical genre) become a single sound in which sequences and tones are confounded, in which one after another they depart, return, and reappear only to vanish again and again. We see deft, gloved hands carrying out operations upon a background where images of old medical textbooks—like the ones that materialize in the space in front of the video projection— merge with those of old writings, not easy to decipher, in which *RHWKHèV QDPH DSSHDUV ZLWK ROG PDSV RI D SDUW RI (XURSH ZLWK human torsos photographed long ago, some of them marked up for surgery. The movements of the gloved hands, slow and careful, perform their own operations with old-fashioned instruments that are also physically present in the installation space. They delve but also caress, explore. In the images, once again, time sequences are overlaid and then divide upon one another, returning to coexist as interference. III The face again, but from the front now, hands covering it. The eyes, ZKHQ WKH\ FDQ EH VHHQ DUH ĆUPO\ VKXW ,I WKHUH LV D ODQGVFDSH LW is an inward one, in a private mental space, that of mourning. Yet there are many voices reverberating in this inward space, many, overlaying one another, even if they sometimes seem to be saying the same thing. They are texts of Goethe’s once again, read by several German voices and setting up a mutual interference until they become inarticulate, in the way a lament does.

41

IV In art, “form” and “content” are indistinguishable: the artistic intelligence fashions and discovers itself through the materials it chooses and the operations it carries out with them. A minute description of the operations in a work is also an exploration of its possible meanings. 6XVWHQD]R /DPHQW ,, arose out of events from a different geography, Warsaw in Poland, and a different time, the closing years of the Second World War. Yet its gestures come home to us and its operations are recognizable. The suffering of our own history, the history shown here in this museum of memory in Santiago, Chile, connects in this work with much older sufferings: we are reminded that the gestures of loss have been with us since the beginnings of our culture. In summoning them, we draw upon a common experience, not constrained by places and dates. We explore this experience— and with it, we may hope, the dimensions of our own grief. V The suffering in this work is obstinately feminine, and it is expressed, both to the ear and to the eye, in the forms of the lament. Sustenazo is a Greek word: lamentation, groans, the indistinct sound that comes from a group of mourners, predating articulate speech, situated in that traumatic place where the pain of the body and the pain of the mind come together in a dense convergence. Lamentation is at once expression and silence. It occurs in the presence of a muteness—that of absence, that of death—which resists any kind of articulation or interpretation. What we hear is a genre of music, a timeless lament made up of a number of others that combine to create interference, as the voices also do. What we see is a body closed in upon itself, invaded by outside voices that reverberate and cancel out. In ancient Athens, the inarticulate excess of women’s grief was

42

treated as a threat to the polis: it must not be allowed to pollute the

/ ADRIANA VALDÉS

city.2 As a form of conduct, says Plato, lamentation is unworthy of a man.3 Articulate expression in words—in the agora—and martial DUGRU DUH ZKDW EHĆW PDOHV FLWL]HQV :RPHQ OLNH VODYHV ZHUH excluded from citizenship in Athens.) VI From culture to culture, however, the lament refuses to disappear. Since very ancient times, the most diverse spaces have been dedicated to the evocation, the collective summoning up, in some way, of the muteness of absences, the pain of bodies, the

1

The quotation from Johann Wolfgang von Goethe is cited in Walter Benjamin, ĂŞ/LWWOH +LVWRU\ RI 3KRWRJUDSK\ ĂŤ in Benjamin, Selected Writings, vol. 2: 1927-1934, ed. Michael W. Jennings (Cambridge, Mass.: Belknap Press/Harvard University Press, 1999), p. 520. The Spanish translation reads: “There is a delicacy of experience VR FORVHO\ LGHQWLĆHG ZLWK WKH REMHFW WKDW LW WKHUHE\ becomes theory.â€? See Walter Benjamin, Discursos interrumpidos I (Madrid: Taurus, 1973), p. 77. I prefer “empiricismâ€? in this case to the word “experienceâ€? used in the Spanish: it is a method of description I aspire to . . . from afar.

2

rituals of an attachment brutally cut short. Locus memoriae,

Nicole Loraux, Madres en duelo, trans. Ana Iriarte (Madrid: Abada Editores, 2004), p. 34.

machina memorialis . . .4

3

Today’s artists, who dwell so much on extreme bodies,5 rarely think about the body that experiences in the flesh the loss of some other, the breaking of ties, the dispossession of its own being by another’s absence. That is why the approach to lamentation in this machina memorialis constructed by Monika Weiss is not only moving, but surprising too. Far removed from the political censorship imposed upon it by the Athenians, far removed too from any grief that begins and ends in itself, the lamentation which this work brings to us is an invitation to consider the mourning process in a more contemporary way: as a transformation whose ultimate result is unknowable.6 This process is experienced by the inner self, ZLWK FORVHG H\HV EXW WKDW êLQQHU VHOIÍ KDV KLVWRULFDO FXOWXUDO and social dimensions. The suffering poetically presented by Monika Weiss shows the lineaments of a history and a political community that are far more complex and demanding than is

Loraux, Madres en duelo, p. 17 (cited from Plato, Republica, III, 395 E. Arquiloco, fr. 13 West). 4 Mary Carruthers, Machina memorialis, Meditazione, retorica e costruzioni delle LPPDJLQL (Pisa: Edizione della Normale, 2006) (original English edition, The Craft of Thought [Cambridge: Cambridge University Press, 1998]): “Il luogo - insegna Alberto Magno - aquello che l’anima construisce in se per conservare l’immagine.� p. 18. 5

See Francesca Alfano Miglietti (FAM), Extreme Bodies: The Use and Abuse of the Body in Art (Milan: Skira, 2003).

6 “Mourning

has to do with agreeing to undergo a transformation the full result of which you cannot know in advance.� Judith Butler, ê%HVLGH 2QHVHOI 2Q WKH /LPLWV RI 6H[XDO $XWRQRP\ Í in Undoing Gender 1HZ <RUN 5RXWOHGJH S 7 êMany think that grief is privatizing, that it returns

us to a solitary situation, but I think it exposes the constitutive sociality of the self, a basis for thinking a political community of a complex order.� Butler, ê%HVLGH 2QHVHOI � p. 19.

usually thought,7 and that are capable of incorporating, rather than segregating, those who have been perennially absent: the victims and the defeated.

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Fotogramas / Video Stills

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SELECCIĂ“N DE DATOS BIOGRĂ FICOS DE LA ARTISTA /

1DFLGD HQ 9DUVRYLD 3RORQLD YLYH \ WUDEDMD HQ OD FLXGDG GH 1XHYD <RUN

SELECCIĂ“N DE EXPOSICIONES INDIVIDUALES 2012

Monika Weiss: Shrouds, %:$ \ 0XVHR =LHPL /XEXVNLHM =LHORQD *ÂľUD 3RORQLD Monika Weiss & Alan Sondheim: Enunciation, Centro de Arte y TecnologĂ­a EYEBEAM, Nueva York, EUA

2010

Monika Weiss: Sustenazo, &HQWUR GH $UWH &RQWHPSRUÂŁQHR &DVWLOOR 8MD]GRZVNL

Varsovia, Polonia Monika Weiss: Sustenazo (Lament II), Temporary Art Zone TAZ, Potsdam, Alemania 2009

Expulsion, Concentart, BerlĂ­n, Alemania

2008

Monika Weiss – Marginalia, Galerie Samuel Lallouz, Montreal, Quebec, Canadå

2006

Drawing Lethe, :)& :LQWHU *DUGHQ \ 7KH 'UDZLQJ &HQWHU 1XHYD <RUN (8$

2005

0RQLND :HLVV )LYH 5LYHUV Lehman College Art Gallery, Universidad de la Ciudad de Nueva York, Nueva York, EUA Monika Weiss: Leukos—Early Morning Light, Remy Toledo Gallery, Nueva York, EUA Phlegethon-Milczenie, Inter-Galerie, Potsdam, Alemania

2004

Monika Weiss: Vessels, Museo de Arte de Chelsea, Nueva York, EUA Monika Weiss: Intervals FRQMXQWDPHQWH FRQ ê&DUROHH 6FKQHHPDQQ ,QĆQLW\ .LVVHV Í

Remy Toledo Gallery, Nueva York, EUA 2002

Ennoia, Diapason Gallery, Nueva York, EUA

1998

Koiman, Space 1081, Atlanta, Georgia, EUA

1996

Saint Sebastian from Atlanta, Centro de Arte ContemporĂĄneo Nexus, Atlanta, Georgia, EUA

1993

Monika Weiss en Christian Caburet *DOHULH %0% ƒPVWHUGDP 3DÂŻVHV %DMRV

1990

Monika Weiss, Galerie Joanna Vermeer, ParĂ­s, Francia

1989

Monika Weiss, *DOHULH /DXUHQW $ 'DDQH ƒPVWHUGDP 3DÂŻVHV %DMRV

SELECCIĂ“N DE EXPOSICIONES GRUPALES 2012

A John Cage Centennial Tribute, Streaming Museum, Nueva York, EUA

2010

The Sixth Borough, No Longer Empty y Governors Island, Nueva York, EUA

2009

The Prisoner’s Dilemma, )XQGDFL¾Q GH $UWH &LVQHURV )RQWDQDOV &,)2 \ 0LDPL Basel, Miami, EUA Opening, Museo Montanelli, Praga, República Checa

2008

Frauen bei Olympia, Frauenmuseum, Bonn, Alemania

.5$- GalerĂ­a Nacional de Arte ContemporĂĄneo, Opole, Polonia Wa(h)re Kunst, Concentart, BerlĂ­n, Alemania www.women, Headbones Gallery, Toronto, CanadĂĄ

2007

You Won’t Feel a Thing, Instituto de Arte Wyspa, *GDĂŒVN, Polonia y Kunsthaus Dresden, Alemania Loneliness and Melancholy, +DQV :HLVV 1HZVSDFH *DOOHU\ 0DQFKHVWHU &ROOHJH

66

Connecticut, EUA

POZA: On the Polishness of Polish Contemporary Art, Real Art Ways, Hartford, Connecticut, EUA Cornice, Feria Internacional de Arte, con Federica Marangoni, concurrentemente con La Biennale di Venezia, Italia 2006

)RUPV RI &ODVVLĆFDWLRQ $OWHUQDWLYH .QRZOHGJH DQG &RQWHPSRUDU\ $UW Fundación de Arte

&LVQHURV )RQWDQDOV &,)2 \ 0LDPL %DVHO 0LDPL (8$ Von der Abwesenheit des Lagers, Kunsthaus Dresden, Alemania Codes of Culture: Video Art from Seven Continents, ArteBA, Buenos Aires, Argentina Moment by Moment: Meditations of the Hand, Museo de Arte de Dakota del Norte, Grand Forks, EUA Spirit of Discovery, Fundação para as Artes, Ciências e Tecnologias - Observatório

)XQGDFLÂľQ SDUD ODV $UWHV ODV &LHQFLDV \ ODV 7HFQRORJÂŻDV ĂĽ 2EVHUYDWRULR 7UDQFRVR Portugal Polyphony of Images, Consulado General de Polonia, Nueva York, EUA

2005

DIVA Feria de Video y Arte Digital, Nueva York, EUA Guess Who’s Coming to Dinner, Remy Toledo Gallery y AIR Gallery, Nueva York, EUA

2004

Video Artists in Dialogue, Hudson Valley Center for Contemporary Art, Peekskill, EUA

2003

OHM 2, a performance in frequency, El Museo del Barrio, Nueva York, EUA The Sonic Self, Museo de Arte de Chelsea, Nueva York, EUA

SELECCIĂ“N DE MONOGRAFĂ?AS 0RQLND :HLVV )LYH 5LYHUV Lehman College Art Gallery, Universidad de la Ciudad de Nueva York, 2007 Monika Weiss: Intervals, Museo de Arte de Chelsea, Nueva York, 2004

SELECCIÓN DE PUBLICACIONES :HLVV 0RQLND ê6RVWHQXWRÌ7UDQVIRUPDWLYH ,QWHUYDOV Í HQ &5 3UHVHQFH LQ WKH 0LQGĆHOG $UW ,GHQWLW\ and the Technology of Transformation. Universidad de Aveiro, Portugal, 2011, pp. 274–278. :HLVV 0RQLND ê.UDVLV (QQRLD Í HQ 1HZ 5HDOLWLHV %HLQJ 6\QFUHWLF Springer Viena/Nueva York, 2009, pp. 310–314. :HLVV 0RQLND ê+RURV DQG 2WKHU 3OD\JURXQGV Í HQ Homo Ludens Ludens. LABoral Centro de Arte y &UHDFL¾Q ,QGXVWULDO *LM¾Q (VSD³D SS ü \ ü :HLVV 0RQLND ê$QDPQHVLV �ZLDWOR 'QLD Í HQ 7HFKQRHWLF $UWV $ -RXUQDO RI 6SHFXODWLYH 5HVHDUFK, Intellect. Bristol, Inglaterra, 2006, pp. 79–88.

SELECCIĂ“N DE BECAS Y RESIDENCIAS

%HFD SDUD H[SRVLFLÂľQ (PEDMDGD GH (( 88 9DUVRYLD 3RORQLD

2010

Artista residente, YADDO, Saratoga Springs, Nueva York, EUA

%HFD LQWHUQDFLRQDO 7UXVW IRU 0XWXDO 8QGHUVWDQGLQJ 708 1XHYD <RUN (8$

2009

Beca de investigaciĂłn, FundaciĂłn de Nueva York para las Artes, Nueva York, EUA

2009

Laboratorio A-I-R, Artistas en residencia, Centro de Arte ContemporĂĄneo del

&DVWLOOR 8MD]GRZVNL 9DUVRYLD 3RORQLD

2007

Artista visitante, Universidad de Loughborough, Loughborough, Inglaterra

2006

Beca para la realizaciĂłn de obra por encargo, World Financial Center Winter Garden,

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Nueva York, EUA

%HFD GH LQYHVWLJDFLÂľQ )$&72 )XQGDFLÂľQ SDUD ODV $UWHV ODV &LHQFLDV \ ODV

7HFQRORJÂŻDV ĂĽ 2EVHUYDWRULR 7UDQFRVR 3RUWXJDO

2005

Artista residente, YADDO, Saratoga Springs, Nueva York, EUA

2002/

Artista residente, Experimental Intermedia Foundation, Nueva York, EUA

2005 2002

Artista residente, Escuela del Art Institute de Chicago, Illinois, EUA

5HVLGHQFLDV DUWÂŻVWLFDV LQWHUQDFLRQDOHV $,5, $WODQWD *HRUJLD (8$

1996

Beca de investigaciĂłn, Universidad Estatal de Georgia, Atlanta, EUA

1996

Artista residente, Departamento de Asuntos Culturales, Ciudad de Savannah, Georgia, EUA

$UWLVWD UHVLGHQWH $FDGHPLD GH %HOODV $UWHV 6WU]HPLĂŒVNL /ÂľGĂ• 3RORQLD

SELECCIĂ“N DE COLECCIONES PĂšBLICAS Museo Albertina, Viena, Austria &HQWUR GH $UWH &RQWHPSRUÂŁQHR GHO &DVWLOOR 8MD]GRZVNL 9DUVRYLD 3RORQLD )XQGDFLÂľQ GH $UWH &LVQHURV )RQWDQDOV &,)2 0LDPL )ORULGD (8$ )UDXHQPXVHXP 0XVHR GH OD PXMHU %RQQ $OHPDQLD Hudson Valley Center for Contemporary Art, Peekskill, Nueva York, EUA Lehman College Art Gallery, Universidad de la Ciudad de Nueva York, EUA Real Art Ways, Hartford, Connecticut, EUA ColecciĂłn Enid McKenna Soifer, Nueva York, EUA ,QVWLWXWR GH $UWH :\VSD *GDĂŒVN 3RORQLD La artista se desempeĂąa actualmente como profesora en Sam Fox School of Design & Visual Arts,

Washington University en St. Louis, Missouri. La representa Galerie Samuel Lallouz, Montreal.

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ARTIST´S SELECTED BIOGRAPHY / 1964

%RUQ LQ :DUVDZ 3RODQG OLYHV DQG ZRUNV LQ 1HZ <RUN &LW\

SELECTED INDIVIDUAL EXHIBITIONS 2012

Monika Weiss: Shrouds, %:$ DQG 0X]HXP =LHPL /XEXVNLHM =LHORQD *ÂľUD 3RODQG Monika Weiss & Alan Sondheim: Enunciation, EYEBEAM Art & Technology Center,

1HZ <RUN 86$

2010

Monika Weiss: Sustenazo, &HQWUH IRU &RQWHPSRUDU\ $UW 8MD]GRZVNL &DVWOH

:DUVDZ 3RODQG

Monika Weiss: Sustenazo (Lament II), Temporary Art Zone TAZ, Potsdam, Germany 2009

Expulsion, Concentart, Berlin, Germany

2008

Monika Weiss – Marginalia, Galerie Samuel Lallouz, MontrÊal, Quebec, Canada

2006

Drawing Lethe, :)& :LQWHU *DUGHQ 7KH 'UDZLQJ &HQWHU 1HZ <RUN 86$

2005

0RQLND :HLVV )LYH 5LYHUV /HKPDQ &ROOHJH $UW *DOOHU\ &LW\ 8QLYHUVLW\ RI 1HZ

<RUN 1HZ <RUN 86$

Monika Weiss: Leukos—Early Morning Light, 5HP\ 7ROHGR *DOOHU\ 1HZ <RUN 86$ Phlegethon-Milczenie, Inter-Galerie, Potsdam, Germany 2004

Monika Weiss: Vessels, &KHOVHD $UW 0XVHXP 1HZ <RUN 86$ Monika Weiss: Intervals ZLWK ê&DUROHH 6FKQHHPDQQ ,QĆQLW\ .LVVHV Í 5HP\ 7ROHGR

*DOOHU\ 1HZ <RUN 86$

2002

Ennoia, 'LDSDVRQ *DOOHU\ 1HZ <RUN 86$

1998

Koiman, Space 1081, Atlanta, Georgia, USA

1996

Saint Sebastian from Atlanta, Nexus Contemporary Art Center, Atlanta, Georgia,

USA 1993

Monika Weiss en Christian Caburet, Galerie BMB, Amsterdam, The Netherlands

1990

Monika Weiss, Galerie Joanna Vermeer, Paris, France

1989

Monika Weiss, Galerie Laurent A. Daane, Amsterdam, The Netherlands

SELECTED GROUP EXHIBITIONS 2012

A John Cage Centennial Tribute, 6WUHDPLQJ 0XVHXP 1HZ <RUN 86$

2010

The Sixth Borough, 1R /RQJHU (PSW\ DQG *RYHUQRUV ,VODQG 1HZ <RUN 86$

2009

The Prisoner’s DilemmD &LVQHURV )RQWDQDOV $UW )RXQGDWLRQ &,)2 DQG 0LDPL

Basel, Miami, USA Opening, Museum Montanelli, Prague, Czech Republic 2008

Frauen bei Olympia, FrauenMuseum, Bonn, Germany .5$- National Gallery of Contemporary Art, Opole, Poland Wa(h)re Kunst, Concentart, Berlin, Germany www.women, Headbones Gallery, Toronto, Canada

2007

You Won’t Feel a Thing, Wyspa Institute of Art, Gdansk, Poland and Kunsthaus Dresden, Germany Loneliness and Melancholy, +DQV :HLVV 1HZVSDFH *DOOHU\ 0DQFKHVWHU &ROOHJH

69

Connecticut, USA POZA: On the Polishness of Polish Contemporary Art, Real Art Ways, Hartford, Connecticut, USA Cornice Art Fair, ZLWK )HGHULFD 0DUDQJRQL LQ FRQMXQFWLRQ ZLWK /D %LHQQDOH GL

Venezia, Italy 2006

)RUPV RI &ODVVLĆFDWLRQ $OWHUQDWLYH .QRZOHGJH DQG &RQWHPSRUDU\ $UW Cisneros

)RQWDQDOV $UW )RXQGDWLRQ &,)2 DQG 0LDPL %DVHO 0LDPL 86$ Von der Abwesenheit des Lagers, Kunsthaus Dresden, Germany Codes of Culture: Video Art from Seven Continents, ArteBA, Buenos Aires, Argentina Moment by Moment: Meditations of the Hand, North Dakota Museum of Art, Grand Forks, USA Spirit of Discovery, Arts, Sciences and Technology Foundation – Observatory, Trancoso, Portugal Polyphony of Images, &RQVXODWH *HQHUDO RI 3RODQG 1HZ <RUN 86$

2005

DIVA Video and Digital Art Fair, 1HZ <RUN 86$ Guess Who’s Coming to Dinner, 5HP\ 7ROHGR *DOOHU\ DQG $,5 *DOOHU\ 1HZ <RUN

USA 2004

Video Artists in Dialogue, Hudson Valley Center for Contemporary Art, Peekskill, USA

2003

OHM 2, a performance in frequency, (O 0XVHR GHO %DUULR 1HZ <RUN 86$ The Sonic Self, &KHOVHD $UW 0XVHXP 1HZ <RUN 86$

SELECTED MONOGRAPHS 0RQLND :HLVV )LYH 5LYHUV /HKPDQ &ROOHJH $UW *DOOHU\ &LW\ 8QLYHUVLW\ RI 1HZ <RUN Monika Weiss: Intervals, &KHOVHD $UW 0XVHXP 1HZ <RUN

SELECTED ARTIST’S WRITINGS :HLVV 0RQLND ê6RVWHQXWRÌ7UDQVIRUPDWLYH ,QWHUYDOV Í LQ &5 3UHVHQFH LQ WKH 0LQGĆHOG $UW ,GHQWLW\ DQG the Technology of Transformation. Universidade de Aveiro, Portugal, 2011, pp. 274–278. :HLVV 0RQLND ê.UDVLV (QQRLD Í LQ 1HZ 5HDOLWLHV %HLQJ 6\QFUHWLF 6SULQJHU :LHQ 1HZ <RUN SS 310–314. :HLVV 0RQLND ê+RURV DQG 2WKHU 3OD\JURXQGV Í LQ Homo Ludens Ludens. LABoral Centro de Arte y &UHDWL¾Q ,QGXVWULDO *LMRQ 6SDLQ SS ü DQG ü :HLVV 0RQLND ê$QDPQHVLV �ZLDWOR 'QLD Í LQ 7HFKQRHWLF $UWV $ -RXUQDO RI 6SHFXODWLYH 5HVHDUFK Intellect. Bristol, England, 2006, pp. 79–88.

SELECTED GRANTS AND RESIDENCIES

70

([KLELWLRQ *UDQW $PHULFDQ (PEDVV\ :DUVDZ 3RODQG

$UWLVW LQ 5HVLGHQFH <$''2 6DUDWRJD 6SULQJV 1HZ <RUN 86$

,QWHUQDWLRQDO *UDQW 7UXVW IRU 0XWXDO 8QGHUVWDQGLQJ 708 1HZ <RUN 86$

)HOORZVKLS 1HZ <RUN )RXQGDWLRQ IRU WKH $UWV 1HZ <RUN 86$

$UWLVW LQ 5HVLGHQFH /DERUDWRU\ &HQWUH IRU &RQWHPSRUDU\ $UW 8MD]GRZVNL &DVWOH

:DUVDZ 3RODQG

2007

Visiting Artist, Loughborough University, Loughborough, England

&RPPLVVLRQ *UDQW :RUOG )LQDQFLDO &HQWHU :LQWHU *DUGHQ 1HZ <RUN 86$

)HOORZVKLS 7KH )DFWR )RXQGDWLRQ 7UDQFRVR 3RUWXJDO

$UWLVW LQ 5HVLGHQFH <$''2 6DUDWRJD 6SULQJV 1HZ <RUN 86$

$UWLVW LQ 5HVLGHQFH ([SHULPHQWDO ,QWHUPHGLD )RXQGDWLRQ 1HZ <RUN 86$

2005 2002

Artist in Residence, School of the Art Institute of Chicago, Illinois, USA

$UWLVWV ,Q 5HVLGHQFH ,QWHUQDWLRQDO $,5, $WODQWD *HRUJLD 86$

)HOORZVKLS *HRUJLD 6WDWH 8QLYHUVLW\ $WODQWD 86$

1996

Artist in Residence, Department of Cultural Affairs, City of Savannah, Georgia, USA

$UWLVW LQ 5HVLGHQFH 6WU]HPLĂŒVNL $FDGHP\ RI )LQH $UW /ÂľGĂ• 3RODQG

SELECTED PUBLIC COLLECTIONS Albertina Museum, Vienna, Austria &HQWUH IRU &RQWHPSRUDU\ $UW 8MD]GRZVNL &DVWOH :DUVDZ 3RODQG &LVQHURV )RQWDQDOV $UW )RXQGDWLRQ &,)2 0LDPL )ORULGD 86$ )UDXHQPXVHXP 0XVHXP RI :RPHQ LQ WKH $UWV %RQQ *HUPDQ\ +XGVRQ 9DOOH\ &HQWHU IRU &RQWHPSRUDU\ $UW 3HHNVNLOO 1HZ <RUN 86$ /HKPDQ &ROOHJH $UW *DOOHU\ &LW\ 8QLYHUVLW\ RI 1HZ <RUN 86$ Real Art Ways, Hartford, Connecticut, USA (QLG 0F.HQQD 6RLIHU &ROOHFWLRQ 1HZ <RUN 86$ :<63$ ,QVWLWXWH RI $UW *GDĂŒVN 3RODQG The artist is currently professor at the Sam Fox School of Design & Visual Arts, Washington University in St. Louis, Missouri. Represented by Galerie Samuel Lallouz, MontrĂŠal.

71

COLABORADORES / JULIA P. HERZBERG -XOLD 3 +HU]EHUJ KLVWRULDGRUD GH DUWH \ FXUDGRUD GH DUWH FRQWHPSRUÂŁQHR FX\R TXHKDFHU VH FHQWUD HQ HO arte latinoamericano, obtuvo su doctorado en el Centro de Graduados de la Universidad de la Ciudad de Nueva York, en 1998. El tema de su tesis fue Ana Mendieta. Actualmente se desempeĂąa como curadora DGMXQWD HQ HO 3DWULFLD DQG 3KLOOLS )URVW $UW 0XVHXP 8QLYHUVLGDG ,QWHUQDFLRQDO GH OD )ORULGD 0LDPL )ORULGD SUHVHQWH GRQGH RUJDQL]Âľ ODV PXHVWUDV IvĂĄn Navarro: Fluorescent Light Sculptures Magdalena FernĂĄndez: 2iPH009 Navjot Altaf: Lacuna in Testimony \ Nela Ochoa: DNA and Art La Dra. Herzberg se desempeùó tambiĂŠn como curadora consultante en la 8a, 9a y 10a bienales de La Habana, y como curadora de 5HFRYHULQJ +LVWRULHV $VSHFWV RI &RQWHPSRUDU\ $UW LQ &KLOH VLQFH 5HFXSHUDQGR KLVWRULDV $VSHFWRV GHO DUWH FRQWHPSRUÂŁQHR HQ &KLOH GHVGH RUJDQL]DGD HQ IRUPD FRQMXQWD SRU HO &HQWUR SDUD ODV $UWHV \ OD &XOWXUD /DWLQDV OD 8QLYHUVLGDG (VWDWDO 5XWJHUV 1HZ %UXQVZLFN 1XHYD -HUVH\ \ OD 0LVLÂľQ 3HUPDQHQWH GH &KLOH HQ ODV 1DFLRQHV 8QLGDV HQWUH otras exposiciones. &RPR DFUHHGRUD GH XQD %HFD )XOEULJKW GH (VWDGRV 8QLGRV ĂĽ LPSDUWLUÂŁ FODVHV HQ OD 8QLYHUVLGDG 'LHJR 3RUWDOHV \ WUDEDMDUÂŁ HQ XQ SUR\HFWR GH FXUDGRUÂŻD HQ HO 0XVHR GH OD 0HPRULD \ 'HUHFKRV +XPDQRV HQ 6DQWLDJR &KLOH HQWUH PDU]R \ ĆQ GH PD\R GH &RPR (VSHFLDOLVWD )XOEULJKW 6HQLRU ĂĽ IXH SURIHVRUD LQYLWDGD HQ HO SURJUDPD GH GRFWRUDGR GH OD )DFXOWDG GH $UWH GH OD 3RQWLĆFLD 8QLYHUVLGDG &DWÂľOLFD GH &KLOH 6DQWLDJR GH &KLOH La Dra. Herzberg ha disertado y publicado ampliamente en Estados Unidos, AmĂŠrica Latina y Europa, y ha VLGR PLHPEUR GHO MXUDGR HQ OD D %LHQDO GH &XHQFD (FXDGRU GRQGH VH UHĆULÂľ D OD PXHVWUD ĂŞ5DTXHO 5DELQRYLFK (VFXOWXUDV HQ SLHGUD \ GLEXMRV HQ EDUUR ĂŤ HQ HO PDUFR GH ĂŞ8Q HYHQWR WHÂľULFRĂŤ TXH WXYR OXJDU HQ HO PHV GH RFWXEUH 5HDOL]Âľ XQD JLUD SRU ORV PXVHRV GH DUWH \ HVSDFLRV H[SRVLWLYRV VLQ ĆQHV GH OXFUR GH 7DLZÂŁQ LQYLWDGD SRU HO &RQVHMR GH $VXQWRV &XOWXUDOHV GH 7DLSHL 7DLZÂŁQ RFWXEUH GH (V HGLWRUD consultante y corresponsal de Arte al DĂ­a International 9LYH \ WUDEDMD HQ 1XHYD <RUN

ADRIANA VALDÉS Adriana ValdÊs es escritora. Ha publicado los siguientes libros: De ångeles y ninfas - Conjeturas sobre la imagen en Warburg y Benjamin 6DQWLDJR (GLWRULDO 2UMLNK Enrique Lihn: vistas parciales 6DQWLDJR 3DOLQRGLD TXH OH YDOL¾ HO 3UHPLR $OWD]RU D ODV DUWHV QDFLRQDOHV PHQFL¾Q HQVD\R OLWHUDULR Memorias visuales - arte contemporåneo en Chile 6DQWLDJR 0HWDOHV 3HVDGRV Studies on Happiness / Estudios sobre la Felicidad $OIUHGR -DDU LP£JHQHV $GULDQD 9DOGV WH[WRV %DUFHORQD $&7$5 Composición de lugar - escritos sobre cultura 6DQWLDJR (GLWRULDO 8QLYHUVLWDULD 3XEOLF¾ WDPELQ XQ OLEUR GH SRHV¯D Seùoras del buen morir 6DQWLDJR (GLWRULDO 2UMLNK Ha editado y prologado los libros siguientes: Alfredo Jaar: La política de las imågenes 6DQWLDJR (GLFLRQHV 0HWDOHV 3HVDGRV Enrique Lihn, Escritos sobre arte FRHGLWRUD $QD 0DU¯D 5LVFR 6DQWLDJR (GLFLRQHV 8QLYHUVLGDG 'LHJR 3RUWDOHV Jaar/ SCL/2006 %DUFHORQD $&7$5 $OJXQRV GH VXV HQVD\RV VREUH DUWH SXEOLFDGRV R UHHGLWDGRV P£V UHFLHQWHPHQWH VRQ ê0LVVLQJ &KLOH )DU 6RXWK 9HU\ )DUÍ HQ $OIUHGR -DDU 7KH :D\ ,W ,V $Q $HVWKHWLFV RI 5HVLVWDQFH %HUOLQ 1HXH *HVHOOVFKDIW

72

IžU %LOGHQGH .XQVW \ 5HDOLVPXV6WXGLR ê9ROXVSD -DUSD %LEOLRWHFD GH OD QR KLVWRULD GH

&KLOHĂŤ ,QJULG :LOGL 0HULQR \ .DWKOHHQ %žKOHU HGV HQ DislocaciĂłn - Cultural Location and Identity in Times of Globalization 2VWĆOGHUQ *HUPDQ\ +DWMH &DQW] SS ĂŞ$UWHV YLVXDOHV \ PXMHUHV HQ &KLOH UHćH[LRQHV KDFLD HO ĂŤ HQ 6RQLD 0RQWHFLQR $JXLUUH FRPSLODGRUD Mujeres chilenas – fragmentos de una historia 6DQWLDJR &DWDORQLD SS $GULDQD 9DOGÂŤV YLYH \ WUDEDMD HQ 6DQWLDJR GH &KLOH $FWXDOPHQWH HV YLFHGLUHFWRUD GH OD $FDGHPLD &KLOHQD GH OD /HQJXD \ SURIHVRUD LQYLWDGD HQ HO SURJUDPD GH GRFWRUDGR HQ ĆORVRIÂŻD FRQ PHQFLÂľQ HQ HVWÂŤWLFD \ WHRUÂŻD del arte en la Universidad de Chile.

MAR�A JOSÉ BUNSTER María JosÊ Bunster es actualmente la Coordinadora General del Museo de la Memoria y los Derechos Humanos; estå a cargo de la exposición permanente y de las exposiciones temporales del museo. 6X TXHKDFHU VH FHQWUD HQ SRQHU HQ YDORU ODV IRWRJUDI¯DV GRFXPHQWRV \ REMHWRV GH ODV GLVWLQWDV FROHFFLRQHV TXH WLHQH HO PXVHR EDMR GLYHUVDV FXUDWRU¯DV HQIRTXHV \ PLUDGDV FRQ HO ĆQ GH TXH HO YLVLWDQWH ORJUH acercarse a lo ocurrido en Chile durante la dictadura militar, entre el 11 de septiembre de 1973 y el 11 de marzo de 1990. Asimismo, a travÊs de exposiciones temporales de diferentes artistas nacionales \ H[WUDQMHURV TXH WUDEDMDQ FRQ OD WHP£WLFD \ OD SUREOHP£WLFD GH ORV GHUHFKRV KXPDQRV \ OD PHPRULD intenta abrir un diålogo, poner en tensión e interpelar la exposición permanente, para establecer nuevas UHćH[LRQHV \ OHFWXUDV GHVGH HO DUWH FRQWHPSRU£QHR (VWXGL¾ /LFHQFLDWXUD HQ 7HRU¯D H +LVWRULD GHO $UWH HQ OD 8QLYHUVLGDG GH &KLOH \ IXH GLUHFWRUD HMHFXWLYD GHO 0XVHR GH $UWHV 9LVXDOHV ß0$9,ß HQWUH HO D³R \ HO 9LYH \ WUDEDMD HQ 6DQWLDJR GH &KLOH

COLLABORATORS / JULIA P. HERZBERG Julia P. Herzberg, art historian and curator of contemporary art with a focus on Latin American art, received her Ph.D. from The Graduate Center, City University, New York in 1998. She wrote her dissertation on Ana Mendieta. She is currently adjunct curator at the Patricia and Phillip Frost Art Museum, Florida International University, Miami, Florida (2008-), where she organized Ivån Navarro: Fluorescent Light Sculptures Magdalena Fernåndez: 2iPH009 1DYMRW $OWDI /DFXQD LQ 7HVWLPRQ\ and Nela Ochoa: DNA and Art (2009). 'U +HU]EHUJ ZDV D FRQVXOWLQJ FXUDWRU IRU WKH WK WK DQG WK +DYDQD %LHQQLDOV DQG WKH FXUDWRU RI 5HFRYHULQJ Histories: Aspects of Contemporary Art in Chile since 1982 (co-organized by the Center for Latino Arts and &XOWXUH 5XWJHUV 7KH 6WDWH 8QLYHUVLW\ 1HZ %UXQVZLFN 1HZ -HUVH\ DQG 7KH 3HUPDQHQW 0LVVLRQ RI &KLOH WR WKH United Nations, 1993-1995), among many other exhibitions. As a U.S. Fulbright Scholar (2012–2013), she will teach at the Universidad Diego Portales and work on a curatorial project at the Museo de la Memoria y Derechos Humanos in Santiago, Chile from March through May 2013. As a Fulbright Senior Specialist (2007–2011), she was a Visiting Professor in the Master’s Program, School RI $UW 3RQWLĆFLD 8QLYHUVLGDG &DW¾OLFD GH &KLOH 6DQWLDJR Dr. Herzberg has lectured and published extensively in the United States, Latin America, and Europe, and was a MXURU IRU WKH WK &XHQFD %LHQQLDO &XHQFD (FXDGRU ZKHUH VKH GLVFXVVHG ê5DTXHO 5DELQRYLFK 6FXOSWXUHV

73

LQ 6WRQH DQG 'UDZLQJV LQ 0XG Í DW D ê7KHRUHWLFDO (YHQW Í 6KH WRXUHG 7DLZDQ DUW PXVHXPV DQG QRQSURĆW VSDFHV DW the invitation of the Council for Cultural Affairs in Taipei, Taiwan (Oct. 2009). She is a consulting and contributing editor for Arte al Día International. She lives and works in New York.

ADRIANA VALDÉS Adriana ValdÊs is a writer. She has published the following books: 'H £QJHOHV \ QLQIDV ü &RQMHWXUDV VREUH OD LPDJHQ HQ :DUEXUJ \ %HQMDPLQ 6DQWLDJR (GLWRULDO 2UMLNK (QULTXH /LKQ YLVWDV SDUFLDOHV (Santiago: 3DOLQRGLD ZKLFK HDUQHG KHU DQ $OWD]RU $ZDUG LQ WKH FDWHJRU\ RI OLWHUDU\ HVVD\ Memorias visuales – arte contemporåneo en Chile 6DQWLDJR 0HWDOHV 3HVDGRV Studies on Happiness / Estudios sobre la Felicidad $OIUHGR -DDU LPDJHV $GULDQD 9DOGV WH[WV %DUFHORQD $&7$5 DQG Composición de lugar – escritos sobre cultura (Santiago: Editorial Universitaria, 1996). She has also published a book of poetry, Seùoras del buen morir (Santiago: Editorial Orjikh, 2011). She has edited and written the prologue for the following books: Alfredo Jaar: La política de las imågenes 6DQWLDJR (GLFLRQHV 0HWDOHV 3HVDGRV ZLWK FR HGLWRU $QD 0DU¯D 5LVFR (QULTXH /LKQ (VFULWRV sobre arte 6DQWLDJR (GLFLRQHV 8QLYHUVLGDG 'LHJR 3RUWDOHV DQG Jaar/ SCL/2006 (Barcelona: $&7$5 Some of her more recently published or reprinted essays on art are: ê0LVVLQJ &KLOH )DU 6RXWK 9HU\ )DU Í in Alfredo Jaar, The Way It Is. An Aesthetics of Resistance (Berlin: Neue Gesellschaft fßr Bildende Kunst DQG 5HDOLVPXV6WXGLR ü ê9ROXVSD -DUSD %LEOLRWHFD GH OD QR KLVWRULD GH &KLOH Í LQ Dislocación – Cultural Location and Identity in Times of Globalization, ed. Ingrid Wildi Merino and Kathleen Bßhler 2VWĆOGHUQ *HUPDQ\ +DWMH &DQW] SS ü ê$UWHV YLVXDOHV \ PXMHUHV HQ &KLOH UHćH[LRQHV KDFLD el 2010),� in Sonia Montecino Aguirre, compiler, 0XMHUHV FKLOHQDV ü IUDJPHQWRV GH XQD KLVWRULD (Santiago: Catalonia, 2008), pp. 329–342. Adriana ValdÊs lives and works in Santiago de Chile. She is currently Vice-chairperson in the Academia Chilena de la Lengua (Chilean Academy of Letters) and guest lecturer in the University of Chile’s Ph.D. program in Aesthetics and Theory of Art.

MAR�A JOSÉ BUNSTER María JosÊ Bunster, the General Coordinator for the Museo de la Memoria y los Derechos Humanos, is in charge of the museum’s permanent and temporary exhibitions. Her responsibilities include presenting photographs, documents, and objects belonging to the museum’s different collections, adopting varied curatorial approaches and perspectives, so that the viewers may connect with the events that occurred in Chile during the military dictatorship from September 11, 1973 to March 11, 1990. In addition, Mrs. Bunster coordinates temporary exhibits of national and international artists dealing with issues concerning human rights and memory, all aimed at creating a dynamic dialogue that looks critically at the permanent exhibition, in an attempt to elicit new insights and readings from a contemporary art point of view. Mrs. Bunster studied Art History and Theory at the Universidad de Chile, and was the Executive Director of the Museo de Artes Visuales -MAVI- from 2002 to 2010. She lives and works in Santiago, Chile.

74

LISTA DE OBRAS EN LA EXPOSICIĂ“N / LIST OF WORKS IN THE EXHIBITION

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6XVWHQD]R /DPHQW ,, ĂĽ InstalaciĂłn de video monocanal con composiciĂłn de sonido 28:24 minutos / Singlechannel video installation and sound composition, 28:24 minutes

Johann Wolfgang von Goethe, Der junge Feldjäger in franzĂśsischen und englischen Diensten während des Spanisch-Portugiesischen Kriegs von 1806–1816 /HLS]LJ )ULHGULFK )OHLVFKHU

Leopold von Ranke, 'HXWVFKH *HVFKLFKWH LP =HLWDOWHU GHU 5HIRUPDWLRQ BerlĂ­n: 'XQFNHU +XPEORW )LUPDGR/Signed ĂŞ&DPEULGJH 0DVV 2FWXEUH October ĂŤ

Friedrich von Schiller, Schillers sämtliche Werke in zwÜlf Bänden, vol. 5 6WXWWJDUW \ 7žELQJHQ - * &RWWD

( ) : 3ćžJHU Das Glykogen und seine Beziehungen zur Zuckerkrankheit %RQQ +DJHU

Friedrich von Schiller, Der Neffe als Onkel HG +HUEHUW &KDUOHV 6DQERUQ 1XHYD <RUN 0D\QDUG 0HUULOO &R 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ OD S Drawing by the artist on p. 57

Johann Wolfgang von Goethe, Goethes ausgewählte Werke 6WXWWJDUW - * &RWWD F

Friedrich von Schiller, Schillers sämtliche Werke in zwÜlf Bänden YRO ü /HLS]LJ 0D[ +HVVH F

Friedrich von Schiller, Schillers sämtliche Werke in zwÜlf Bänden YROV ü /HLS]LJ 0D[ +HVVH F

Friedrich von Schiller, Schillers sämtliche Werke in zwÜlf Bänden YROV ü /HLS]LJ 0D[ +HVVH F

Friedrich von Schiller, Schillers sämtliche Werke in zwĂślf Bänden, vols. 9–10 /HLS]LJ 0D[ +HVVH F 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ Drawing by the artist on pp. 158–159

Friedrich von Schiller, Schillers sämtliche Werke in zwĂślf Bänden, vols. 11–12 /HLS]LJ 0D[ +HVVH F

75

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Gedichte, vol. 2, ed. (GXDUG YRQ GHU +HOOHQ 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD artista en las pp. 84–85 / Drawing by the artist on pp. 84–85

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Gedichte, vol. 3, ed. (GXDUG YRQ GHU +HOOHQ 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD artista en las pp. 186–187 / Drawing by the artist on pp.186–187

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Gedichte, vol. 4, ed. (GXDUG YRQ GHU +HOOHQ 6WXWWJDUW - * &RWWD F 'LEXMR UHDOL]DGR SRU OD artista en las pp. 212–213 / Drawing by the artist on pp. 212–213

Johann Wolfgang von Goethe, Goethes sämtliche Werke. West-Ăśstlicher Divan, vol. HG . %XUGDFK 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD artista en las pp. 10–11 / Drawing by the artist on pp.10–11

Johann Wolfgang von Goethe, *RHWKHV VŒPWOLFKH :HUNH 5HLQHNH )XFKV +HUPDQQ XQG 'RURWKHD $FKLOOHLV YRO HG + 6FKUH\HU 6WXWWJDUW - * &RWWD F ü 'LEXMR realizado por la artista en las pp. XXV–XXVII y 1–7 / Drawing by the artist on pp. XXV– XXVII and 1–7

-

Johann Wolfgang von Goethe, *RHWKHV VÂŚPWOLFKH :HUNH -XJHQGGUDPHQ )DUFH XQG Satiren. YRO HG $ .¸IWHU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR por la artista en las pp. 124–125 / Drawing by the artist on pp. 124–125

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Singspiele, vol. 8, ed. O. 3QLRZHU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV pp. 174–175 / Drawing by the artist on pp. 174–175

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Johann Wolfgang von Goethe, *RHWKHV VŒPWOLFKH :HUNH =HLWGUDPHQ Gelegenheitsdichtungen, YRO HG 2 3QLRZHU 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ü Drawing by the artist on pp. 70–71

76

Johann Wolfgang von Goethe, Goethes sämtliche Werke. GĂśtz von Berlichingen, YRO HG (GXDUG YRQ GHU +HOOHQ 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR realizado por la artista en las pp. 110–111 / Drawing by the artist on pp. 110–111

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dramen in Prosa: Erwin XQG (OPLUH &ODXGLQH YRQ 9LOOD %HOOD &ODYLJR 6WHOOD 'LH :HWWH Egmont, vol. 11, ed. ) 0XQFNHU 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ la p. 181 / Drawing by the artist on p. 181

Johann Wolfgang von Goethe, *RHWKHV VŒPWOLFKH :HUNH ,SKLJHQLH DXI 7DXULV 7RUTXDWR 7DVVR 'LH QDWžUOLFKH 7RFKWHU YRO HG $ .¸IWHU 6WXWWJDUW - * &RWWD F ü

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Faust I, vol. 13, ed. Erich 6FKPLGW 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ OD S 82 / Drawing by the artist on p. 82

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dramatische Fragmente und Ăœbersetzungen, YRO HG (ULFK 6FKPLGW 6WXWWJDUW - * &RWWD F ĂĽ

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Die Leiden des jungen :HUWKHUV .OHLQHUH (U]ŒKOXQJHQ YRO HG 2 3QLRZHU 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ OD S Drawing by the artist on p. 311

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Lehrjahre I, YRO HG : &UHL]HQDFK 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR realizado por la artista en las pp. 156–157 / Drawing by the artist on pp. 156–157

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Lehrjahre II, YRO HG : &UHL]HQDFK 6WXWWJDUW - * &RWWD F ü 'LEXMR realizado por la artista en la p. 348 / Drawing by the artist on p. 348

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Wanderjahre I, YRO HG : &UHL]HQDFK 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ Drawing by the artist on pp. 126–127

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Wanderjahre II, YRO HG : &UHL]HQDFK 6WXWWJDUW - * &RWWD F ü

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Die Wahlverwandtschaften, YRO HG ) 0XQFNHU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ Drawing by the artist on pp. 40–41

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit I, YRO HG 5 0 0H\HU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU la artista en las pp. 298–299 / Drawing by the artist on pp. 298–299

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit II, YRO HG 5 0 0H\HU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU la artista en las pp. 288–289 / Drawing by the artist on pp. 288–289

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit III, YRO HG 5 0 0H\HU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR por la artista en las pp. 118–119 / Drawing by the artist on pp. 118–119

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit IV, YRO HG 5 0 0H\HU 6WXWWJDUW - * &RWWD F ü

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Johann Wolfgang von Goethe, *RHWKHV VÂŚPWOLFKH :HUNH ,WDOLHQLVFKH 5HLVH , vol. HG / *HLJHU 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD artista en la p. 61 / Drawing by the artist on p. 61

Johann Wolfgang von Goethe, *RHWKHV VŒPWOLFKH :HUNH .DPSDJQH LQ )UDQNUHLFK Belagerung von Mainz, YRO HG $ 'RYH 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ü Drawing by the artist on pp. 46–47

Johann Wolfgang von Goethe, *RHWKHV VÂŚPWOLFKH :HUNH $XV HLQHU 5HLVH LQ GLH 6FKZHL] $P 5KHLQ 0DLQ XQG 1HFNDU XQG vol. 29, ed. O. Heuer 6WXWWJDUW - * &RWWD F ĂĽ

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Johann Wolfgang von Goethe, Goethes sämtliche Werke. Annalen, vol. 30, ed. O. Walzel 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ las pp. 222–223 / Drawing by the artist on pp. 222–223

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Benvenuto Cellini I, vol. HG : YRQ 'HWWLQJHQ 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU la artista en la portada / Drawing by the artist on the cover page

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Benvenuto Cellini II, vol. HG : YRQ 'HWWLQJHQ 6WXWWJDUW - * &RWWD F ü

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Kunst I, YRO HG : YRQ 'HWWLQJHQ 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR por la artista en la p. 155 / Drawing by the artist on p. 155

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Kunst II, YRO HG : YRQ 'HWWLQJHQ 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR por la artista en la p. 204 / Drawing by the artist on p. 204

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Kunst III, YRO HG : YRQ 'HWWLQJHQ 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR por la artista en las pp. 188–189 / Drawing by the artist on pp. 188–189

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Literatur, YRO HG 2 :DO]HO 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD artista en las pp. 126–127 / Drawing by the artist on pp. 126–127

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Literatur, YRO HG 2 :DO]HO 6WXWWJDUW - * &RWWD F ü 'LEXMR UHDOL]DGR SRU OD artista en la p. 169 / Drawing by the artist on p. 169

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Literatur, YRO HG 2 :DO]HO 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD artista en las pp. 188–189 / Drawing by the artist on pp. 188–189

Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Naturwissenschaft, YRO HG 0 0RUULV 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ Drawing by the artist on pp. 54–55 Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Naturwissenschaft, YRO HG 0 0RUULV 6WXWWJDUW - * &RWWD F ĂĽ 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ Drawing by the artist on pp. 162–163

Ernst von Romberg, Lehrbuch der Krankheiten des Herzens und der Blutgefässe 6WXWWJDUW (QNH 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ OD S Drawing by the artist on p. 320

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Alexander von Korånyi, Vorlesungen ßber funktionelle Pathologie und Therapie der Nierenkrankheiten %HUO¯Q - 6SULQJHU 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ las pp. 156–157 / Drawing by the artist on pp. 156–157

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Giulio Luigi Sacconaghi, Die klinische Diagnose der Herzbeutel-Verwachsung. Fibrechia cordis /HLS]LJ & .DELW]VFK 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV pp. 74–75 / Drawing by the artist on pp. 74–75

Ernst Edens, Die Krankheiten des Herzens und der Gefässe %HUOÂŻQ - 6SULQJHU F 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ Drawing by the artist on pp. 564–565

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Ernst Ruppanner, )HVWVFKULIW +HUUQ &KHIDU]W 'U (UQVW 5XSSDQQHU JHZLGPHW ]XU Erinnerung an seine 25-jährige Tätigkeit am Kreisspital Oberengadin in Samaden %DVLOHD % 6FKZDEH &R 'LEXMR UHDOL]DGR SRU OD DUWLVWD HQ ODV SS ĂĽ / Drawing by the artist on pp. 174–175

Thomas Mann, Der kleine Herr Friedemann %HUO¯Q 6 )LVFKHU 3ULPHUD S£JLQD ĆUPDGD ê5HEHFFD / Í )LUVW SDJH VLJQHG ê5HEHFFD / Í

Joseph E. A. Alexis y Wilhelm Karl Pfeiler, In Deutschland /LQFROQ 1HEUDVND 0LGZHVW %RRN &RPSDQ\

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Johann Wolfgang von Goethe, Faust %DVLOHD %LUNKŒXVHU 'LEXMRV UHDOL]DGRV por la artista en las pp. 160–161 y 180–181 / Drawings by the artist on pp. 160– 161 and 180–181

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Johann Wolfgang von Goethe, Goethes Werke: Vollständige Ausgabe in vierzig Teilen, HG .DUO +HUPDQQ $OW %HUOÂŻQ %RQJ &R F 'LEXMRV UHDOL]DGRV SRU OD artista en las pp. / Drawings by the artist on pp. 686–687, 696–697, 708–709, 712–713, 772–773, 788–789, and 860–861 79

Walter Marle, EinfĂźhrung in die klinische Medizin: Eine kurze Darstellung ihrer Grundbegriffe fĂźr Studierende und Ă„rzte. Allgemeine Pathologie: Klinische 0LNURELRORJLH XQG ,PPXQLWÂŚWVOHKUH $OOJHPHLQH 8QWHUVXFKXQJVPHWKRGLN XQG 'LDJQRVWLN $OOJHPHLQH 7KHUDSLH YRO %HUOLQ 9LHQQD 8UEDQ 6FKZDU]HQEHUJ

Walter Marle, EinfĂźhrung in die klinische Medizin: Eine kurze Darstellung ihrer Grundbegriffe fĂźr Studierende und Ă„rzte. Innere Medizin: Neurologie, Psychiatrie, YRO %HUOLQ 9LHQQD 8UEDQ 6FKZDU]HQEHUJ

Carl Adolf Ernst, Praktische Anleitung zur Organisation von FĂźrsorgestellen IžU /XQJHQNUDQNH XQG GHUHQ )DPLOLHQ IžU †U]WH .RPPXQDOEHK¸UGHQ 2UJDQH der Privatwohltätigkeit und Arbeitgeber %HUOLQ 8UEDQ 6FKZDU]HQEHUJ 'LEXMRV UHDOL]DGRV SRU OD DUWLVWD HQ OD S Drawings by the artist on p. 19

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Martin Heidenhain, Plasma und Zelle: eine allgemeine Anatomie der lebendigen Masse -HQD * )LVFKHU ĂĽ

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Apósito de gasa para heridas, con texto impreso: / Verbangaze—Gaza Higroskopijna, alemån/polaco, c aùos 30 / Wound Dressing Gauze with printed text: Verbangaze— Gaza Higroskopijna, German/Polish, c. 1930s

(VĆJPRPDQ¾PHWUR SDUD PHGLFL¾Q GH OD SUHVL¾Q DUWHULDO 1XHYD ,QJODWHUUD F D³RV 30 / Sphygmomanometer Blood Pressure Tester, New England, c. 1930s

(VWHWRVFRSLR ELQDXUDO FRQ HO QRPEUH 6TXDWWULWR LQVFULSWR HQ ÂŤO RULJHQ GHVFRQRFLGR c. aĂąos 20 / Binaural Stethoscope with name inscribed inside Squattrito, unknown origin, c. 1920s

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Estetoscopio binaural, origen desconocido, c. aĂąos 30 / Binaural Stethoscope, unknown origin, c. 1930s

&RĆD GH HQIHUPHUD FRQ KRUTXLOODV SDUD HO SHOR HXURSHD F D³RV Nurse cap with hairpins, European, c. 1940s

&RĆD GH HQIHUPHUD HXURSHD F D³RV Nurse cap, European, c. 1940s

&RĆD GH HQIHUPHUD FRQ KRUTXLOODV SDUD HO SHOR HXURSHD F D³RV Nurse cap, European, c. 1940s

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ApĂłsitos de tela para protecciĂłn de heridas, origen desconocido, c. aĂąos 30 / Wound protection fabric, unknown origin, c. 1930s

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Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

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Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

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Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

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Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

Ampolla conteniendo hilo para suturar heridas con un texto impreso: / Ampule with WKUHDG IRU VXWXULQJ ZLWK SULQWHG WH[W '('(521 VWHULOPLW DWUDXPDWLVFKHU 1DGHO CD 6, 70 cm, Starke 00, VEB CATGUT, Markneukirchen, 1546093, c. aĂąos 30 / c. 1930s

Ampolla conteniendo hilo para suturar heridas con un texto impreso: / Ampule with WKUHDG IRU VXWXULQJ ZLWK SULQWHG WH[W '('(521 VWHULOPLW DWUDXPDWLVFKHU 1DGHO CD 6, 70 cm, Starke 00, VEB CATGUT, Markneukirchen, 1546093, c. aĂąos 30 / c. 1930s

Ampolla conteniendo hilo para suturar heridas con un texto impreso: / Ampule with WKUHDG IRU VXWXULQJ ZLWK SULQWHG WH[W '('(521 VWHULOPLW DWUDXPDWLVFKHU 1DGHO CD 6, 70 cm, Starke 00, VEB CATGUT, Markneukirchen, 1546093, c. aĂąos 30 / c. 1930s

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Venda, alemana, c. aĂąos 30 / Bandage, German, c. 1930s

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Venda con texto impreso: Gebrauchsanweisung, alemana, c. aùos 30–40 / Bandage with printed text: Gebrauchsanweisung, German, c. 1930–1940s

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Venda elĂĄstica, alemana, c. aĂąos 40 / Bandage wrap, German, c. 1940s

&DMD GH FDUWÂľQ FRQWHQLHQGR VHLV DJXMDV PÂŤGLFDV \ H[KLELHQGR HO WH[WR LPSUHVR &DUGERDUG ER[ ZLWK VL[ PHGLFDO QHHGOHV DQG D SULQWHG WH[W Injektions-KanĂźlen, Chromnickelstahl, made by Injecta Berlin, alemana, c. aĂąos 30 /German, c. 1930s

&DMD GH PHWDO FRQWHQLHQGR VLHWH DJXMDV PÂŤGLFDV \ H[KLELHQGR HO WH[WR LPSUHVR Metal box with seven medical needles and a printed text: Stainless-Steel, made by Injecta Berlin, alemana, c. aĂąos 30 /German, c. 1930s

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DIRECTORIO FUNDACIĂ“N MUSEO DE LA MEMORIA Y LOS DERECHOS HUMANOS

MarĂ­a Luisa SepĂşlveda, Presidenta MarĂ­a Eugenia Rojas, Secretaria

JEFES DE Ă REA

MarĂ­a JosĂŠ Bunster, CoordinaciĂłn General, MuseografĂ­a y Exposiciones MarĂ­a Luisa Ortiz, Colecciones e InvestigaciĂłn Patricia FarĂ­as, ExtensiĂłn y Comunicaciones

Arturo Fontaine, Tesorero

Jo Siemon, EducaciĂłn y Audiencias

Michelle Bachelet

Claudio Canales, TecnologĂ­a e InformĂĄtica

GastĂłn GĂłmez

Fanny Santander, AdministraciĂłn y Finanzas

Milan Ivelic Cecilia Medina Fernando Montes Enrique Palet Carlos PeĂąa

EQUIPO EXPOSICIĂ“N

Jimena Bravo, MuseĂłgrafa Paz Moreno Israel, Directora de Arte

Daniel Platovsky

Rodrigo Medel, DiseĂąador

Margarita Romero

Elias Fuentes, DiseĂąador

Marcia Scantlebury

MarĂ­a Teresa Viera Gallo, Encargada Audiovisual

AgustĂ­n Squella

Alejandra Ibarra, DifusiĂłn

Carolina TohĂĄ

JosĂŠ Manuel Rodriguez, Audiovisual Rodrigo Sepulveda, Productor TĂŠcnico

DIRECTOR EJECUTIVO MUSEO DE LA MEMORIA

VerĂłnica SĂĄnchez, Conservadora Eric Valencia, Jefe de MantenciĂłn

Y LOS DERECHOS HUMANOS

HĂŠctor Arancibia, MantenciĂłn

Ricardo Brodsky

Julio MelĂŠndez, MantenciĂłn

La exposiciĂłn y la publicaciĂłn Monika Weiss: Sustenazo (Lament II) fueron posibles gracias al generoso auspicio de Galerie Samuel Lallouz, en Montreal, Quebec, CanadĂĄ y del Sam Fox School of Design & Visual Arts, de la Universidad GH :DVKLQJWRQ HQ 6W /RXLV 0LVVRXUL DSR\R DGLFLRQDO GH OD (PEDMDGD GH 3RORQLD HQ 6DQWLDJR &KLOH \ GH 5R[DQD 9DUDV $JUDGHFHPRV WDPELÂŤQ DO &RQVHMR 1DFLRQDO GH OD &XOWXUD \ ODV $UWHV *RELHUQR GH &KLOH The exhibition and publication Monika Weiss: 6XVWHQD]R /DPHQW ,, have been made possible thanks to the generous support of Galerie Samuel Lallouz LQ 0RQWUÂŤDO 4XHEHF &DQDGD DQG WKH 6DP )R[ 6FKRRO RI 'HVLJQ 9LVXDO $UWV :DVKLQJWRQ 8QLYHUVLW\ LQ 6W /RXLV 0LVVRXUL DGGLWLRQDO VXSSRUW IRU WKLV H[KLELWLRQ SURYLGHG E\ WKH (PEDVV\ RI 3RODQG 6DQWLDJR &KLOH DQG E\ 5R[DQD 9DUDV :H DOVR WKDQN the Consejo Nacional de la Cultura y las Artes, Gobierno de Chile.

82

/D HMHFXFL¾Q GH HVWH SUR\HFWR KD VLGR SRVLEOH JUDFLDV DO ĆQDQFLDPLHQWR TXH OH RWRUJD HO JRELHUQR GH &KLOH D WUDYV GH OD ',%$0

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