[-empyre-] expanded (CB)

Wed May 14 12:36:12 EST 2008

Cara, this  bit moving from women to invisibility to overpass to  
berries to breakfast was so wild/succinct I want to quote you  
expanding on these images---from your last appearance on -empyre- with  
Journal of Aesthetics and Protest (Christina Ulke, Marc and Robbie  
Herbst, Ryan Griffis, Nato Thompson ...in "Whispering in the  
Dark")-------

> Commodification of discourse, cultural production and symbolic  
> representation brings me waaay back to the history of written  
> language from pictogram to cuneiform, a relatively complex form of  
> writing that originated in Ur/Babylon/Southern Iraq to efficiently  
> record the exchange of goods in an urban center. http://cdli.ucla.edu/edu/lateuruk_intro.html 
>  On embodied critique--I don't believe fracture on the left is a  
> real problem. Quite the opposite--the apparent seamlessness of  
> cultural space Ryan and Christina McPhee refer to is. That said, I  
> think it's interesting what Ryan's pointing out about the way the  
> language is used to skim across the surface of bodies. In  
> historicizing seattle folks gestured wildly to the body of the  
> crowd--teamsters and turtles--it's diversity (dubious) said to  
> comprise a sort of hybrid that effectively nullifies the need to  
> address social inequity that is both global and local in the  
> extreme. Bodies are the primary sites of cultural conflict-- 
> symbolic, and physical violence. this is apparently the case for  
> women and racial minorities--but for all of us--that unwieldly but  
> inclusive 'we' Marc referred to ealier. I believe this needs to be  
> addressed not only in action or symbolic expression but internalized  
> personally, deeply, bodily and in every waking moment concurrent  
> with our unique cultural subjectivity. our struggles are are  
> endlessly bound up with one another. our conflict is historically  
> bound up with capital--as are all cultural expressions. Speaking of  
> extreme local, I am afraid that institutional critique and local  
> cultural production that diminishes sites of relatively broad  
> cultural exchange effectively isolates U.S. from Others. ----


>> women are
>> among those
>> compelled to learn early the many ways and to what extent
>> representation and invisibility are useful.
>>
>> can 'we' identify material conditions that urgently
>> need to be
>> addressed w/out representing others? this is an open
>> question and one
>> we work from and through every day. i'm on an overpass
>> with berries
>> falling out of my mouth. precarity gives way to starvation
>> at some
>> point and i would like to address that.  the black panther
>> party
>> breakfast program is art.
On May 13, 2008, at 5:50 PM, Eduardo Molinari wrote:

> Wonderrrrrrrrrrrrrrrrrrrrrrrrrrrr
> fulllllllllllllllllllllllllllllll
> maillllllllllllllllllllllllllllll.
>
> many images here dear Cara!
> thank you very much.
>
> I have time today to read your words.
>
> pigs pigs pigs pigs pigs pigs pigs pigs
> pigs pigs pigs pigs pigs pigs pigs pigs
> pigs pigs pigs pigs pigs pigs pigs pigs
>
> great.
> and thank you for Alberto Grecoooooooooooooooooo!
>
> un abrazo for Marc&Christina!
>
> Very important your commentary about migrations in America.
> Is really very important.
> I was 8 months last year in germany.
> strongs feelings there, and one of them was the question about  
> migration in argentina.
> Catholic - Jewuis traditions are very strong tradition in argentina,  
> they are in the "heart" of our mixed / mestiza society.
> Black people was killed, as slaves or "soldiers" during the war  
> against Paraguay.
>
> I imagine that protestant / calvinist, also paganismus is working in  
> the migrations of North America.
>
> Because of all this "migrations" I like very much to know more about  
> pre-hispanic cultures in America. Is a central part of my  
> investigation with artistic methods.
>
> Very good the images of insite05!!!!! I like this! Thank you very  
> much!
>
> The last part of your mail is a very good devolution,
> I can say
> YES YES YES, "we" CAN identify
> material conditions that need to be addressed
> without representing other!
>
> Because we will present them together,
> like the blood of Genova in your mail.
> Those red material conditions(saddly)are present.
>
>
> For me is really a big challenge to identify these "material  
> conditions"
> that have still a potence living or able to live.
>
> My Walking Archives / Archivo Caminante tries to do this, not for  
> putting them "in order", but to transport.
>
> You are true Cara!!! precarity and starvation are central questions  
> today.
> In argentina, post-industry don't mean nothing. We didn't have NEVER  
> a real national industry. Is post-nothing.
> but then... your question is also our question.
>
> eduardo
>
>
>
> Eduardo Molinari / Archivo Caminante
> Aramburu 880, Dto.1 (1640) Martínez
> Provincia de Buenos Aires – Argentina
> 0541 1 47 98 48 35
>
>
> --- El dom 11-may-08, Jennifer Flores Sternad <jf at post.harvard.edu>  
> escribió:
>
>> De: Jennifer Flores Sternad <jf at post.harvard.edu>
>> Asunto: [-empyre-] expanded (CB)
>> Para: "soft_skinned_space" <empyre at lists.cofa.unsw.edu.au>
>> Fecha: domingo, 11 de mayo de 2008, 6:56 pm
>> from cara baldwin
>> (thank you, cara!)
>>
>> ------ Forwarded Message
>> From: Cara Baldwin <feralysis at earthlink.net>
>> Date: Sat, 10 May 2008 13:07:09 -0700
>> To: "moarquech at yahoo.com.mx, soft_skinned_space"
>> <empyre at lists.cofa.unsw.edu.au>,
>> <archivocaminante at yahoo.com.ar>
>> Subject: Re: [-empyre-] Re: expanded
>>
>> Conversation in an elevator, . looking at the stains on
>> wood :
>>
>> --Which is better? This, or doing this?
>>
>> --This.
>>
>> --Bring him to see or bring them to see?
>>
>> --Bring them to see.
>>
>> Alberto Greco, from Manifesto Vivo-Dito, 1963
>>
>> back in the 90's (can't write this without using a
>> crackly old man
>> voice) i was saving barricades in my apartment for a rainy
>> day. i put
>> them on either side of the bridges that connected the city
>> and they
>> quietly disappeared. i changed my underwear in public and
>> told
>> everyone i was ana mendieta. learned about chicano cultural
>> politics
>> and activism. met collaborators and friends marc herbst and
>> christina
>> ulke and began years of conversation about anything we
>> could imagine
>> and do together. following seattle we found ourselves
>> spending the
>> summer in L.A. working with folks setting up an la
>> indymedia for the
>> 2000 democratic national convention. representation.
>> organization, and
>> lot's and lot's of
>>
>> pigs. pigs. pigs. pigs. pigs. p pigs. pigs. pigs. pigs.
>> pigs. pigs.
>> pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs.
>> pigs.
>> pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs.
>>
>> brian holmes wrote about the "inflated art scenes of
>> the 90s" and that
>> to "be an activist then was not fashionable in any
>> way, it was
>> considered totally retrograde in artistic circles."
>> critique at this
>> time lacked currency materially and culturally (narrow
>> sense of the
>> word) from where i was standing. listening to someone
>> slather on about
>> 68 and a postcolonial theorist's incisive critique of
>> metanarrative i
>> wondered if the blood i'd seen in images of the diaz
>> school around
>> genoa g8 was part of someone i loved.
>> http://www.nadir.org/nadir/initiativ/agp/free/genova/pics4a.htm
>>
>> adorno's "there is no love that is not an
>> echo." floating a desire to
>> share the acoustic space in which we breath, speak, feel
>> and act in a
>> way that is occupied and open—but not like a yoga group.
>>
>> i also respond to eduardo molinari's approach to the
>> expanded,
>> particularly considering migration patterns across the
>> americas and
>> would only extend that history and migration (not just
>> recent. not
>> just one way). grimson and kessler's on argentina and
>> the southern
>> cone: neoliberalism and national imaginations, and
>> dunbar-ortiiz's
>> roots of resistance speak to this in a localized and
>> concrete way.
>>
>> because of the relative economic stability in north america
>> during
>> 2000 most of the art i saw produced/reproduced in
>> institutional
>> contexts were either new media works of a post modern or
>> minimalist
>> aesthetic or frothy blown out paintings meant to illustrate
>> 'networks
>> and flows.' couldn't wait for something to disrupt
>> that. through the
>> democratic national convention mobilizations met sandra de
>> la loza,
>> working again with her, marc, christina and ryan griffis
>> and robby
>> herbst on collectively organized and community-based
>> projects the 2004
>> october surprise october surprise
>> http://www.theoctobersurprise.org/
>> and journal of aesthetics & protest
>> http://www.joaap.org/ starting in
>> 2001. the curator at the L.A. museum of contemporary art
>> who organized
>> the experimental exercise of freedom (with rina carvajal)
>> needed an
>> assistant— i was able to research and write about artists
>> from
>> central, south america and italy if i held my cards to my
>> chest.
>> actually, i was more like a child at the table who would
>> reemerge
>> occasionally sticky with cobwebs. cards can fit in your
>> back pocket
>> depending on who / where you are perceived to be. the
>> emphasis on
>> institutional critique at california institute of the arts
>> was
>> grounded even as it was too narrowly circumscribed. met
>> etcetera last
>> october without a joint, sadly. first saw their work in
>> another
>> institutional context at the centro cultural de tijuana at
>> inSITE
>> 2005. bill kelly and sandra were there as well. sunday
>> morning as
>> hurricane katrina wound toward new orleans bill kelly,
>> sandra and i
>> sat the golden glow of the haudenschildGarage listening to
>> what i
>> found fucked approaches to collectivity, mobility and
>> 'cultural'
>> exchange. everyone was wearing white linen except sandra
>> and me who
>> sat talking loudly shit (like children) in the back.
>> http://www.insite05.org/internal.php?pid=17-357 women are
>> among those
>> compelled to learn early the many ways and to what extent
>> representation and invisibility are useful.
>>
>> can 'we' identify material conditions that urgently
>> need to be
>> addressed w/out representing others? this is an open
>> question and one
>> we work from and through every day. i'm on an overpass
>> with berries
>> falling out of my mouth. precarity gives way to starvation
>> at some
>> point and i would like to address that.  the black panther
>> party
>> breakfast program is art.
>>
>> in addition to 'post politics' what is meant by
>> 'post industrial' at
>> this moment?
>>
>> sorry, I know I'm not following form handing threads
>> back in a tangled
>> sticky ball.
>>
>> --
>> _______________________________________________
>> empyre forum
>> empyre at lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
>
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christina mcphee

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