[-empyre-] visualization between art and anthropology

[christina at christinamcphee.net]

In re a " but maybe yes a 'feminist sensibility’ “ — Fiamma,  the ‘echo’ video project is online but has a password requirement  http://www.fiammamontezemolo.com/#echo <http://www.fiammamontezemolo.com/#echo>   Maybe you’ve already shared it?

“A feminist sensibility” around the Narcissus/Echo relay is really interesting as a prompt…. Re-siting a historic InSite “beyond their expected ruins and remains” challenges a deep bias around identity— who can impose what kind of normativity on the historic record… who is Narcissus? who is Echo?   This undoing of categorization as you call it,  ‘border crossing’ , would you say that the Echo project even challenges the 
possible imposition of feminist norms? 

More the prompt suggests a sensibility or attitude on the part of maker(s) (participant-observer/artist)…. 

Can you develop this a bit more?  “a feminist sensibility’ visualizes echoing pluralities beyond identity— so maybe implying another kind of ethics outside the authoritative practices of the InSite project—? 



Christina McPhee

http://christinamcphee.net

insta: naxqqsmash




> On Jul 11, 2016, at 12:41 PM, fiamma montezemolo <fiammamontezemolo at gmail.com> wrote:
> 
> ----------empyre- soft-skinned space----------------------
> Thank you for your question Christina.
> 
> Yes, I did work on the 'aftermaths' of the InSite project in the border between Mexico and the USA. As an artist and anthropologist - using an inter-medial methodology - I was particularly interested in making an attempt to understand what is left after a biennial, a curatorial project, an artist leaves a scene of intervention. InSite has been a very important art initiative that lasted many years in the Tijuana-San Diego border. In 2005 they had their last intervention and moved later to Mexico City. In 2013-14 I made a video called Echo based on their archive and an ethnography. By revisiting the scenes of these curatorial and artistic interventions, “echo” emerged both as a concept and a practice that enabled a reassembling of these art works, their futures,  beyond their expected ruins and remains. 
> 
> Each work/artist and afterlife/echo of those works  -after the artists completed them and left to focus on another work - raised different and enriching questions on social art, on ethics, on methods, on the people involved in the projects, on the city itself and its urban cycle, on the future of public sculpture, etc. The assemblage of archival images and current reverberations, of all sort of data visualization through video, text, voice over, drawings, interviews, of affects and representation has been a real challenge in this work, as you mention: especially in terms of methodology. 
> 
> The result is that more questions were opened after the initial ones. The conclusion was inconclusive: Narcissus (all of us working, representing, intervening on the border: anthropologists, artists, curators, etc.) and Echo (the context, the artists, the collaborators, the public sculptures, the objects, etc.) are clearly part of the same scenario and they are both plural and problematic in their own way...
> 
> In this sense, I am not sure mine was a 'feminist methodology', but maybe yes a 'feminist sensibility', or as a long literature that started with Adorno would define it: an 'unmethodical method', an undoing of categorization, indeed a sort of ‘border crossing’. 
> 
> Best,
> Fiamma
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