Introduction
While the Cold War ignited a global geopolitical field, the predominant role of the two superpowers also incited a simplified worldview that has become a radically effective instrument for shaping our perception of reality, structuring our language as well as social, political, cultural and artistic structures. Discourses, imaginaries, values and even emotions specific to that historical period, have filtered into and naturalised within Western critical thought, nourishing our academies and disciplines. The continuation of discursive constructions and categories, linked to the experience of this global conflict, resonates in artistic practices, theory and curating, with the survival of totalising notions that reproduce the universalist perceptions, characteristic for those years of the Iron Curtain.
In this sense, this historical chapter must be understood not simply as a context, but as an epistemological system in itself, a model for structuring thought and reality, where the circulation of cultural agents and objects as well as systems of production took shape. We are faced with a powerful system for the configuration of imaginaries that, perpetuated in current policies, is projected to the present day. Despite appearances and distances, past and present share a structural configuration without which our present cannot be understood, and in which social, political, economic and cultural formations survive and are resemanticised within the framework of neoliberal discourse.
In contrast to arguments that claim a total paradigm shift since the fall of Communism, this web project aims to understand our contemporaneity as a hybrid space in which the survival as well as continuities (and discontinuities) of Cold War times are visible in imaginaries, policies, discourses, disciplines and current rhetorical gestures (often transmuted, resemanticised or even emptied of content). We here seek to establish on the basis of different concepts a polyphonic and multifocal field of tension of terms and social imaginaries important during the Cold War, which are synthetically in their reciprocal interrelation with artistic practices and aesthetic discourses and point to their mutations up to the present day. It is a visual and interactive proposal that is connected to the editorial project Revolver el tiempo.Conceptos críticos, mutaciones históricas y estéticas entre la Guerra fría y la contrarrevolución neoliberal (Barcelona, Bellaterra, 2022), where each of these concepts is developed in further depth and at length.
This interactive website proposes a journey via 10 concepts, delving into their interconnections and proposing their most important bibliographical references, that reach from what we could call the “cradle of neoliberalism” to their current developments within itineraries that concern the socio-economic as well as the political, without forgetting to consider its coalition with the cultural practices, representations and artistic praxis that this sphere of thoughts, in conjunction with late Capitalism, has given birth to and developed.
In this way, we could say that semio-capitalism and its neo-liberal declinations are the backbone that runs through the different concepts we delineate. It contaminates them reshapes its notions, and yet, at the same time, in each concept we can anticipate the latent tools for the struggle against this very same axis that has structured the last five decades of our world-system.
Although we take in both, this website as well as in the book Revolver el tiempo, conceptual configurations as starting points, it is not our intention to produce an exhaustive glossary or a dictionary. The here-selected concepts are understood, in line with Mieke Bal, as territories of analysis and “tools of intersubjectivity…. [which] offer us miniature theories, facilitate the analysis of objects, state situations and other theories” (Bal, 2019, p. 35). Taking such prerequisites in account, the thematic approach intersects with the chronological one, in essays that shake and stir time, to develop a diachronic analysis that, methodologically, bases on the history of concepts proposed by Reinhart Koselleck (2004) as well as on the exploration of their academic resignifications and in relation to the public and popular uses of these words. In our case, this “historicising of concepts” is completed – as pointed out – with a work anchored in visual culture, seeking to analyse these concepts not only regarding their relations with a factual history of social, cultural and political transformations, as Koselleck proposes, but also regarding the agency that artistic practices and visual culture have had and still have in their configuration of the social, cultural and political imaginaries associated with them. Furthermore, our proposal is bases on the pioneering work of Raymond Williams, who at the origin of cultural studies stressed that many questions “could not be reflected upon… [and in some cases almost not even addressed] unless we are aware of words as elements of problems” and who inquired into the transformations of their meanings (Williams, 2003 [1976], p. 20). Moreover, the studies gathered here start from a transnational perspective that connects productions, platforms and agents in Western and non-Western globalised spaces, and which trace the transformations of these concepts from situated configurations (and decentred geographies, with an anti-colonial will).
With this new proposal that continues our collective reflections collected on the Decentralised Modernity(ies) platform, such as Atlántico Frío. Historias transnacionales del arte y la politica en los tiempos del telón de acero Atlantic (Barreiro, 2019), we want to go a step further and think about the interconnections and ruptures produced between the Cold War and the contemporary world. This work is in a continuation of preceding intellectual experience(s) that traces a history of mutations and meanings, of complex relations, where the processes of globalisation that mark our contemporaneity are already underway.
Delving deeper into continuities and ruptures of the here proposed concepts while at the same time showing their interpretative shortcomings, and despite all difficulties involved, is an urgent task, not only for understanding the current configuration of our present, but also for unmasking the motivations behind their survival and their strategic use, and for proposing new models of analysis. This search for alternatives corresponds to a growing social, economic, cultural and political need for change, at a time when Capitalism is as discredited as Communism at its low-point.
Bibliographic references
Bal, M., (2009 [2002]), Conceptos viajeros en las humanidades. Una guía de viaje, CENDEAC, Murcia.
Barreiro López, P. (ed.) (2019), Atlántico Frío: redes transnacionales del arte y la política en tiempos del telón de acero,Brumaria, Madrid.
Koselleck, R. (2004), «Historia de los conceptos y conceptos de historia», Ayer, No. 53.
Williams, R. (2003 [1976]), Palabras clave. Un vocabulario de la cultura y la sociedad, Nueva Visión, Buenos Aires.
Bibliografía
Biennialization
Enwezor, O. (2003/2004), «Mega-Exhibitions and the Antinomies of a Transnational Global Form», MJ. Manifesta Journal: journal of contemporary curatorship, 2, pp. 94-119.
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Gardner, A., Green C. (2017), «Post-North? Documenta 11 and the Challenges of the “Global Exhibition” », OnCurating, 33, pp. 109-121.
Gardner, A., Green, C., eds., (2016), Biennials, Triennials and documenta : the exhibitions that created contemporary art, JohnWiley & Sons Inc., Hoboken.
Herández, M. Á. (2014), «Las bienales como obra de arte total», Revista de Occidente, 393, pp. 11-30.
Jiménez, C. (2004), «La Bienal de Berlín: un modelo de antibienalización? », ArtNeux, 55.
Marchart, O. (2008), Hegemonie im Kustfeld. Die documenta-Ausstellungen dX, D11, d 12 und die Politiki der Biennalisierung, n.b.k. Diskurs, Band 2 (Hg. Mairus Babias), Colonia, pp. 7-13.
Mesquita, I. (2001), “Bienales, bienales, bienales, bienales, bienales, bienales”, Revista de Occidente, 238, pp. 31-36.
Niemojewski, R. (2021), Biennials: The Exhibitions We Love to Hate, Lund Humphries, Londres.
Sassatelli, M. (2016), «The biennalization of the art worlds. The culture of cultural events» en Laurie Hanquinet, Mike Savage, eds., Routledge International Handbokk of the Sociology of Art and Culture, Toutledge, Londres / Nueva York, pp. 227.
Sheik, S. (2011), « Qué es la bienalización? Notas sobre la mediación cultural de las finanzas globales y la producción del capital cultural global», Humboldt, 156, pp. 41 – 44.
Bodily Evidence(s)
Blejmar, Jordana, Luis Ignacio García y Natalia Fortuny (2013), eds., Instantáneas de la memoria: fotografía y dictadura en Argentina y América Latina. Librería ediciones, Buenos Aires.
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Carvajal, Fernanda y Jaime Vindel (2013), «Acción relámpago», en Perder la forma humana: una imagen sísmica de los años ochenta en América Latina, Museo Nacional Centro de Arte Reina Sofia, Madrid, pp. 43-50.
Csordas, Thomas J. (2004), «Evidence of and for what», Anthropological Theory 4, London, pp. 473-80.
Douglas, Lee (2022), «Undoing Absence: Reflections on the Counter-Forensic Photo Essay», Writing with Light Magazine, 1, pp. 4-7.
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Keenan, Thomas (2014), «Counter-forensics and Photography», Grey Room, 55 (Spring), pp. 58–77.
Maguire, Mark y Ursula Rao (2018), «Introduction: Bodies as Evidence» en Mark Maguire, Ursula Rao y Zils Zurawski, eds., Bodies as Evidence: Security, Knowledge, and Power, Duke University Press, Durham, pp. 1-23.
Richard, Nelly (2007), Márgenes e instituciones: arte en Chile desde 1973, Ediciones Metales Pesados, Santiago de Chile.
Rolnik, Suely (2008), «Furor de archivo», Red de Revistas Científicas de América Latina, el Caribe, España y Portugal, IX: 18-19, pp. 9-22.
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Taylor, Diana (2003), The Archive and the Repertoire: Performing Cultural Memory in the Americas, Duke University Press, Durham.
Varas, Paulina y Javiera Manzi (2013), «Documentográfica», en Perder la forma humana: una imagen sísmica de los años ochenta en América Latina, Museo Nacional Centro de Arte Reina Sofía, Madrid, pp. 99-102.
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Dziuban, Zuzanna (2017), «Introduction: Forensics in the Expanded Field», en Zuzanna Dzuiban, ed., Mapping the “Forensic Turn:” Engagements with Materialities of Mass Death in Holocaust Studies and Beyond, Vienna, New Academic Press, pp. 7-35.
Decolonising
Césaire, Aimé. (2006 [1950]), Discurso sobre el colonialismo, Ediciones Akal, Madrid, pp. 13-43.
Barreiro López, P. (2016), «Algarabía tropical en la vanguardia: Wifredo Lam, la izquierda cultural española y la Cuba revolucionaria», en Catherine David (dir.), Wifredo Lam, Museo Nacional Centro de Arte Reina Sofía, Madrid, catálogo de exposición, pp. 35-41.
De Sousa Santos, B. (2014), «Más allá del pensamiento abismal: de las líneas globales a una ecología de saberes», en B. de Sousa Santos y M.P. Meneses (eds.), Epistemologías del Sur (Perspectivas), Ediciones Akal, Madrid.
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Gilroy, P. (1993), The Black Atlantic. Modernity and Double Consciousness, Verso, Londres.
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Oliva, M. E. (2014), La negritud, el indianismo y sus intelectuales: Aimé Césaire y Fausto Reinaga, Editorial Universitaria, Santiago de Chile.
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Said, E. (1979 [1978]), Orientalism, Vintage Books, Nueva York.
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Entropy
Angus, I. (2016), Facing the Anthropocene. Fossil capitalism and the crisis of the Earth system, Monthly Review, Nueva York.
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Daggett, C. (2019), The Birth of Energy. Fossil Fuels, Thermodynamics and the Politics of Work, Duke University Press, Durham/ Londres.
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O´ Connor, J. (2001), Causas naturales: ensayos de marxismo ecológico, Siglo XXI, México D. F.
Parikka, J. (2021), Una geología de los medios, Caja Negra, Buenos Aires.
Rabinbach, A. (1990), The Human Motor. Energy, fatigue and the origins of modernity, Basic Books, Nueva York.
Smithson, R. (2009), Robert Smithson. Selección de escritos, Alias, Ciudad de México.
Storr, R. (1998) «A Man of Parts», en Tony Smith: architect, painter, sculptor, MOMA, Nueva York, pp. 10-35
Vindel, J. (2020), Estética fósil. Imaginarios de la energía y crisis ecosocial, Arcadia, Barcelona.
Labour
Dalla Costa, M. (2009), Dinero, perlas y flores en la reproducción feminista, Akal, Madrid.
Federici, S. (2010), Calibán y la bruja. Mujeres, cuerpo y acumulación primitiva, Traficantes de Sueños, Madrid.
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— (2018), El patriarcado del salario. Críticas feministas al marxismo, Traficantes de Sueños.
Fisher, M. (2016), Realismo capitalista. ¿No hay alternativa?, Caja Negra, Buenos Aires.
Foucault, M. (2008), El Nacimiento de la biopolítica. Curso en el Collège de France (1978-1979), Fondo de Cultura Económico, Madrid.
Guattari, F. y Rolnik, S. (2006), Micropolíticas. Cartografías del deseo, Tinta Limón, Buenos Aires.
Hard, M. y Negri, T. (2012), Declaración, Akal, Madrid.
Lazzarato, M. (2005), «Biopolitique/Bioéconomie», Multitudes, núm. 22.
— (2013), La fábrica del hombre endeudado. Ensayo sobre la condición neoliberal, Amorrortu, Buenos Aires.
López Petit, S. (2009), La movilización global. Breve tratado para atacar la realidad, Traficantes de Sueños, Madrid.
— (2014), Hijos de la noche, Bellaterra, Barcelona.
López, I. y Rodríguez, E. (2010), Fin de ciclo. Financiarización, territorio y sociedad de propietarios en la onda larga del capitalismo hispano (1959-2010), Traficantes de Sueño, Madrid.
Malm, A. (2020), Capital fósil. El auge del vapor y las raíces del calentamiento global, Capitán Swing, Madrid.
Morini, C. (2014), Por amor o por la fuerza. Feminización del trabajo y biopolítica del cuerpo, Traficantes de Sueños, Madrid.
Pérez Orozco, A. (2014), Subversión feminista de la economía. Aportes para un debate sobre el conflicto capital-vida, Traficantes de Sueños, Madrid.
Reis, M. (comp.) (2020), Neo-Operaísmo, Caja Negra, Buenos Aires.
Rosa, I. (2011), La mano invisible, Seix Barral, Barcelona.
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Latin Americanism
Acha, J. (1979), Arte y sociedad: Latinoamérica. El sistema de producción, Fondo de Cultura Económica, México.
Bayón, D. (1975) (relator), América Latina en sus artes (Serie América latina en su cultura), UNESCO/Siglo XXI, México.
Cancel, L. (1988) (editor), The Latin American Spirit: Art and Artists in the United States, 1920-1970, Bronx Museum of the Arts, Nueva York.
Catlin, S.L. (1966), Art of Latin America since independence, Yale University, New Haven.
Eder, R. (2009 [1987]), «Arte e identidad en América latina», en AAVV, Bienal de La Habana para leer, compilación de textos, Universitat de Valencia, Valencia, pp. 51-60.
García Canclini, N. (1977), Arte popular y sociedad en América Latina, Siglo XXI, México.
Goldman, S. (1994), Dimensions of the Americas: Art and Social Change in Latin America and the United States, University of Chicago Press, Chicago.
Kirstein, L. (1943), The Latin-American collection of the Museum of Modern Art, MoMA, Nueva York.
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Traba, M. (1973), Dos décadas vulnerables en las artes plásticas latinoamericanas, 1950-1970, Siglo XXI, México.
Public(s)
Barrett, J. (2011), Museums and the Public Sphere, Wiley-Blackwell, Chichester.
Bishop, C. (2018), «Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention», The Drama Review, 62 (2), pp.22-42.
Calhoun, C. (ed.) (1992), Habermas and the Public Sphere, The MIT Press, Cambridge, Ma.
Carrier, D. (1986), «Art and Its Spectators», The Journal of Aesthetics and Art Criticism, 45 (1), pp. 5-17.
Crary, J. (1990), Techniques of the Observer. On Vision and Modernity in the Nineteenth Century, The MIT Press, Cambridge, Ma.
Hoelscher, S. (ed.) (2013). Reading Magnum: a visual archive of the modern world, University of Texas Press, Austin, p. 92.
Klaus, E. and O’Connor, B. (2000), «Pleasure and meaningful discourse: An overview of research issues», International Journal of cultural studies, 3 (3), pp. 369-387.
Leahy, H.R. (2012), Museum Bodies. The Politics and Practices of Visiting and Viewing, Routledge, London and New York.
Martin Prada, J. (2018), El ver y las imágenes en el tiempo de Internet, AKAL, Madrid.
Sobchack, V. (2004), Carnal thoughts. Embodiment and the moving image culture, California University Press, Berkeley.
Reyero, C. (2008), Observadores. Estudiosos, aficionados y turistas dentro del cuadro, Universitat Autònoma de Barcelona, Barcelona.
Wesseling, J. (2017), The Perfect Spectator. The Experience of Art Work and Reception Aesthetics, Valiz, Amsterdam.
Wilder, K. (2020), Beholding. Situated Art and the Aesthetics of Reception, Bloomsbury, London.
Solidarity
Berríos, María (2019), «Solidarity and Storytelling. Rumors against Enclosure»,
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Cristiá, Moira (2021), AIDA. Una historia de solidaridad artística transnacional (1979-1985), Buenos Aires, Ediciones Imagu Mundi.
Garland Mahler, Anne (2018), From the Tricontinental to the Global South. Race, Radicalism, and Transnational Solidarity, Duke University Press.
Gatti, Mauricio (1977), En la selva hay mucho por hacer, Barcelona, Centro de Información y Documentación en Barcelona del Tercer Mundo.
Hanna, Lani (2020), «Tricontinental’s International Solidarity. Emotion in OSPAAL as Tactic to Catalyze Support», Radical History Review, 136, January, pp. 169-184.
Khouri, Kristine y Salti, Rasha (2018), Past Disquiet : Artists International Solidarity and Museums in Exile, Varsovie : Muzem (Museum of Modern Art in Warsaw), Chicago : Chicago University Press.
Lebeau, Élodie (2021), «El Museo de la Solidaridad de la Unidad Popular al exilio (1971-1991).Una experiencia transnacional en tiempo de guerra fría cultural», Secuencia (108), septiembre-diciembre: e1835 doi: https://doi.org/10.18234/secuencia.v0i108.1835
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Piškur, Bojana (2016), «Solidarity in Arts and Culture. Some cases from the Non-Aligned Movement», en línea desde el 1 de octubre https://www.internationaleonline.org/research/alter_institutionality/78_solidarity_in_arts_and_culture_some_cas es_from_the_non_aligned_movement/
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Solanas Fernando y Getino, Octavio (1969), «Hacia un tercer cine», Tricontinental, nº 13, enero, pp. 107-132.
Sontag, Susan, «Posters: Advertisement, Art, Political Artifact, Commodity, Michael Beirut, Jessica Helfand, Steven Heller, Rick Poynord, ed. (1999), Looking Closer 3, Allworth Press, New York, pp. 196-218
Stites Mor, Jessica y Suescun Pozas, María del Carmen (eds.) (2018), The Art of Solidarity, University of Texas Press.
Stites Mor, Jessica (2019), «Rendering Armed Struggle. OSPAAAL, Cuban Poster Art, and South-South Solidarity at the United Nations», Anuario de Historia de América Latina, 56, pp. 42-65.
Traverso, Enzo (2016), Left-Wing Melancholia. Marxism, History and Memory, Columbia University Press.
Vesić, Jelena y Pop-Mitić, Darinka (2019), «On Solidarity in Time . In Front of an Empty Wall, Looking at a Lost Image», springerin, 1, https://www.springerin.at/en/2019/1/solidaritat-in-der-zeit/
Subjectivity
Alcázar, J. (2014), Performance. Un arte del yo. Autobiografía, cuerpo e identidad, Siglo XXI, Ciudad de México.
Althusser, L. (2011 [1970)], Ideología y aparatos ideológicos del Estado. Freud y Lacan, Nueva Visión, Buenos Aires.
Butler, J. (1988), «Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory», Theatre Journal, 40:4.
— (2007 [1990]), El género en disputa. El feminismo y la subversión de la identidad, Paidós, Madrid.
— (2001 [1995]), «Sometimiento, resistencia, resignificación. Entre Freud y Foucault», en Mecanismos psíquicos del poder. Teorías sobre la sujeción, Cátedra, Madrid.
Dardot, P. y Ch. Laval (2013 [2010]), La nueva razón del mundo. Ensayo sobre la sociedad neoliberal, Gedisa, Barcelona.
Foucault, M. (1976), Histoire de la sexualité I. La volonté de savoir, Gallimard, París.
— (2016 [1980]), «Debate sobre Verdad y subjetividad», en El origen de la hermenéutica de sí. Conferencias de Dartmouth, 1980, Siglo XXI, Buenos Aires.
— (1998 [1982]), «Sex, Power, and the Politics of Identity», en Ethics: Subjectivity and Truth, New Press, Nueva York.
Gómez Ramos, A. (2015). Sí mismo como nadie. Para una filosofía de la subjetividad, Los Libros de la Catarata, Madrid.
Jenko, M. (2015), «The Subject», en Glossary of Common Knowledge, L’Internationale, Liubliana.
Jones, A. (1998), Body Art. Performing the Subject, University of Minnesota, Mineápolis.
Kunst, B. (2015), Artist at Work. Proximity of Art and Capitalism, Zero Books, Winchester y Washington.
Mansfield, N. (2000), Subjectivity. Theories of the Self from Freud to Haraway, New York University Press, Nueva York.
Spivak, G. Ch. (2009 [1983]), ¿Pueden hablar los subalternos?, MACBA, Barcelona.
Technocracy
Acha, J. (1981), Arte y sociedad: Latinoamérica. El producto artístico y su estructura, Fondo de Cultura Económica, México.
Bell, D. (1973), El advenimiento de la sociedad post-industrial, Alianza, Madrid. Reeditado en 1991.
Berger, R. (1977), «Video and the Restructuring of Myth», en Douglas Davis y Allison Simmons, eds., The New Television: A Public/Private Art, The MIT Press, Cambridge, pp. 206-221.
«Bifo» Berardi, F. (2017), Fenomenología del fin. Sensibilidad y mutación conectiva, Caja Negra, Buenos Aires.
Gouldner, A.W. (1976), The Dialectic of Ideology and Technology. The Origins, Grammar, and Future of Ideology, The MacMillan Press, Londres.
Gubern, R. (1996), Del bisonte a la realidad virtual. La escena y el laberinto, Anagrama, Barcelona.
Haraway, D. (1984), «Manifiesto para cyborgs: ciencia, tecnología y feminismo socialista a finales del siglo xx», en Donna Haraway, Ciencia, cyborgs y mujeres. La reivindicación de la naturaleza. Cátedra, Madrid, pp. 251-311.
MacBride, S., ed. (1980), Un solo mundo, voces múltiples. Comunicación e información en nuestro tiempo, Fondo de Cultura Económica, México. Reeditado en 1993.
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