the problems issue the problems issue
Natural Selection Magazine Natural Selection Magazine Guest-editor: Guest-editor: David Hatcher David Hatcher [email protected] [email protected] Co-editors: Co-editors:
Dan Arps and Gwynneth Porter Dan Arps and Gwynneth Porter [email protected] [email protected] Contributing editors: Contributing editors: James Lynch James Lynch Proofreader: Proofreader: Totally Anal Ltd. Totally Anal Ltd.
Designer and Dungeon-master: Designer and Dungeon-master: Warren Olds
Warren Olds
[email protected] [email protected]
Subscribe for free at Subscribe for free at www.naturalselection.org.nz www.naturalselection.org.nz ISSN 1176-6808 ISSN 1176-6808 Issue 6: Problems Issue 6: Problems Editorial Editorial
Natural Selection Magazine Natural Selection Magazine Guest-editor: Guest-editor: David Hatcher David Hatcher [email protected] [email protected] Co-editors: Co-editors:
Dan Arps and Gwynneth Porter Dan Arps and Gwynneth Porter [email protected] [email protected] Contributing editors: Contributing editors: James Lynch James Lynch Proofreader: Proofreader: Totally Anal Ltd. Totally Anal Ltd.
Designer and Dungeon-master: Designer and Dungeon-master: Warren Olds
Warren Olds
[email protected] [email protected]
Subscribe for free at Subscribe for free at www.naturalselection.org.nz www.naturalselection.org.nz ISSN 1176-6808 ISSN 1176-6808 Issue 6: Problems Issue 6: Problems Editorial Editorial
Tessa Laird, “But where is the
Tessa Laird, “But where is the white monkey?”white monkey?”
Tessa Laird found herself getting quite hot under the collar during a recent trip to Paris. Tessa Laird found herself getting quite hot under the collar during a recent trip to Paris. Trauma! The incident involved some white monkeys, or possibly their absence. You decide. Trauma! The incident involved some white monkeys, or possibly their absence. You decide. The setting was the Musée du Quai Branly. Trauma! As an institution, the MQB is clearly The setting was the Musée du Quai Branly. Trauma! As an institution, the MQB is clearly resting far too comfortably on its liberal European laurels. Intrepid as ever, Tessa took a resting far too comfortably on its liberal European laurels. Intrepid as ever, Tessa took a squizz and came up with some
squizz and came up with some simple advice for them which they and their simple advice for them which they and their ilk should follow,ilk should follow, immediately.
immediately.
Dan Arps, “Outreach” Dan Arps, “Outreach”
Suburbs are ridden with problems and so are those that seek refuge from their upbringing Suburbs are ridden with problems and so are those that seek refuge from their upbringing in them, but it’s not hopeless you know. Get i
in them, but it’s not hopeless you know. Get i nvolved! Do something for others. Lift a nger!nvolved! Do something for others. Lift a nger! Believe in something! Spread the word… Dan Arps, A
Believe in something! Spread the word… Dan Arps, A uckland artist and Natsi co-editor, hasuckland artist and Natsi co-editor, has been quite taken with these terrible internet documents of human travails and
been quite taken with these terrible internet documents of human travails and aspirations of aspirations of the most poignant kind. The vulnerability risked by these souls, and the fan-boy costumes, the most poignant kind. The vulnerability risked by these souls, and the fan-boy costumes, the hopeful gatherings, the Juliet windows, the weird conjunction of futuristic and the the hopeful gatherings, the Juliet windows, the weird conjunction of futuristic and the historical (anywhere but here and now?)… Do try this
historical (anywhere but here and now?)… Do try this at home.at home. Mark von Schlegell, “Robert Smithson SF”
Mark von Schlegell, “Robert Smithson SF”
Mark von Schlegell sent us this shocking exposé. Reading
Mark von Schlegell sent us this shocking exposé. Reading between the lines, it appears thatbetween the lines, it appears that Robert Smithson was the secret founder of Scientology, or
Robert Smithson was the secret founder of Scientology, or that the church emerged from anthat the church emerged from an ideological battle between a handful of spaced-out artists, SF writers and camp evangelicals. ideological battle between a handful of spaced-out artists, SF writers and camp evangelicals. Is there a difference? Not necessarily, see, and that’s something we don’t know enough Is there a difference? Not necessarily, see, and that’s something we don’t know enough about. Except for Dan Graham, he’s got
about. Except for Dan Graham, he’s got the grass on everything.the grass on everything. Dane Mitchell, “Sense And Sanitation”
Dane Mitchell, “Sense And Sanitation”
The home can be a lthy place, there’s danger lurking on every horizontal surface, your The home can be a lthy place, there’s danger lurking on every horizontal surface, your only hope is eternal vigilance. Thanks to Dane Mitchell’s sensible advice, now you have only hope is eternal vigilance. Thanks to Dane Mitchell’s sensible advice, now you have something to study during those quiet moments you might
something to study during those quiet moments you might otherwise spend worrying aboutotherwise spend worrying about whether you should wash your hands, again. We are very pleased to present Dane’s rst whether you should wash your hands, again. We are very pleased to present Dane’s rst
issue of Sense And Sanitation, a cautionary tale. issue of Sense And Sanitation, a cautionary tale. Jess Whyte, “This is not
Jess Whyte, “This is not Australia”Australia”
Jess Whyte sent us a report on the role of the
Jess Whyte sent us a report on the role of the camp and its position as one of the corcamp and its position as one of the cor nerstonesnerstones of White Australia’s present operations as a nation-state. You already know it isn’t pretty, of White Australia’s present operations as a nation-state. You already know it isn’t pretty, here are some of the details. Jess adds her
here are some of the details. Jess adds her thoughts on bare life and the thoughts on bare life and the gure of gure of homo sacer homo sacer to those of Agamben, looking at the vulnerable position of the immigrant in contemporary to those of Agamben, looking at the vulnerable position of the immigrant in contemporary Australia and other societies that consider themselves too civilised to all
Australia and other societies that consider themselves too civilised to all ow such conditionsow such conditions to develop.
to develop.
Layla Rudneva-Mackay, “Education Stories” Layla Rudneva-Mackay, “Education Stories”
An audio le! Layla Rudneva-Mackay shares some Education Stories with us. Pay attention! An audio le! Layla Rudneva-Mackay shares some Education Stories with us. Pay attention! Especially if you’re a white male middle-class academic working in an art institution in Especially if you’re a white male middle-class academic working in an art institution in Dunedin. Or a creepy ignorant high school teacher who nds teenage girls make you angry. Dunedin. Or a creepy ignorant high school teacher who nds teenage girls make you angry. Scott Redford, “PHOTO: Sculpture, Theatre etc…”
Scott Redford, “PHOTO: Sculpture, Theatre etc…”
Lock up your fathers, Scott Redford is back! Herr Redford was in Melbourne recently for a Lock up your fathers, Scott Redford is back! Herr Redford was in Melbourne recently for a show called
show called PHOTO: Sculpture, Theatre etc…PHOTO: Sculpture, Theatre etc…and like everyone else here, seems to have anand like everyone else here, seems to have an axe to grind. Trauma! Finally some honesty about affect and the aesthetics of convenience in axe to grind. Trauma! Finally some honesty about affect and the aesthetics of convenience in contemporary art. You heard it here rst from the Queen of the Gold Coast.
contemporary art. You heard it here rst from the Queen of the Gold Coast. Contents Contents ... 1 ... 1 ... 2 ... 2 ... 3 ... 3 ... 4 ... 4 ... 5 ... 5 ... 6 ... 6 ... 7 ... 7
Contents Contents
Matthew Shannon, “On the capacity for the Queen of Australia to
Matthew Shannon, “On the capacity for the Queen of Australia to be replaced by a CGIbe replaced by a CGI avatar”
avatar”
Speaking of queens, Matthew Shannon’s been doing some good thinking on how to solve that Speaking of queens, Matthew Shannon’s been doing some good thinking on how to solve that monarchy problem Australia can’t seem to get past—without cutting of
monarchy problem Australia can’t seem to get past—without cutting of f anybody’s head. It’sf anybody’s head. It’s really easy to replace her with a CGI
really easy to replace her with a CGI avatar actually, as you’ll discover.avatar actually, as you’ll discover. Mercedes Vicente, “Darcy Lange: Work Studies in
Mercedes Vicente, “Darcy Lange: Work Studies in Schools (1976—1977)”Schools (1976—1977)”
Sleepwalking backwards into the Web 2.0 world, Natural Selection’s rst ever Sleepwalking backwards into the Web 2.0 world, Natural Selection’s rst ever video-on-demand offerings are here!
demand offerings are here! Mercedes Vicente selected some videos from Darcy Lange’sMercedes Vicente selected some videos from Darcy Lange’sWork Work Studies in Schools
Studies in Schools project so nowproject so now you can watch this great black and white grainy 70s you can watch this great black and white grainy 70s footage from the comfort of your own home.
footage from the comfort of your own home. Mercedes also gives us some of her thoughts onMercedes also gives us some of her thoughts on Darcy Lange’s practice and as a special treat you can read those in Spanish too. And you Darcy Lange’s practice and as a special treat you can read those in Spanish too. And you thought you knew everything there is to know about
thought you knew everything there is to know about the DL.the DL. Simon Denny & Tahi Moore, “I feel
Simon Denny & Tahi Moore, “I feel optimistic”optimistic”
Simon Denny & Tahi Moore are feeling optimistic. There is a lot of optimism in denim these Simon Denny & Tahi Moore are feeling optimistic. There is a lot of optimism in denim these days, for those of you who didn’t know. There is
days, for those of you who didn’t know. There is a prize offered too, for the a prize offered too, for the rst reader whorst reader who cracks the code.
cracks the code.
Katie Holten, “Solution” Katie Holten, “Solution”
Our favourite itinerant artist Katie Holten
Our favourite itinerant artist Katie Holten has been trying to solve the time/space/resources/has been trying to solve the time/space/resources/ etc. problem, and here’s one very practical solution she sent in. It has the added bonus of etc. problem, and here’s one very practical solution she sent in. It has the added bonus of being able to be used to keep little animals warm, or to reduce the harsh effects of frosts on being able to be used to keep little animals warm, or to reduce the harsh effects of frosts on young plants, if you put the off-cuts through a shredder or better still, slice those off-cuts young plants, if you put the off-cuts through a shredder or better still, slice those off-cuts into thin strips by hand. See if you can get all the strips to be exactly the same width with into thin strips by hand. See if you can get all the strips to be exactly the same width with straight edges, without looking.
straight edges, without looking.
et al., “Maintenance of Social Solidarity – Stage Three” et al., “Maintenance of Social Solidarity – Stage Three”
We asked et al. about it all, and this is what they were willing to reveal at this stage. We We asked et al. about it all, and this is what they were willing to reveal at this stage. We couldn’t agree more, and will be distributing the fruits of their research into the maintenance couldn’t agree more, and will be distributing the fruits of their research into the maintenance of social solidarity until further notice. If you are German, pay special attention. You may of social solidarity until further notice. If you are German, pay special attention. You may have in fact been studied at close range,
have in fact been studied at close range, without having noticed a thing.without having noticed a thing. The School of Hard
The School of Hard Knocks, “Free PhDs, only while stocks last”Knocks, “Free PhDs, only while stocks last” The School of Hard Knocks is nally here
The School of Hard Knocks is nally here to solve your problems with educational institutions.to solve your problems with educational institutions. Just say no! Instead, have one of ou
Just say no! Instead, have one of ou r free PhDs, available over the internet r free PhDs, available over the internet while stocks last.while stocks last. To enrol, submit your thesis by email (must be at least 25 words in length). We will certify To enrol, submit your thesis by email (must be at least 25 words in length). We will certify you and send you your PhD when we are satised that you have completed the requirements you and send you your PhD when we are satised that you have completed the requirements of the course. This usually takes about 48 hours. Don’t forget to tell us what you are a of the course. This usually takes about 48 hours. Don’t forget to tell us what you are a specialist in and no, we won’t send you
specialist in and no, we won’t send you a hard copy. That would be a hard copy. That would be cheating.cheating. Joel Mesler, “A soldier’s etiquette”
Joel Mesler, “A soldier’s etiquette”
Joel Mesler’s got an axe to grind too. Here’s his letter to the LA Times about ethnicity, Joel Mesler’s got an axe to grind too. Here’s his letter to the LA Times about ethnicity,
partisan journalism, a soldier’s etiquette. partisan journalism, a soldier’s etiquette.
Sean O’Reilly & Rachel Shearer, “Fakerie and other heavens...” Sean O’Reilly & Rachel Shearer, “Fakerie and other heavens...”
More SF (and lovely midget), this time from Sean O’Reilly and Rachel Shearer. Fakerie and More SF (and lovely midget), this time from Sean O’Reilly and Rachel Shearer. Fakerie and other heavens... In admirably secretive fashion, this biting hoarded missive was published other heavens... In admirably secretive fashion, this biting hoarded missive was published in a sound-ancillary publication that was hard to get and not announced. We felt that it in a sound-ancillary publication that was hard to get and not announced. We felt that it was impossible to blow this work’s cover as it is certainly a
was impossible to blow this work’s cover as it is certainly a veritable ill wind blowing tumbleveritable ill wind blowing tumble weeds down your post-acid corridors. In other words it is inter-dimensional and slippery weeds down your post-acid corridors. In other words it is inter-dimensional and slippery
enough to not need that much
enough to not need that much privacy.privacy.
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Contents
Damien Lawson & Kylie Wilkinson, “empty land”
More bare life – shock! The pretty Antipodes as a veritable nudist colony of postcolonial real (e)state apparatus suck. Damien Lawson & Kylie Wilkinson sent us a brief history of bare life in Australia, a chilling list of Australia’s legislation of bare life. There is a history to the recent political conditions for immigrants and other vulnerable persons in Australia today, and this is a good introduction to it.
Ludwig Wittgenstein, “Mr. Do Not Attempt To Analyse Your Inner Experiences”
Ludwig Wittgenstein!! Yes, Ludwig sent us a doodle of Mr. Do Not Attempt To Analyse Your Inner Experiences, a kind of colouring in template for under 5s. Give it to your kids, it’s the best advice they may ever get. If you’re over 30 you’re probably old enough to regret not being told this as a child yourself. It’s OK to colour it in yourself, just don’t steal any crayons from under 5s, it’s kind of against the spirit of the exercise.
Rob Mckenzie, “In defense of experimentation”
Rob McKenzie’s been thinking about living dangerously and here are his thoughts on some writing that extols-slash-legitimises risk. Drug and consequence takers are posited as the
advance scouts that effect societal transformations that chickenshits then sit nervously in, unaware, worrying about household security and premature aging and those freaking irritating luxury problems that keep most people working all the time in order to have money to throw at these “problems”.
Spiros Panigirakis, “Baubles, blood and bushes”
And if you didn’t get it by now, here is more. Lots of bare life this issue, spotted here in an oblique weave through some of Spiros Panigirakis’ recent thinking on gay hate crime, art/agitprop, homophobic enculturation in the class-room, sex in bushes and well, see for yourself!
Amelia Harris, “Amelia Harris – Fine Art 1998-2005”
Lady Amelia Harris, the patron saint of forgiveness, shows you how it’s done. It’s a true story and we thought you needed to see it all. So next time you’re wondering what to do about a problem large or small, start with forgiveness. She did, and Amelia Harris – Fine Arts 1998- 2005 records the ray of hope that she became for all those hopeless art students, academics and hapless bystanders that took their books back to the Fine Arts library after the due date. If you work in a library please accept a round of applause from the Natural Selection editors and we imagine, most of our readers. Without forgiveness we would all have been more heavily ned than was in fact the case. This is possibly the most important thing you can learn in a Fine Art library, we’ll tell you that for nothing.
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O
n the 20th June, 2006, Jacques Chirac, President of the Republic of France, opened the Musée du Quai Branly (MQB) in Paris. Designed by architect Jean Nouvel, the museum was built to house the African,Oceanian, American and Asian collections of the Louvre and the Musee de l’Homme, as well as millions of euros worth of newly purchased artefacts. Chirac, apparently a big fan of African art, saw this as his opportunity to make his mark on Parisian cultural life, as his predecessor Francois Mitterand had inaugurated many signicant cultural sites in the city. Chirac’s deference to difference was undoubtedly also inspired by the racial riots that rocked Paris last year. One of the museum’s missions was “Dissipating the fogs of ignorance” and promoting the “fragile owers of difference”1
evoked by Claude Levi-Strauss, who, somewhat incredibly, was present at the launch of the Theatre that bears his
name, at 98 very ripe years of age.
Chirac declared, “There is no hierarchy among the arts, just as there is no hierarchy among peoples.” Added to this, the
museum pays homage to those who have suffered conquest, violence and humiliation.2 One can only ponder if Chirac
extends this soothing cultural balm to the victims of French nuclear testing in the Pacic, given that Chirac himself reinstated these tests after their long hiatus on his 1995 election into power.
*
Seven days after Chirac’s inauguration of Paris’s newest museum, I’m standing in the very long queue in the still partially uncompleted courtyard, reeling from 24 hours of ying, the Parisian summer heat, and the buzz of voices I barely understand. The new museum seems to be the talk of the town, eclipsed only by the World Cup. I saw banners for Tessa Laird
But where is the white monkey?
Tessa Laird,But where is the white monkey? Detail of Another Museum of the Other presents: Te Tari Pekapeka /Department of Bats, Curat ed by Rascar Capac, Principal Sponsor: The Zonge Tribe , Ceramics and acrylic paintings, dimensions variable, 2006
Musée du Quai Branly at the airport, with the subtitle “Where cultures are in dialogue”. Elsewhere, such as the cover of Télérama magazine, the subtitle is the almost unbelievably embarrassing “The Museum of the Other.”3I can just catch
a glimpse of the photographs by Michael Parekowhai and Fiona Pardington donated by the New Zealand government. They’re over by the restaurant, but much of that area is still under construction, and is cordoned off. It’s the only contemporary work I’ll be seeing today, except for that of Australian Aboriginal painters, and the Trin T. Minh Ha video work which does little more than slightly confuse visitors with a spray of barely visible (in the light) images and texts about self and other as they walk up the ramp on the way to the galleries.
The galleries themselves are beautifully constructed – promoting a seamless perambulation that’s supposed
to echo the sinuous curves of the Seine. The long hall is subdivided by a snaking partition which doubles as a place to sit, and there are countless little coves with information kiosks embedded into the walls, featuring texts and videos in which numerous indigenous folk talk of their lifeways. Still, I couldn’t see any evidence of the conquest, violence and humiliation that Chirac had mentioned. There was no effort to contextualise these works in a history of colonial plundering, no attempt to explain the trajectory of the objects from their sources to their current resting places.
Fred Wilson, the American artist who made his name from the astute rearranging of museum set pieces, kicked off his career withColonial Collection in 1990, a selection of African masks which were blindfolded with either the Tricoleur or the Union Jack, depending on which colonial power (French Vanilla or Plain Vanilla) had asserted its dominance in the region. The wall tags next to these works, rather than tracing a lineage of white collectors, as most museums do, said very simply “Stolen from the Zonge Tribe”4if that was the tribe in
question. Yet the MQB remains quite silent on this issue. *
I was in Paris to participate in a conference called New Zealand, France and the Pacic . Organised by the UK-based New Zealand Studies Association, it seemed, like most conferences, an excuse to junket. Papers on just about any aspect that connected the three designated topic zones were accepted, and, apart from the keynotes, they were each 20 minutes long, and ran in multiple streams. Many deliveries were hurried and plagued with mispronunciations and
possibly, misapprehensions. After three days of hearing Tessa Laird, The mythical master of all splitting Detail of Another
Museum of t he Other presents: Te Tari Pekapeka /Department of Bats, Curated by Rascar Capac, Principal Sponsor: The Zonge Tribe , Ceramics and acrylic paintings, dimensions variable, 2006
Europeans ponticate about Katherine Manseld, Janet Europeans ponticate about Katherine Manseld, Janet Frame,
Frame, Whale Rider Whale Rider , and the haka, I realised how it felt to, and the haka, I realised how it felt to be “the other”. I was frustrated by my marginal status – both be “the other”. I was frustrated by my marginal status – both grateful to be receiving attention from the global “centre”, grateful to be receiving attention from the global “centre”, and suspicious of that attention’s intentions.
and suspicious of that attention’s intentions.
Not since Paul Gauguin left Paris for Tahiti has Oceania Not since Paul Gauguin left Paris for Tahiti has Oceania been so hip. Within the last couple of years, shows in been so hip. Within the last couple of years, shows in London, Paris, New York and Cambridge have proled London, Paris, New York and Cambridge have proled New Zealand Pasika artists, with attendant programmes, New Zealand Pasika artists, with attendant programmes, seminars, and performances. And while it’s exciting that seminars, and performances. And while it’s exciting that our artists are gaining an
our artists are gaining an international audience, I wonderinternational audience, I wonder if it’s not still a
if it’s not still a case of exoticisation of “the other”. A friendcase of exoticisation of “the other”. A friend told me a story of how a Maori man with moko was recently told me a story of how a Maori man with moko was recently using the Paris metro. A local was heard to exclaim, “Oh la using the Paris metro. A local was heard to exclaim, “Oh la la, le nouveau sauvage!”
la, le nouveau sauvage!”
More evidence of such novelty from the periphery was to More evidence of such novelty from the periphery was to be found in the location of our conference dinner, at a be found in the location of our conference dinner, at a restaurant in a chi-chi quarter of Paris, called Kiwi Corner. restaurant in a chi-chi quarter of Paris, called Kiwi Corner. Run by enterprising young antipodeans, the menu is a Run by enterprising young antipodeans, the menu is a mash-up of New Zealand, Australian, and Pacic avours. mash-up of New Zealand, Australian, and Pacic avours. The décor, however, is pure Kiwiana: Maori carvings mingle The décor, however, is pure Kiwiana: Maori carvings mingle with scenic photographs. Listening to Fat Freddy’s Drop, with scenic photographs. Listening to Fat Freddy’s Drop, and sipping 42 Below vodka, I felt simultaneously soothed and sipping 42 Below vodka, I felt simultaneously soothed and irked by the all-too-neat packaging of my
and irked by the all-too-neat packaging of my homeland. Buthomeland. But my main course was anything but soothing
my main course was anything but soothing – the vegetarian– the vegetarian option was a pastry package lled with kiwifruit and cheese, option was a pastry package lled with kiwifruit and cheese, which looked, and tasted, like a stomach stuffed with waring which looked, and tasted, like a stomach stuffed with waring
savours. It was a reminder that
savours. It was a reminder thatmétissage métissage , or cultural fusion,, or cultural fusion, can be a fraught and difcult process.
can be a fraught and difcult process.
In the Musée du Quai Branly, I walk up the long hall of In the Musée du Quai Branly, I walk up the long hall of Oceanian art. There are amazing pieces from Papua New Oceanian art. There are amazing pieces from Papua New Guinea. There’s a Sepik beam oating from the ceiling, Guinea. There’s a Sepik beam oating from the ceiling, covered in heads with round ears and sharp teeth. Having covered in heads with round ears and sharp teeth. Having spent the last few years engaged in studying pan-cultural spent the last few years engaged in studying pan-cultural imagery of bats, I’m pretty positive that these are bat imagery of bats, I’m pretty positive that these are bat spirits, though the signage doesn’t identify them as such. spirits, though the signage doesn’t identify them as such. Photography is forbidden – I’ve just asked one of
Photography is forbidden – I’ve just asked one of the guardsthe guards in my halting French, so I make a hasty sketch of the bat in my halting French, so I make a hasty sketch of the bat beam in my notebook instead.
beam in my notebook instead.
Almost all the guards are African, and almost
Almost all the guards are African, and almost all the visitorsall the visitors are white. I keep wondering what the guards really think of are white. I keep wondering what the guards really think of this situation, and about the designation of the art of their this situation, and about the designation of the art of their homelands as “the other”. Do they see themselves as “the homelands as “the other”. Do they see themselves as “the other” or are they French or both? Do they feel connected other” or are they French or both? Do they feel connected to this art, or is it just a job? Are they bemused by the to this art, or is it just a job? Are they bemused by the fascination these artefacts have for those who have little fascination these artefacts have for those who have little time or respect for real live Africans?
time or respect for real live Africans?
The skin colour of the guards puts me in mind of another The skin colour of the guards puts me in mind of another
Fred Wilson work,
Fred Wilson work, Guarded View Guarded View (1991), in which the artist(1991), in which the artist displayed dark-skinned shop dummies in museum guard displayed dark-skinned shop dummies in museum guard uniforms. When giving an artist’s talk about the work, uniforms. When giving an artist’s talk about the work, Wilson, who is African-American, played a trick on his Wilson, who is African-American, played a trick on his public. Excusing himself for a minute, he put on a guard’s public. Excusing himself for a minute, he put on a guard’s uniform and came back into the room. No one noticed him, uniform and came back into the room. No one noticed him, and several complaints were made about
and several complaints were made about his disappearance.his disappearance.
Of course, Michael Parekowhai has explored similar
Of course, Michael Parekowhai has explored similar territoryterritory with
with Poorman, Beggarman and Thief Poorman, Beggarman and Thief (1994), in which three(1994), in which three dummies modelled on Parekowhai’s father stood sentinel dummies modelled on Parekowhai’s father stood sentinel in galleries, looking like the clean cut Maori “entertainers” in galleries, looking like the clean cut Maori “entertainers” of the 1950s; and
of the 1950s; and Kapa Haka Kapa Haka (2003), in which breglass(2003), in which breglass models of Parekowhai’s security guard brother staunched models of Parekowhai’s security guard brother staunched out gallery visitors, underlining the ethnic divide operating out gallery visitors, underlining the ethnic divide operating in such low-paid, but dangerous work.
in such low-paid, but dangerous work.55
I wonder about the morality of using the designs I’ve I wonder about the morality of using the designs I’ve sketched in my notebook for future artworks. I’ve just been sketched in my notebook for future artworks. I’ve just been reading Anne D’Alleva’s
reading Anne D’Alleva’sArt of the Pacic Art of the Pacic where she says thatwhere she says that in Papua New Guinea, many of these kinds of ritualistic in Papua New Guinea, many of these kinds of ritualistic objects would only be visible to the male
objects would only be visible to the male initiates of the tribe.initiates of the tribe. And here they are for all the world, or at least the Parisian And here they are for all the world, or at least the Parisian bourgeoisie, to see.
bourgeoisie, to see.
It becomes increasingly difcult to look at the funerary It becomes increasingly difcult to look at the funerary reliquaries. There are human skulls on show from PNG, reliquaries. There are human skulls on show from PNG, hard to regard as “art objects” when even reproductions of hard to regard as “art objects” when even reproductions of moko mokai are now jealously guarded in Aotearoa. There’s moko mokai are now jealously guarded in Aotearoa. There’s a section where Papuan fetishes, made with human hair and a section where Papuan fetishes, made with human hair and other highly charged ritual ingredients, look too dangerous other highly charged ritual ingredients, look too dangerous to even approach. I don’t believe these objects have l
to even approach. I don’t believe these objects have l ost theirost their power
power. They were built to . They were built to terrify, and they still terrify. terrify, and they still terrify. I hurryI hurry on. There’s a giant globe with an interactive map showing on. There’s a giant globe with an interactive map showing the origins of the collections. New Zealand emerges from a the origins of the collections. New Zealand emerges from a soupy water of pixels. I want to lay my hand on it and say soupy water of pixels. I want to lay my hand on it and say “home.” But I don’t want these Europeans to “other” me, “home.” But I don’t want these Europeans to “other” me, either. For as long as I can, I’ll blend
either. For as long as I can, I’ll blend in.in.
There’s not much Maori work here, and what there is has no There’s not much Maori work here, and what there is has no
tribal afliation indicated by the signage. But I do
tribal afliation indicated by the signage. But I do enjoy theenjoy the juxtaposition of a Maori canoe prow with a Moluccan prow juxtaposition of a Maori canoe prow with a Moluccan prow
known as
known askora ulu kora ulu . Somehow, this simple visual comparison. Somehow, this simple visual comparison helps to bridge the yawning gaps of Oceania, and categories helps to bridge the yawning gaps of Oceania, and categories of Polynesian, Melanesian, and Asian seem arbitrary and of Polynesian, Melanesian, and Asian seem arbitrary and permeable.
permeable.
There are a couple of other moments like this – the Siberian There are a couple of other moments like this – the Siberian Shaman costume looks so much like North American Indian Shaman costume looks so much like North American Indian Shaman costumes, that it’s almost as though the Bering Shaman costumes, that it’s almost as though the Bering Land Bridge happened only yesterday, while California Land Bridge happened only yesterday, while California Indians wore grass skirts that looked not unlike piupiu. I Indians wore grass skirts that looked not unlike piupiu. I salivated over a 19th century padded green jacket from the salivated over a 19th century padded green jacket from the Shan of Myanmar. So very Princess Leia! I saw the white Shan of Myanmar. So very Princess Leia! I saw the white monkey mask of the eminently cool Dogon.
monkey mask of the eminently cool Dogon.66 And I thoughtAnd I thought
I smelt a faint whiff of incense, as if these objects had had I smelt a faint whiff of incense, as if these objects had had some kind of sacred inauguration.
some kind of sacred inauguration.
I experienced moments of elation and moments of a kind of I experienced moments of elation and moments of a kind of dread and even nausea (perhaps it was the jetlag). I felt giddy dread and even nausea (perhaps it was the jetlag). I felt giddy at the enormity and weirdness of it all. Because, no matter the at the enormity and weirdness of it all. Because, no matter the architecture, the multimedia, the MONEY, it was still white architecture, the multimedia, the MONEY, it was still white people looking at the sacred artefacts of
people looking at the sacred artefacts of non-white people fornon-white people for a frisson, a tingling of the nerves, a form of entertainment a frisson, a tingling of the nerves, a form of entertainment like any other. And while it’s an enormous privilege to be like any other. And while it’s an enormous privilege to be able to view such works, it’s one I’d gladly relinquish for the able to view such works, it’s one I’d gladly relinquish for the far greater privilege of witnessing the return of
far greater privilege of witnessing the return of these objects,these objects, masterpieces, taonga, to their original people and contexts. masterpieces, taonga, to their original people and contexts.
In the end, I think that the only truly “modern” museum In the end, I think that the only truly “modern” museum is one that repatriates its collections. Just imagine all the is one that repatriates its collections. Just imagine all the “going home” stories! If each one could be as detailed and “going home” stories! If each one could be as detailed and magnicent as the one elucidated by Paul Tapsell in
magnicent as the one elucidated by Paul Tapsell in Pukaki: Pukaki: A Comet Returns
A Comet Returns , we would be culturally richer, not poorer,, we would be culturally richer, not poorer, for the process. These are the stories I want to
for the process. These are the stories I want to hear.hear. **
I once heard a story, perhaps apocryphal, about a Mexican I once heard a story, perhaps apocryphal, about a Mexican man who repatriated an ancient codex from
man who repatriated an ancient codex from the Bibliothèquethe Bibliothèque Nationale in Paris.
Nationale in Paris.77 And a story about Native AmericanAnd a story about Native American
elders, who, as they were performing a ritualistic dance elders, who, as they were performing a ritualistic dance to entertain the whitefolk at a museum, were secretly to entertain the whitefolk at a museum, were secretly squirreling their sacred artefacts into a truck out the back. squirreling their sacred artefacts into a truck out the back. Then there’s Barry Barclay’s ctional feature
Then there’s Barry Barclay’s ctional feature Te Rua Te Rua , about, about the repatriation of Maori carvings from a German museum. the repatriation of Maori carvings from a German museum. Watching the lm today, there are some cringey moments of Watching the lm today, there are some cringey moments of big shoulder pads and earrings, white women lusting after big shoulder pads and earrings, white women lusting after warriors and German curators professing themselves to be warriors and German curators professing themselves to be experts on things they can’t even pronounce. Well, perhaps experts on things they can’t even pronounce. Well, perhaps very little but the shoulder pads have changed, for
very little but the shoulder pads have changed, for certainly,certainly, Te Rua
Te Rua is worth watching today. There are some magicalis worth watching today. There are some magical moments – the gypsy who cleans the museum’s cabinets moments – the gypsy who cleans the museum’s cabinets hears our Maori hero greeting his ancestors – she is moved hears our Maori hero greeting his ancestors – she is moved to sing a traditional song of her people, for perhaps the to sing a traditional song of her people, for perhaps the rst time in years. I love
rst time in years. I love Te Rua Te Rua for opening up this cross-for opening up this cross-cultural korero, for recognising that longing and loss is not cultural korero, for recognising that longing and loss is not the prerogative of one people.
the prerogative of one people.
I got particularly hot under the collar about the issue of I got particularly hot under the collar about the issue of repatriation of the Benin bronzes after watching
repatriation of the Benin bronzes after watching Artist Artist Unknown
Unknown , an Omnibus documentary from 1995, made for, an Omnibus documentary from 1995, made for British TV.
British TV.88In it, a Londoner of Trinidadian extraction fallsIn it, a Londoner of Trinidadian extraction falls
in love with a bronze African mask in an antique shop, and in love with a bronze African mask in an antique shop, and tries to trace its lineage by interviewing a series of experts, tries to trace its lineage by interviewing a series of experts, and visiting the British Museum, before travelling to Benin and visiting the British Museum, before travelling to Benin City, Nigeria. The inside politics of tribal art collection that City, Nigeria. The inside politics of tribal art collection that this documentary only hints at, are wickedly critiqued in this documentary only hints at, are wickedly critiqued in Yambo Ouloguem’s 1968 novel
Yambo Ouloguem’s 1968 novelBound to Violence Bound to Violence , where the, where the real German anthropologist and collector Leo Frobenius is real German anthropologist and collector Leo Frobenius is thinly disguised as the ultimate exploiter, Shrobenius: thinly disguised as the ultimate exploiter, Shrobenius: “Thus drooling, Shrobenius derived a twofold benet on his “Thus drooling, Shrobenius derived a twofold benet on his return home: on the one hand, he mystied the people of his return home: on the one hand, he mystied the people of his own country who in their enthusiasm raised him to a lofty own country who in their enthusiasm raised him to a lofty Sorbonnical chair, while on the other hand he exploited the Sorbonnical chair, while on the other hand he exploited the sentimentality of the coons, only too pleased to hear from sentimentality of the coons, only too pleased to hear from the mouth of a white man that Africa was ‘the womb of the the mouth of a white man that Africa was ‘the womb of the world and the cradle of civilization.’
world and the cradle of civilization.’ (( …… ))
And, shrewd anthropologist that he was, he sold more than And, shrewd anthropologist that he was, he sold more than thirteen hundred pieces, deriving from the collection he thirteen hundred pieces, deriving from the collection he had purchased from Saif and the carloads his disciples had had purchased from Saif and the carloads his disciples had obtained in Nakem free of charge, to
obtained in Nakem free of charge, to the following purveyorsthe following purveyors of funds: the Musée de l’Homme in Paris, the museums of of funds: the Musée de l’Homme in Paris, the museums of London, Basel, Munich, Hamburg, and New York. And on London, Basel, Munich, Hamburg, and New York. And on hundreds of other pieces he collected rental, reproduction, hundreds of other pieces he collected rental, reproduction,
and exhibition fees. and exhibition fees.
(( …… ))
Already it had become more than difcult to procure old Already it had become more than difcult to procure old masks, for Shrobenius and the missionaries had had the masks, for Shrobenius and the missionaries had had the good fortune to snap them all up. And so Saif – and the good fortune to snap them all up. And so Saif – and the practice is still current – had slapdash copies buried by the practice is still current – had slapdash copies buried by the hundredweight, or sunk into ponds, lakes, marshes, and hundredweight, or sunk into ponds, lakes, marshes, and mud holes, to be exhumed later on and sold at exorbitant mud holes, to be exhumed later on and sold at exorbitant prices to unsuspecting curio hunters. These prices to unsuspecting curio hunters. These three-year-old masks were said to be
old masks were said to be charged with the weight of four charged with the weight of four centuries of civilization
centuries of civilization . To the credulous customer, the seller. To the credulous customer, the seller pointed out the ravages of time, the malignant worms that pointed out the ravages of time, the malignant worms that had gnawed at these masterpieces imperilled since time had gnawed at these masterpieces imperilled since time immemorial, witness to their prefabricated poor condition.” immemorial, witness to their prefabricated poor condition.”99
After watching
After watchingArtist Unknown Artist Unknown , I wrote a letter to the , I wrote a letter to the BritishBritish Museum, enquiring as to the current status of the Benin Museum, enquiring as to the current status of the Benin bronzes, and if there were any plans to repatriate them. It bronzes, and if there were any plans to repatriate them. It took me over a year to get a reply. Eventually, they posted took me over a year to get a reply. Eventually, they posted me a photocopied article from the journal
me a photocopied article from the journalPublic Archaeology Public Archaeology ,, Volume 4, Number 1, 2005.
Volume 4, Number 1, 2005.
The article in question was called “The encyclopaedic The article in question was called “The encyclopaedic museum: Enlightenment ideals, contemporary realities, A museum: Enlightenment ideals, contemporary realities, A reply from Neil MacGregor and Jonathan Williams”, but I reply from Neil MacGregor and Jonathan Williams”, but I didn’t know what exactly it was a reply to. All I know is didn’t know what exactly it was a reply to. All I know is that McGregor is the Director of the British Museum that McGregor is the Director of the British Museum while Williams works on that institution’s “international while Williams works on that institution’s “international
relations”. relations”.
There’s something simultaneously self-congratulatory and There’s something simultaneously self-congratulatory and scared about the tone of this “reply”. Try this: “the British scared about the tone of this “reply”. Try this: “the British Museum is a resounding assertion that truth is a civic Museum is a resounding assertion that truth is a civic virtue that the state should foster”.(57) Orwellian? Moi? virtue that the state should foster”.(57) Orwellian? Moi? “The Museum was conceived for David Hume’s citizen of the “The Museum was conceived for David Hume’s citizen of the world – a member of that international republic of letters world – a member of that international republic of letters which prized the shared pursuit of truth above national which prized the shared pursuit of truth above national particularism. In Hume’s day, the Republic was limited to particularism. In Hume’s day, the Republic was limited to the educated of Europe and America. It is now worldwide”. the educated of Europe and America. It is now worldwide”. (57-58) Don’t they mean it is now open to the educated and (57-58) Don’t they mean it is now open to the educated and wealthy the world over? I don’t see the British Museum as wealthy the world over? I don’t see the British Museum as performing a function for the rice-farmers of Laos and the performing a function for the rice-farmers of Laos and the miners of Mali. There is still an elitist assumption at play miners of Mali. There is still an elitist assumption at play here, masquerading as equity.
here, masquerading as equity.
But the authors of the article assure their readers that But the authors of the article assure their readers that the museum is attending to this issue, not by returning the museum is attending to this issue, not by returning artworks to their rightful owners, but by curating travelling artworks to their rightful owners, but by curating travelling shows! Since the 1970s “we have witnessed the unparalleled shows! Since the 1970s “we have witnessed the unparalleled sharing of cultural patrimony, as museums in the developed sharing of cultural patrimony, as museums in the developed world collaborated to bring great civilizations and great world collaborated to bring great civilizations and great artists to new publics. Two recent examples: the British artists to new publics. Two recent examples: the British Museum’s exhibition on memory in world cultures was seen Museum’s exhibition on memory in world cultures was seen last year by over 1.3 million Japanese, while a selection last year by over 1.3 million Japanese, while a selection from its Egyptian collection has now been seen by over 1.5 from its Egyptian collection has now been seen by over 1.5 million North Americans”. How fantastic that the otherwise million North Americans”. How fantastic that the otherwise culturally starved Japanese and North Americans were able culturally starved Japanese and North Americans were able to dine out on the collections of the British Museum. What a to dine out on the collections of the British Museum. What a
reversal of expectations and dominant trends! Bravo British reversal of expectations and dominant trends! Bravo British Museum for thinking so far out of the box!
Museum for thinking so far out of the box!
Perhaps I am being too cruel – the essay then goes on to Perhaps I am being too cruel – the essay then goes on to sketch out contacts with Mexico, India, China and various sketch out contacts with Mexico, India, China and various African countries. And then there’s a line, touching at African countries. And then there’s a line, touching at rst, which bears closer reading. “When peace returns, the rst, which bears closer reading. “When peace returns, the British Museum will resume its longstanding collaborations British Museum will resume its longstanding collaborations with colleagues in Baghdad and Mosul”. “When peace with colleagues in Baghdad and Mosul”. “When peace returns” implies that what’s happening in Iraq is out of returns” implies that what’s happening in Iraq is out of Britain’s hands, and doesn’t acknowledge that the British Britain’s hands, and doesn’t acknowledge that the British military continue to play an aggressive role in the misery of military continue to play an aggressive role in the misery of that country. The British Museum waxes lyrical about the that country. The British Museum waxes lyrical about the global citizens it hopes to create and inspire, but can take no global citizens it hopes to create and inspire, but can take no responsibility for carnage, past or present, can only whisper responsibility for carnage, past or present, can only whisper euphemistically about war, and can provide no vehicle for euphemistically about war, and can provide no vehicle for reparations.
reparations.
In this sense I think the museums to be found in the colonial In this sense I think the museums to be found in the colonial outposts, the Museum of Sydney and yes, even Te Papa, outposts, the Museum of Sydney and yes, even Te Papa, offer a far more intelligent and nuanced relationship with offer a far more intelligent and nuanced relationship with the people they service and the stories they tell. The British the people they service and the stories they tell. The British Museum and others of its ilk have a
Museum and others of its ilk have a reputation based solelyreputation based solely on their collections. No wonder they are so loathe to give on their collections. No wonder they are so loathe to give them up.
them up.
**
At the conference, the paper I enjoyed the
At the conference, the paper I enjoyed the most was by Eu Jinmost was by Eu Jin Chua, entitled “Modern Movement,
Chua, entitled “Modern Movement, Free Radicals Free Radicals : Len Lye’s: Len Lye’s Animated Primitivism”. Chua began by screening the lm, Animated Primitivism”. Chua began by screening the lm, one of the liveliest moments of the conference. According one of the liveliest moments of the conference. According to Chua, Stan Brakhage had called the 1958 scratch to Chua, Stan Brakhage had called the 1958 scratch ani
animatimation on “an“an almost unbelievably immense masterpiece”.“an almost unbelievably immense masterpiece”.“an almalmostost unbunbelielievaevablybly immimmensensee masmasterterpiepiece”ce”.. But as Chua notes, it is the drumming of the Sudanese But as Chua notes, it is the drumming of the Sudanese Bagirmi tribe that the animations are cut to which “plays Bagirmi tribe that the animations are cut to which “plays no small part in the electrifying liveliness of the lm”. And no small part in the electrifying liveliness of the lm”. And he asks, “whether
he asks, “whether whether whether Free Radicals Free Radicals is a kind of lmic variantis a kind of lmic variant of that tendency of the European primitivist to fetishise the of that tendency of the European primitivist to fetishise the authenticity of the state of nature that the uncivilised savage authenticity of the state of nature that the uncivilised savage supposedly enjoys, and if so, should we
supposedly enjoys, and if so, should we denounce this lm,denounce this lm, or can we recuperate it?”
or can we recuperate it?”
Yes, Len Lye’s works and words were “primitivist”, and yes, Yes, Len Lye’s works and words were “primitivist”, and yes, this is problematic in terms of a contemporary, post-colonial this is problematic in terms of a contemporary, post-colonial reappraisal (to a certain extent, the animations of Lisa reappraisal (to a certain extent, the animations of Lisa Reihana and Veronica Vaevae have relocated the boundaries Reihana and Veronica Vaevae have relocated the boundaries of this argument). Personally, I could never denounce Lye or of this argument). Personally, I could never denounce Lye or Free Radicals
Free Radicals , and watching the jagged, jumpy white lines, and watching the jagged, jumpy white lines on an inky ground for the millionth time, I wished for a way on an inky ground for the millionth time, I wished for a way to integrate this powerful work into the MQB, instead of the to integrate this powerful work into the MQB, instead of the overcooked, insipid Trinh T. Minh Ha video,
overcooked, insipid Trinh T. Minh Ha video, or even the cool,or even the cool, cerebral photography of Michael Parekowhai. But how to cerebral photography of Michael Parekowhai. But how to integrate work by a white Westerner into this gallery of integrate work by a white Westerner into this gallery of tribaltribal artefacts without falling into the trap of MoMA’s much-reviled artefacts without falling into the trap of MoMA’s much-reviled 1984
1984Primitivism Primitivism show, or the similarly suspect, though forshow, or the similarly suspect, though for different reasons, Parisian
different reasons, ParisianMagiciens de La Terre Magiciens de La Terre (1989)?(1989)?1010
My best advice to the MQB would be to hire as their head My best advice to the MQB would be to hire as their head curator Benin artist Georges Adéagbo. Adéagbo’s installations curator Benin artist Georges Adéagbo. Adéagbo’s installations
combine African ritual gures with educational and political combine African ritual gures with educational and political poster painting, along with the detritus of
poster painting, along with the detritus of all world culturesall world cultures in the form of books, records, t-shirts, and tracts of writing. in the form of books, records, t-shirts, and tracts of writing. Every Adéagbo installation requires a long
Every Adéagbo installation requires a long period of researchperiod of research and collection on site, a return
and collection on site, a return to Africa where this materialto Africa where this material is digested and often re-made, and then a return to the site is digested and often re-made, and then a return to the site where more information and material is collected. Finally, where more information and material is collected. Finally,
the combined words and images are assembled into a the combined words and images are assembled into a wholewhole that is part research library, and part schematic voudoun that is part research library, and part schematic voudoun mandala of geopolitical structure.
mandala of geopolitical structure.
Sabine Vogel describes rather beautifully Adéagbo’s “archival Sabine Vogel describes rather beautifully Adéagbo’s “archival cosmos” in an essay entitled “Creativity”. She says, “At night, cosmos” in an essay entitled “Creativity”. She says, “At night, when the exhibition is closed and the lights have gone off, when the exhibition is closed and the lights have gone off, the prepared primate controls the system. The index cards the prepared primate controls the system. The index cards of the ethnological institute y about, the computers go of the ethnological institute y about, the computers go haywire. Things take on a
haywire. Things take on a new order. Somewhere there is thenew order. Somewhere there is the sound of music but there is none. The scales of humanity sound of music but there is none. The scales of humanity tip. And Georges Adéagbo proceeds to clean up”.
tip. And Georges Adéagbo proceeds to clean up”.1111
I love the image of the museum that plays when the lights I love the image of the museum that plays when the lights are out, which reminds me of Michael Taussig quoting are out, which reminds me of Michael Taussig quoting Antonin Artaud, that we must “awaken the gods that sleep in Antonin Artaud, that we must “awaken the gods that sleep in museums”.
museums”.1212The image of Adéagbo, however, as some kindThe image of Adéagbo, however, as some kind
of cosmic cleaner, is a culturally loaded one
of cosmic cleaner, is a culturally loaded one I’d like to avoid.I’d like to avoid. What’s fantastic about Adéagbo is that he is an African who What’s fantastic about Adéagbo is that he is an African who is
is not not a cleaner-away of western trash, but an artist whoa cleaner-away of western trash, but an artist who makes us reappraise our cultural detritus by looking at it makes us reappraise our cultural detritus by looking at it through an African lens.
through an African lens. Adeagbo’s
Adeagbo’smétissage métissage is as dense and complex as that foundis as dense and complex as that found in the Paris Metro or in last year’s riots. The MQB could in the Paris Metro or in last year’s riots. The MQB could use this kind of obfuscation, or rather, a clarication of use this kind of obfuscation, or rather, a clarication of the complexity of the relationships between the indigenous the complexity of the relationships between the indigenous objects it “owns” and the contemporary Paris it “
objects it “owns” and the contemporary Paris it “ serves”.serves”.
Notes Notes 1
1 Quotes Quotes from from Chirac’s Chirac’s speech speech as poas posted by sted by the MQB the MQB website,website, http://www.quaibranly.fr/inde
http://www.quaibranly.fr/index.php?id=933, then fed x.php?id=933, then fed throughthrough the (wonderfully
the (wonderfully questionable) Babelsh translator.questionable) Babelsh translator. 2
2 Riding, Riding, Alan, Alan, “Imperialist? “Imperialist? Moi? Moi? Not Not the the Musée Musée du du Quai Quai Branly”,Branly”, New York Times
New York Times , June 22, 2006, , June 22, 2006, <http://www.nytimes.com><http://www.nytimes.com> 3
3 The The magazine’s magazine’s editor, editor, Michel Michel Daubert, Daubert, opines opines that that all all otherother terms are simply embarrassing: primitive, primordial, savage, terms are simply embarrassing: primitive, primordial, savage, Negro, tribal, outsider, opting instead for the weirdly loaded Negro, tribal, outsider, opting instead for the weirdly loaded “Other”.
“Other”. 4
4 Everything Everything I’ve I’ve ever ever read read aboutaboutColonial Collection Colonial Collection cites “Stolencites “Stolen from the Zonge Tribe” as its example. No other tribes are from the Zonge Tribe” as its example. No other tribes are mentioned, and upon attempting to research the Zonge Tribe, mentioned, and upon attempting to research the Zonge Tribe, no references can be found, except in
no references can be found, except in relation to Wilson’s work.relation to Wilson’s work. Who are this mysterious tribe? Are they Wilson’s symbol for Who are this mysterious tribe? Are they Wilson’s symbol for every plundered indigenous group?
every plundered indigenous group? 5
5 The The invisibility invisibility of of those those who who serve serve us is us is thrown thrown into higinto high relih relief ef for the traveller. I was appalled that all the maids in my hotel for the traveller. I was appalled that all the maids in my hotel were black, that all the trash collectors were black (whereas, were black, that all the trash collectors were black (whereas,
somehow, I am inured to the
back home). I remember asking my maid what the French word back home). I remember asking my maid what the French word for rubbish was, holding up my
for rubbish was, holding up my wastebasket. “La poubelle” shewastebasket. “La poubelle” she said, with what I took to be weary resignation.
said, with what I took to be weary resignation. 6
6 Later, Later, I found I found an imagan image on e on the Bthe Branly wranly website ebsite which swhich showedhowed Jacques Chirac and Ko Anan inspecting the
Jacques Chirac and Ko Anan inspecting the room of room of masques masques dogons
dogons . I made it into an artwork, adding the question, “But. I made it into an artwork, adding the question, “But where is the white monkey?” hoping that visitors will nd the where is the white monkey?” hoping that visitors will nd the simian in Chirac’s pendulous features before they see it pinned simian in Chirac’s pendulous features before they see it pinned to the wall. It’s a reference to one of my favourite books from to the wall. It’s a reference to one of my favourite books from childhood,
childhood,“But where is the green parrot?” “But where is the green parrot?” 7
7 I geI get so t so angry angry when when I think I think about about the Spathe Spanish Cnish Catholic atholic zealot- zealot-bigots who burned the Mayan codices. And then one day I had bigots who burned the Mayan codices. And then one day I had a good look at some images of pre-conquest codices. All the a good look at some images of pre-conquest codices. All the pictures were of burning libraries.
pictures were of burning libraries. 8
8 I I wrote wrote about about this ithis in “pink n “pink eye: eye: is is this wthis whitefella hitefella dreaming?” dreaming?” AA review of
review of Albino Albino , Francis Upritchard and Rohan , Francis Upritchard and Rohan WealleaWealleans, Ivanns, Ivan Anthony Gallery, Auckland, New Zealand, April 2004, published Anthony Gallery, Auckland, New Zealand, April 2004, published in the South African literary journal
in the South African literary journal Sweet Sweet , on-line at: http://, on-line at: http:// www.substancebooks.co.za/content/view/67/62/
www.substancebooks.co.za/content/view/67/62/ 9
9 Ouologuem, Ouologuem, Yambo,Yambo, Bound to Violence Bound to Violence , London: Heinemann, London: Heinemann Educational, 1971, pp 95-96
Educational, 1971, pp 95-96 10
10 The The most most rollicking rollicking debate debate on on thethePrimitivism Primitivism show took placeshow took place in
in Artforum Artforum between a gloriously bitchy Thomas McEvilleybetween a gloriously bitchy Thomas McEvilley and the waspish curator Kirk Varnedoe, and the whole text is and the waspish curator Kirk Varnedoe, and the whole text is reproduced in Beckly, Bill, (ed.),
reproduced in Beckly, Bill, (ed.),Uncontrollable beauty: toward a Uncontrollable beauty: toward a new aesthetics
new aesthetics , New York: Allworth Press: School of Visual Arts,, New York: Allworth Press: School of Visual Arts, 1998. McEvilley was subsequently asked to provide a catalogue 1998. McEvilley was subsequently asked to provide a catalogue essay for
essay for Magiciens de la Terre Magiciens de la Terre , which desperately wanted to, which desperately wanted to differentiate itself from
differentiate itself fromPrimitivism Primitivism . McEvilley then reected on. McEvilley then reected on the two shows and their differences in his essay “The global the two shows and their differences in his essay “The global issue,” McEvilley, Thomas,
issue,” McEvilley, Thomas, Art & otherness: crisis in cultural Art & otherness: crisis in cultural identity.
identity.Kingston, NY, Documentext/McPherson, 1992Kingston, NY, Documentext/McPherson, 1992 11
11 VogeVogel, Sabine, “Creal, Sabine, “Creativity”, Eiblymaytivity”, Eiblymayr, Silvia, r, Silvia, (Ed.),(Ed.), Georges Georges Adéagbo, Archaeology of Motivations – Re-writing History
Adéagbo, Archaeology of Motivations – Re-writing History , Galerie, Galerie im Taxispalais, Austria, 2001, p. 55. But where is the prepared im Taxispalais, Austria, 2001, p. 55. But where is the prepared primate?
primate? 12
12 Artaud, Artaud, Antonin, Antonin, fromfromLe Theatre et son double Le Theatre et son double , Paris, Gallimard,, Paris, Gallimard, 1964, p. 52, quoted in Taussig, Michael,
1964, p. 52, quoted in Taussig, Michael, My Cocaine Museum My Cocaine Museum ,, University of Chicago Press, Chicago and London, 2004, p. xvi. University of Chicago Press, Chicago and London, 2004, p. xvi. Even Ben Stiller appears to have read this.
T
he dialog of conceptualism and science ction has been recognized, but is not frequently spoken about, perhaps because of the very healthy “ghettoization” with which science ction has defended its libertarian ideals for so long. Science ction remains an explicit theme in today’s art scene, but if today’s artists bring science ction ideas into the gallery, museum or art fair, or today’s critics refer cannily to important SF texts, the following is usually the case: science ction is presented on its own terms but always only within the larger terms of the art world. The art itself remains, therefore, usually irrelevant to science ction itself.I assumed this was a natural fact of the cultural landscape. But when Robert Smithson Retrospective, organized by Eugenie Tsai with Connie Butler, opened in Los Angeles in 2004, I began to think differently. It was impossible to miss the SF avor of some of Smithson’s best work – the peculiar time-traveling of the Hotel Palenque lecture, the avid pursuit of the esthetics of the laws of thermodynamics, the “rock sample” oor sculptures and the abiding interest in importing geological science into the art gallery. Smithson’s most important work, the lm Spiral Jetty (1970) reads like an homage to Chris Marker’s La Jetée. Smithson himself wrote of the lm in terms that recall new wave author Brian
Aldiss’ art & time travel classic,Crytopozoic! (1967): Everything about movies and moviemaking is archaic and crude. One is transported by this Archeozoic medium into the earliest known geological eras. The movieola becomes a “time machine” that transforms trucks into dinosaurs.
Smithson was everywhere presenting his work as a sort of science ction fantasy come to life. As if the work of art itself were being judged not by what it said about SF but by how
it functionedas SF.
Furthermore, like newly self-conscious writers of political pop Ursula LeGuin, Philip Dick and Samuel Delaney, Smithson’s work also came with a smooth, hipster sense of hot-shot speculation into real hardcore science.
I phoned Dan Graham. (I had met Graham long ago when I worked on a construction team overhauling his New York studio. I was in the midst of reading the complete available works of Philip K. Dick at the time, and when Graham walked by, he reminded me of Phil. I asked him if he’d ever
read any of the books. Without missing a beat, he stopped and answered,
“I have everything. Even thecomplete philosophical works.”)
The best strategy with Graham is to begin, so as soon as he answered I asked:
“What kind of SF did Smithson like?”
There was no pause. “Science ction to him was second only to gay camp culture, which of all cultures he loved the most. But Smithson liked the trashiest SF novels. Cheap paperback novels. He probably came to them through his hero worship of William S. Burroughs. He loved Burroughs’ SF. He was an incredible reader, devoured everything. SF in those days supplied a lot of titles to addicts. Smithson loved trash culture and cheap paperback covers. He didn’t have favorite SF writers. He loved them all in general and stacked them around his bed.
His favorite mainstream writer was Borges. But he realized that if you looked at it the right way, Borges wrote science ction. Jack Smith, Burroughs, Andy Warhol all had a SF interest in the avant-garde. Andy’s favorite movie: Creation of the Humanoids, of 1962, was incredibly important to Smithson too. It was actually written by the famous SF writer Jack Williamson and based on his hilarious novel
The Humanoids . In the movie the 3rd World War has wiped out most of the Earth. Humanity survives with the help of androids, who are gentle and green and very sensitive. The humans turn against them and try to wipe them out. The lm is told from the point of view of the Humanoids. It’s incredibly campy but dark and biologically profound. He also loved Roger Corman, a big favorite. The shoe-string budgets, the way Corman helped other lm-makers; his Poe movies. Corman was an Aries. Smithson took me to a Corman festival at Kip’s Bay. He loved Vincent Price. Did you know Vincent Price was a great collector? The best
Hollywood collector.”
“Were any other artists into SF at that time? Was it part of the scenes that Smithson hung out in?”
“Joan Jonas liked science ction and you can see it in her work. She was married to a science ction writer, in fact. The
only other ones I remember being into SF were Smithson, Weiner and me. Weiner loved Michael Moorcock – had copies all over the place. The comical, new-Edwardian thing, the time-travel and humor of Moorcock appealed to him. I loved Dick. You must understand, in those days, the minimalists were the center of things. The minimalists weren’t into SF at all. For them it was theory and the French New Novel. They loved Robbe-Grillet. They liked Alphaville , not loved. They loved Godard – he was a big inuence – but just not that picture. But some of them liked crime. Actually, Sol LeWitt Mark von Schlegell
loved the crime writer Chester Himes, books like Pinktoes andThe Heat’s On.”
“Was SF as important an inuence on conceptualism as French theory?”
“It was more inuential. I don’t know Kosuth, but Smithson wasn’t interested in the French thing. He was interested in Pop culture and Borges and camp. Look at his mirror works – they refer to all these things at once. He always used trashy, mannerist colors. He was always very interested in cheap special effects. In terms of art, Smithson’s hero was Paul Thek. He loved everything Thek came up with. Thek did step mirror pyramids and dinosaurs, lots of speculative productions. And Thek loved science ction, all of it, though I’m not sure he read L. Ron Hubbard.”
“Did Smithson ever try to write science ction?” “No. He wasn’t a frustrated Faulknerian like you.” “Do you think Spiral Jetty is a work of science ction?” “Yes. It’sunearthly . Amessage to alien gods.”
Then he hung up.
It struck me that that’s exactly what science ction is not. It is often a message from alien gods, but not to them – it is always directed towards a huma n common reader.
In what may have been the high point in the sporadic hyper-history of western enlightenment, the 1970s, Smithson himself seems to have withdrawn from the need for genre labels. As movements began more and more to label themselves, land artists pursued a romantic environmentalism that Michael Stevenson has shown to be a Tolkienian reaction to modernity. As camp moved to activism, glam to punk, and conceptual art turned increasingly serious and academic, Smithson’s sculpture moved outside of contemporary classication. Insisting on an ever larger popular mechanics esthetic, it inscribed itself onto the planet’s skin by rented bulldozer in actual local non-art-world environments. Science ction, conceptualism, gay culture, and Borges and Paul Thek seemed to have joined together at this brief moment on a single shoe-string, to fall away – leaving, for the future, as a last and quiet memorial to all that humanity ever really achieved,a science ction story turning real . Unless….
