Monterrey, 2d week

The monumental industrial Parque within the confines of which everything takes place, is impressively beautiful, cheerful, and full of life. Here you see the top of the gigantic Horno 3, the central monument. It is an old steel melting facility.

The exhibition is beautiful, and as soon as my computer deigns function again I will put photos in the Exhibition section. the workshop is heavy duty teaching but with a lovely group of people. The mix of artists and scholars, of literary and visual specialists, makes it very engaging.
In the weekend, my friend Paulina Aroch came from Mexico City. She and her friend Mario Gómez took me out of the compound into the real city! After a visit to the brilliant museum of contemporary art MARCO we went for an extensive succulent meal of cabrito / young goat. This detail of the ceiling of the museum shows a bit the kind of very special architecture this is.

Tomorrow, another friend from Mexico City is coming. Alberto Montoya Hernández is a psychoanalyst with the same commitment to help people suffering from transgenerational trauma as Francoise Davoine and Jean Max Gaudilliere, and Marjo Vuorela. Alberto plays the younger Don Luis in our film, and is the author of Paisajes de la locura, a book from which we took the title of the Turku exhibition. Here you see him in the installation piece The War Goes On.


Monterrey Encuentro


This is the view from my hotel room in the Parque de la Fundidora, on the terrain of an old metal-melting factory in Monterrey, in Northern Mexico.
I like the Spanish term “Encuentro” for conferences. It suggests a true exchange of thought and the excitement of getting to know new people and ideas. I arrived in Monterrey yesterday, after some 20 hours of travel, which I embarked upon the day after the PhD defenses of Jules Sturm and Noa Roei. After that, what’s a bit of turbulence in the air? In Mexico city, I had a brief encounter with my former PhD student Paulina Aroch Fugiellie, who generously came to the airport to help me transfer from one terminal to a far-removed other terminal. Here you see the people responsible for the Encuentro “Signo, tiempo y arte”, with Humberto Chavez Mayol speaking. Humberto recruited me for this long trip - I don’t know how he managed it, but here I am.

Actually, I do know how he managed it. He made sure that, in addition to the two-week “taller” (workshop) I will be giving starting Monday, a large exhibition of Michelle and my Mère Folle project is mounted in the Centro de las Artes. The show will be almost as large as the one in Turku, but in a very different kind of space. This will be very interesting for comparison, and will teach us more about exhibiting video work. The organisation of the exhibition is in the capable hands of Graciela Kahn Hopson. After exchanging e-mails for months, I met Graciela today, and she confirmed what I had known from the very first e-mail: she is good! And friendly, and generous, and creative, and effective, and savvy, and hospitable… We got along immediately. Here she is:

I will report more on my stay in Monterrey: on the workshop, the exhibition, and the screening of “A Long History of Madness”. All this in two weeks.


München, Symposium at the Haus der Kunst

The Haus der Kunst in München is an exhibition space where things happen. It is a building burdened by history. The symposium for which I was invited, june 9, 2012, is about heavy history: about images of conflict, primarily war. I have always found this subject a tricky one for artistic contemplation. It can be almost pornographic in its appeal to commiseration and sentimental, vicarious suffering. And it can be the most powerful way of addressing, precisely, such problems. I expect this one to be self-aware enough to scrutinize rather than reiterate the problematic of visually showing the suffering of others.
München is a lovely city. It has some of the best museums in Germany, and beautiful architecture, parks, and neighborhoods. I just wish there was some leftover time to visit, but alas…

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