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Monumentmaschine
Impressum / Imprint
Diese Zeitung erscheint anlässlich
der Ausstellung
Jorge Ribalta. Monumentmaschine
20. Februar – 1. Mai 2016
This paper is published
in conjunction with the exhibition
Jorge Ribalta. Monument Machine
February 20 – May 1, 2016
Herausgeber / Editor:
Württembergischer Kunstverein Stuttgart
Design:
Hermanos Berenguer
Titel / Cover:
Till Gathmann
© 2016 Württembergischer Kunstverein
Stuttgart, die AutorInnen / the authors
© 2016 für die abgebildeten Werke /
for the reproduced works: Jorge Ribalta
ISBN: 978-3-930693-32-0
AUSSTELLUNG / exhibition
Jorge Ribalta. Monumentmaschine /
Monument Machine
Eine Ausstellung von / An exhibition by:
In Erweiterung der gleichnamigen Ausstellung
von / Extending the homonymous exhibition by:
Centro Guerrero, Granada und / and
Fundación Helga de Alvear, Cáceres,
kuratiert von / curated by Yolanda Romero
KuratorInnen / Curators:
Hans D. Christ, Iris Dressler
LeihgeberInnen / Lenders:
Der Künstler, the artist
Banco de España, Madrid
Centro de Artes Visuales Fundación Helga
de Alvear, Cáceres
Gefördert durch / Funded by:
Mit Monumentmaschine zeigt der
Württembergische Kunstverein die
erste Einzelausstellung des spanischen Fotokünstlers, Theoretikers
und Kurators Jorge Ribalta (geb.
1963 in Barcelona) in Deutschland.
Seine meist umfangreichen Serien
aus analogen Schwarzweißfotografien, die in den Diskursen der kritischen und politisch engagierten
künstlerischen Dokumentarfotografie der 1970er-Jahre (Allan Sekula,
Martha Rosler, Jo Spence etc.)
verankert sind, nehmen eher das
Nebensächliche und Unterschwellige denn das Vordergründige oder
Spektakuläre in den Blick. Sie
kreisen um national und historisch
aufgeladene Orte oder Figuren und
deren Konstruktionen.
Ribalta arrangiert seine Serien,
die bis zu 200 Fotografien umfassen, zu dichten räumlichen Ensembles. Angeordnet in mehreren
horizontalen und vertikalen Reihen, ergeben sich dabei multiple
Lesweisen. Für die Ausstellung im
Kunstverein entsteht ein Display,
das auch Anschlüsse, Brüche und
Kehrtwenden zwischen den Serien
erlaubt.
Monumentmaschine zeigt eine
Auswahl von sechs Serien, in
denen Ribalta die Beziehungen
zwischen Dokumentarfotografie,
kulturellem Erbe und Nationalismus untersucht. Es geht um die
Frage, welche Rolle Monumente
und die heutigen, insbesondere von
der UNESCO angetriebenen Tourismus- und Kulturerbeindustrien im
Hinblick auf die Reproduktion und
Verinnerlichung nationalstaatlicher
Identitäten, Ideologien und Fiktionen spielen – und welche Bedeutung der Fotografie dabei seit ihrer
Erfindung zukommt.
Die Ausstellung basiert auf der
gleichnamigen, vom Centro Guerrero in Granada und der Fundación Helga de Alvear in Cáceres
koproduzierten Einzelschau, die
die Serien Unbezähmter Laokoon
(2010–11), Scrambling (2011), und
Imperium (oder K.D.) (2013–14)
umfasst.
Eröffnung / Opening:
Freitag, 19. Februar 2016, 19 Uhr
Friday, February 19, 2016, 7 p.m.
Künstlergespräch / Artist Talk:
Samstag, 20. Februar 2016, 14 Uhr
Saturday, February 20, 2016, 2 p.m.
Kuratorenführung / Curator’s tours:
Mittwoch, 24. Februar 2016, 19 Uhr
(Jour fixe der Mitglieder)
Mittwoch, 9. März 2016, 19 Uhr
Mittwoch, 6. April 2016, 19 Uhr
Sonntag, 1. Mai 2016, 16:30 Uhr
Wednesday, February 24, 2016, 7 p.m.
(Member’s jour fixe)
Wednesday, March 9, 2016, 7 p.m.
Wednesday, April 6, 2016, 7 p.m.
Sunday, May 1, 2016, 4:30 p.m.
Kostenlose Führungen / Free guided tours:
Sonntags, 15 Uhr / Each Sunday, 3 p.m.
Museumsnacht / Museum’s night:
Samstag, 2. April 2016, 19–2 Uhr
Saturday, April 2, 2016, 7 p.m.–2 a.m.
Weitere Veranstaltungen / Further events:
www.wkv-stuttgart.de
www.facebook.com/wuerttembergischer.
kunstverein
In diesen drei Arbeiten geht es um
Ikonen und Monumente, die, wie
der Flamenco, die Alhambra oder
Karl V., das „Spanische“ schlechthin
repräsentieren – wobei gerade der
Flamenco, der seine Wurzeln in den
Kulturen der Roma bzw. Kalé hat,
sowie die Alhambra, die von der Zeit
der muslimisch-maurischen Nasridenherrschaft in Granada zeugt,
eigentlich auf die transnationale
Vermischung kultureller Identitäten
verweisen. Karl V. (1500–1558),
erster König von Spanien und Kaiser des Heiligen Römischen Reiches
Deutscher Nation, steht wiederum
für die imperialistische Expansion
Spaniens als jenes habsburgische
Weltreich, in dem „die Sonne nie
untergehen“ sollte.
Öffnungszeiten / Hours:
Di, Do–So: 11–18 Uhr; Mi: 11–20 Uhr
Tue, Thu–Sun: 11 a.m.–6 p.m.;
Wed: 11 a.m.–8 p.m.
Darüber hinaus zeigt die Ausstellung
die Serien Renaissance. Szenen
des industriellen Wandels im Bergbaurevier von Nord-Pas-de-Calais
(2014), Petit Grand Tour (2007), und
Carnac, 1. August 2008 (2008). Der
Wandel von der Schwer- hin zur
Freizeit- und Kreativindustrie sowie
die touristische Konstruktion und
Vermarktung von Antike und Prähistorie stehen hier im Vordergrund.
Eintritt / Entrance fees:
5 Euro; 3 Euro ermäßigt; Mitglieder
des WKV: frei
5 Euro; 3 Euro reduced; Members
of WKV: free
Die Fotografie steht seit jeher
im Dienst von Denkmalpflege
und nationalem Kulturerbe. Als
Schlossplatz 2
DE-70173 Stuttgart
Fon: +49 (0)711 - 22 33 70
Fax: +49 (0)711 - 29 36 17
[email protected]
www.wkv-stuttgart.de
Monument Machine
Ausgangspunkt gilt dabei die 1851
von der französischen Commission
des monuments historiques unter
Vorsitz von Prosper Mérimée –
dem Autor von Carmen (1845),
jenem Roman, der bis heute Stereotypen des „Spanischen“ und
des Flamencos erzeugt – in Auftrag
gegebene Mission héliographique:
eine umfangreiche fotografische
Erfassung und Katalogisierung der
historischen Denkmäler und Monumente Frankreichs.
Die Mission héliographique wurde
zum Vorbild für zahlreiche weitere
Projekte dieser Art: darunter auch
das berühmte, in den 1930er-Jahren durchgeführte Fotoprogramm
der Farm Security Administration
(FSA) in den USA. Dieses bezog
sich bekanntlich nicht auf Monumente, sondern zielte auf eine soziale Kartografie –eine Kartografie
der ländlichen Armut – im Geiste
des New Deals ab, jenem sozialen
und ökonomischen Reformprogramm, das infolge der Weltwirtschaftskrise etabliert wurde. Das
Fotoprojekt der FSA sollte, mit
KünstlerInnen wie Dorothea Lange
und Walker Evans an der Spitze,
prägend für die frühen – mittlerweile
weitgehend infrage gestellten –
Diskurse der Dokumentarfotografie
als Garant von Transparenz und
Wahrheit werden.
Ein zeitgleiches Äquivalent der
Mission héliographique stellte
das Werk des britischen, in Spanien
ansässigen Fotografen Charles
Clifford dar, der zwischen 1854 und
1864 eine umfassende fotografische Dokumentation der historischen Stätten und Monumente
Spaniens anfertigte und diese
unter anderem in der Publikation
A Photographic Scramble through
Spain veröffentlichte: ein Touristenführer über Spanien, der sich an
ausländische (insbesondere britische) BesucherInnen wendet und
der die Alhambra als Höhepunkt
des spanischen Kulturerbes feiert.
Jorge Ribaltas Praxis und theoretische Auseinandersetzung mit der
Dokumentarfotografie setzt an
dieser Nähe zwischen Fotografie,
Kulturgut und den Fiktionen von
nationaler Identität an. Seine
Fotografien zielen weder auf Transparenz noch Wahrheit ab, sondern
untersuchen die der Fotografie – als
Technik, Maschine und kulturellem
Apparat – innewohnenden Strukturen der Bedeutungsproduktion.
Seine fotografischen Annäherungen an Monumente und nationale
Ikonen bilden Anti-Monumente
und Anti-Ikonen, indem sie zum
Beispiel die Infrastrukturen und den
Betrieb „hinter den Kulissen“ dieser Schauplätze – von den Arbeiter
Innen und diversen Arbeitsstätten
bis zu den Marketingstrukturen
der Kulturindustrie – hervorheben.
Es geht um das Monument als
Maschine und um die Betrachtung
der Funktionsweisen und Effekte
dieser Maschine.
In Ribaltas dichten Serien von kleinformatigen Abzügen steht nicht das
einzelne, in sich abgeschlossene
Bild im Vordergrund, sondern das,
was sich zwischen den Bildern
ereignet. Aby Warburgs unvollständig gebliebener Atlas Mnemosyne
(1924–1929) dient ihm dabei ebenso
als Referenz wie die etwa zeitgleich
entstandene Faktografie-Theorie
von Sergei Tretjakow. Nach Tretjakow ist es nicht nur die Unterbrechung von Bewegung, die es der
Fotografie erlaubt, komplexe soziale
Zusammenhänge aufzuzeigen,
sondern es bedarf hierzu auch der
Anordnung in Serien, der Herstellung von Beziehungen zwischen
den Bildern.
With Monumentmaschine (Monument Machine) the Württembergischer Kunstverein presents the
first solo exhibition in Germany by
the Spanish photographic artist,
theorist, and curator Jorge Ribalta
(b. 1963 in Barcelona).
Ribalta’s often comprehensive
series of analogue black-and-white
photographs, which are anchored
in the discourses of the critically and
politically engaged artistic documentary photography of the 1970s
(Allan Sekula, Martha Rosler, Jo
Spence, etc.), are rather focused on
the incidental and subliminal than
on obvious or sensational aspects.
The works revolve around nationally
and historically charged sites and
figures and the construction thereof.
Ribalta arranges his series, which
may hold up to 200 photographs, in
dense spatial ensembles. Arrayed
in several horizontal and vertical rows,
multiple angles of reading arise.
Furthermore, a specially developed
display will feature at the Kunst
verein exhibition, fostering connections, disruptions, twists and turns
between the series.
Monumentmaschine presents
a selection of six series in which
Ribalta explores the relations between documentary photography,
cultural heritage, and nationalism.
It deals with the role played by
monuments and the present-day
UNESCO-driven tourist and culturalheritage industries according to
the reproduction and internalization
of national identities, ideologies,
and fictions. What relevance has
been assigned here to photography
since its inception?
The exhibition is based on the eponymous solo show, co-produced by
the Centro Guerrero in Granada and
the Fundación Helga de Alvear in
Cáceres, which comprises the series
Wild Laocoön (2010–11), Scrambling
(2011), and Empire (or K.D.) (2013–14).
These three works involve icons
and monuments that, like flamenco,
the Alhambra, or Charles V, represent “Spanishness”—although
flamenco in particular, which has its
roots in the Romani and Kalé cultures, but also the Alhambra, which
is shaped by the period of MuslimMoorish Nasrid rule in Granada,
actually both signify a transnational
confluence of cultural identities.
Charles V (1500–1558), the first King
of Spain and the Holy Roman Emperor of the German Nation, in turn
stands for the imperialist expansion
of Spain as the global Habsburg
empire on which “the sun should
never set.”
The exhibition will also show the
series Renaissance: Scenes of
industrial reconversion in the NordPas de Calais coalfield (2014), Petit
Grand Tour (2007), and Carnac, 1.
August 2008 (2008). The shift from
heavy industry to leisure and creative industry, as well as the touristic
construction and marketing of
ancient times and prehistory, are
of central focus here.
Photography has always served
the ends of historical-monument
preservation and national cultural
heritage. The point of departure
here rests with the Mission Héliographique, a comprehensive
photographic registry and catalogue
of all historical monuments and
memorials in France, commissioned
in 1851 by the French Commission
des monuments historiques chaired
by Prosper Mérimée—the author
of Carmen (1845), a story which,
as is well known, still today generates clichés of “Spanishness” and
flamenco.
The Mission Héliographique was
to become a model for countless
other similar projects, including
the famous photography program
carried out in the 1930s by the Farm
Security Administration (FSA) in
the United States. This project focused not on monuments but rather
on social cartography—charting
rural poverty—in the spirit of the
New Deal, the social and economic
reform program implemented as
a result of the Great Depression.
The FSA photography project, headed by artists like Dorothea Lange
and Walker Evans, became formative for those early—and meanwhile
widely challenged—discourses
of documentary photography as
a guarantee for transparency and
truthfulness.
A contemporaneous equivalent
to the Mission Héliographique was
the work of the British photographer
Charles Clifford, who resided in
Spain and prepared, between 1854
and 1863, extensive photographic
documentation of Spain’s historical
sites and monuments. He released
this work in several publications,
including A Photographic Scramble
through Spain, a tourist guide about
Spain addressing foreign (especially
British) visitors and celebrating the
Alhambra as the highlight of Spanish
cultural heritage.
Jorge Ribalta’s practice and theoretical exploration of documentary
photography tie into this proximity
of photography, cultural heritage,
and fictions of national identity. Aiming for neither transparency nor
truth, his photographs investigate
the structures of meaning pro
duction inherent to photography—
understanding photography as a
technique, machine, and cultural apparatus. Ribalta’s photographic approach to monuments and national
icons leads to anti-monuments and
anti-icons, for instance by underscoring the infrastructures and the
activity “behind the scenes” of these
showplaces—from the workers and
diverse workplaces to the marketing
structures of the cultural industry.
An emphasis is on the monument
as machine and reflection on the
operating modes and effects of this
machine.
Taking center stage in Ribalta’s
dense series of small-format prints
is not the individual, self-contained
picture but rather that which plays
out between the images. Aby Warburg’s never-completed Mnemosyne
Atlas (1924–29) served as inspiration
for him, but also Sergei Tretyakov‘s
factography theory developed
around the same time. According
to Tretyakov, it is not only the interruption of movement that allows
photography to capture complex
social interrelations; necessary is
also the arrangement of photos in
series, the production of relations
among the pictures.
Iris Dressler / Hans D. Christ
Unbezähmter Laokoon
El Cangrejo, Calle Montserrat 9,
Barcelona, 4. Februar 2010
El Cangrejo, calle Montserrat 9,
Barcelona, February 4, 2010
Tanzunterricht, Amor de Dios,
Zentrum für Flamencokunst und
spanischen Tanz, Calle Santa Isabel 5,
Madrid, 23. Februar 2010
Dance lesson, Amor de Dios, center
for the arts of flamenco and Spanish
dance, calle Santa Isabel 5, Madrid,
February 23, 2010
Restaurant Taberna Viña P, Plaza
Santa Ana 3, Madrid, 24. Februar 2010
Villa Rosa, Calle Núñez de Arce 15,
Restaurant Taberna Viña P, plaza
Santa Ana 3, Madrid, February 24,
2010
Villa Rosa, calle Núñez de Arce 15,
Madrid, February 25, 2010
Tanzunterricht, Amor de Dios,
Zentrum für Flamencokunst und
spanischen Tanz, Calle Santa Isabel 5,
Dance lesson, Amor de Dios, center
February 23, 2010
Toledo-Brücke, Madrid,
24. Februar 2010
Sunday morning, facade of the
Pavón theater, calle Embajadores 9,
Die andalusische Musik erreichte
Madrid über die Toledo-Brücke
und die Toledo-Straße.
José Blas Vega, El flamenco en Madrid,
2006
Toledo bridge, Madrid, February 24,
2010
José Blas Vega, El flamenco en Madrid,
2006
Lager und Büros der Sexshops
Lovestop, ehemaliges Domizil der
Casa Matías und des Patio Andaluz,
Calle Nou de Sant Francesc 5,
Gitarrengeschäft Viuda de Faustino
Conde, Estesos Neffe, Conde-Brüder,
Calle Gravina 7, Madrid, 24. Februar
2010
Facade of the Anton Martín market,
entrance at Amor de Dios, center
February 24, 2010
Parkhaus Eden, ehemals Eden
Concert, Calle Nou de la Rambla 12,
Parking Eden, formerly Eden
Concert, calle Nou de la Rambla 12,
Barcelona, February 5, 2010
José María Castaño, program
The Ways of the Chant, Onda Jerez
Radio, calle Caballeros 35, Jerez de
la Frontera, March 15, 2010
Andalusian center for flamenco,
Jerez de la Frontera, image
and sound studio, March 17, 2010
El Flamenco Vive (Flamenco Lives),
calle Conde de Lemos 7, Madrid,
February 24, 2010
Fassade des Vereins Los Jucales,
Calle Nueva, Barrio de Santiago,
Jerez de la Frontera, 17. März 2010
Prado bookstore, owned by José
Blas Vega, calle del Prado 5, Madrid,
February 24, 2010
Storage and offices of the Lovestop
sex shop, former site of Casa Matías
and Patio Andaluz, calle Nou de Sant
Francesc 5, Barcelona, February 5,
2010
Frontseite, Calle Amor de Dios 4,
ehemaliges Domizil von Amor de
Dios, Zentrum für Flamencokunst
und spanischen Tanz, Madrid,
24. Februar 2010
Geschäft für Flamenco-Bekleidung
Lola Almela, Calle Amor de Dios 14,
Facade of the association Los Jucales,
calle Nueva, barrio de Santiago,
Jerez de la Frontera, March 17, 2010
José Blas Vegas Buchhandlung im
Prado, Calle del Prado 5, Madrid,
24. Februar 2010
Facade, calle Amor de Dios 4,
former site of the center for the arts
of flamenco and Spanish dance,
Accompaniment guitar class,
Manuel Lozano el Carbonero guitar
school, calle San Miguel 11, Jerez
de la Frontera, March 18, 2010
Unterricht für Gitarrenbegleitung,
Gitarrenschule Manuel Lozano
el Carbonero, Calle San Miguel 11,
Accompaniment guitar class, Manuel
Lozano el Carbonero guitar school,
calle San Miguel 11, Jerez de la
Frontera, March 18, 2010
Cortijo de Alijar, umgebaut in
eine Casa Rural, ehemalige
„gañanía“ (Scheune), heutige
Touristenunterkunft, Campiña
de Jerez, Carretera Jerez−Sanlúcar,
bei km 11, 19. März 2010
Cortijo de Alijar, transferred to
Casa Rural, former “gañanía,”
agricultural labor site and new rural
tourist house, campiña de Jerez,
carretera Jerez-Sanlúcar, km. 11,
March 19, 2010
Programm Die Wege des Liedes,
geleitet von José María Castaño,
Gesprächsrunde über das soeben
beendete 14. Festival von Jerez mit
den Teilnehmern Fermín Lobatón,
Antonio Conde, Fran Pereira und
Estela Zatania, Onda Jerez Radio,
Calle Caballeros 35, Jerez de la
Frontera, 15. März 2010
Program The Ways of the Chant,
moderated by José María Castaño,
roundtable about the just finished
14th Festival of Jerez, with the
participation of Fermín Lobatón,
Antonio Conde, Fran Pereira, and
Estela Zatania, Onda Jerez Radio,
calle Caballeros 35, Jerez de la
Tabanco El Pasaje, Calle Santa
María 8, Jerez de la Frontera,
18. März 2010
Tabanco El Pasaje, calle Santa
María 8, Jerez de la Frontera,
March 18, 2010
Bar El Volapie, Paseo de las
Delicias, Barriada Asunción,
Jerez de la Frontera, 19. März
2010
Bar El Volapie, paseo de las
Delicias, barriada Asunción,
Jerez de la Frontera, March 19,
2010
Fischgeschäft von Joaquín el Zambo,
Calle Barreras 5, Barrio de Santiago,
Fischstände, Markthalle, Jerez
de la Frontera, 18. März 2010
Fish stalls, market hall, Jerez
Fishmonger of Joaquín el Zambo,
calle Barreras 5, barrio de Santiago,
Taller de Músics, Archiv, Calle
Requesens 3−5, Barcelona,
24. März 2010
El Flamenco Vive (Der Flamenco
lebt), Calle Conde de Lemos 7,
Calle Taxdirt, Barrio de Santiago,
El Flamenco Vive (Flamenco Lives),
calle Conde de Lemos 7, Madrid,
February 24, 2010
Calle Taxdirt, barrio de Santiago,
Bühne, Theater Villamarta, Jerez
Verein Tío José de Paula, Calle
Merced 11, Jerez de la Frontera,
18. März 2010
Peña Tío José de Paula, calle
Merced 11, Jerez de la Frontera,
March 18, 2010
Stage, theater Villamarta, Jerez
Facade of the Villa Rosa, calle
Núñez de Arce 15, Madrid,
February 23, 2010
Association Los Cernícalos,
administrative office, calle Sancho
Vizcaíno 23–25, Jerez de la Frontera,
March 19, 2010
Taller de Músics music school,
archive, calle Requesens 3–5,
Barcelona, March 24, 2010
Shop for flamenco clothing Lola
Almela, calle Amor de Dios 14,
Fassade der Villa Rosa, Calle
Núñez de Arce 15, Madrid,
23. Februar 2010
Verein Los Cernícalos, Verwaltung,
Calle Sancho Vizcaíno 23−25,
Rianal, calle Santa María, Jerez
Club Moog, former Villa Rosa,
calle Arc del Teatre 3, Barcelona,
February 5, 2010
Workshop of the Guitarras Santos
guitar shop. Luthier Santos Bayón,
nephew of Santos Hernández, calle
Aduana 23, shop for sale, February
24, 2010
Association Los Cernícalos,
classroom, calle Sancho Vizcaíno
23–25, Jerez de la Frontera,
March 19, 2010
Rianal, Calle Santa María, Jerez
Workshop, guitar shop Pedro
de Miguel, calle Amor de Dios 13,
Werkstatt des Gitarrengeschäfts
Guitarras Santos, Gitarrenbauer
Santos Bayón, Neffe von Santos
Hernández, Calle Aduana 23,
Ladenlokal steht zum Verkauf,
Verein Los Cernícalos,
Übungsraum, Calle Sancho
Vizcaíno 23−25, Jerez de la
José María Castaño, Programm Die
Wege des Liedes, Onda Jerez Radio,
Calle Caballeros 35, Jerez de la
El Flamenco Vive (Der Flamenco
lebt), Calle Conde de Lemos 7,
Club Moog, frühere Villa Rosa,
Calle Arc del Teatre 3, Barcelona,
5. Februar 2010
La Bodega, recording studio,
Damajuana, calle Francos 18,
Joaquín el Zambo in his fishmonger,
Centro Andaluz de Flamenco
(Andalusisches Zentrum für
Flamenco), Bild- und Tonstudio,
Werkstatt, Gitarrengeschäft Pedro
de Miguel, Calle Amor de Dios 13,
La Bodega, Aufnahmestudio,
Damajuana, Calle Francos 18,
Workshop of Andrew Smith,
luthier, calle Campana 36, Jerez
Unterricht für Gitarrenbegleitung,
Gitarrenschule Manuel Lozano el
Carbonero, Calle San Miguel 11,
Joaquín el Zambo in seinem
Fischgeschäft, Jerez de la Frontera,
17. März 2010
Frontseite des Anton-Martín-Marktes,
Eingang am Amor de Dios, Zentrum
für Flamencokunst und spanischen
Tanz, Calle Santa Isabel 5, Madrid,
24. Februar 2010
Casa de Bastiana, calle Cantarería,
barrio de Santiago, Jerez de la
Werkstatt von Andrew Smith,
Gitarrenbauer, Calle Campana 36,
Jerez de la Frontera, 19. März
2010
Tío Pepe, Bodegas González Byass,
Tío Pepe, bodegas González Byass,
Guitar shop Viuda de Faustino
Conde, nephew of Esteso, Conde
brothers, calle Gravina 7, Madrid,
February 24, 2010
Lager und Büros der Sexshops
Lovestop, ehemaliges Domizil der
Casa Matías und des Patio Andaluz,
Calle Nou de Sant Francesc 5,
Christus der „Gitanos“ von
Santiago, Bruderschaft des Jesús
del Prendimiento (temporärer
Standort, eigentlich in der Kirche
Iglesia de Santiago), Jerez de la
Casa de Bastiana, Calle Cantarería,
Barrio de Santiago, Jerez de la
Cristo de los gitanos de Santiago
(Santiago neighborhood Gypsies’
Christ), Jesús del Prendimiento
confraternity (temporary seat,
normally at Iglesia de Santiago),
The Andalusian music reached
Madrid through the bridge and
street of Toledo.
Storage and offices of the Lovestop
sex shop, former site of Casa Matías
and Patio Andaluz, calle Nou de Sant
Francesc 5, Barcelona, February 5,
2010
Andalusian Flamenco center,
Sonntagmorgen, Fassade des
Pavón-Theaters, Calle Embajadores
9, Madrid, 28. Februar 2010
Tarantos, Plaza Real, Barcelona,
5. Februar 2010
Tarantos, Plaza Real, Barcelona,
February 5, 2010
Centro Andaluz de Flamenco
(Andalusisches Zentrum für
Flamenco), Jerez de la Frontera,
17. März 2010
1/4
Gitarrengeschäft Viuda de Faustino
Conde, Estesos Neffe, Conde-Brüder,
Calle Gravina 7, Madrid, 24. Februar
2010
Probe von Global Sense, BarRestaurant Events Polana, früherer
Tablao Los Canasteros, Calle Barbieri
10, Madrid, 25. Februar 2010
Guitar shop Viuda de Faustino
Conde, nephew of Esteso, Conde
brothers, calle Gravina 7, Madrid,
February 24, 2010
Rehearsal of Global Sense, Bar
Restaurant Events Polana, former
Tablao Los Canasteros, calle Barbieri
10, Madrid, February 25, 2010
Plaza de Belén, Gelände der Ciudad
del Flamenco, Jerez de la Frontera,
16. März 2010
Plaza de Belén, site of the Ciudad
del Flamenco project, Jerez de la
Unbezähmter Laokoon (2010–2011). 200 Silbergelatineabzüge, Maße variierend (von 13 x 18 cm bis 30 x 40 cm), gerahmt 50 x 50 cm, Siebdrucktext
auf Passepartout. Sammlung Helga de Alvear, Cáceres, Spanien. Hergestellt mit Unterstützung von Cajasol Obra Social, Sevilla, Spanien.
Wild Laocoön (2010–2011). 200 gelatin silver prints, variable dimensions (from 13 x 18 to 30 x 40 cm), framed 50 x 50 cm, silkscreened texts on matts.
Collection Helga de Alvear, Cáceres, Spain. Produced with the support of Cajasol Obra Social, Seville, Spain.
Dolores Ceballos, Gesangsunterricht
von José Miguel Cerro, genannt
Chiqui de la Línea, Taller de Músics,
Calle Requesens 3−5, Barcelona,
7. April 2010
Mariló, Digitalisierung des
audiovisuellen Archivs, Andalusisches
Zentrum für Flamenco, Bild- und
Tonstudio, Jerez de la Frontera,
17. März 2010
Verein La Bulería, Freitagabend,
Einlass zum Auftritt von Juan
Moneo El Torta, Calle Empedrada
20, Jerez de la Frontera, 19. März
2010
Mariló, digitalization of the
audiovisual archive, Andalusian
center for flamenco, Jerez de la
Frontera, image and sound studio,
March 17, 2010
Association La Bulería, Friday
evening, entrance to the concert
of Juan Moneo El Torta, calle
Empedrada 20, Jerez de la Frontera,
March 19, 2010
Dolores Ceballos, singing lesson
by José Miguel Cerro, Chiqui de la
Línea, Taller de Músics music school,
calle Requesens 3–5, Barcelona,
April 7, 2010
Chronologische Bildreihenfolge
Chronological image order
Eingang zu den Veranstaltungssälen
des Centro Cívico Parc Sandaru,
vor dem Konzert von Sebastián
Cruz (Gesang) und Raúl Cantizano
(Gitarre), organisiert von El Dorado,
Sociedad Flamenca Barcelonesa,
die sich im selbigen Centro Cívico
befindet, Calle Buenaventura Muñoz
21, Barcelona, 15. April 2010
Entrance to the perfomance hall
at the Centro Cívico Parc Sandaru,
before the concert of Sebastián Cruz
(voice) and Raúl Cantizano (guitar),
organized by El Dorado, Sociedad
Flamenca Barcelonesa, located
in the same Centro Cívico, calle
Buenaventura Muñoz 21, Barcelona,
April 15, 2010
Stand des Centro Cultural Gitano
de la Mina, 39. katalanisches AprilFest, Parc del Forum, Sant Adrià
de Besòs, Samstagmorgen,
1. Mai 2010
Booth of the Centro Cultural
Gitano de la Mina, 39th April Fair
of Catalonia, Parc del Forum, Sant
Adrià de Besòs, Saturday morning,
May 1, 2010
Stammbaum der Familien Mellizos
de Cádiz und Ortega-Díaz, Plaza
de la Merced, Cádiz, 24. Mai 2010
Genealogical tree of the families
Mellizos de Cádiz and Ortega-Díaz,
plaza de la Merced, Cádiz, May 24,
2010
Bar Flamencos de la Isla, calle
Malaspina 12, San Fernando,
May 26, 2010
Bay of Cádiz, seen from the fortress
Baluarte de la Candelaria, Alameda
Apodaca, Cádiz, May 21, 2010
Restaurant la Venta de Vargas, Plaza
de Juan Vargas während Bauarbeiten,
San Fernando, 26. Mai 2010
Facade de El Cangrejo, calle
Montserrat 9, Barcelona, April 19,
2010
Haus von Camarón, Calle del Carmen
29, Ecke Calle Orlando, Barrio de Las
Callejuelas, San Fernando, 26. Mai 2010
Verein Enrique el Mellizo, Calle
Nuevo Mundo, Cádiz, 25. Mai 2010
Association Enrique el Mellizo, calle
Nuevo Mundo, Cádiz May 25, 2010
House of Camarón, calle del
Carmen 29, corner calle Orlando,
Las Callejuelas neighborhood, San
Fernando, May 26, 2010
39th April Fair of Catalonia, Parc
del Forum, Sant Adrià de Besòs,
May 1, 2010
El Callejón de Madrid, calle
Manuel Fernández y González 5,
Madrid, June 3, 2010
Die Oberflächen der Ciudad
del Flamenco bestehen aus
perforiertem und künstlich
veredeltem Gussbeton. Sie setzten
die Linien, Formen und Muster
der Flamencotradition und des
arabischen Ornaments fort. Beide
Traditionen sind in höchstem Maße
zeitgenössisch; um genauer zu
sein, sie sind Jahrhunderte alt und
immer wieder Inspirationsquellen
für die zeitgenössische Kunst und
Alltagskultur. Wir entdecken sie
im Punk und in der Rockmusik, in
Tattoos, Symbolen und Emblemen,
in Mustern und vielen anderen
Bereichen.
Herzog & De Meuron, Ciudad del Flamenco,
Jerez. Concurso internacional, 2004
Facade of Sala Bagdad, the former
Bodega del Toro, a Flamenco
club that belonged to María Yáñez
(la Bella Dorita) and Narciso Alberti
between 1956 and 1975, later
acquired by Juani de Lucía and her
husband and opened on December
20, 1975, as the present Sala Bagdad
live porno show, calle Nou de la
Rambla 103, Barcelona, April 21,
2010
Verein Enrique el Mellizo, calle
Nuevo Mundo, Cádiz, May 25, 2010
Mausoleum von Camarón, städtischer
Friedhof, San Fernando, 26. Mai 2010
Mausoleum of Camarón, municipal
cemetery, San Fernando, May 26, 2010
Tablao Cordobés, Ramblas 35,
Barcelona, May 13, 2010
Verein Juan Villar, Puerta de la
Caleta, Cádiz, 25. Mai 2010
Flamenco-Gesellschaft von
Badalona, Calle Balmes 5, Badalona,
14. Mai 2010
Association Juan Villar, Puerta
de la Caleta, Facade, Cádiz,
May 25, 2010
Verein Camarón de la Isla, Calle
Manuel Arriaga, San Fernando,
26. Mai 2010
The surfaces of the Ciudad del
Flamenco consist of poured,
perforated and artificially
processed concrete; they follow
the lines, shapes and patterns
of Gypsy tradition and Arabic
ornamentation. Both traditions are
extremely contemporary; to be
more precise, they are centuriesold and ceaselessly new sources
of inspiration for contemporary
art and everyday culture. We find
them in punk and rock music, in
tattoos, in symbols and emblems,
in patterns and in many other
creations.
Booth of Casa Regional de Málaga
de Santa Coloma, 39th April Fair
of Catalonia, Parc del Forum, Sant
Adrià de Besòs, April 24, 2010
Association Camarón de la Isla,
calle Manuel Arriaga, San Fernando,
May 26, 2010
Verein Juan Villar, Puerta de la
Caleta, Fassade, Cádiz, 25. Mai 2010
Association Juan Villar, Puerta de
la Caleta, Facade, Cádiz, May 25, 2010
39. katalanisches April-Fest,
Parc del Forum, Sant Adrià de
Besòs, Samstagmittag, 24. April
2010
39th April Fair of Catalonia,
Parc del Forum, Sant Adrià de
Besòs, Saturday noon, April 24,
2010
Centro Municipal de Arte Flamenco
La Merced, Plaza de la Merced,
Cádiz, 24. Mai 2010
La Merced, plaza de la Merced,
Cádiz, May 24, 2010
Verein El Chato de la Isla, Plaza
Emperador Carlos, San Fernando,
26. Mai 2010
Association El Chato de la Isla,
plaza Emperador Carlos, San
Fernando, May 26, 2010
Proben für den Auftritt von Rocío
Molina, 17. Flamenco-Festival
der Stadt Vella, Bühne im Pati
de les Dones, Centre de Cultura
Contemporània de Barcelona,
Barcelona, 21. Mai 2010
Rocío Molina rehearsing, 17th
Flamenco Festival of the City of
Vella, stage at the Pati de les Dones,
Centre de Cultura Contemporània
de Barcelona, Barcelona, May 21,
2010
Fassade der ehemaligen Bar
Los Gabrieles, erworben von der
Immobiliengruppe Aguirre Newman,
um das Gebäude als Wohnanalage
zu vermarkten, Calle Echegaray 17,
Madrid, 3. Juni 2010
Facade of the former bar Los
Gabrieles, acquired by the real-estate
group Aguirre Newman to renew
the building as a new appartment
condominium, calle Echegaray 17,
Facade of the ballet Flamenco
de Madrid, plaza Tirso de Molina,
Casa Patas, Restaurant, Calle
Cañizares 10, Madrid, 3. Juni 2010
Casa Patas, restaurant, calle
Cañizares 10, Madrid, June 3, 2010
Corral de la Morería, calle de la
Morería 17; Paco, the maître d’hôtel
at the entrance at calle Yeseros,
Colegio Mayor San Juan Evangelista,
Halle der Aula, die Schauspielerin
Maite Elissalt auf der Terrasse
während der Proben zu El sueño de
una noche de verano von Batiburrillo
Producciones, Madrid, 3. Juni 2010
Fassade des Haagen-Dazs-Theaters,
ehemaliges Teatro Calderón,
Calle Atocha, Madrid, 2. Juni 2010
Alameda de Hércules, Sevilla,
30. Juni 2010
Hercules Alley, Seville, June 30,
2010
Colegio Mayor San Juan Evangelista,
hall of the auditorium, the actor
Maite Elissalt at the terrace during
the rehearsal of El sueño de una
noche de verano by Batiburrillo
Producciones, Madrid, June 3, 2010
Facade of the theater Haagen-Dazs,
former Teatro Calderón, calle Atocha,
Boutique Lina, Werkstatt, Calle
Lineros 17, Sevilla, 1. Juli 2010
Boutique Lina, workshop, calle
Lineros 17, Seville, July 1, 2010
Pressekonferenz anlässlich der
Vereinbarung zwischen der Stadt
Cádiz und Esperanza Fernández zur
Realisierung des 4. Internationalen
Flamenco-Workshops, geplant für
Juli 2010; zu den Teilnehmern zählen
Antonio Castillo, stellvertretender
Bürgermeister und Kulturreferent
der Stadt Cádiz, sowie Esperanza
Fernández, Sängerin und Leiterin des
Workshops, Städtisches Zentrum
für Flamencokunst La Merced, Cádiz,
25. Mai 2010
Press conference to mark the
agreements between the city
of Cádiz and Esperanza Fernández
for realizing the 4th International
Workshop of Flamenco, scheduled
for July 2010. The participants
are Antonio Castillo, deputy mayor
and delegate for culture of Cádiz,
and Esperanza Fernández, singer
and director of the workshop,
La Merced, Cádiz, May 25, 2010
Fassade des Candela, Calle Olmo 2,
Ecke Calle Olivar, Madrid, 3. Juni 2010
Facade of Candela, calle Olmo 2,
corner calle Olivar, Madrid, June 3,
2010
Verein Antonio Chacón, Plaza Salas 2,
Jerez de la Frontera, 27. Mai 2010
Association Antonio Chacón, plaza
Salas 2, Jerez de la Frontera, May 27,
2010
Cardamomo, Calle Echegaray 15,
Cardamomo, calle Echegaray 15,
Boutique Lina, Geschäft, Calle
Lineros 17, Sevilla, 1. Juli 2010
Boutique Lina, shop, calle Lineros 17,
Seville, July 1, 2010
Tablao Las Carboneras, Calle Conde
de Miranda 1, Madrid, 8. Juni 2010
Tablao Las Carboneras, calle Conde
de Miranda 1, Madrid, June 8, 2010
Verein Pepe Montaraz, Calle de los
Frailes 5, Lebrija, 27. Mai 2010
Association Pepe Montaraz, calle
de los Frailes 5, Lebrija, May 27, 2010
Casa Patas, Tablao, Calle Cañizares
10, Madrid, 3. Juni 2010
Casa Patas, tablao, calle Cañizares 10,
Tangoklasse von Valeria Saura,
Hinterhof, selbst verwaltete
Räume, Calle Castellar 52, Sevilla,
1. Juli 2010
Geburtshaus von Enrique el Mellizo,
Calle Mirador 24−26, Barrio de
Santa María, Cádiz, 24. Mai 2010
Birthplace of Enrique el Mellizo,
calle Mirador 24–26, barrio de
Santa María, Cádiz, May 24, 2010
Wild Laocoön
Fassade des Ballet Flamenco
de Madrid, Plaza Tirso de Molina,
Corral de la Morería, Calle de la
Morería 17; Paco, der maître d’hotel
am Eingang an der Calle Yeseros,
Basilio Perona, Samstagmorgen,
Stand des Centro Cultural Gitano
de la Mina, 39. katalanisches
April-Fest, Parc del Forum, Sant
Adrià de Besòs, 1. Mai 2010
Basilio Perona, Saturday morning,
stand of the Centro Cultural Gitano
de la Mina, 39th April Fair of
Catalonia, Parc del Forum, Sant
Adrià de Besòs, May 1, 2010
De Flamenco, Palacio de Gaviria,
calle Arenal 9, ground floor 4,
Herzog & de Meuron, Ciudad del Flamenco,
Jerez. International Competition, 2004
Flamenco society of Badalona,
calle Balmes 5, Badalona, May 14,
2010
Stand der Casa Regional de Málaga
de Santa Coloma, 39. katalanisches
April-Fest, Parc del Forum, Sant
Adrià de Besòs, 24. April 2010
De Flamenco, Palacio de Gaviria,
Calle Arenal 9, Erdgeschoss 4,
Model of the facade of the project
Ciudad del Flamenco by the architects
Herzog & de Meuron, in front of the
Nave del Aceite, plaza de Belén, Jerez
de la Frontera, May 27, 2010
Verein Enrique el Mellizo, Calle
Nuevo Mundo, Cádiz, 25. Mai 2010
Tablao Cordobés, Ramblas 35,
Barcelona, 13. Mai 2010
Tío Pepe, Puerta del Sol, Madrid,
June 3, 2010
Café de Chinitas, calle Torija 7,
Modell der Fassade für das Projekt
Ciudad del Flamenco der Architekten
Herzog & De Meuron, gegenüber des
Gebäudes Nave del Aceite, Plaza de
Belén, Jerez de la Frontera, 27. Mai 2010
Fassade des El Cangrejo, Calle
Montserrat 9, Barcelona, 19. April
2010
Fassade der Sala Bagdad, ehemalige
Bodega del Toro, ein FlamencoClub, der zwischen 1956 und 1975
María Yáñez (la Bella Dorita) und
Narciso Alberti gehörte, danach von
Juani de Lucía und ihrem Ehemann
erworben und am 20. Dezember 1975
als heutige Sala Bagdad mit LivePornoshows eröffnet wurde, Calle
Nou de la Rambla 103, Barcelona,
21. April 2010
Tío Pepe, Puerta del Sol, Madrid,
3. Juni 2010
El Callejón de Madrid, Calle
Manuel Fernández y González 5,
Madrid 3. Juni 2010
Restaurant la Venta de Vargas,
renewal of plaza de Juan Vargas,
San Fernando, May 26, 2010
39th April Fair of Catalonia, entrance
to the fair grounds, Parc del Forum,
Sant Adrià de Besòs, May 1, 2010
39. katalanisches April-Fest, Parc
del Forum, Sant Adrià de Besòs,
1. Mai 2010
Training im Club de Gimnasia
Rítmica (der rhythmischen
Gymnasik), überdachter Pavillon
der Stadthalle von Lebrija, einer
der ehemaligen Standorte des
Caracolá-Festivals, Avenida
Andalucía, Lebrija, 27. Mai 2010
Café de Chinitas, Calle Torija 7,
Training at the club of the Rhythmic
Gymnasium, covered pavilion of
the city hall, one of the former sites
of the Caracolá festival, avenida
Andalucía, Lebrija, May 27, 2010
Die Bucht von Cádiz, von der
Festung Baluarte de la Candelaria
aus gesehen, Alameda Apodaca,
39. katalanisches April-Fest, Eingang
zum Festgelände, Parc del Forum,
Sant Adrià de Besòs, 1. Mai 2010
Bar Flamencos de la Isla, Calle
Malaspina 12, San Fernando,
26. Mai 2010
2/4
De Flamenco, Lager, Palacio de
Gaviria, Calle Arenal 9, Erdgeschoss 4,
8. Juni 2010
Taverne Casa Manteca, Calle
Corralón 66, Barrio de la Viña,
Plaza del Hospitalillo, aktueller
Standort des Caracolá-Festivals,
Lebrija, 27. Mai 2010
Taberna Casa Manteca, calle
Corralón 66, barrio de la Viña,
Cádiz, May 25, 2010
Plaza del Hospitalillo, current site
of the Caracolá festival, Lebrija,
May 27, 2010
Candela, Keller, Calle Olmo 2,
Candela, basement, calle Olmo 2,
De Flamenco, store, Palacio de
Gaviria, calle Arenal 9, ground floor 4,
June 8, 2010
Tango class of Valeria Saura,
backyard, self-managed spaces,
calle Castellar 52, Seville, July 1,
2010
Santi Barber mit dem
„acompasaor” (Taktinstrument)
des Projektes Bulos y Tanguerías
(realisiert in Zusammenarbeit mit
Raúl Cantizano), s_puma, Calle
Eustaquio Barrón 2, Sevilla,
1. Juli 2010
Taverne von Juan Ortiz,
Avenida de Antonio Fuentes 20,
Puebla de Cazalla, 2. Juli 2010
Juan Ortiz tavern, avenida
de Antonio Fuentes 20, Puebla
de Cazalla, July 2, 2010
Menkes-Geschäft, Schaufenster,
Calle Mesonero Romanos 14, vom
Tablao Torres Bermejas aus quer
über die Straße gesehen, Madrid,
8. Juli 2010
Tertulia Flamenca El Gallo,
Calle Calzadilla 8, Morón de la
Frontera, 30. Juli 2010
Tertulia Flamenca El Gallo,
calle Calzadilla 8, Morón de la
Frontera, July 30, 2010
Menkes shop window, calle
Mesonero Romanos 14, across the
street from tablao Torres Bermejas,
Madrid, July 8, 2010
Santi Barber with the “acompasaor”
of the project Bulos y Tanguerías
(realized in collaboration with Raúl
Cantizano), s_puma space, calle
Eustaquio Barrón 2, Seville, July 1,
2010
Vorbereitungen für das Festival
Reunión de Cante Jondo, Hacienda
la Fuenlonguilla, Innenhof, Puebla
de Cazalla, 2. Juli 2010
Preparations for the Reunión de
Cante Jondo festival, Hacienda
la Fuenlonguilla, patio, Puebla de
Cazalla, July 2, 2010
Verein Juan Breva, Museo de Arte
Flamenco, Calle Ramón Franquelo
4, ständige Sammlungsausstellung,
Málaga, 6. August 2010
Calle Marques de Larios,
Vorbereitungen für die Feria von
Málaga (Volksfest), Málaga,
7. August 2010
Association Juan Breva, Museo
de Arte Flamenco, calle Ramón
Franquelo 4, permanent collection
exhibition, Málaga, August 6, 2010
Calle Marques de Larios,
preparations for the Malaga Fair,
Malaga, August 7, 2010
Cortijo Espartero, former finca
of Donn E. Pohren (Pore), between
1965 and 1973 a center for the
Flamenco Morón scene; after years
of dilapidation, the building is in
the process of renovation, Morón
de la Frontera, July 31, 2010
Denkmal für Diego el Gastor,
Alameda-Park, Morón de la
Tablao Torres Bermejas, Calle
Mesonero Romanos 11, Madrid,
8. Juli 2010
Bodega El Pimpi, Calle Granada 62,
Fassade, Málaga, 6. August 2010
Monument for Diego el Gastor,
Alameda gardens, Morón de la
Tablao Torres Bermejas, calle
Mesonero Romanos 11, Madrid,
July 8, 2010
Alameda de Hércules, Schatten
des Denkmals für Niña de los
Peines, Sevilla, 1. Juli 2010
Cortijo Espartero, ehemalige Finca
von Donn E. Pohren (Pore) und
Flamenco-Zentrum der MorónSzene zwischen 1965 und 1973,
derzeit Eigentum und Wohnung
von Antonio González und
seiner Familie, nach Jahren der
Verwahrlosung wird das Gebäude
derzeit renoviert, Morón de la
3/4
Bodega El Pimpi, calle Granada 62,
fachada, Málaga, August 6, 2010
Flamencogeschäft, Pasillo Santa
Isabel 5, Málaga, 5. August 2010
Park, „Fiestero“-Skulptur, Denkmal
für die Verdiales, Málaga, 7. August
2010
Park, “fiestero” sculpture, monument
of the Verdiales, Malaga, August 7,
2010
Flamenka store, pasillo Santa
Isabel 5, Málaga, August 5, 2010
Hercules Alley, shadow of the
monument of Niña de los Peines,
Seville, July 1, 2010
Städtischer Friedhof San Roque,
Grab von Pepe Marchena, Marchena,
2. Juli 2010
Pavillon des Círculo Mercantil,
Paseo de la Alameda, Ort der ersten
Veranstaltungen des GazpachoAndaluz-Festivals, Morón de la
Municipal cemetery San Roque,
grave of Pepe Marchena, Marchena,
July 2, 2010
Rocío Alarcón und Virginia
Muñoz, Abteilung für staatliche
Zuschüsse, Agencia Andaluza
para el Desarrollo del Flamenco
(andalusische Agentur zur
Entwicklung des Flamencos),
Kulturministerium der Region
Andalusien, Avenida de la Borbolla
59, Sevilla, 1. Juli 2010
Rocío Alarcón and Virginia Muñoz,
Department for Public Subsidies,
Agencia Andaluza para el
Desarrollo del Flamenco (Office
for the Development of Flamenco
in Andalusia), Ministry of Culture
of the Andalusia Region, avenida
de la Borbolla 59, Seville, 2010
Fassade der Sociedad General de
Autores de España (Dachverband
der spanischen Autoren, Plaza
Cardenal Espinola) mit Gedenktafel
für Julio Romero de Torres, Calle
Pelayo 61, Madrid, 8. Juli 2010
Denkmal für Demófilo, AlamilloPark, bei Sonnenuntergang,
Sevilla, 2. Juli 2010
Demófilo Memorial, park del
Alamillo at sunset, Seville, July 2,
2010
Pavilion of Círculo Mercantil, paseo
de la Alameda, seat of the first
editions of the Gazpacho Andaluz
festival, Morón de la Frontera,
July 31, 2010
Man kann den Flamenco nur
als zeitgenössische Musik
und zeitgenössischen Tanz
beschreiben.
Plaza de las Flores, the nineteenthcentury Café de Bernardo used to
be located at this site, also known
as Café del Sevillano or El Sin
Techo, Málaga, August 5, 2010
José Manuel Gamboa, Una historia
del flamenco, 2004
Facade of the Society of Spanish
Writers (SGAE) with commemorative
plaque for Julio Romero de Torres,
calle Pelayo 61, Madrid, July 8, 2010
We only can define Flamenco as
contemporary music and dance.
José Manuel Gamboa, Una historia
del flamenco, 2004
Flamenco tavern Pepe López,
formerly tablao El Jaleo, plaza de
la Gamba Alegre, Torremolinos,
August 5, 2010
Feigenkaktus
Unbezähmter Laokoon.
Wie bist du schön
Cortijo Espartero, Morón de la
Cortijo Espartero, Morón de la
Casa de Arte Flamenco Antonio
Mairena, Plaza Antonio Mairena,
Mairena del Alcor, 2. Juli 2010
„Spanier und Ausländer sind
sich darin einig, dass es sich bei
der Kunst des Flamencos um die
hervorragendste, reichste und am
stärksten inspirierende Folklore
Spaniens (wenn nicht Europas
oder der Welt) handelt“, Ricardo
Molina und Antonio Mairena,
Mundo y formas del cante
flamenco, 1963
Casa de Arte Flamenco Antonio
Mairena, plaza Antonio Mairena,
Mairena del Alcor, July 2, 2010
“Spaniards and foreigners agree
that the art of Flamenco is the
most outstanding, rich and
inspiring folklore in Spain (if not
even in Europe or the world).”
Ricardo Molina and Antonio
Mairena, Mundo y formas del
cante flamenco, 1963
wenn du dem Winde dräust!
Daphne und Attis
verstehen deinen Schmerz.
Nimmer erklärbar.
Prickly Pear
Wild Laocoon.
You are so fantastic
Under the crescent moon
Versatile jai-alai player
Küche des Colegio Salesiano,
Vorbereitungen für einen potaje
(Eintopf) von Pepe Méndez,
pensionierter Koch der Schule,
und Luis Pérez, Festival LIV Potaje
Gitano, Utrera, 3. Juli 2010
Ehemaliges Domizil des Cafés
Cantante de Chinitas, Pasaje de
Chinitas 6, Málaga, 5. August 2010
Federico García Lorca,
Poema del Cante Jondo, 1931
Plaza Santa Ana, monument for
Federico García Lorca, noon,
July 9, 2010
You look so great
As you threaten the wind
Indalecio Alemán, erster Organisator
des Gazpacho-Andaluz-Festivals,
Bar Alemán, Paseo de la Alameda 9,
Morón de la Frontera, 31. Juli 2010
Ich erinnere mich noch genau an
meine ersten Nachforschungen
über das Flamenco-Leben.
Diese ersten entscheidenden
Erfahrungen machte ich in einem
ehemaligen Armenviertel in
Málaga, das zwischen den Straßen
Calle De los Negros und Calle
Cruz Verde eingeklemmt war und
wo damals die meisten lokalen
„Flamencos” lebten.
Former site of the Café Cantante
de Chinitas, pasaje de Chinitas 6,
Málaga, August 5, 2010
I exactly remember my first
approach to Flamenco life. These
first significant experiences took
place in a former shanty town in
Malaga trapped between calle De
los Negros and calle Cruz Verde,
where at that time the most of the
local “Flamencos” were living.
Donn E. Pohren, Una forma de vida, 1980
Flamenco-Taverne Pepe López,
ehemaliger Tablao El Jaleo, Plaza
de la Gamba Alegre, Torremolinos,
5. August 2010
Unexplicable
Federico García Lorca,
Poema del Cante Jondo, 1931
XLIV Gazpacho-Andaluz-festival,
plaza de toros, Morón de la Frontera,
July 31, 2010
Flamenco tavern Pepe López,
formerly tablao El Jaleo, plaza de
la Gamba Alegre, Torremolinos,
August 5, 2010
Calle Beatas, ehemaliger Standort
des Vereins Juan Breva, der von den
Sanierungsarbeiten im historischen
Zentrum betroffen ist, Málaga,
6. August 2010
Calle Beatas, former site of the
association Juan Breva, affected by
part of the overall program to renew
the historical center, Málaga, August
6, 2010
XLIV. Gazpacho Andaluz Festival,
Stierkampfarena, Morón de la
Bar Central, Plaza del Cabildo,
Bar Central, plaza del Cabildo,
Puebla de Cazalla, July 2, 2010
Soundcheck für Pitingo, Festival
LIV Potaje Gitano, Innenhof
des Colegio Salesiano, Utrera,
3. Juli 2010
Sound check for Pitingo, LIV
Potaje Gitano festival, patio del
Colegio Salesiano, Utrera, July 3,
2010
Gedenktafel der Taverne Casa
Pepe, Plaza Cardenal Espinola,
Ecke Calle Pósito, Morón de la
Modenschau der Designerin Melisa
Lozano, Lunares-Weekend, erste
Tagung der Flamenco-Modeindustrie,
Stierkampfarena in der Hacienda La
Biznaga, Carretera de Alhaurin, sn,
Cártama, Freitagabend, 6. August 2010
Commemorative plaque of the
Taverna Casa Pepe, plaza Cardenal
Espinola, corner calle Pósito,
Morón de la Frontera, July 30, 2010
XLIV. Gazpacho-Andaluz-Fesitval,
Stierkampfarena, Morón de la
XLIV Gazpacho Andaluz festival,
plaza de toros, Morón de la Frontera,
July 31, 2010
Wild Laocoön
Samstagmorgen, das Barrio del
Perchel von der Sonnenterrasse des
Hotels Málaga Centro aus gesehen,
Calle Mármoles 6, Málaga, 7. August
2010
Saturday morning, the barrio del
Perchel seen from the solarium
of the hotel Málaga Centro, calle
Mármoles 6, Málaga, August 7, 2010
Paseo del Parque, Fotoausstellung
im Freien, Málaga, 7. August 2010
Paseo del Parque, photo exhibition in
public space, Málaga, August 7, 2010
Indalecio Alemán, first organizer of
the Gazpacho Andaluz festival, Bar
Alemán, paseo de la Alameda 9,
Dafne and Atis
Know well about your pain
Kitchen of the Salesian School,
preparations for a potaje (stew) by
Pepe Méndez, retired cook of the
school, and Luis Pérez, LIV Potaje
Gitano festival, Utrera, July 3, 2010
Calle De Los Negros 4, Innenhof,
Calle De Los Negros 4, patio, Malaga,
August 6, 2010
Vielfacher Pelotari.
Wie bist du schön,
Flamenco Association Curro de
Utrera, plaza del Porche de Santa
María, Utrera, July 3, 2010
Veranstaltungsgelände Eduardo
Ocón, Park, Málaga, 7. August 2010
Donn E. Pohren, Una forma de vida, 1980
im Licht des halben Mondes!
Flamenco-Verein Curro de Utrera,
Plaza del Porche de Santa María,
Utrera, 3. Juli 2010
XXV Cuna de Verdiales festival,
bands parade along the village
streets, Almogía, August 7, 2010
Area Eduardo Ocón, park, Malaga,
August 7, 2010
Flamenco-Taverne Pepe López,
ehemaliger Tablao El Jaleo, Plaza
de la Gamba Alegre, Torremolinos,
5. August 2010
Plaza Santa Ana, Denkmal für
Federico García Lorca, Mittag,
9. Juli 2010
XXV. Cuna de Verdiales, Abreise
der Bands über die Dorfstraßen,
Almogía, 7. August 2010
Plaza de toros, sound check for XLIV
Gazpacho Andaluz festival, dusk,
Monument of Pepe Marchena,
Isidoro de Arcenegui parc,
Marchena, July 2, 2010
View of the city center seen from
the Hacienda la Fuenlonguilla, seat
of Reunión de Cante Jondo festival,
Puebla de Cazalla, July 2, 2010
Facade of the theater Cervantes, plaza
de Jerónimo Cuervo, preparations
for the Malaga fair; during the
reconstruction of the surroundings
and the square across from the
theater, the old building of the tablao
Gran Taberna Gitana was demolished;
it was formerly located at calle Zorrilla
3, Malaga, August 6, 2010
Stierkampfarena, Soundcheck für
das XLIV. Gazpacho-Andaluz-Festival,
Dämmerung, Morón de la Frontera,
31. Juli 2010
Denkmal für Pepe Marchena,
Isidoro-de-Arcenegui-Park,
Marchena, 2. Juli 2010
Blick auf die Innenstadt von der
Hacienda la Fuenlonguilla aus,
Sitz der Reunión de Cante Jondo,
Plaza de las Flores, an diesem
Platz befand sich das aus dem
19. Jahrhundert stammende Café
de Bernardo, auch bekannt als
Café del Sevillano oder El Sin
Techo, Málaga, 5. August 2010
Fassade des Cervantes-Theaters,
Plaza de Jerónimo Cuervo,
Vorbereitungen für die MálagaMesse; beim Umbau der Umgebung
und des Platzes vor dem Theater
wurde das Gebäude des Tablao Gran
Taberna Gitana, das sich früher in der
Calle Zorrilla 3 befand, abgerissen;
Malaga, 6. August 2010
Fashion parade of the designer
Melisa Lozano, Lunares Weekend,
first meeting of Flamenco fashion
industries, plaza de toros en la
Hacienda La Biznaga, carretera
de Alhaurin, sn, Cártama, Friday
evening, August 6, 2010
Venta de San Cayetano im Barriada
Puerta de la Torre, Dämmerung,
Veranstaltungsort des Hauptfestivals
der Verdiales, das jeweils am 28.
Dezember, dem Tag der unschuldigen
Kinder, stattfindet, Málaga, 7. August
2010
Venta de San Cayetano at the Puerta
de la Torre neighborhood, dusk, site
of the major Verdiales festival taking
place each December 28, Innocents’
Day, Malaga, August 7, 2010
Verein Juan Breva, Museo de Arte
Flamenco, Calle Ramón Franquelo
4, ständige Sammlungsausstellung,
Association Juan Breva, Museo
de Arte Flamenco, calle Ramón
Franquelo 4, permanent collection
exhibition, Málaga, August 6, 2010
XXV. Cuna de Verdiales, Ankunft
der Bands bei Anbruch der Nacht,
Almogía, 7. August 2010
XXV Cuna de Verdiales festival,
arrival of the bands at nightfall,
Almogía, August 7, 2010
Calle Canales, in dieser Straße
befand sich das Posada el Rojo
„El Alpargatero”, Ursprungsort des
Gesangs von Cartagena, Cartagena,
11. August 2010
Calle Canales, in this street
used to be the Posada el Rojo
“El Alpargatero,” cradle of the chant
of Cartagena, Cartagena, August 11,
2010
Tablao El Patio Sevillano, Paseo
Cristóbal Colón 11A, Innenraum
des wichtigsten Tablao, Sevilla,
28. September 2010
Tablao El Patio Sevillano, paseo
Cristóbal Colón 11A, interior of the
main tablao, Seville, September 28,
2010
Ricardo-Pachón-Archiv, Calle
Marqués del Nervión, Sevilla,
29. September 2010
Ricardo Pachón archive, calle
Marqués del Nervión, Seville,
September 29, 2010
Israel Galván in seinem Studio, Calle
San Luis, Sevilla, 30. September 2010
Der privilegierte Augenblick wäre
der Augenblick, in dem Tiefe
aufscheint. In diesem Augenblick
hört alles auf, doch nichts ist fix.
Georges Didi-Huberman, El bailaor
de soledades, 2008
Israel Galván in his studio, calle
San Luis, Seville, September 30, 2010
Gruppe Flo 6X8, antikapitalistisches
Flamenco-Kommando, bekannt für
ihre détournements oder politische
Protestperformances in Banken;
Proberaum Paca La Monea, Sevilla,
1. Oktober 2010
Former mining facilities in the
Sierra Minera, from the Portmán
Bay, August 11, 2010
Compás Sur, cuesta del Rosario
7 E, interior of the shop, Seville,
September 28, 2010
Hotel Triana, Calle Clara de
Jesús Montero 28, Innenhof,
Bühne während der 16. Bienal
de Flamenco, Barrio de Triana,
Sevilla, 29. September 2010
Arbeitszimmer von Mario Pacheco,
Büro der Plattenfirma Nuevos
Medios, Calle Ruiz de Alarcón 12,
Madrid, 5 Oktober 2010
Wenn man das Produkt
vervielfältigt, muss man auch
die Bühnen vervielfältigen.
José Luis Ortiz Nuevo, Alegato contra
la pureza, 2010
Hotel Triana, calle Clara de Jesús
Montero 28, patio, stage during
the 16th Bienal de Flamenco,
Triana neighborhood, Seville,
September 29, 2010
Museo Minero (Bergbau-Museum),
ehemaliges Arbeiter-Lyzeum, Vitrine
mit Schlägeln oder Vorschlaghammer
und Bohrer (Die „minera“ bzw.
das Bergarbeiterlied geht auf den
Rhythmus des Schlags des Hammers
auf den Bohrer zurück), Plaza del
Liceo, La Unión, 12. August 2010
Verein Torres Macarena, Hinterhof,
Calle Torrijiano 29, Sevilla,
29. September 2010
Association Torres Macarena,
backyard, calle Torrijiano 29, Seville,
September 29, 2010
If you multiply the product,
you need to multiply the stages
as well.
Tablao Los Gallos, plaza de
Santa Cruz, Seville, September 30,
2010
José Luis Ortiz Nuevo, Alegato contra
la pureza, 2010
Diego A. Manrique, El País, 31. Januar 2011
Das Haus von Mario Maya,
Calle Atanasio Barrón, Sevilla,
1. Oktober 2010
Tanzschule von Matilde Coral,
Calle Castilla 82−84, Triana, Sevilla,
29. September 2010
Dancing school of Matilde Coral,
calle Castilla 82–84, Triana, Seville,
September 29, 2010
Bar Devorando Flamenco,
Calle Joaquín Costa 18, Alameda,
Mario Maya’s house, calle
Atanasio Barrón, Seville,
October 1, 2010
The record label Nuevos Medios,
which has extended the horizons
of Spanish music, ceases activity.
The end was predictable: Even
though the company could meet
orders, it was not publishing any
new records since the death of
its inspirator, which occurred last
November—the photographer and
producer Mario Pacheco.
Diego A. Manrique, El País, Januar 31, 2011
Bar Devorando Flamenco,
calle Joaquín Costa 18, Alameda,
Seville, September 30, 2010
Catedral del Cante, frühere
Markthalle, während des 50.
Internationalen Festival des
Gesangs der Minenarbeiter,
Plaza Joaquín Costa, La Unión,
12. August 2010
Hinterhof in der Calle Castellar,
Sevilla, 1. Oktober 2010
Verein Pies de Plomo, Calle Dársena
22, Sevilla, 30. September 2010
Tanzschule von Matilde Coral,
Calle Castilla 82−84, Triana, Sevilla,
29. September 2010
Die Plattenfirma Nuevos Medios,
die die Horizonte der spanischen
Musik erweitert hat, stellt ihre
Aktivitäten ein. Dies kommt
nicht überraschend: Obwohl das
Unternehmen bis zuletzt noch
Bestellungen ausliefern konnte, hat
es seit dem Tod ihres Inspirators,
dem Fotografen und Produzenten
Mario Pacheco, im vergangenen
November keine neuen Platten
mehr herausgegeben.
Backyard at calle Castellar,
Seville, October 1, 2010
Tanzklasse von Ana Rodríguez
(Künstlerinnenname Ana de Utrera),
Tanzstudio José de la Vega, Calle
Aribau 19, Barcelona, 11. Oktober
2010
Dance class of Ana Rodríguez
(artist name Ana de Utrera), dance
studio José de la Vega, calle Aribau
19, Barcelona, October 11, 2010
Association Pies de Plomo, calle
Dársena 22, Seville, September 30,
2010
Bar Quitapesares, Taverne Perejil,
Pepe Peregil singt an der Theke für
die Kamera, Plaza Padre Jerónimo
de Córdoba 3, Sevilla, 30. September
2010
Fassade der Bar El Mantoncillo,
morgens, Calle Alfarería 103, Triana,
Tag des Generalstreiks, Sevilla,
29. September 2010
Bar Quitapesares, Taberna Perejil,
Pepe Peregil sings at the bar for the
camera, plaza Padre Jerónimo de
Córdoba 3, Seville, September 30,
2010
Bar El Chiringuito, Terrasse, Calle
Huelva 36, Sevilla, 28. September
2010
Gerhard Steingress in seinem
Studio, Calle Castilla, Barrio de
Triana, Sevilla, 29. September 2010
Die traditionelle Kultur ist nicht
nur einfach da, sondern sie
produziert und reproduziert
sich gemäß des Wandels der
historischen Bedingungen.
Raquel Fernández hängt
Schülerlisten auf, Vorbereitungen
für den Unterrichtsbeginn,
Fundación Cristina Heeren de Arte
Flamenco, Avenida de Jerez 2,
Francisco Aix Gracia, Lo que puede un
cuerpo y porqué lo puede, 2010
Dance class of Ana Rodríguez
(artist name Ana de Utrera), dance
studio José de la Vega, calle Aribau 19,
Barcelona, October 11, 2010
Tablao Albayzin, Carretera de Murcia,
Granada, 3. November 2010
Tablao Albayzin, carretera de Murcia,
Granada, November 3, 2010
Tanzunterricht mit Schal, Escuela
de Flamenco Mariquilla, Calle Santa
Clotilde 14, Granada, 4. November
2010
Dancing lesson with shawl, Escuela
de Flamenco Mariquilla, calle Santa
Clotilde 14, Granada, November 4,
2010
Plaza de los Aljibes, Austragungsort
des Wettbewerbs Concurso de
Cante Jondo von 1922 (veranstaltet
von Federico García Lorca und
Manuel de Falla), Alhambra, Granada,
4. November 2010
La Carbonería, Calle Levíes 18,
La Carbonería, calle Levíes 18,
Seville, September 30, 2010
Mariquilla, Tanzuntericht mit
Schal, Flamencoschule Mariquilla,
Calle Santa Clotilde 14, Granada,
4. November 2010
Mariquilla, dance lesson with
shawl, Flamenco school Mariquilla,
calle Santa Clotilde 14, Granada,
November 4, 2010
Verein Antonio Mairena,
Calle Collserola 68, L’Hospitalet
de Llobregat, 28. Oktober 2010
Peña Antonio Mairena,
calle Collserola 68, L’Hospitalet
de Llobregat, October 28, 2010
Tor des Clubs Eshavira, morgens,
Calle Postigo de la Luna 2,
5. November 2010
Gate of the Club Eshavira, morning,
calle Postigo de la Luna 2, November
5, 2010
Theater Salvador Távora de la
Cuadra de Sevilla, Innenraum des
Theaters mit dem Bühnenbild
des Stücks Rafael Alberti, un
compromiso con el pueblo (Rafael
Alberti. Ein Zugeständnis an das
Volk), Avenida Hytasa 14, Polígono
Hytasa, Sevilla, 1. Oktober 2010
The traditional culture is not just
there, but produces and remakes
itself according to changing
historical conditions.
Gerhard Steingress, epilogue to Sobre
flamenco y flamencología, 2004
Once a certain music exchange
market has been regulated, it is
possible to confirm the presence
of a counterculture, which is
commercially successful and
whose meaning is related to the
extent that it turns its back on
the mainstream conservative
society.
Raquel Fernández posts the lists
of the students, preparations for
the start of the classes, Cristina
Heeren Foundation of Flamenco
Arts, avenida de Jerez 2, Seville,
September 30, 2010
Gerhard Steingress in his studio,
calle Castilla, barrio de Triana, Seville,
September 29, 2010
Wild Laocoön
Venta El Gallo, interior, Sacromonte,
Granada, November 5, 2010
El Sacromonte, vom Museo
Cuevas del Sacromonte – dem
Zentrum der Interpretation von
Sacromonte – aus gesehen,
El Sacromonte seen from the
Museo Cuevas del Sacromonte—
the center of interpretation of
Sacromonte, Granada, November 5,
2010
Theater El Molino, von der Plaza
de la Bella Dorit aus gesehen,
Paralelo, Wiedereröffnung im
Oktober 2010, dreizehn Jahre nach
der Schließung und einem langen
Prozess der strukturellen Erneuerung,
Barcelona, 8. Januar 2010
Theater El Molino seen from
plaza de la Bella Dorita, Paralelo,
reopened in October 2010, thirteen
years after its closing and after a
long process of structural renewal,
Barcelona, January 8, 2010
Tanzklasse von Ana Rodríguez
(Künstlerinnenname Ana de Utrera),
Tanzstudio José de la Vega, Calle
Aribau 19, Barcelona, 11. Oktober
2010
Bar FLMNKO, backyard, calle
Castellar 52, Seville, Oktober 1, 2010
Gerhard Steingress, Epilog zu Sobre
flamenco y flamencología, 2004
Signatura publishing house office
site, Facade of Tower 2, calle
Astronomía 1, polígono Nuevo
Torneo, Seville, September 28, 2010
Wenn ein bestimmter
Musiktauschmarkt erst einmal
reguliert ist, dann ist es
möglich, das Vorhandesein einer
Gegenkultur zu behaupten, die
kommerziellen Erfolg hat und
deren Sinn in dem Maße besteht,
in dem sie der konservativen
Mainstream-Gesellschaft den
Rücken kehrt.
Francisco Aix Gracia, Lo que puede un
cuerpo y porqué lo puede, 2010
Facade of the bar El Mantoncillo,
morning, calle Alfarería 103, Triana,
general strike day, Seville, 29.
September 2010
Büro des Verlags Signatura,
Fassade des Turms 2, Calle
Astronomía 1, Polígono Nuevo
Torneo, Sevilla, 28. September 2010
Venta El Gallo, innen, Sacromonte,
Bar FLMNKO, Hinterhof, Calle
Castellar 52, Sevilla, 1. Oktober 2010
Inneres der Agrupa-Vicenta-Mine,
einer der Veranstaltungsorte des 50.
Festival Internacional del Cante de
las Minas, das parallel zur Eröffnung
des Parque Minero stattfand,
La Unión, 12. August 2010
Bar El Chiringuito, terrace, calle
Huelva 36, Seville, September 28,
2010
Crossover between Camino del
Sacromonte and Barranco de los
Negros, where various Flamenco
clubs are located: the bar Los
Faroles, the Venta el Gallo, and
Zambra de María la Canastera,
la Cueva del Curro; noon,
Sacromonte, Granada, November
5, 2010
Miguel Angel Ruiz, cook, and Jesús
Moreno, waiter, having lunch in the
patio of the association at sunset,
association La Platería, placeta de
Toqueros 7, Granada, November 3,
2010
Plaza de los Aljibes, site of the 1922
Concurso de Cante Jondo (organized
by Federico García Lorca and Manuel
de Falla), Alhambra, Granada,
November 4, 2010
Dancing school of Matilde Coral,
calle Castilla 82–84, Triana, Seville,
September 29, 2010
Interior of the Agrupa Vicenta Mine,
one of the locations of the 50th
Festival Internacional del Cante de
las Minas, an event that took place
parallel to the opening of the Parque
Minero, La Unión, August 12, 2010
Kreuzung zwischen Camino del
Sacromonte und Barranco de los
Negros, wo sich verschiedene
Flamenco-Clubs befinden: die Bar
Los Faroles, das Venta El Gallo,
das Zambra de María la Canastera,
die Cueva del Curro; Mittag,
Sacromonte, Granada, 5. November
2010
Workspace of Mario Pacheco, office
of the record label Nuevos Medios,
calle Ruiz de Alarcón 12, Madrid,
October 5, 2010
Museo Minero, former worker
school, vitrines with hammers and
drills (la “minera” or mining chant
comes from the rhythm of the
beating of the hammer on the drill),
plaza del Liceo, La Unión, August 12,
2010
Catedral del Cante, former public
market hall, during the 50th
International Festival of Mine-Chant,
plaza Joaquín Costa, La Unión,
August 12, 2010
Tablao Los Gallos, Plaza de
Santa Cruz, Sevilla, 30. September
2010
Association La Platería, placeta de
Toqueros 7, Granada, November 3, 2010
Miguel Angel Ruiz, Koch, und Jesús
Moreno, Kellner, beim Abendessen
im Hof des Vereins La Platería
während des Sonnenuntergangs,
Verein La Platería, Placeta de Toqueros
7, Granada, 3. November 2010
Georges Didi-Huberman, El bailaor de
soledades, 2008
Compás Sur, Cuesta del Rosario 7 E,
Innenraum des Geschäfts, Sevilla,
28. September 2010
Verein La Platería, Placeta de
Toqueros 7, Granada, 3. November 2010
Flo 6X8 group, anti-capitalist
Flamenco commando known for
their flamenco détournements or
political protest performances in
banks; rehearsal room Paca La
Monea, Seville, October 1, 2010
The privileged moment would
be the moment when profundity
appears. In this moment
everything stops, yet, nothing is
fixed.
Ehemalige Mine in der Sierra
Minera, von der Portmán-Bucht
aus gesehen, 11. August 2010
4/4
Teatro Salvador Távora de la Cuadra
de Seville, interior of the theater with
the scenography of the piece Rafael
Alberti, un compromiso con el pueblo
(Rafael Alberti, commitment to the
people), avenida Hytasa 14, polígono
Hytasa, Seville, October 1, 2010
Tablao Albayzin, Carretera de
Murcia, gegenüber des Mirador
de San Cristóbal, Fassade von
der Bushaltestelle aus gesehen,
Tablao Albayzin, carretera de
Murcia, in front of the Mirador
de San Cristóbal, side facade
seen from the bus stop, Granada,
November 3, 2010
La Chumbera, Camino del
Sacromonte 147, Granada,
5. November 2010
La Chumbera, camino del
Sacromonte 147, Granada,
November 5, 2010
Palau de la Música Catalana, Calle
Sant Pere Més Alt, von der Plaza
de Luis Millet aus gesehen; nach
einem im Juli 2009 aufgedeckten
Korruptionsskandal wurde der
Platz auch ironisch „Felix-BilletPlatz“ genannt (im Katalanischen
bedeutet „billet“ Banknote): in
Anspielung auf Felix Millet, den
ehemaligen Aufsichtsratspräsidenten des Musikpalastes, der als
Hauptangeklagter der Unterschlagung von Fördermitteln bezichtigt
wurde und in diverse Polit- und
Immobilienaffären verstrickt war,
Barcelona, 10. Januar 2010
Palau de la Música Catalana, calle
Sant Pere Més Alt, seen from plaza
de Luis Millet, a place that has been
ironically and popularly renamed as
plaza de Felix Billet (in Catalan “billet”
means banknote) after a finantial
corruption scandal that went to the
media in July 2009, and referring to
Felix Millet, the ex-president of the
theater’s board of trustees and prime
suspect of having embezzled theater
funds for private benefit and of being
entangled in various real-estate and
illegal political party funding affairs,
Barcelona, January 10, 2010
Die Fotografien dieser Serie wurden an verschiedenen Standorten in Spanien und anderen
Ländern Europas aufgenommen, die mit der
Abdankung, dem Rückzug und Tod Karls V.
(1500–1558), dem ersten König Spaniens und
Kaiser des Heiligen Römischen Reiches Deutscher Nation, in Verbindung stehen: Yuste
und Cuacos de Yuste, Madrid und El Escorial,
Granada, Barcelona, Brüssel, Bolonia, Lille,
Cambrai, Le Cateau-Cambrésis und Lens.
Imperium (oder K.D.)
1/2
The second scene takes place around the pond
across the palace and ends with the view from
the upper pavilion of the palace over the landscape of the Sierra de Gredos.
Hernandez, New Mexico (1941) verweist, sowie
Ansichten der Plaza de España in Cuacos, die
aus derselben Richtung aufgenommen wurden
wie in Charles Cliffords Fotografien von 1858
– allerding aus einer größeren Entfernung. Die
letzten Bilder wurden im Selbstbedienungsladen Eva aufgenommen und zeigen die Schaufenster mit seinen „Carlos I“ (so der spanische
Name Karls V.) Paprikakonserven: einem typischen Produkt von Cuacos.
The first scene of the second act corresponds
to the return from the monastery to Cuacos
de Yuste. It includes a moonrise sequence in
the German Military Cemetery, as a sort of
version of Ansel Adams’s famous photograph
Moonrise, Hernandez, New Mexico (1941). It
also includes an image of the Plaza de España
in Cuacos taken in the same direction as the
photograph made by Charles Clifford in 1858,
but from further back. The last images were
taken at Autoservicio Eva, a grocery store,
and show shop windows with tins of Carlos I
paprika, a typical product of Cuacos.
Die Serie ist wie ein Theaterstück in drei Akte
mit jeweils mehreren Szenen unterteilt.
The photographs of this series were taken
at a number of locations in Spain and Europe
related to the abdication, retreat and death of
Charles V (1500–1558), the first King of Spain
and the Holy Roman Emperor of the German
Nation. The places include Yuste and Cuacos
de Yuste, Madrid and El Escorial, Granada,
Barcelona, Brussels, Bologna, Lille, Cambrai,
Le Cateau-Cambrésis and Lens.
The series is arranged like a play in three acts,
with several scenes in each act.
Erster Akt
First act
Die dritte Szene beschreibt einen Rundgang
durch die Innenräume der Anlage mit dem
Palast und den Wohnquartieren Karls V. sowie
der Kirche und dem Kreuzgang des Klosters.
Zu sehen sind einige persönliche Gegenstände
des Herrschers, Ausschnitte von Illustrationen
aus Olivier de la Marches Schrift Le chevalier
délibéré (Der entschlossene Ritter, 1483) oder
die Details einiger Gemälde Tizians, die sich
in Yuste befanden: insbesondere das Gemälde
Gloria (1551-54), das ursprünglich den Altar
des Klosters zierte.
The third scene is a tour through the interior
of the compound, including the palace and
living quarters of Charles V, the church and
the monastery cloisters. Some of the personal
objects of Charles V are represented, details
of illustrations from the book Le chevalier
délibéré by Olivier de la Marche (1483), or details of some paintings by Titian that were in
Yuste, particularly the Gloria (1551–54), originally at the altar of the church.
Die erste Szene des ersten Aktes nimmt uns
mit auf einen Spaziergang durch den Wald,
der das Kloster Yuste umgibt. Karl V. verbrachte
hier seine letzten Jahre. Die Szene führt uns
schließlich zur Anlage selbst.
Zweiter Akt
Second act
The first scene of the first act is a walk through
the woods surrounding the Yuste monastery,
where Charles V spent his last years and died.
It finally leads to the compound itself.
Die zweite Szene beginnt mit der Umgebung
des großen Teichs vor dem Palast Karls V. und
endet mit dem Ausblick, der sich vom oberen
Pavillon des Palastes aus auf die Landschaft der
Sierra de Gredos eröffnet.
Die erste Szene des zweiten Aktes nimmt
den Weg vom Kloster zurück nach Cuacos
de Yuste. Sie umfasst einen Mondaufgang
über dem deutschen Militärfriedhof, der auf
Ansel Adams’ berühmte Fotografie Moonrise,
Imperium (oder K.D.) (2013–2014).196 Abzüge, Rahmen aus weißem Aluminium, Rahmung in drei Formaten: 50 x 60 cm, 30 x 36 cm und 18 x 20 cm, Wandtexte. Hergestellt mit Unterstützung
des Centro José Guerrero-Diputación de Granada, Spanien, und der Fundación Helga de Alvear, Granada und Cáceres, Spanien. Courtesy Casa sin Fin gallery, Madrid, Spanien.
Empire (or K.D.) (2013–2014). 196 prints, white aluminium frames, framed in three different sizes, combined: 50 x 60, 30 x 36 and 18 x 20 cm, vinyl wall texts. Produced with the support
of Centro José Guerrero-Diputación de Granada, Spain, and Fundación Helga de Alvear, Granada and Cáceres, Spain. Courtesy Casa sin Fin gallery, Madrid, Spain.
Die zweite Szene führt uns nach Brüssel und
zeigt Fotografien, die während des Winters
und Sommers aufgenommen wurden. Die Winterbilder beginnen mit einem kurzen Aufenthalt
des Künstlers auf der Terrasse der am Place
Agora befindlichen Brasserie Le Rubens, wo er
ein „Charles Quint / Keizer Karel“-Bier trinkt.
Die anderen Bilder beziehen sich auf Orte, die
mit der Abdankung und Beisetzung Karls V.
in Verbindung stehen, darunter die Ruinen der
Aula Magna im ehemaligen Palast von Brüssel
bzw. Coudenberg-Palast. Hier hielt Karl V.
am 25. Oktober 1555 seine berühmte Abdankungsrede. Weitere Bilder zeigen das heutige
Umfeld des Palastes, das sich vom Place Royale bis zum Parc de Bruxelles erstreckt, wo sich
auch der Grand Place und die Kathedrale St.
Michael und St. Gudula befinden. Ein weiteres
Foto wurde in der Stadtbibliothek in Linz aufgenommen und zeigt Louis Désiré BlanquartÉvrards Album La Belgique (Belgien, 1854), das
aufgeschlagen ist und die Seite mit dem Bild
des Place Royale zeigt.
Die Sommerbilder wurden während des Brüsseler Ommegang-Festes aufgenommen, ein
jährlich im Juli stattfindender Umzug, dessen
Ursprung auf das Mittelalter zurückgeht. Heute handelt es sich um eine Touristenattraktion, bei der die große Prozession von 1549 zu
Ehren von Philip II., als dieser sich mit seinem
Vater Karl V. verbündete, nachgespielt wird.
Zu sehen sind Turniere im Parc de Bruxelles,
ein Armbrustwettbewerb auf dem Place du
Sablon und die Vorbereitungen für die Prozession selbst.
Imperium (oder K.D.)
The second scene takes place in Brussels and
the images correspond to two seasons—winter
and summer.
The winter images begin with a brief staging
of the author drinking a Charles Quint /
Keizer Karel beer on the terrace of Le Rubens
brasserie on Place Agora. The other images
correspond to the places associated with the
abdication and funeral of Charles V, such as
the remains of the Aula Magna of the former
Palace of Brussels or Coudenberg Palace
(where Charles V pronounced his famous
abdication speech on October 25, 1555), and
the current surroundings of the former location of the Palace, extending from the Place
Royale to the Parc de Bruxelles. It also includes
the Grand-Place and the Cathedral of Saint
Michael and Saint Gudula. One of the images
of the surroundings of the ancient Palace of
Brussels was taken at the Bibliothèque Municipale in Lille and shows Blanquart-Évrard’s
album La Belgique (1854) opened at an image
of the Place Royale.
The group of summer images was taken during
the celebration of the Ommegang, a procession held annually in Brussels in early July,
whose origins go back to medieval times. It is
now a tourist attraction that reenacts the grand
procession of 1549 in honor of Philip II, when
he came to Brussels to be reunited with his
father, Charles V. The images include jousts in
the Parc de Bruxelles, a crossbow competition
on Place du Sablon, the preparations for and
the procession itself.
Weitere Bilder zeigen Ausschnitte von
Illustrationen aus Büchern der Bibliothek
Karls V. in Yuste – darunter die Bücher Le
chevalier délibéré (Der entschlossene Ritter),
Historia general de las Indias (Allgemeine
Geschichte Indiens, 1535) von Gonzalo
Fernández de Oviedo y Valdés, Astronomicum
Caesareum von Petrus Apianus (1540) und
Atlas von Claudius Ptolemäus (1522). Zudem
zeigen einige Bilder die Ritterrüstung Karls V.
The first scene of the third act is arranged as
a flashback or daydream by Charles V in his
retreat, remembering some of his outstanding
moments of hegemony.
Such moments were: the Battle of Pavia in
1525, represented by the bas reliefs on the
façade of the Palace of Charles V in the Alhambra; the honeymoon in the Nasrid palaces
of the Alhambra, represented by architectural
details; the 1529 “Peace of the Ladies” treaty
with France, represented by the Porte Royale
of the citadel of Cambrai; his coronation as
the German Holy Roman Emperor by Pope
Clement VII in Bologna in 1530, represented
by a stroll through the Piazza Maggiore in
Bologna; and the Tunisian campaign in 1535,
represented by the paintings of the so-called
“Peinador de la Reina” in the Alhambra.
Additional images are those of details of
illustrations in books from Charles V’s personal library in Yuste, specifically, Le chevalier
délibéré, the Historia general de las Indias by
Oviedo and Valdés (1535), the Astronomicum
Caesareum by Apianus (1540) and Ptolomey’s
Atlas (1522). Also included are some images
of Charles V’s suits of armor.
Dritter Akt
Third act
Die erste Szene des dritten Aktes ist als
Rückblende oder Tagtraum Karls V. konzipiert,
der sich nach seinem Rückzug an die Höhepunkte seiner Herrschaft erinnert. Solche Augenblicke waren die Schlacht bei Pavia (1525),
dargestellt in einem Basrelief im AlhambraPalast Karls V.; seine Hochzeitsreise, auf
die ein Architekturelement im Nasridenpalast
der Alhambra verweist; der „Damenfriede
von Cambrai“ (1529), dargestellt am Königstor der Zitadelle von Cambrai; seine Krönung
zum Kaiser des Heiligen Römischen Reiches
Deutscher Nation 1530 in Bologna, für die
die Bilder von der Piazza Maggiore in Bolonia
stehen; und der Tunesienfeldzug von 1535,
festgehalten in den Gemälden des sogenannten „Ankleidezimmers der Königin“ in der
Alhambra.
Empire (or K.D.)
Die zweite Szene beginnt mit einer Reihe
von Bildern, die im Alhambra-Palast Karls V.
während der Proben zu Ruggero Leoncavallos
Oper Der Bajazzo (1892) im Rahmen des 63.
Festivals für Musik und Tanz in Granada aufgenommen wurden. Eine weitere Sequenz
ist Produkten gewidmet, die mit der Figur
Karls V. beworben werden, wie etwa Paprika
aus der Extremadura, belgisches Bier, mexikanische Schokolade, Brandy aus Jerez oder
die Extremadura als touristisches Ziel. Zudem
geht es um die Aneignung Karls V. durch die
spanischen Faschisten, die den Habsburger
Regenten als Vater des spanischen Imperialismus feiern. Darauf verweist der Umschlag
eines Fotobandes über den Alcázar von Toledo,
der während des Spanischen Bürgerkriegs
produziert wurde. Die reaktionäre Aufrechterhaltung dieses imperialen Mythos schlägt sich
auch in den Illustrationen eines Kinderbuchs
nieder, das Manuel Fernández Álvarez, der
Biograf Karls V., zur spanischen Geschichte
veröffentlicht hat.
2/2
Die letzten Bilder stammen aus Le CateauCambrésis und Lens, zwei heute französische
Städte in der Grenzregion zwischen Frankreich und dem ehemaligen Flandern, die
im 16. Jahrhundert unter spanischer (oder
habsburgischer) Herrschaft stand. Einige
der letzten Schlachten Karls V. fanden hier in
den 1550er-Jahren statt. Der Palast, in dem
1556 der Friedensvertrag von Cateau-Cambrésis unterzeichnet wurde, besteht nicht mehr.
Er befand sich im Park des Palais Fénélon,
dem heutigen Sitz des Matisse-Museums. Die
Bilder zeigen das Gelände während der Mittagspause der Angestellten. Das letzte Foto
zeigt ein von Hans Maler um 1529 angefertigtes
Porträt Anton Fuggers, des Bankier Karls V.,
das sich im neuen Museum Louvre-Lens befindet. Dieses 2012 eröffnete Kunstmuseum
wurde auf dem Gelände einer ehemaligen
Kohlemine in der Region Nord-Pas-de-Calais
errichtet.
The second scene begins with a set of images
taken in the Charles V Palace in the Alhambra
at the rehearsals for the opera I pagliacci
by Ruggero Leoncavallo (1892) for the 63rd
International Festival of Music and Dance
in Granada. There follows a group of images
on the uses of the figure of Charles V as merchandising for consumer products, such as
paprika from Extremadura, Belgian beer, Mexican chocolate, brandy from Jerez, or tourism
in Extremadura. Also represented here is the
use of the figure of Charles V as a source for
the imperial idea in Spanish fascism, as in the
cover of a book of photographs of the Alcázar
de Toledo taken during the Spanish Civil War,
and the reactionary persistence of the myth
of Charles V (and imperial Spain) in Spanish
historiography, through the detail of an illustration published in a children’s book on Spanish
history by Manuel Fernández Álvarez, the biographer of Charles V.
The last images are of Le Cateau-Cambrésis
and Lens, now French cities located on the
border area between France and ancient Flanders, which was under Spanish (or Habsburg)
domination in the sixteenth century. Some of
Charles V’s last military campaigns took place
here in the 1550s. The palace where the 1559
peace treaty of Cateau-Cambrésis was signed
no longer exists. It was situated in the area
of the present gardens of the Palais Fénélon,
home to the Musée Matisse, seen during the
museum employees’ lunch break. The last
image shows a portrait of Charles V’s banker
Anton Fugger by Hans Maler (c. 1529) and presented at the new Louvre-Lens museum. This
art museum opened in late 2012 and was built
on the site of an old coal mine in the region of
Nord-Pas-de-Calais.
Scrambling
1/2
Arbeiten
Works
Sicherheit
Security
Juan Carlos Espigares, Löwenhof,
Beginn der Nachtwache
Juan Carlos Espigares, Lion’s Court,
start of the night watch
Rosa Terrones, Führerin des
Themenrundgangs Die Eroberung
des Wassers
Rosa Terrones, guide of the
themed tour The Conquest of
Water
Gartenbau
Gardening
Puerta del Vino
(Weintor /
Wine Gate)
Hubschrauber der Guardia Civil
beim Überfliegen der Büros des
Stiftungsrats
Archiv
Archive
Helicopter of the Guardia Civil
flying over the board’s offices
Lydia Rodríguez, Aussichtspunkt
„Mirador de los Alijares“
Lydia Rodríguez, lookout
“Mirador de los Alijares”
David Cifuentes, Büro des
Besucherdienstes, Nasridenpaläste
David Cifuentes, office of visitors’
service, Nasrid Palace
Weinturm
Wine Tower
Fotografische Erinnerung an den
Besuch von SS.MM. und AA.RR.
in den Provinzen Andalusien und
Murcia im September und Oktober
1862, Reisealbum der Königin
Isabel II, Fotografien von Charles
Clifford
Photographic Memories of the
Visit of SS.MM. and AA.RR. to the
Provinces of Andalusia and Murcia
in September and October 1862,
travel album of Queen Isabel II,
photographs by Charles Clifford
Unkrautjäten, Hof des
Bewässerungskanals
Weeding, Patio of the
Irrigation Ditch
Besuch des saudi-arabischen
Ministers für Auswärtige
Angelegenheiten
Visit of the Saudi Arabian
Minister of Foreign Affairs
Norberto Pérez, Hof des
Bewässerungskanals
Norberto Pérez,
Patio of the Irrigation Ditch
Cristóbal Romera am Königlichen
Bewässerungskanal
Cristóbal Romera at the royal
irrigation ditch
Weintor
Wine Gate
Francisco Robledillo,
Sicherheitskoordinator, La Silla
del Moro (Sitz des Mauren)
Unkrautjäten, Neue Gärten
Weeding, New Gardens
Marilola Cañas, Schalter
Marilola Cañas, counter
Francisco Robledillo, security
coordinator, La Silla del Moro
(Moor’s seat)
Fotosammlung, Alhambra-Archiv,
Zwischenlager, Anlage 2, Neue
Museen
Photo collection, Alhambra archive, interim storage, unit two, New
Museums
Zeichenklasse der
Architekturschule, Zisternenplatz
Drawing class of the School of
Architecture, Place of the Cisterns
Ramón Rubio mit Gipsgestein
aus Monte Vives, Sorte Alabaster,
Gipswerkstatt, Neue Museen
Cuesta del Rey Chico, Erdrutsch
Cuesta del Rey Chico, landslide
Luis García, Forscher,
Zwischenlager des Archivs und der
Bibliothek der Alhambra, Anlage 3,
Neue Museen
Ramón Rubio with gypsum rock
from Monte Vives, alabaster type,
plaster workshop, New Museums
Luis García, researcher, interim
storage of Alhambra’s archive and
library, unit three, New Museums
Weinturm
Wine Tower
Torres Bermejas (Rote Türme)
Torres Bermejas (Auburn Towers)
Pedro Lozano und José Antonio
Gamarra mit einem Praktikanten,
Neue Gärten
Pedro Lozano and José Antonio
Gamarra with a student apprentice,
New Gardens
Dar al-Arusa
Francisco Lamolda, Chef der
Abteilung für Denkmalpflege,
verantwortlich für die Arbeiten
am Hydrauliksystem des
Löwenhofs, erste Sitzung der
Mitarbeiter des Stiftungsrats,
Sitzungssaal im Palast Karls V.
Francisco Lamolda, chief of the
preservation service, in charge
of the works on the hydraulic
systems of the Lion’s Court, first
conference of the board staff,
boardroom at the Palace of
Charles V
Scrambling (2011). 78 Silbergelatineabzüge, gerahmt 30 x 35 cm, einige Passepartouts mit Siebdrucktext. Hergestellt mit
Unterstützung der Universidad de Navarra, Pamplona, Spanien. Courtesy angelsbarcelona gallery, Barcelona, Spanien.
Scrambling (2011). 78 gelatin silver prints, framed 30 x 35 cm, some matts include silkscreened texts. Produced with the support
of Universidad de Navarra, Pamplona, Spain. Courtesy angelsbarcelona gallery, Barcelona, Spain.
Neue Gärten
New Gardens
Scrambling
2/2
Marketing
Marketing
Wasser
Water
Löwen
Lions
Kartenverkauf
Ticket sales
Bewässerung der Zypressen,
Gemüsegärten des Generalife
Wassertreppe
Water stairway
Hof der Anlage 2, Neue Museen
Patio of Unit 2, New Museums
Watering of cypress trees,
Orchards of the Palacio de
Generalife
Gips
Plaster
Technische Replik des
Löwenbrunnens zur
Erforschung der Hydraulik und
für restauratorische Tests,
Hof der Anlage 2, Neue Museen
Aussichtspunkt „Romántico“
Lookout “Romántico”
Bewässerung, Buchsbaumbeet
Watering, boxwood bed
Gipslabor, Testgeräte; an
der Wand Fotografien von
Gipsschichten der Minen
von Monte Vives
Öffentlichkeit
Public
Technical replica of the Lion’s
Fountain for hydraulic studies
and preservation tests, patio
of Unit 2, New Museums
Parkplatz
Parking
Laboratory for gypsum,
test equipment; on the wall,
photographs of the gypsum
strata at the mine of Monte
Vives
„Tercio“-Bewässerungskanal,
Themenrundgang Die Eroberung
des Wassers
Restaurierter Löwe (Nr. 10)
des Löwenbrunnens in der
Ausstellung Löwen. Die
Restaurierung eines Symbols,
Krypta des Palastes Karls V.
“Tercio” irrigation ditch, themed
tour The Conquest of Water
Gipslager, Lucía Rodríguez,
Volontärin
Restored lion (no. 10) of the
Lion’s Fountain, exhibited in
Lions: The Restoration of a
Symbol, crypt of the Charles V
Palace
Postkarten des Verlags Triangle
Postals, Fotografien von Lluís
Casals, Carlos Moisés García und
Lucas Vallecillos, Buchhandlung
der Alhambra, Calle Reyes
Católicos
Gypsum storage, Lucía
Rodríguez, trainee
Buchsbaumbeet am Paseo
de la María
Sandra Baena, Buchhandlung
Sandra Baena, bookstore
Wasserbecken
Albercones
Boxwood bed at Paseo
de la María
Postcards edited by Triangle Postals,
photographs by Lluís Casals,
Carlos Moisés García, and Lucas
Vallecillos, Alhambra bookstore,
Calle Reyes Católicos
Arbeiten am Hydrauliksystem
im Löwenhof
Works on the hydraulic system
at the Lion’s Court
Tendilla-Zisterne unter dem
Zisternenplatz
Spuren des Königlichen
Bewässerungskanals vor den
Büros des Stiftungsrats und
des Hotels América
Traces of the royal irrigation
ditch in front of the board offices
and the América Hotel
Tendilla Cistern beneath the
Plaza of the Cisterns
María José Calvin und
Patricia Bellamy, Gipsarbeiten,
Rekonstruktion einer im Kerker
der Puerta del Vino (Weintor)
entdeckten Gipsstuckatur
María José Calvin and Patricia
Bellamy, plaster workshop,
reconstruction of a plastering
found in the dungeon of the
Puerta del Vino (Wine Gate)
Print on demand, Fotografien von
Cristina García Zarza, Jean Laurent
und José García Ayola
Francisco Lamolda, Bauarbeiten
im Löwenhof
Wasserturm
Water tower
Print on demand, photographs
by Cristina García Zarza, Jean
Laurent, and José García Ayola
Francisco Lamolda, Lion’s Court
under construction
(Straße der Katholischen Könige)
(Road of the Catholic Kings)
Königlicher Bewässerungskanal
Royal irrigation ditch
Scrambling
Cristina García Zarza, Hof des
Bewässerungskanals, Dämmerung
Cristina García Zarza, Patio of the
Irrigation Ditch, dusk
Renaissance
Die Serie Renaissance. Szenen des industriellen
Wandels im Bergbaurevier von Nord-Pas-de-Calais
(2014) beginnt mit einem Blick auf das um 1529
von Hans Maler angefertigte Porträt des Bankiers
Anton Fugger im Louvre-Lens. Die Serie untersucht den Strukturwandel in Nordfrankreich von
der Schwer- hin zur Kultur- und Freizeitindustrie
– mit Euralille als symbolischem Zentrum. Nach
dem Modell des Ruhrgebietes wurden ausgediente
Zechen und ähnliche Anlagen zu Industriedenkmälern und Museen umfunktioniert. Die Region
wurde überdies zum UNESCO Weltkulturerbe
erklärt – ein Etikett, das längst selbst ein
Franchise-Modell darstellt. Das jüngste Projekt
des Wandels ist die Eröffnung des Louvre-Lens.
Der Titel der Serie zitiert eine Selbstdarstellung
dieses Hauses, in der es sich als „Galionsfigur
eines Bergbaureviers, das eine Renaissance erlebt“
charakterisiert.
Die Serie ist in acht Szenen unterteilt, die nicht
starr voneinander getrennt, sondern in unterschiedlichen Konstellationen zueinander angeordnet sind. Die ersten drei Szenen untersuchen
„von Karl V. bis Louis XIV.“ diverse historische
Kontexte der Region, die von den Konflikten
zwischen den Habsburgern und dem Geschlecht
der Valois im 16. Jahrhundert bis zum Spanischen Erbfolgekrieg im 18. Jahrhundert reichen,
aber auch die Entwicklung der Fotografie und
schließlich die Geschichte des Bergbaus selbst
betreffen.
Eine „kleine Geschichte der Fotografie“ wird in
Szene 2 entlang der Aktivitäten von Louis-Désiré
Blanquart-Évrard, dem Gründer des ersten Fotoverlags (Imprimerie Photographique, 1851−1855),
erzählt sowie im Kontext von Fotografie- und
Medieninstitutionen, die zum einen im Geiste der
sozialdemokratischen Kulturpolitik der 1980erJahre entstanden sind, oder zum anderen, wie
das Le Fresnoy, Zentrum für digitale Kultur in
Lille, als Aushängeschild der Kreativindustrie der
1990er-Jahre gelten.
Der Geschichte des Bergbaus nähert sich Ribalta
in Szene 3 („Borinage“) über die diversen Dreh
orte des 1934 erschienenen Dokumentarfilms
Misère au Borinage von Joris Ivens und Henri
Storck, der den schlechten Lebensbedingungen
der Bergarbeiter der Borinage, einer Grenzregion
zwischen Nordfrankreich und Walonien, nachgeht. Dem damaligen Elend der ausgebeuteten
BergarbeiterInnen stellt Ribalta dabei die Situation der prekär Beschäftigten in der Kreativindustrie gegenüber.
Drei weitere Szenen („Denkmäler“, „Bergbaumu
seum, Lewarde“, „Patrimonialisierung“) nehmen
anhand verschiedener Beispiele die Musealisierung der Region in den Blick. Dabei geht es nicht
nur um die Transformation ehemaliger Industrieanlagen zu Kulturdenkmälern und Stätten der
Kreativwirtschaft, sondern auch um die neuen
administrativen Gefüge – bestehend aus lokalen,
nationalen und europäischen Strukturen der öffentlichen Verwaltung einerseits und neoliberalen
Modellen der public-private partnership andererseits –, die mit dem Wandel einhergegangen sind.
Renaissance:
Scenes of Industrial Reconversion
in the Nord-Pas-de-Calais Coalfield
Jorge Ribalta
Le musée est la figure de proue d’un bassin
minier en pleine renaissance.
Brochure Louvre-Lens: L’esprit du lieu, 2013
The Nord-Pas-de-Calais coal-mining region
crosses the French-Belgian border and is part of
the historical Northern European heavy industry
core, which extends into the quite near German
Ruhr area. The coal exploitation started in the
eighteenth century, peaked in the mid-twentieth
century, and lasted until the Mitterrand presidential mandate in the 1980s. At this time, the
French northern region around Lille was designed
to develop a “new economy” center for cultureindustry-related activities, strategically located between Paris, London, and Brussels, with the new
business district Euralille as its symbolic center.
After deindustrialization and the founding of a
mining museum in Lewarde, a pioneer écomusée
institution in France that opened in 1984, the region has participated in industrial heritage policies
and campaigns, following the model of the Ruhr
industrial area. A few of the former mining sites
have been preserved, and they define a historical
industrial region that was declared a World Heritage Site by UNESCO in 2012, at the same time
as some Belgian sites. The most recent last step
in this process of transition from industry into
cultural and leisure economies is the opening of
Louvre-Lens, a Louvre museum branch at a former
mining site in Lens, in December 2012.
The last photographs are from the Centre Historique Minier de Lewarde and show details of the
exhibition Le bassin minier, une conséquence de la
bataille de Denain de 1712. This was an exhibition
that traced the origins of the coal exploitation in
the region at the time of the Spanish Succession
War (1701–14) motivated by the struggles between
the Habsburgs and the Bourbons for the Spanish
monarchy, a struggle finally won by the Bourbons,
who have held the Spanish throne ever since. One
of the battlefields in this international war was the
future Nord-Pas-de-Calais coalfield, conquered by
France from the former Flanders territories under
Spanish rule. The exhibition included a portrait of
Louis XIV, the Sun King, who was King of France
during the Succession War.
Small History of Photography
This photographic series is a tour of the monuments, an observation of such a historical industrial landscape. It is organized in eight scenes,
composed of a variable number of photographs
each. The scenes are articulated both geographically and conceptually, each addressing some
specific topic. The first three are historical excavations or “memory scenes.” They attempt to
visualize the longue durée, how the current NordPas-de-Calais mining region is part of a longer
European history that traces back to the rise of
the modern capitalist nation-state system in the
sixteenth century.
All of the shooting for Renaissance was done in
March, April, and May 2014.
From Charles V to Louis XIV
Die letzten beiden Szenen widmen sich schließlich den Themen „neue / alte Ökonomien“ und
„Freizeit“. Ribalta interessiert dabei zum einen
das Nebeneinander von alten und neuen Indus
trien und zum anderen die Überformung einstiger
Arbeitsstätten als Orte des Spektakels und
Konsums.
Renaissance wurde 2015/16 erstmals im Centre
Régional de la Photographie in Nord-Pas-de-Calais
gezeigt, das auch selbst Gegenstand der Serie ist.
the Habsburgs and the Valois. The palace where
the Cateau-Cambrésis peace treaty was signed by
both kings’ ambassadors no longer exists. It was
located on the site of the current Parc Fénelon,
the gardens of the Palais Fénelon, a eighteenthcentury building that is currently the home of
the Musée Matisse. Henri Matisse was born in Le
Cateau-Cambrésis, and the museum was established in 1951, after a big artwork donation to the
city by the artist. The photographs show details
of the garden with some of the museum workers,
taken during a lunch break.
The photographs from this section were taken in
Lens, Valenciennes, Cambrai, Le Cateau Cambrésis
and Lewarde. The coronation of Charles V as the
King of Spain in 1516 was the beginning of a period of Habsburg hegemony in Europe, in permanent dispute with the French Valois dynasty. Part
of the current French Nord-Pas-de-Calais region
was then Flanders and thus under the Spanish
Empire/Habsburg rule. In the 1550s, just before
his abdication in Brussels in 1555, some of the
last military campaigns of Charles V against the
Valois (i.e., Saint Quentin) took place in what was
formerly a border region between Flanders and
France.
The sequence starts at the Louvre-Lens, where
a portrait of Charles V’s banker, Anton Fugger,
painted by Hans Maler around 1529, is on display in the permanent collection. The so-called
maison espagnole in Valenciennes is one of the
various remaining local Flemish wooden architecture examples in the city from the late fifteenth
century. It is currently the tourist information
center. In Cambrai, some of the original doors of
the military citadel still exist, like the Porte Royale.
Its columns show the characteristic Renaissance
military style inspired by ancient Roman Empire
architecture adopted by Charles V. In 1529, the
peace treaty between François I and Charles V—
known as “Cambrai’s peace” or “peace of the
ladies” (paix des dames), because the two monarchies were represented by women (Margaret of
Austria and Louise of Savoy, respectively)—was
signed in Cambrai and ended the second war between the two dynasties. The end of the European
rule period of Charles V was marked by the 1559
Cateau-Cambrésis peace treaty, signed by Henry II
of France and Charles V’s son, Philip II of Spain.
The treaty ended a sixty-year war period between
Renaissance. Szenen des industriellen Wandels im Bergbaurevier von Nord-Pas-de-Calais (2014). 176 Abzüge, gerahmt 30 x 36 cm, weiße Holzrahmen,
Wandtexte und separater Text. Hergestellt mit Unterstützung des Centre Régional de la Photographie Nord-Pas de Calais, Douchy-les-Mines, Frankreich.
Renaissance. Scenes of industrial reconversion in the Nord-Pas de Calais coalfield (2014). 176 prints, framed white wood 30 x 36 cm, vinyl wall texts,
separate text. Produced with the support of the Centre Régional de la Photographie Nord-Pas de Calais, Douchy-les-Mines, France.
The second scene is an excavation in the history
of photography, taken from some local remains
and facts in the region.
In 1851, Louis Désiré Blanquart-Évrard established
his photographic printing enterprise in Loos, close
to Lille. This represented the first technological
revolution in the history of photography and the
beginning of the era of photographic reproductibility and multiplicity. Blanquart-Évrard innovated
printing technologies by introducing the albumen
print, and his imprimerie produced the first generation of photographic albums. But his enterprise
had a short life and went into bankruptcy in 1855.
He was also one of the local entrepreneurs who
participated in establishing the Musée Industriel
in Lille, and he was one of the founding members
of the Societé Française de Photographie in 1854.
The sequence of photographs starts with a small
tour through some remnants of Blanquart-Évrard’s
history in Lille. His legacy is today divided into two
local institutions: the Bibliothéque Municipale,
which holds the albums and prints, and the Musée
d’Histoire Naturelle, which holds the negatives,
the archive, and the process materials, coming
from the former collection of the Musée Industriel.
In the photographs we can see the album La
Belgique (1854), open next to the Place Royale
and Parc de Bruxelles plates (which is the location
of the historical Charles V palace in Brussels, his
1555 abdication site, whose remains still exist in
the underground of the square and its surroundings), in the research room at the Bibliothéque
Municipale. At the photographic reserve of the
Musée d’Histoire Naturelle, one of the assistant
curators holds Blanquart-Évrard’s first album, the
Album de l’artiste et l’amateur (1851) and his later
book La photographie: Ses origines, ses progrés,
ses transformations (1869). The site of the old
Musée Industriel on 2 Rue Lombard is currently
being renovated and transformed into a luxury
apartment building. On the façade, the history of
the building is described in an illustrated timeline
that starts with a reproduction of the painting The
Moneylender and His Wife (1514) by the Flemish
painter Quentin Matsys.
Blanquart-Évrard’s printing facility or maison imprimerie was in Loos, close to the Deûle River. The
precise location is today unknown due to changes
in land registry over the last century and a half.
The photographs are taken in the surroundings of
the avenue Kuhlman and the Rue Départementale 48, around the Deûle docks, in the current
administrative border between Lille and Loos, an
industrial park.
Le Centre Régional de la Photographie NordPas-de-Calais (CRP) was founded in 1982 in Douchyles-Mines and installed in a former post office
building. The rise of photographic institutions
since the late 1970s and the 1980s in Europe was
part of a structural and global transformation in
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photographic culture. The new social demands
for cultural democratization after 1968 transformed
the institutional landscape of culture. In Mitterand’s
France of the 1980s, photography represented,
in a particular way, a kind of social-democratic
cultural policy medium whose emblem was the
Mission Photographique de la DATAR (promoted
by the French state for the documentation of the
transformations of the national landscape during
1984 to 1988). The Mission DATAR was an echo
of the Mission Héliographique from 1851, the first
campaign in the history of photography, for the
documentation of historical monuments in France,
which historically represents the rise of photography as an instrument for the contemporary nationstate ideology and its cultural self-legitimation. In
the 1980s, the CRP represented an impulse toward
small-scale, self-managed photographic education—public spaces that would tend to progressively disappear or be reconfigured as art centers
in the 1990s, due to the decline of institutional
social democracy in Europe and, most recently,
to the rise of neoliberal mass-tourism-oriented
cultural policies.
The photographs of the CRP show the old darkroom facilities and the archive with the collection.
In the archive room, former CRP director Pia Viewing
holds a demolition scene photograph from the
exhibition Le Mine en Oeuvre 1890–1990, a historical exhibition which she initiated, researched,
and curated about mining activity in the region
using the photographic archives of the Centre
Historique Minier de Lewarde, presented at the
CRP in 2010. It was a programmatic project for the
CRP during Viewing’s rule. The last image of this
group is a portrait of three women, made behind
the CRP, at the Place des Nations. The women are
Fred Klaba, Marie-Jo Noclain, and Sylvie Dureuil,
citizens of Douchy who participated in the project
Humaine by Marc Pataut, made between 2009 and
2011 and presented in 2012 at the CRP. Simulta
neous to the opening of the Louvre-Lens and as
its radical counterpart, Pataut’s project was an
attempt to problematize modes of representation
of the “people” and the institutional inscription
of artistic activity aiming at experimentation and
reinvention of the potential links between artistic
methods and the activity of the social movements.
This is a discursive space to which Pataut has
contributed in a most significant and original
way with his photographic activity over the last
thirty years.
The last stop in this tour of the history of photography is Le Fresnoy in Tourcoing, in the Lille
metropolitan area. Le Fresnoy is a flamboyant
experimental institution focused on international
artistic education and supported by the French
state, having opened in the early 1990s. Its presence is part of the French national decentralizing
strategy for transforming Lille into a European
cultural capital in the 1980s. Le Fresnoy is a
high-tech building designed by architect Bernard
Tschumi in a former working-class ballroom. The
photographs are made in the photographic facilities, the ultramodern darkrooms, and feature
film- and print-processing machinery, including
sophisticated Lambda machines for digital printing.
Borinage
The third and last “memory” scene is a tour of
the sites related to the film Misère au Borinage
(1933), shot by Joris Ivens and Henri Storck in the
Mons area in Belgium, very close to the French
border. The film is a classic from the 1930s golden
age of documentary that denounced the poor
living conditions of the coal-mine workers in the
Borinage region in Wallonie, which is part of the
same coalfield of the Nord-Pas-de-Calais region.
Ivens is one of the historic intellectual and artistic
fathers of documentary cinema in the modernist
avant-garde period between the wars. He introduced the important concept and method of mise
en scéne documentaire. The impulse for documentary in the late 1920s was the self-representation and political empowerment of the working
class at the rise of mass-media democracy. Ivens
was one of the founders of the Worker-Photography Dutch branch in Amsterdam in 1930, and one
of the key artists involved in such a movement in
the 1930s. Such originary impulses are part of the
agenda of the photographic observation that this
text describes.
Renaissance
The tour includes Hornu, Wasmes, Quaregnon,
and the Levant de Mons in Bray, the esplanade
where the Roi Albert barracks were installed at the
time of the film. Even if the extreme poverty prevailing in the 1930s has luckily disappeared, most
of the places seem to remain as not particularly
prosperous working-class areas. Some of the photographs show campaign posters related to the
European elections on Sunday, May 25, 2014.
The last photographs correspond to Le GrandHornu site in Hornu, which is a beautiful neoclassic former mining industrial site and housing
complex, declared a World Heritage Site by
UNESCO in 2012, simultaneously to the Nord-Pasde-Calais sites. The mining activity ceased in the
1960s, and in the 1980s it was reconverted into
a cultural space. At the moment it is the home
of two institutions: the MAC’s, the contemporary
arts museum of the Fédération Wallonie-Bruxelles,
opened in 2002, and Grand-Hornu Images (GHI),
a design and crafts exhibition venue, managed
by an homonymous association. The site and its
many institutions receive public funding from various public and private sources, on local, regional,
state, European, and even international scales,
like the UNESCO. The photographs show the surroundings of the complex, the museum exhibition
spaces and facilities, including the shop and the
cafeteria, and some portraits of workers at the
MAC’s, specifically the guide conferencier Sebastien Laurent and the guard Patrizia Notarrigo. Are
the current young education and mediation workers at art institutions—university trained, underpaid, and precarious—the equivalent to industrial
workers’ proletarian faces from the 1930s?
Monuments
This scene is a tour of two of the former mining
sites now part of the UNESCO heritage declaration:
the Fosse d’Arenberg in Wallers and the Fosse
9 et 9bis in Oignies. The photographs include
exteriors, interiors, and details of machinery and
mining tools.
The scene includes various details of the display
and objects in the collection exhibition. It includes
portraits of some museum workers, particularly
of the guides to the visit, like Daniel Francke,
former miner who is currently one of the most
popular guides, also frequently represented in the
publicity of the Centre. A younger tour guide is
Anna Hembise, and Aurélie Bourgois is in charge
of the reception and ticket sales.
Patrimonialisation
(Becoming Heritage)
The Maison Syndicale du Minier in Lens was the
main mining-trade union institution in the region.
It was founded after a big mining catastrophe in
1906, the catastrophe de Courrières, with 1,099
deaths, which sparked mining-trade unionism in
the region. The building was finished in 1911, but
it was heavily damaged during World War I and
reconstructed in 1923. It was linked to the CGT
and was the main organizational space for mine
workers, including strikes and demonstrations,
during the period when the mines were active
in the region. It also housed printing facilities
where most of the trade union publications and
printed matter were produced. The last renovation was undertaken in 1994, and two years later
it was incorporated into the catalogue of historical monuments. Since the 1990s it has been
home to the association Mémoires et Cultures
de la région minière. It currently serves as historical archive for the coal-workers’ organizations
and mining-trade union activities. The structure
holds an exhibition space and is also the site of
the organization Pays d’Art et d’Histoire de LensLiévin. The photographs include various details
of the building interior, including the administration council meeting room, the former printing
facilities with piles of old trade-union printed
matter, and the offices during the inventory work
of one of the collections, where a small Lenin
bust is used as support for the photographing
of the objects.
The Archives du Monde du Travail in Roubaix, in
the Lille metropolitan area, opened in 1993 and is
part of the French state national archives, managed
by the Ministry of Culture. This is an economichistory research institution that holds the technical,
economic, and social archives from the main factories and trade unions in France. The rise of economic archives in France started in the mid-1920s,
but they were constituted only after World War II.
The French social-scientific Annales historiography school determined an increase in the awareness of the relevance of preserving documents
related to economic history. But the definitive
impulse for such economic archives came in the
1970s when a new awareness for industrial heri
tage determined the rise of new cultural policies,
coinciding with the rise in scientific and industrial
culture institutions like La Villette in Paris. The archives are kept in the former cotton-textile factory
Motte-Bossut, which was classified as a historical
monument in 1978 and designated to hold these
archives in 1981. The reason for decentralizing
this national archive to the Nord-Pas-de-Calais
region was twofold: first, it was a recognition of
the important industrial history of the region; and
second, it was part of the industrial reconversion
strategy pursued in the 1980s to promote a center
for the new post-industrial economies in the Lille
metropolitan area. Industrial heritage discourse
was one of the strategic and ideological preconditions for the future culture-industry-driven economy. In the photographs there are some details
of one of the mining-related archives.
The last stop in this tour is the Familistère Godin,
in Guise, twenty-five kilometers east of Saint
Quentin and about the same distance south of
Le Cateau-Cambrésis. The Familistère is a utopian
housing complex for worker families started soon
after the 1848 Revolution and finished in 1859.
Jean-Baptiste André Godin was an industrialist,
manufacturer of cast-iron stoves, and a follower
of Charles Fourier’s utopian socialism. The central
building is based on Fourier’s phalansteries,
communal buildings designed to promote interaction or “social sympathy” in worker families.
It is organized around a large, four-story-high
covered central hall that symbolizes utopian conviviality. Between 1880 and 1968 the Familistère
was owned and self-managed by its residents.
Classified as a historical monument in 1991, the
renovation works started in 2000 and still continue. Today it is a tourist attraction. The former
social housing complex, self-managed by its
working class residents, is now being privatized
and turned into a sophisticated apartment building, with parts of it “museified” in various theme
rooms in order to explain the history of the building to the increasing number of cultural tourists
who visit. The photographs show the renovation
work in the central hall.
New/Old Economy
Also in Lens, the regional Nord-Pas-de-Calais
administration started a new “identitarian” project
called Mineurs du Monde in 2010, as a response
to the new urban dynamic determined by the opening of the Louvre-Lens and the UNESCO World
Heritage minefield declaration. It is an attempt to
contribute to the various ongoing processes for the
preservation and promotion of historical memory
of mining labor, to also create a positive public
opinion for such historical resignification of mining
labor, and to establish an international network
of historic minefields turned into cultural sites as
part of the global industrial reconversion. Mineurs
du Monde is not linked to any specific site but is
defined by activities organized at different sites
in the region. The photographs were made in one
of the events promoted by the organization, specifically a lecture and screening series organized
at the Faculté Jean Perrin, Université d’Artois, in
Lens, around the television documentary series
Mémoires de la Mine (TF1, 1981), with the presence of its filmmaker, Jacques Renard.
Renaissance
Both historical mining sites at Wallers and Oignies
are currently managed by cultural organizations
and host offices of regional cultural administrations. Industrial landscapes are transformed into
cultural bureaucracy landscapes, factories turned
into offices. Oignies is the home of the Mission
Bassin Minier, which is the organization that lead
the proposal for the UNESCO World Heritage
declaration in 2012. The team that prepared the
dossier for UNESCO has their office here: Catherine
Bertram, Catherine O’Miel, Marie Patou, Naïma
Maziz, and Raphaël Alessandri, who appear in
the photographs posing at the camera and in their
daily office routine. The “becoming heritage”
(patrimonialisation, devenir patrimoine) reconversion of industrial labor involves an important funding role of public administrations on all scales:
local, regional, national, and transnational. It
involves an increasing though opaque institutional
backing by the EU (most often without funding)
and also a complex public-private partnership.
This process signifies a shift in cultural policies
and their economies, historically related to the
logics of the nation-state. This shift is due in part
to the decline of cultural public funding after the
2008 global financial crisis.
becomes impossible to differentiate between
labor and leisure.
In Aulnoy-les-Valenciennes, at one of the Université de Valenciennes campuses, the Transalley
project—a public-private association of companies
and industrial organizations—has established
a “technopole,” a concentration of various institutional and engineering buildings, including the
Institut des Sciences et Techniques de Valenciennes. Involved in Translalley are car and railroad
industry corporations, and the project seeks to
contribute to competitive, innovative, and sustainable transportation and mobility business.
Classic “men-at-work” industrial forms of production exist alongside such new economy and
“immaterial labor” bureaucratic landscapes.
Industrial and post-industrial labor overlap. In
Crespin, the factory Bombardier Transport SAS
is one such company in the region that continues
producing trains. The photographs show the
assembly line for the train-coach fabrication
(chaudronnerie, dressage, aménagement, and
finition).
The Bouchain power plant or Centre de Production
Thermique was established in 1970 and originally
had two production units, one of them stopped in
1995. It belongs to the EDF energy group. It is one
of the few remaining coal-based power stations
in northern France, and in 2014, during the shooting, it was actually in the process of turning into
gas. The transition is scheduled for 2015. The coal
arrives from Russia, Australia, or South Africa by
ship to France and then by train to Bouchain. Then
it is stored, processed, and burned to produce energy, which is the sequence that the photographs
follow. The big cooling tower of the plant looks like
those from nuclear plants, which makes it unique
among coal power plants in France.
Leisure
The last scene is a tour of some landscapes of
tourism- and leisure-related facilities in former
mining sites:
At the Lille airport arrivals hall, the advertising
of the new Louvre-Lens welcomes the visitors.
In the new Lille downtown, looking from the Pont
de Flandres toward Euralille train station and
shopping mall, an office worker rests during his
lunch-time break.
Mining Museum, Lewarde
The Centre Historique Minier de Lewarde is
the most important historical institution related
to the coal industry in the Nord-pas-de-Calais
region. It was founded in 1982 and opened three
years later, at the former mining site of La fosse
Delloye, with the objective of providing storage for
the official archives of the coalfield mining companies before and after nationalization in 1946.
The mining activity stopped here in 1971, and
the galleries were closed. The museum is funded
by the Ministry of Culture and the Nord-Pas-deCalais regional administrations, and it is managed
by the Centre Historique Minier de Lewarde association. The Centre holds a collection, archive,
and library and maintains important research,
education, and exhibition activity. The permanent
exhibition includes some dioramas and presents
a didactic history of coal and its uses, a history
of coal mining and of coal exploitation in the NordPas-de-Calais region, a history of the site, and
the evolution of mining technologies from the
seventeenth to the twentieth centuries. The visit
includes the original mining facilities of the site,
and it ends with a dramatic descent into one of
the galleries, which is actually a fake reconstruction, something that the visitor does not discover
until the end.
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In Noeux-les-Mines, Loisinord is a skiing resort
built on a terril, one of those idiosyncratic artificial
hills, made of the mineral residue from the coal
process, that is part of the landscape of this and
all coal-mining areas.
Le Métaphone is a popular experimental music
concert hall with 1,000 seats built in Fosse 9 et
9bis, Oignies, opened in June 2013. It is one of
the most idiosyncratic new buildings on the site,
conceived as an instrument itself: the building
is covered by a skin of recycled objects and materials, including various instruments and a sound
system. This way, the building—designed by the
Hérault-Arnod architecture office in collaboration
with sound designer Louis Dandrel—can be literally “played.”
New economy enterprises have proliferated
in former mining and industrial sites. In Oignies,
new minimalist office buildings made of iron
and glass coexist with the old mining towers. Near
Fosses 9 and 9bis, the former housing areas for
miner families have been renovated and expanded
as new upper-class residential areas. The Fosse
d’Arenberg in Wallers was the shooting site for the
film version of Emile Zola’s Germinal (Claude Berri,
1993) and has been reconverted into a film center,
including a television studio.
La Plaine Images in the Boulevard Descat, Tourcoing, not far from Le Fresnoy, is a new cluster of
enterprises related to digital creativity, advertising,
communication, video games, digital applications
and images. In this former industrial complex,
a public-private fix provides a strangely informal
and ultramodern work atmosphere in which it
On December 27, 1974, there was a mining accident
at the Fosse 3 bis in Liévin. With forty-two dead
miners, it was the biggest mining catastrophe in
the region after the 1906 Courrières one. After an
investigation and a trial, the managing enterprise
Société des Houillères du Nord et du Pas-de-Calais
was accused of negligence in 1981 and forced to
cease activity. This was an important event for the
ending of mining activity in the region. The tower
has remained as a memorial of the catastrophe.
Close to it there is a big shopping center with
a Carrefour supermarket, built on the old site of
the Fosse 1.
Close to the Liévin memorial and shopping center
in Lens, the newly built ultramodern Louvre-Lens,
designed by the SANAA architecture office,
is surrounded by new landscaped gardens still
in growth. The crude nakedness of the glass-iron
minimalist design is reinforced by the recently
planted, not yet blossomed garden in the very
early spring. The tour starts in the parking lot,
continues in the outdoor cafeteria and the garden
and plaza at the main museum entrance, and
ends in the museum lobby, where an employee
is doing cleaning work.
Petit Grand Tour
Touristen, Aussichtspunkt über dem
römischen Amphitheater, Vial de William
J. Bryant, Tarragona, 29. August 2007
Tourists, lookout above the Roman
amphitheater, vial de William J. Bryant,
Tarragona, August 29, 2007
Römisches Amphitheater, vom
Besucherzugang aus gesehen,
Tarragona, 29. August 2007
Roman amphitheater seen from
visitor entrance, Tarragona,
August 29, 2007
Seepromenade Rafael de Casanova
und Miracle-Strand, Tarragona,
16. September 2007
Sea promenade Rafael de Casanova
and Miracle Beach, Tarragona,
September 16, 2007
Via Augusta, Tarragona,
16. September 2007
Via Augusta, Tarragona,
September 16, 2007
Aussichtspunkt über dem römischen
Amphitheater, Vial de William J. Bryant,
Tarragona, 16. September 2007
Lookout above the Roman amphitheater,
vial de William J. Bryant, Tarragona,
September 16, 2007
1/2
Josep Maria Sánchez Mazas, Bürger;
Convivium (Festmahl), Associació
Projecte Phoenix, Garderobe des
Caixaforum, Barcelona, 29. September
2007
Josep Maria Sánchez Mazas, citizen;
Convivium (feast), Associació Projecte
Phoenix, wardrobe of the Caixaforum,
Barcelona, September 29, 2007
Fußballplatz, vom Archäologie-Pfad aus
gesehen, am Torre de Minerva, Tarragona,
16. September 2007
Calle Enrajolat, Tarragona,
16. September 2007
Calle Enrajolat, Tarragona,
September 16, 2007
Torre de los Escipiones, Verlauf der Via
Augusta, Tarragona, 16. September 2007
Torre de los Escipiones, course of Via
Augusta, Tarragona, September 16, 2007
Soccer field seen from the archaeological
pathway, in front of the Torre de Minerva,
Tarragona, September 16, 2007
Lararium (Installation), Convivium,
Associació Projecte Phoenix, Caixaforum,
Barcelona, 29. September 2007
Lararium (installation), Convivium (feast),
Calle Enrajolat, Tarragona
16. September 2007
Bildnis eines alten Mannes,
spätrepublikanische Epoche, 2. Hälfte des
1. Jahrhunderts n. Chr., Registriernummer
MNAT 467, Museu Nacional Arqueològic
de Tarragona (MNAT), 29. August 2007
Gelände des erhaltenen römischen
Circus in der Calle Trinquet Vell, Tarragona,
16. September 2007
Calle Enrajolat, Tarragona
September 16, 2007
Römisches Amphitheater,
Roman amphitheater, Tarragona,
September 16, 2007
Area of the preserved Roman Circus
at calle Trinquet Vell, September 16, 2007
Convivium (Festmahl), Associació
Projecte Phoenix, Garderobe des
2007
Portrait of an elderly man, late
Republican period, second half of the
first century AD, registration number
MNAT 467, Museu Nacional Arqueològic
de Tarragona (MNAT), August 29, 2007
Convivium (feast), Associació Projecte
Phoenix, wardrobe of the Caixaforum,
Römisches Amphitheater, Tarragona,
16. September 2007
Fels, Seepromenade Rafael de
Casanova, Tarragona, 16. September 2007
Via Augusta 38, Tarragona,
16. September 2007
Rock, sea promenade Rafael de Casanova,
Via Augusta 38, Tarragona,
September 16, 2007
Roman amphitheater, Tarragona,
September 16, 2007
Gelände der Ringmauer, Paseo Torroja,
Reste, Convivium (Festmahl), Associació
Projecte Phoenix, Caixaforum, Barcelona,
29. September 2007
Area of the curtain wall, paseo Torroja,
Ausgrabungsarbeiten am römischen
Amphitheater, Tarragona, 16. September
2007
Megalithisches Tor, Mauer, ArchäologiePfad, Tarragona, 16. September 2007
Excavation works at Roman amphitheater,
Megalithic gate, wall, archaeological
pathway, Tarragona, September 16, 2007
Remains, Convivium (feast), Associació
September 29, 2007
José María García, Emili Samper,
Francisco Gabarrón, Sklaven; Miquel
Ciutat, equites (Pferd), und Josep Maria
Sánchez Mazas, Bürger; Convivium
(Festmahl), Associació Projecte Phoenix,
Garderobe des Caixaforum, Barcelona,
29. September 2007
José María García, Emili Samper,
Francisco Gabarrón, slaves; Miquel
Ciutat, equites, and Josep Maria
Sánchez Mazas, citizen; Convivium (feast),
Associació Projecte Phoenix, wardrobe
of the Caixaforum, Barcelona, September
29, 2007
Gelände des römischen Circus, Calle
Oleguer und Calle Baixada Pescateria,
Area of the Roman Circus, the calle
Oleguer and calle Baixada Pescateria,
Seepromenade Rafael de Casanova,
In der Nähe des Torre de los Escipiones,
Sea promenade Rafael de Casanova,
Gerard Masalles, Convivium (Festmahl),
Associació Projecte Phoenix, Garderobe
des Caixaforum, Barcelona, 29.
September 2007
Gerard Masalles, Convivium (feast),
Associació Projecte Phoenix, wardrobe
of the Caixaforum, Barcelona,
September 29, 2007
Near Torre de los Escipiones,
Petit Grand Tour. Tarragona, 29. August – 6. Oktober 2007 (2007). 51 Silbergelatineabzüge, gerahmt 50 x 50 cm, Siebdrucktext
auf Passepartout. Sammlung Banco de España, Madrid, Spanien. Hergestellt mit Unterstützung von Caixa Tarragona, Spanien.
Petit Grand Tour. Tarragona, August 29 – October 6, 2007 (2007). 51 gelatin silver prints, framed 50 x 50 cm, silkscreened texts
on matts. Collection Banco de España, Madrid, Spain. Produced with the support of Caixa Tarragona, Spain.
Petit Grand Tour
Claudi Domènech, Sklave; Convivium
2007
Miquel Ciutat, equites (Pferd); Convivium
29. September 2007
Ricard Bonell Beltran, Baumkletterer,
Museu Nacional Arqueològic de Tarragona
(MNAT), Gärten der frühchristlichen
Begräbnisstätte, Tarragona, 2. Oktober 2007
Claudi Domènech, slave; Convivium
(feast), Associació Projecte Phoenix,
Caixaforum, Barcelona, September 29,
2007
Miquel Ciutat, equites; Convivium
wardrobe of the Caixaforum, Barcelona,
September 29, 2007
Ricard Bonell Beltran, tree climber, Museu
Nacional Arqueològic de Tarragona
(MNAT), gardens of the early Christian
burial place, October 2, 2007
Josep Maria Casañas, Senator; Convivium
29. September 2007
Josep Maria Casañas, senator; Convivium
September 29, 2007
Carpe diem, Convivium (Festmahl),
Carpe diem, Convivium (feast), Associació
September 29, 2007
Claudi Domènech, Convivium (Festmahl),
Claudi Domènech, Convivium (feast),
Bildnis eines Unbekannten,
spätrepublikanische Zeit, Mitte des 1.
Jahrhunderts n. Chr., Registriernummer
MNAT 45640, Museu Nacional
Arqueològic de Tarragona (MNAT),
2. Oktober 2007
Portrait of an unknown person, late
Republican period, middle of the first
century AD, registration number MNAT
45640, Museu Nacional Arqueològic
de Tarragona (MNAT), Oktober 2, 2007
Puri Villamanzo, domina; Convivium
29. September 2007
Puri Villamanzo, domina; Convivium
September 29, 2007
Josep Maria Casañas, Senator;
Josep Maria Sánchez Mazas und Vital
Julià, Bürger; Convivium (Festmahl),
Josep Maria Casañas, senator; Josep
Maria Sánchez Mazas and Vital Julià,
citizens; Convivium (feast), Associació
September 29, 2007
Petit Grand Tour
Museu Nacional Arqueològic de
Tarragona (MNAT), Hauptverwaltung,
Lager, Tarragona, 2. Oktober 2007
2/2
Depot, Tarragona, 2. Oktober 2007
Chirurgische Pinzette (Rekonstruktion),
Projecte Phoenix, Riera de Gaià,
6. Oktober 2007
Tarragona (MNAT), administration,
storage, Tarragona, October 2, 2007
Surgical forceps (reconstruction),
October 6, 2007
Grabmal in tegulae, Museum und
frühchristliche Begräbnisstätte, Museu
(MNAT), Tarragona, 2. Oktober 2007
(MNAT), Museum und frühchristliche
Begräbnisstätte, Gärten, Tarragona,
2. Oktober 2007
Bücherregal mit Loricas, Werkstatt
von Enric Seritjol, Projecte Phoenix,
Riera de Gaià 6. Oktober 2007
Tomb in tegulae, early Christian museum
and burial place, Museu Nacional
Tarragona, October 2, 2007
(MNAT), early Christian museum and burial
place, gardens, Tarragona, October 2, 2007
Ricard Bonell Beltran, Baumkletterer,
Tarragona (MNAT), Gärten der
frühchristlichen Begräbnisstätte,
Tarragona, 2. Oktober 2007
Schale aus terra sigillata itálica, stammt
von einer römischen Müllhalde (PERI 2,
Parzelle 13a); Forschungsstätte, Museu
(MNAT), Hauptverwaltung, Tarragona,
2. Oktober 2007
Ricard Bonell Beltran, tree climber, Museu
burial place, October 2, 2007
Treffen; Francesc Tarrats, Direktor;
Pilar Sada, Kuratorin; Josep Antón Remolà,
Kurator, Museu Nacional Arqueològic
de Tarragona (MNAT), Hauptverwaltung,
Bookcase with loricas, workshop of Enric
Seritjol, Projecte Phoenix, Riera de Gaià,
October 6, 2007
Drehbank, Werkstatt von Enric
6. Oktober 2007
Turning lathe, workshop of Enric
October 6, 2007
Italic terra sigillata bowl, from a Roman
waste dump (PERI 2, parcel 13a); research
studio, Museu Nacional Arqueològic
de Tarragona (MNAT), administration,
Lares Familiares (Rekonstruktion),
6. Oktober 2007
Museumsshop, Museu Nacional
Tarragona (MNAT), administration,
storage, Tarragona, Oktober 2, 2007
Meeting; Francesc Tarrats, director;
Pilar Sada, curator; Josep Antón Remolà,
curator, Museu Nacional Arqueològic
de Tarragona (MNAT), administration,
Shop, Museu Nacional Arqueològic
de Tarragona (MNAT), Tarragona,
October 2, 2007
(MNAT), Gärten der frühchristlichen
Begräbnisstätte, Grabsteine, Tarragona,
2. Oktober 2007
(MNAT), Museum und frühchristliche
Begräbnisstätte, Gärten, mit Sarkophagen,
außen, architektonische Elemente
verschiedener Herkunft, Tarragona,
2. Oktober 2007
burial place, with tombstones, October 2,
2007
(MNAT), early Christian museum and
burial place, gardens, with sarcophagi,
(MNAT), administration, exterior view,
architectural elements of diverse origin,
Domestic Lares (reconstruction),
October 6, 2007
Carnac
Carnac, 1. August 2008 (2008). 15 Silbergelatineabzüge, gerahmt 20 x 25 cm, weiße Holzrahmen. Sammlung Banco de España, Madrid, Spanien.
Carnac, August 1, 2008 (2008). 15 gelatin silver prints, framed white wood 20 x 25 cm. Collection Banco de España, Madrid, Spain.
Becoming Mr. Hyde
Becoming Mr. Hyde:
A conversation1
Yolanda Romero: I’d like to begin by
talking about your double condition of
artist and researcher. As historian and
exhibition curator you have worked with
and studied the tradition of the documentary in the history of photography. As
a photographer, how do you fit into that
tradition?
Jorge Ribalta: Apart from learning and
literally feeding off my work as a researcher, my work as an artist has inter
nalized some mechanisms of research as
an artistic method. That is to say, that for
each project to be produced, a discursive
framework must first be created based
on reading and archive work. Within that
framework the artist begins to play and
dream. To rave, even. To paraphrase Dan
Graham, we might say that the researcher
builds and the artist destroys. The
researcher is Dr. Jekyll and the artist is
Mr. Hyde.
My research and activity as curator of
exhibitions about documentary culture
in the history of photography led me
to the argument that such a documentary
discourse arose as a specific art form
in the interwar period with the mission
of visibilizing work and the working
class. The documentary idea is therefore
inseparable from a process of political
empowerment of subaltern classes in
the context of the rise of a new visual
culture associated with the appearance
of modern mass democracy in the 1920s.
From then on, there were, shall we say,
several struggles throughout the twentieth century for the resignification and
reappropriation of such a documentary
discourse. In the postwar years, the
proletarian documentary produced in
the context of the Worker Photography
Movement around 1930 changed into a
humanistic project of reconciliation and
an instrument of the cultural cold war
against the socialist block. This was the
time of The Family of Man. In the 1970s,
a generation of artists formed by the
struggles of the 1960s rediscovered the
repressed experience of Worker Photography and adopted it as the foundation for
another understanding of prewar documentary culture, against humanism, and
obviously established in micropolitical
terms. This was the time of Allan Sekula,
Martha Rosler, Jo Spence, et cetera. While
in the prewar years the documentary
movement visibilized the Fordist industrial worker as a subject of the political
avant-garde, in the 1970s, after feminism
and the modulations of Marxism brought
about by Foucault, Lefebvre, Deleuze and
Guattari, cultural studies, et cetera, the
reinvented documentary visibilized the
new subjects of the post-Fordist urban
economy and the new microphysical
understanding of power relations. The
reinvented documentary also dismantled
and abandoned the modern myth of
photography as a transparent medium
and universal language, and made clear
its insertion within power relations.
My work seeks to find its place in this tradition, but without making it into a monument, so to speak. To continue it, while
interpreting it critically according to the
present historic conditions. In this sense,
the aim of my work as artist is specifically to produce a representation of work
in the field in which I am active, i.e., the
field of cultural institutions. This involves
a self-critical process of observation and
denaturalization, of understanding that
the cultural field is not something given
but the product of collective work and an
up-to-date reinterpretation of the sources of documentary culture, mainly from
the 1920s and 1930s and the 1970s and
1980s. Those sources were the classics
such as Tretyakov, Brik, Grierson, Agee,
Mumford, et cetera, and new classics
such as Sekula, Rosler, Spence, et cetera.
My method consists in taking these
historic theses on the documentary idea
and putting them into practice today with
maximum literality. My intention is to
set in movement this memory of photography and documentary culture, not as
a fossil, but as the building blocks of our
present visual culture. Photography continues to be the means of interpretation
and public representation that it always
has been, and my aim is simply to use it
according to the function assigned it by
modern culture, as exemplified by what
Tretyakov or Mumford said around 1930:
photography allows us to represent, and
therefore to understand, complex social
processes, precisely because of its capacity to interrupt movement.
1. This text is an excerpt of a conversation between
Jorge Ribalta and Yolanda Romero, published in:
Jorge Ribalta, Monumento máquina, exh. cat.,
Centro José Guerrero, Granada and Fundación Helga
de Alvear, Cáceres, 2015.
Becoming Mr. Hyde
YR: What is the role of photography in
the present context?
JR: In my opinion, the function of photography as an instrument of visibility of
the various ideological struggles in the
public sphere has remained relatively
unchanged since the time of BlanquartÉvrard in 1850, that is, since the appearance of positive-negative technology and
the possibility of mass-produced images,
which is, in fact, the first technological
revolution in the history of photography.
Since then, photography has been an
ideological-propaganda battlefield. Obviously, we have experienced several more
technological revolutions since then. In
my opinion, these technological revolutions create a sort of geological process
of stratification, diversification, and accumulation, rather than a linear Darwinian
process in which the new substitutes or
kills off the old. The ruins are accumulated
in the unconscious. As we know, what is
old persists, whether buried or not, and
often the living and the dead are indistinguishable. But just look how the spaces
and forms of public visibility of photography are still today what they were in
1850: the exhibition, the pages of books
and magazines, albums, slideshows and,
more recently, the screens of computers,
tablets, and mobile phones. The echo
of the daguerreotype still resonates in
the wallpapers of smartphones, and the
ground glass of large-format cameras
resonates on the iPad’s screen.
YR: The series you present in this exhibition2 allow us to visibilize certain political
mechanisms leading to complex processes, such as the construction of national
identity on the basis of its monuments. Is
this your way of bringing up to date that
idea of documentary photography?
JR: Yes, that’s one of the ways, but not
the only one. The first documentary survey
in the history of photography, the Mission Héliographique in France in 1851,
came into being precisely with the aim of
creating a catalogue of French national
monuments. In other words, photography
was born as a multiple or reproducible
medium at the service of the discourse
of the nation-state. We must not forget
that Daguerre’s invention had become
property of the French state in 1839.
Inasmuch as the rise of the discourse
of national heritage is inseparable from
the ideological production of the nationstate in the modern sense, the Mission
Héliographique also marks the birth of
cultural politics as we know it—if you like,
the double drive of the state to create,
on the one hand, the national archive
of historic monuments, and to support
contemporary creativity on the other. This
double impulse (national heritage and
culture industry) is part of the legitimizing
discourses of the nation-state.
Heritage discourse and national discourse
go together, and photography immediately appears as its ideal instrument. In
the United States, this process took place
through the photographic explorations
of the West. The declaration of national
parks such as Yellowstone arose out of
the effect caused by the photographs of
Jackson, for example. So that there, from
the very start, a nationalist unconscious
was established in the use of photography in large-scale campaigns promoted
by the State. My work is an exploration of
that unconscious, an attempt to objectify
it and identify it using photography understood in the framework of a documentary discourse.
YR: What is your stance as regards the
present situation in Spain?
JR: The fact that my work is a critique
of unconscious nationalism in the cultural
system does not mean that it is strictly
a critique of Spanish nationalism or
of the Spanish State. I remember when
I presented my series on flamenco in
Barcelona, I had to explain that it was
not a critique of Spain, but an analysis of
how the cultural field contributes to the
naturalization of a dominant nationalist
unconscious. In Spain, under current
secessionist pressures, there is a greater
need than ever for nationalism to be objectified. Wallerstein’s classic explanation
was that nationalism arose in early modern times as the legitimizing discourse of
the nation-states, which, in turn, were set
up in response to the historical-economic
need for large coercive structures (or
states) based on public debt. In other
words, the birth of the nation-state is the
birth of capitalism. And nationalism is
an instrumental discourse in this process;
it is the disciplinary discourse par excellence. I would like my work to contribute
2. Jorge Ribalta, Monumento máquina, Centro
José Guerrero, Granada (January 16 – April 15, 2015)
and Fundación Helga de Alvear, Cáceres (April 25, 2015 –
January 10, 2016), curated by Yolanda Romero.
to the superseding of the framework
of the nation-state, to a post-national,
post-identitarian collective imagination,
so to speak. Certainly, nationalism is
part of the, shall we say, dark side of the
force that is with us, i.e., the irrational,
desirous, perverse-polymorphic element,
or whatever you want to call it, that is
also part of us. But it is equally true that
a project of social emancipation in the
modern sense consists precisely in a
process of gaining ground on the phantoms, on the monsters created by the
dream of reason. My work, my becoming
Mr. Hyde, is an attempt to make the phantoms visible.
YR: One of the historic references in your
photography, especially to be found
in Scrambling and Empire (or K.D.), is
Charles Clifford, whom you even quote
in very specific shots. What do Clifford’s
approaches to monumental Spain and
photography meant to you? Why Clifford?
JR: Clifford represents precisely the
inaugural moment in Spain of the confluence between national-heritage discourse
and photography. He is the Spanish
equivalent to the Mission Héliographique
in France or the geographical surveys in
the United States.
I believe that such inaugural moments
are decisive for the future and, indeed,
my work is a form of excavating or restaging those inaugural moments. The
question or hypothesis posed is about
the potentialities of history, the issue of
why historically some options prevail
over others and what might have happened had these options been different.
I believe that this issue is the basis of
historiographic discourse and, in any
case, it is the foundation of my research.
To return to Clifford, I think his work
between 1854 and 1863 is seminal for the
construction of a grammar of official Spanish icons, of the photographic alphabet
on which the representation of Spain was
to be built using photography. For example, his approach to Yuste is very subtle,
although only three or four photographs
have been preserved. In them, he seems to
melancholically restage Charles V himself,
in the garden or on the palace terrace
above the pond. In one of his photos of
Jarandilla with a group of people, including a woman with a flowing dress, there
is an echo of the figure of the Virgin in
Titian’s Gloria, which Charles V had at
Yuste. It is clear that Clifford was cultured
and refined, and for me he is a constant
source of inspiration that I continually
return to. In his repertoire, the Alhambra
holds a central place, as can also be seen
in his Photographic Scramble through
Spain—a tourist guide to Spain for
foreign visitors in which the Alhambra is
presented as a culmination of the Spanish
monumental marvels, a strange intermediate zone between dream and reality.
YR: The Alhambra is probably one of
the most photographed icons since the
appearance of photography. However,
your representation of it is anti-monumental and anti-iconic. You have chosen
to represent it by superposing several
analyses—the cross between the national
and the patrimonial, the physical space,
the activities carried on inside it, the people that live and work inside it, and its
conversion into a museum space and a
monument-factory. Why did you choose
the Alhambra in your photographic
project, a project in which one series
links up to another?
JR: I think it was inevitable. The Alhambra
is the first national monument to be declared as such in Spain, in 1872. Clifford’s
photographs in the Alhambra between
1854 and 1862, linked to the visits of
Queen Isabel II, anticipate this declaration
and possibly laid the foundation for it
and legitimized it. I see my work on the
memory of photography as an excavation,
as I said earlier. It was an accident that this
series was made during the excavations
for the work on the hydraulic system of
the Lions Courtyard, when the monument
appeared in an abject fashion, with its
insides on display. It was a happy accident
that I immediately saw I had to include.
The link with the Empire (or K.D.) series
was a later elaboration, i.e., when I
photographed the Alhambra in 2011, I did
not know that I was going to photograph
Yuste in 2013, nor that Charles V was to
become such an important figure in this
whole story. When I made Scrambling I
did not include the Charles V Palace, nor
was I particularly interested in that part
of the history of the Alhambra.
YR: Concerning Clifford’s photograph
of the Puerta del Vino which begins your
series on the Alhambra, Roland Barthes,
another of your referents, spoke of the
habitable, not the visitable quality of
that photograph: “For me, photographs
of landscape (urban or country) must
be habitable, not visitable. This longing
to inhabit …, is neither oneiric (I do not
dream of some extravagant site) nor
empirical (I do not intend to buy a house
according to the views of a real-estate
agency); it is phantasmatic.” Do you share
that attention to the phantasmatic quality
of photography?
JR: Of course. The duality of photography
between the literal description and
the imaginary projection is precisely the
source of its fascination. I believe that
that is also where the core of photography’s poetic power lies. For me the
discovery of this poetic dimension that
arises out of the overflowing or excess
of realism is totally linked to the study
of photography in this period from 1850
to 1870, the time of the wet collodion
method. Helmut Gernsheim calls it the
age of “the rise of photography.” It is clear
to me that this was its golden age because it was a technology that produced
an excess of realism in the images, like
no other technology since. There is more
there than you can see. There is as well a
historic element for us, the distinct feeling
that these photographers were groping
forward in uncharted territory with a
language that as yet had no grammar.
It was not clear where they had to look.
In this sense I am fascinated by Timothy
O’Sullivan, some of whose images are
totally incomprehensible and seem accidental, anticipating the snapshot at a
time when photography was still a long
way from speed and accident; it was
an art of slowness. This also explains my
fascination for Clifford, who gives the
feeling of having been the first person
to place a camera in those places that
today constitute a hyper-codified language. With Clifford we see things and
places as if for the first time, appearing
out of nowhere.
YR: Another process that runs through
your work concerns the social conditions
of work through the body of the workers
(flamenco dancers, archivists, security
guards, restorers, gardeners). Is this a
manner of showing how the monument
(in the form of flamenco, the Alhambra,
the monastery of Yuste or the Palace
of Charles V) has become converted into
a factory?
JR: Exactly. I have already said that
historically the documentary discourse
came into being to represent work and
that what I attempt to do is to show the
production of the monuments, i.e., the
work. That is the reason for the images
of workers. There is also self-reflexiveness
and self-criticism, for I too am the worker,
inasmuch as we all are.
YR: Regarding the manners of making
and presenting your work, you frequently
use a simultaneous accumulation of
images surrounding the viewer. This type
of montage allows you to build your
narrative in a specific way, but also leaves
it open for the viewer to intervene by
choosing what they want to see. How important is the exhibition device for you?
JR: It is essential. There are several reasons for this saturation of images, but
two main ones. The first is the idea of
seriation that I work with and take directly
from the factographic theory of Tretyakov,
who said that photography’s interruption
of movement is not enough to explain
social complexity, but that it also requires
seriation, the relations between images.
In addition, saturation expresses the
memory of popular and premodern
practices in photographic exhibitions, as
against the dogma or dominant paradigm
of the tableau, imposed since the 1980s
and whose main figure is Jeff Wall. The
tableau contains an idea of bourgeois
public space par excellence, whereas, for
example, the spaces saturated with photos
in flamenco clubs refer back to a sort
of plebeian public photographic sphere,
to a popular, minor, and in a way antiartistic use of photography. My work is
an attempt to reactivate this other type
of minor public photographic space.
Obviously, there is also the reference
to and the memory of Aby Warburg’s
Mnemosyne, the idea of a history and
a discourse built up on the basis of
associations of images. Out of this
powerful amalgamation of science and
the unconscious emerges a distorted
idea of historical time.
I understand the exhibition as a space for
the body and not just the eye. Perception
is a mechanism that includes both body
and psyche, perception and imagination,
feeling and interpretation, objectuality and
dream. The exhibition is a dream machine.
It is through sensations that learning,
knowledge, and discourse are produced.
The body is an interpretative apparatus,
a sensorium, and I attempt to offer
photographic spaces for it. Intelligence
begins in the intestines and meaning
is constructed on the basis of the movement of bodies in the exhibition space,
in the displacement between the images.
YR: The title Monumento Máquina
(Monument Machine) is a nod to Heiner
Müller’s Hamletmachine, in which the
German writer and playwright uses Hamlet to question, among other things, the
canonical interpretation of history by taking apart the classic structure of dramatic
performance. Taking Shakespeare as a
pretext, he questions official, universal
history by means of a rhizome-like structure and appeals to his reader to become
players and carry out their various levels
of interpretation. To what extent does
your work generally share this procedure
of Müller’s? To what extent can we consider photography as a machine able to
provide an interpretation of history?
JR: I am an admirer of Heiner Müller. The
title Monument Machine is obviously a
reference to his Hamletmachine, as you
rightly say, but it also refers to the “desiring machines” of Deleuze and Guattari,
in other words, to a conception of the
processes of subjectification as becomings and the ascertainment of a machinic,
productivist and historical dimension in
the psyche. There is yet a third reference,
to the “King-machine” of Jean-Marie
Apostolidès, a term he applies to Louis
XIV and presents as the historical origin
of an entire use of image and representation in political governance. The use
of the arts made by the state was the
way to make the King’s symbolic body
tangible—a political theology on which
national sovereignty rested since the
beginnings of the modern nation-state
in the sixteenth century, although its
roots are medieval. Absolute monarchy
consists in the identification of the state
with the symbolic body of the King—
Louis XIV’s famous “L’État, c’est moi.”
And indeed, another machine comes
into play in all this, which is the photographic apparatus. As I suggested earlier,
my use of photography attempts to
problematize the subject-object dialectics.
When I take a photograph, I am at the
service of the camera; I try to listen to
what it has to tell me. I don’t think I can
explain this any better, the camera is
an instrument of desubjectification that
allows me to be someone else: to become
Clifford, to become Charles V … It is an
instrument that allows me to move away
from myself and objectivize, to make
appear in this case the, shall we say,
national unconscious which is not exclusively mine, but belongs to us, who share
a common cultural and linguistic space,
whether we like it or not. The camera is
not just the device I take photographs
with, but the entire cultural apparatus in
which I am located. The camera in itself
is a product of the industrial era, literally
a machine, and in this sense it is an objectification of historical conditions, it is
a general intellect, a collective intelligence.
My work as photographer consists in
not dominating the camera but in serving
it (or is serving it in fact the way to dominate it?), in creating certain conditions
and situations in which to place it and let
it act, set it free … The camera is also a
“desiring machine.”
One of my referents for thinking about
the monument has been Müller’s little
book of poems with photographs by Sibylle
Bergemann titled A Phantom Leaves
Europe.3 It is a wonderful book, published
in 1990, that includes a chronological
sequence of photographs, taken between
1975 and 1986, documenting the entire
process of the construction of the monument to Marx and Engels in Berlin, from
the sculptor’s first sketches to its installation in the Marx-Engels Forum in 1986.
The focus is on the work of construction
of the monument. On the contrary, the
book opens with an image of May 1990
(first of May?), i.e., corresponding to that
brief moment of indeterminacy after the
fall of the Berlin Wall, but before reunification. In a sort of involuntary manner
the sequence of photographs in the book
becomes the anticipatory representation
of the post-communist era. The book
makes the double mnemonic function of
the monument appear in masterly fashion, although in this case it is a premonition, a memory of the future. This double
commemorative dimension represents
both official history and its counter-history, its collapse. In this way the monument
appears through the document as the
materialization of a historical unconscious.
The general intellect also dreams.
3. Heiner Müller, Ein Gespenst verlässt Europa,
with photographs by Sybille Bergemann (Cologne:
Kiepenheuer & Witsch, 1990).

propuesta def 04 (haas) galerada 03.indd

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