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Transcript of A physical researcher approaches .. Re-pulse
A physical
researcher approaches
..Re-pulse
an embodied reading of Ana Mendieta`
Charlotte Wendy Lawcsm art&science
2014
I began the day with a clear intention: to further discover a new
power in my precursors, the women of this era appeared embalmed in
elegance and extremity. Amongst them Valentine de Saint-Points
Futurist Manifesto of Lust jumped out, an elegant storm raged and
delighted, as she heralded lust “an essential element of the dynamism
of life...a force...a virtue...an epicentre at which energies are
resourced...an expression of a being projected beyond itself.”(1918)
sublimely unjust once more, like all the forces of nature! Delivered
from all control, with your instincts revived, you will take place
among the elements.”(1918) Enlivened, I return to the space and
movement.
from the same impulses, and knocked on the doors of my own
practice. This was my introduction to Ana Mendieta.
It would be remarkable, but not impossible for Mendieta to have read
this Manifesto, considering the currency of feminist thought, the
time. Yet, Mendieta’s oeuvre echoes, enacts, embodies, and ultimately
jouissance that
troubled her audience, who were in turn kept at a distance to achieve
her goals.
This paper came to me within a 12-hour Ritually Reading and
Researching study/performance day facilitated by Performance
Space.1 Durational and strictly time managed, as a group we moved
on the hour every hour from Performance Space to the LADA library
Performance Space.2013
Live Art Developement Agency. 2013
A. Dunoyer de Segonzac (Valentine de Saint-Point)Montjoie! organe de l’impérialisme artistique français. 2. année, nos. 1-2, jan.-fév. 1914.
1
1 http://www.perfor-mancespace.org/ritually-reading-and-researching.php
discourse rests on her body, Donald Kuspits (1996) contribution is
laughably antiquated, as his sexually orientated power games seem
desperate to put Mendieta back in her box through psychoanalysis.
Post-Freudians and Post-Structuralists are thankfully on her side.
In writing on Artaud and the artistic process as a way of being outside
of, or against dominant social norms, Deleuze quipped, “You will be
organised, you will be an organism, you will articulate your body
interpreter and interpreted - otherwise you are just deviant.” (1980:
159) Mendieta, despite the calm she achieved in much of her later
work, and her enduring positivity, has landed on the sharp end of this
abjection.
As an artist that used performance, discovered through performance,
research. My intensely personal experience of her work came before
exploring the critical debate that circles it, and I found her powerful in
image, act, and word. However, my subsequent readings seemed to
telling that the most positive statement comes from a friend,
Nancy Spero, who performed a number of re-enactments in
homage, and spoke with warmth and recognition of Mendieta’s work
stating, “If one of her sculptures were sent to a distant planet (...) it
would still convey the imagery, strength, mystery, and sexuality of
the female.”(1995: 168) In later readings, in the place of Mendieta’s
timelessness, birthed through pleasure and pain, a sensation of Ana Mendieta, Sandwoman, 1983http://despinarangou.blogspot.co.uk/2011/11/ana-mendieta-body.html. 06.04.14
2
abjection emerged, feeding from an idea of absence that needs to
be teased and re-pulsed. In an attempt to do so, I offer a reading
based on embodied research that reconciles theory to practice, whilst
examining the source of abjection.
An/other body
In tracing the work of Mendieta blood, milk, feathers, and follicle
secretions give over to total landscape. Borders, fertile places for
transgression, are her sites of exploration. Mendieta’s eventual move
outside of her own self as site, into geography brought the ability to
step away from the work and to document and explore new materials
of transition. However by starting with her own form, playing with its
subject/object status, and maintaining the female as her sculptural and
conceptual locus, the body of Ana Mendieta is inescapable.
The critical spectrum runs from David Hopkins statement that
Mendieta “foregrounds her female identity”(2003: 3) to Miwan
Kwon’s ideas on female empowerment through “self-othering” and
the view that Mendieta “almost always approaches erasure or
negation: her “body” consistently disappeared.”(1996: 168) I offer
these opposing views a as capsule of the critical debate, take it and
hold on as you experience a sensation of falling into a hall of mirrors,
is not the same as the body of an artist, and not a body of an artist who
the discourse, in retrospection comes abjection. Men that die young
are lionised, women on the other hand are rationalised: the outsider
deserver. Mendieta’s death was unexpected so can, from this point, 3
Ana Mendieta, Untitled (Glass on Body Imprints––Face) (detail), 1972, black-and-white photograph, 10 x 8”
be dismissed from my dialogue. Its fact is known, albeit unresolved.
question remains, is she, or isn’t she? Present, absent, abject?
Before biography we have the body, “the body is the body, alone it
instrument of man” (Polhemus, 1975:5) I return to see how she used
it. Lets read some body language, lets walk.2
There is a stripped down simplicity to the body; a just-ness, an all-
I’ve-got-ness, an immediacy and fragility, an unshakeable presence
on uncertain ground. It’s real, and Mendieta is present as we enter the
room: pressed up against the glass, inviting all manner of distortions.
Here, before the body we have a face: the place of recognition and the
Transplant, the face of Mendieta becomes a canvas for multiple
mythic, where (especially within Transplant) the status of trans is
in-between the intention is more interesting than the simplicity of
does not equate to from A to B. Slipping between the binary, there is
newness, and an ancient form of androgynous power to embrace.
This sensory play continues as Mendieta pushes her body against a
sheet of glass, a frame of reference, and against the gaze. Mendieta
cuts, without cutting, and distorts face, breasts, back, and abdomen
with a quietude that shows she was well aware of the gendered and
narcissistic misgivings inherent in a woman presenting herself.
Now take the human and change the accepted hierarchy, level the
grounded by the very humanness of her scale. Long arms and legs
body of a new species.
So far, 1972 reveals many playful explorations across Deleuzian
molecular” (1980), whilst also being the beginning of the deep
dialogue Mendieta will have throughout her practice with nature, as
Hans Breder notes “from that point, she blended her body with the
elements in innumerable ways.”(2013) However, of these early works
Standing alone Mendieta fetishizes her own body. This is no small act
ritual patina, fetish objects created in this way serve a purpose, and
acknowledges lines of connection between the individual, the
community (for which Mendieta felt she had lost), and the universal.
Kristeva’s seminal text on abjection has been often quoted in regards
to Mendieta, yet in her exploration of rites, which explores notions of Ana Mendieta, Untitled (Facial Hair Trans-plants) 1972. Lifetime color photograph. Estate of Ana Mendieta and Galerie Lelong, New York
4 5
Ana Mendieta. Feathered. 1972.Lifetime color photograph.Duncan, Michael. “Tracing Mendieta.” Art in America. April 1999: 110 -113, 154.
Ana Mendieta, Untitled (death of a chicken) Performance, 1972. http://arthistory.sdsu.edu/596/596_3/596_3.html 06.04.14
Ana Mendieta, Untitled, Glass on Body Imprints 1972. http://be-hindthecurtainfeminism.wordpress.com/tag/ana-mendieta/ 06.04.14
2
major artist’s work was made in the UK at the same time I discovered Mendieta at The Hayward Gallery, London. From 24.09. - 15.12.13, entitled Traces. I made two trips as part of my research; practicing embodied looking, writing stream of consciousness, subtle gestures, walking.
be dismissed from my dialogue. Its fact is known, albeit unresolved.
question remains, is she, or isn’t she? Present, absent, abject?
Before biography we have the body, “the body is the body, alone it
instrument of man” (Polhemus, 1975:5) I return to see how she used
it. Lets read some body language, lets walk.2
There is a stripped down simplicity to the body; a just-ness, an all-
I’ve-got-ness, an immediacy and fragility, an unshakeable presence
on uncertain ground. It’s real, and Mendieta is present as we enter the
room: pressed up against the glass, inviting all manner of distortions.
Here, before the body we have a face: the place of recognition and the
Transplant, the face of Mendieta becomes a canvas for multiple
mythic, where (especially within Transplant) the status of trans is
in-between the intention is more interesting than the simplicity of
does not equate to from A to B. Slipping between the binary, there is
newness, and an ancient form of androgynous power to embrace.
This sensory play continues as Mendieta pushes her body against a
sheet of glass, a frame of reference, and against the gaze. Mendieta
cuts, without cutting, and distorts face, breasts, back, and abdomen
with a quietude that shows she was well aware of the gendered and
narcissistic misgivings inherent in a woman presenting herself.
Now take the human and change the accepted hierarchy, level the
grounded by the very humanness of her scale. Long arms and legs
body of a new species.
So far, 1972 reveals many playful explorations across Deleuzian
molecular” (1980), whilst also being the beginning of the deep
dialogue Mendieta will have throughout her practice with nature, as
Hans Breder notes “from that point, she blended her body with the
elements in innumerable ways.”(2013) However, of these early works
Standing alone Mendieta fetishizes her own body. This is no small act
ritual patina, fetish objects created in this way serve a purpose, and
acknowledges lines of connection between the individual, the
community (for which Mendieta felt she had lost), and the universal.
Kristeva’s seminal text on abjection has been often quoted in regards
to Mendieta, yet in her exploration of rites, which explores notions of Ana Mendieta, Untitled (Facial Hair Trans-plants) 1972. Lifetime color photograph. Estate of Ana Mendieta and Galerie Lelong, New York
4 5
Ana Mendieta. Feathered. 1972.Lifetime color photograph.Duncan, Michael. “Tracing Mendieta.” Art in America. April 1999: 110 -113, 154.
Ana Mendieta, Untitled (death of a chicken) Performance, 1972. http://arthistory.sdsu.edu/596/596_3/596_3.html 06.04.14
Ana Mendieta, Untitled, Glass on Body Imprints 1972. http://be-hindthecurtainfeminism.wordpress.com/tag/ana-mendieta/ 06.04.14
2
major artist’s work was made in the UK at the same time I discovered Mendieta at The Hayward Gallery, London. From 24.09. - 15.12.13, entitled Traces. I made two trips as part of my research; practicing embodied looking, writing stream of consciousness, subtle gestures, walking.
In his provocative essay on breaking the dominance of the human; to
re-build by exploring the synergy between form, Deleuze is clearly
unformed, intense matter, the matrix of intensity. Intensity = zero;
the time saw in these material disruptions, the unsettling Fetish series,
and explicit references to burial rites from ancient Egypt to Navaho
Indians which verged on re-enactments as an “aesthetic lust for
death”,(Rogoff, 2013) However, if we take the starting point of zero,
we can see Mendieta is indeed “inventing self-destructions that have
nothing to do with the death drive.” (1980: 160)
because of its powerful links to ritual and a sense of homeland. Yet
in 1973 Mendieta’s focus shifted from playing with the ontological to
Rape-Murder Mendieta created a tableau vivant and performed a
socially accepted masculine aggression, sexual violence, and
collective responsibility. Alongside this work which was directed to
an exclusively male audience, Mendieta made a number of public
onto the street from behind a closed door, Mendieta captures the side-
glances and sustained unresponsiveness of the passer-by. By
extending interrogation into everyday scenarios and the community at
the tribal and magical, yet on the fetish object she casts a light, “the
fetish becomes a life preserver, temporary and slippery, but
nonetheless indispensible.”(1980: 37) This is an act of
self-empowerment and ownership, and makes me question the reading
immersion, which made her go beyond herself and highlight the
24) Rock bottom denotes desperation, where as here there is clear
intention, written in blood, a powering up and commitment to the task
at hand.
As James Fraser explored in The Golden Bough (1922), there is a
magic of contact; Tausig expanding on this shows us that “by making
an object and spiritualising it, gives one power over what is
portrayed.” (1992: 90). The centrality of magic to Mendieta is
without question, as she herself stated,
“The turning point in art was in 1972, when I realized that my paintings were not real enough for what I wanted the image to
convey and by real I mean I wanted my images to have
power, to be Magic” (Mendieta, undated)
Mendieta self-appointed task became one of continuous
transformations, pushing the potentials of material and form, which
concept, the silhouette, Mendieta completed hundreds of these artistic
experiments; folding individual form into material, material into
material, Silueta into Silueta, instigating eruptions and dissolutions. Building Piece, 1973http://walkoftheweek.blogspot.
building-piece-1973.html 06.04.146 7
Ana Mendieta, Untitled, Fetish Series, Iowa, 1977. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta, Untitled, (detail) Silueta Series, circa 1978. http://www.alisonjac-quesgallery.com/exhibitions/12/works/ 06.04.14
Ana Mendieta, Untitled (death of a chicken) Performance, 1972.http://helen-barr.blogspot.co.uk/2012/03/sickana-mendieta.html 06.04.14
In his provocative essay on breaking the dominance of the human; to
re-build by exploring the synergy between form, Deleuze is clearly
unformed, intense matter, the matrix of intensity. Intensity = zero;
the time saw in these material disruptions, the unsettling Fetish series,
and explicit references to burial rites from ancient Egypt to Navaho
Indians which verged on re-enactments as an “aesthetic lust for
death”,(Rogoff, 2013) However, if we take the starting point of zero,
we can see Mendieta is indeed “inventing self-destructions that have
nothing to do with the death drive.” (1980: 160)
because of its powerful links to ritual and a sense of homeland. Yet
in 1973 Mendieta’s focus shifted from playing with the ontological to
Rape-Murder Mendieta created a tableau vivant and performed a
socially accepted masculine aggression, sexual violence, and
collective responsibility. Alongside this work which was directed to
an exclusively male audience, Mendieta made a number of public
onto the street from behind a closed door, Mendieta captures the side-
glances and sustained unresponsiveness of the passer-by. By
extending interrogation into everyday scenarios and the community at
the tribal and magical, yet on the fetish object she casts a light, “the
fetish becomes a life preserver, temporary and slippery, but
nonetheless indispensible.”(1980: 37) This is an act of
self-empowerment and ownership, and makes me question the reading
immersion, which made her go beyond herself and highlight the
24) Rock bottom denotes desperation, where as here there is clear
intention, written in blood, a powering up and commitment to the task
at hand.
As James Fraser explored in The Golden Bough (1922), there is a
magic of contact; Tausig expanding on this shows us that “by making
an object and spiritualising it, gives one power over what is
portrayed.” (1992: 90). The centrality of magic to Mendieta is
without question, as she herself stated,
“The turning point in art was in 1972, when I realized that my paintings were not real enough for what I wanted the image to
convey and by real I mean I wanted my images to have
power, to be Magic” (Mendieta, undated)
Mendieta self-appointed task became one of continuous
transformations, pushing the potentials of material and form, which
concept, the silhouette, Mendieta completed hundreds of these artistic
experiments; folding individual form into material, material into
material, Silueta into Silueta, instigating eruptions and dissolutions. Building Piece, 1973http://walkoftheweek.blogspot.
building-piece-1973.html 06.04.146 7
Ana Mendieta, Untitled, Fetish Series, Iowa, 1977. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta, Untitled, (detail) Silueta Series, circa 1978. http://www.alisonjac-quesgallery.com/exhibitions/12/works/ 06.04.14
Ana Mendieta, Untitled (death of a chicken) Performance, 1972.http://helen-barr.blogspot.co.uk/2012/03/sickana-mendieta.html 06.04.14
murder of Kitty Genovese in her home on March 13, 1964.3
found, face down, bloody and exposed. I’m intrigued to see this turn
in her body language. From the face-on confrontation with subject/
object, there is a new consistency to Mendieta back. Portraiture is
mostly absent and barriers are intersected between artist, act, and
Body Tracks and Blood Sign, Mendieta works against a wall,
turning her back on the audience. Even within these enclosed
is a channel of communication of language and there is also a channel
which pertains to kinesis, “body motion communication.””(1975: 25)
Mendieta is ahead of us, face-less, becoming-anyone. The movement
is one of de-individualisation, which loops back to notions of the
succumbing to the forces of gravity and being pulled to the earth, or
writing the statements “SHE GOT LOVE” / “THERE IS A DEVIL
manism and witness an agent, “being tempted by space....showing the
consciousness and the external world.” (1938)
was to explore for the next 7 years.
Ana Mendieta, Body Tracks (Rastros Corporales) 1982. Photograph taken during a performance at Franklin Furnace, New York City.
8
Ana Mendieta, Body Tracks (Rastros Cor-porales) 1982. Photograph, Estate of Ana Mendieta and Galerie Lelong, New York
3 Social Psychologists Latane and
what came to be known as the Bystander Effect, now a staple in psychology textbooks. Their
number of witnesses to an event, difused the level of responsbilty felt by individuals to act.http://faculty.babson.edu/krollag/org_site/soc_psych/latane_bystand.html
This body, built up from a silhouette of her own, took many forms;
some with arms aloft recall trance states and voodoo dance, a slight
disentangle and break down as they travel across water, those hewn
from the earth they seem scraped into being by savage hands, whilst
others emerge from natures creases and upturned roots, where
found moments of rupture are embedded with a female form; they
blossom, bleed, dissolve, burn, have hips that sway. Transition is their
common bond. Mendieta’s actual presence comes and goes within
these elemental works, which were carefully documented and often
portrayed by a single image. As her audience I see Mendieta in my
minds eye in the creative act, the process, the before, and the after.
Although within these the body of Mendieta is a (mostly unseen)
maker, and off camera, her presence lingers.4
It’s interesting to treat each of these forms as vital emotional beings,
collectively they are powerful, dream-like, socially unacceptable.
the social appreciation of the body, especially Mary Douglas’s insight
“The social body constrains the way the physical body is perceived.”
(1975: 28) we gain further understanding of the abjection. The
Silueta’s speak in tongues of excess. Many critics are careful to point
out that human was her scale; life-sized, highlighting Mendieta’s
concern was in making “unintrusive” and “minor gestures”(Rogoff,
2013) especially when viewed alongside the Land-Art works of her
contemporaries. These statements do not diminish the works power.
9
Ana Mendieta, Silueta de Cohetes (Anima) 1976 Lifetime color photograph. (detail)http://www.castellodirivoli.org/en/ana-mendieta-she-got-love/ 06.04.14
4A. Franke in the publication, Animism: Modernity Through the Looking Glass, gives a brief but telling synopsis of a Silueta, charting it’s changing states of being, which allow it to essentially become a multiplicity, fully documented, to then be represented by a single image.
subject to the body, to phantasm, to the passage of time, to the
‘mysteries ‘ of life and death...Search for antidotes to mass-media
and teleosomatic standardization, conformism, manipulation.”(2008)
A resonant echo of Mendieta work, and statement “The Struggle
writing her Manifesto post-Mendieta, and despite the fact she did not
become party to our new media age, Mendieta has the potential to
join Haraway’s cyborg ranks as “oppositional, utopian, and
in this is that Mendieta was following similar lines of enquiry as
progressive thinkers of her time, and ours. She has in ways been
limited by an easy grouping arrived at by a simplistic over-feminine
view of the goddess, but her concerns were human, global, future
orientated, and trans.
Elisabeth Von Samsonow, spring-boarding from Anti-Oedipus with
“being-in-the-world” a free-form creator with an intuitive relationship
with material. As Deleuze speaks of “becoming-animal” and
“becoming-molecular”, Samsonow continued his train of thought,
“to be human (...) means to establish and to maintain a relationship
with everything that is not human...linked to a logic of the earth which
we urgently need to elaborate.”(2012: 199) For Samsonow, as for
Deleuze, the girl is a shape-shifter, “she may be animal, she maybe
water, perhaps she is air, perhaps a plant, perhaps a stone.”(2012: 202)
Mendieta ticks all these boxes. “I become an extension of Nature and
Loved, these transitional-objects, and the passionate making of,
existed outside of accepted social bodily norms.
As an active political voice, Mendieta was acutely aware of the
constrains of the society she had found herself in, was vividly
experienced as an outsider. In going outside to nature to gain the
space needed to work, Mendieta was rejecting and breaking with the
socio-bodily conventions, and the unspoken rule, “In every society,
everyone knows and has to know and learn what he has to do in all
conditions.” (Mauss, 1975: 27)
Mendieta exposes the dual status of the body as object and subject
in society, without committing the same violence on her own body
as many of her contemporaries. The human body presses against the
ing behaviours. The explicit and visceral three-dimensional language
Mendieta crafted spoke of desire, for an older form of connectivity,
which liberated the boundaries of the body, and agitated social order.
Gloria Moure summarized this in her statement, “The individual’s
alienation with regards to his or her capacity for direct experience...is
still the ultimate paradigm of western culture.” (1996: 20)
This paradigm has been taken up by a host of writer and thinkers,
from that modernist/post-modernist point onwards as the concerns
connected to anthropology (Taussig and Latour), and those with a
more overreaching philosophical scope, such as Virillo and Guattari.
logic which calls for a future where we “reinvent the relation of the
10 11
Ana Mendieta, Untitled, Silueta Series, 1967-78. Lifetime color photograph. http://catlinwilliams.tumblr.com/post/13827144084/ana-mendieta-silueta-series-from-the-late 06.04.14
Ana Mendieta, Untitled, Tree of Life Series, 1977. Lifetime color photograph. http://nmpena.wordpress.com/tag/mend-ieta/ 06.04.14
subject to the body, to phantasm, to the passage of time, to the
‘mysteries ‘ of life and death...Search for antidotes to mass-media
and teleosomatic standardization, conformism, manipulation.”(2008)
A resonant echo of Mendieta work, and statement “The Struggle
writing her Manifesto post-Mendieta, and despite the fact she did not
become party to our new media age, Mendieta has the potential to
join Haraway’s cyborg ranks as “oppositional, utopian, and
in this is that Mendieta was following similar lines of enquiry as
progressive thinkers of her time, and ours. She has in ways been
limited by an easy grouping arrived at by a simplistic over-feminine
view of the goddess, but her concerns were human, global, future
orientated, and trans.
Elisabeth Von Samsonow, spring-boarding from Anti-Oedipus with
“being-in-the-world” a free-form creator with an intuitive relationship
with material. As Deleuze speaks of “becoming-animal” and
“becoming-molecular”, Samsonow continued his train of thought,
“to be human (...) means to establish and to maintain a relationship
with everything that is not human...linked to a logic of the earth which
we urgently need to elaborate.”(2012: 199) For Samsonow, as for
Deleuze, the girl is a shape-shifter, “she may be animal, she maybe
water, perhaps she is air, perhaps a plant, perhaps a stone.”(2012: 202)
Mendieta ticks all these boxes. “I become an extension of Nature and
Loved, these transitional-objects, and the passionate making of,
existed outside of accepted social bodily norms.
As an active political voice, Mendieta was acutely aware of the
constrains of the society she had found herself in, was vividly
experienced as an outsider. In going outside to nature to gain the
space needed to work, Mendieta was rejecting and breaking with the
socio-bodily conventions, and the unspoken rule, “In every society,
everyone knows and has to know and learn what he has to do in all
conditions.” (Mauss, 1975: 27)
Mendieta exposes the dual status of the body as object and subject
in society, without committing the same violence on her own body
as many of her contemporaries. The human body presses against the
ing behaviours. The explicit and visceral three-dimensional language
Mendieta crafted spoke of desire, for an older form of connectivity,
which liberated the boundaries of the body, and agitated social order.
Gloria Moure summarized this in her statement, “The individual’s
alienation with regards to his or her capacity for direct experience...is
still the ultimate paradigm of western culture.” (1996: 20)
This paradigm has been taken up by a host of writer and thinkers,
from that modernist/post-modernist point onwards as the concerns
connected to anthropology (Taussig and Latour), and those with a
more overreaching philosophical scope, such as Virillo and Guattari.
logic which calls for a future where we “reinvent the relation of the
10 11
Ana Mendieta, Untitled, Silueta Series, 1967-78. Lifetime color photograph. http://catlinwilliams.tumblr.com/post/13827144084/ana-mendieta-silueta-series-from-the-late 06.04.14
Ana Mendieta, Untitled, Tree of Life Series, 1977. Lifetime color photograph. http://nmpena.wordpress.com/tag/mend-ieta/ 06.04.14
nature becomes an extension of my body.”(1996: 51)
Through physical immersion with her materials and tasks Mendieta
re-rooted, often referring to her practice as “ritual-work.” Her acts
Sand Painting which acted as a form of natural medication, its cures
found in the act of placing the body within the design, and within the
landscape, thus linking the macro and the micro, or the practice of
carrying earth from your homeland, to eat each day. This
thourghtful research of place and practices of cultures past shows
Mendieta commitment to the continual accumulation of tactile
knowledge, and a holistic, animist, sensuous appreciation of the
world. Reading this in the spirit of Hegel, it becomes the ultimate
very life of the object.” (Preface to The Phenomenology of Mind,
2003)
In instigating action, looking for spaces with less and less control in
order to arrive at a sensation of connectivity, Mendieta is consistently
collaborator with nature.”(1982) I will show that just as her body was
a material, so was the land she inhabited.
Out of Place
experience a radical change in status, racism, and an enforced
to greet them on arrival, the Mendieta sisters were just two of the
12
Ana Mendieta, Untitled, Silueta Series, Mexico, 1973. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
5
This dramatic split resulted in a short stay in a refugee camp followed
by a life of perpetual motion; moving from orphanage to boarding
school, boarding school to foster-home, foster-home to orphanage.
Spending 6 months here and 6 months there, Mendieta as an
adolescent was re-birthed as a multiple minority and weaned on
self-reliance. In Mendieta’s progression to adulthood there is nothing
stable. The only constant is the temporary inhabitation of place.
Thus, Mendieta was an outsider or “deject”(Kristeva, 1982) from the
start.
the criminal in the world of Mendieta. Raquelin Mendieta,
In an interview Mendieta states, “I know if I had not discovered art,
I would have been a criminal. “(Art and Artists: 1983) and follows
this pseudo-confession by quoting Adorno’s sentiment, “all works of
art are uncommitted crimes.” This idea returns us to Kristeva’s idea
of the “deject”, he who strays in order to save him (or her) self. The
essential difference is her active political agenda. If Mendieta had
an artist is not a gift but a commitment”(1982) Mendieta cements her
Ana Mendieta. Untitled, Silueta Series, Iowa, 1976-1980. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
13
5Operation Peter Pan (Operación Peter Pan / Operación Pedro Pan) was the codename
through Cuban media such as the radio that the government, led by Fidel Castro planned to take children to military schools and to Soviet labor camps, resulting in an exodus
stories can be found from the church groups involved http://www.pedropan.org/category/history, and alternative sources, http://www.counterpunch.org/2011/12/16/the-cia-cuba-and-operation-peter-pan/
site’s she found, many of which were returned to again and again,
allowed her to invoke the ‘ghost’ within the ‘host’. Transitory being
and transitory making without the desire for longevity, or the presence
of an audience, secludes the work, allowing a sense of commune with
nature, privacy and immediacy.
Much has been written on Mendieta’s yearning, and her quest for
origins. Orphan-hood and exile are frequent touchstones in her
vocabulary. Jean Fisher in her discussion on mystical language
captures another dimension which can illuminate the critical response
to this outsider stance, stating “groundedness is an act of dissent”,
adding “In seeking a place from which to speak, to signify and
recreate the self; “place” becomes the act of signifying itself.”(1995:
Rome, is a palpable psycho-geography: works responding emotionally
to place.
In her appreciation of Mendieta Silueta series Irit Rogoff speaks of
new locations and new materials.” Taking inspiration from Derrida’s
notions of the law of the land, and the Roman act of drawing a circle
Rogoff sees “tangible traces of ownership and cultivation.”(2013)
However, whilst I see Mendieta claimed ownership of her body, the
essential temporary nature of her works in nature, whose existence
rested entirely with nature and the nature of the materials, brings me
Santeria, shedding light on the idea of “monte adentro” translating as
desire to contribute,
“It is only with a real and long enough awakening that a person
becomes present to himself, and it is only with this presence that
a person begins to live like a human being. To know oneself is to
know the world, and it is also paradoxically a form of exile from
the world.” (1982: 168)
creative space outside, in nature, where she began to work through
documenting, outside of spaces with cultural currency to wastelands,
homelands all. The Silueta Series, made in numerous locations
between 1973 and 1980, draw power and inspiration from location
and the rites and rituals belonging to the land, especially those of
Native Indians, Santeria and Yoruba (west African animist
symbolism). It’s through this geographic re-location that the viewer
can return from the de-individualised artist to witness an artist work
ing through her biography.
In discussing the work of Eva Hesse, Migon Nixon touches on the
ideas of LaPlanche and the relationship between analyst and
analysand, with the analyst offering through transference a place to be
material and found landscapes, come close to this relationship. The
14 15
Ana Mendieta, Untitled, Silueta Series, Old Man’s Creek, Iowa. 1967-78 Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta, Untilled, Silueta Series, Old Man’s Creek, Iowa. 1967-78 Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta. Untitled, Silueta Series. 1967-78. Lifetime colour photograph.Estate of Ana Mendieta and Galerie Lelong, New York
site’s she found, many of which were returned to again and again,
allowed her to invoke the ‘ghost’ within the ‘host’. Transitory being
and transitory making without the desire for longevity, or the presence
of an audience, secludes the work, allowing a sense of commune with
nature, privacy and immediacy.
Much has been written on Mendieta’s yearning, and her quest for
origins. Orphan-hood and exile are frequent touchstones in her
vocabulary. Jean Fisher in her discussion on mystical language
captures another dimension which can illuminate the critical response
to this outsider stance, stating “groundedness is an act of dissent”,
adding “In seeking a place from which to speak, to signify and
recreate the self; “place” becomes the act of signifying itself.”(1995:
Rome, is a palpable psycho-geography: works responding emotionally
to place.
In her appreciation of Mendieta Silueta series Irit Rogoff speaks of
new locations and new materials.” Taking inspiration from Derrida’s
notions of the law of the land, and the Roman act of drawing a circle
Rogoff sees “tangible traces of ownership and cultivation.”(2013)
However, whilst I see Mendieta claimed ownership of her body, the
essential temporary nature of her works in nature, whose existence
rested entirely with nature and the nature of the materials, brings me
Santeria, shedding light on the idea of “monte adentro” translating as
desire to contribute,
“It is only with a real and long enough awakening that a person
becomes present to himself, and it is only with this presence that
a person begins to live like a human being. To know oneself is to
know the world, and it is also paradoxically a form of exile from
the world.” (1982: 168)
creative space outside, in nature, where she began to work through
documenting, outside of spaces with cultural currency to wastelands,
homelands all. The Silueta Series, made in numerous locations
between 1973 and 1980, draw power and inspiration from location
and the rites and rituals belonging to the land, especially those of
Native Indians, Santeria and Yoruba (west African animist
symbolism). It’s through this geographic re-location that the viewer
can return from the de-individualised artist to witness an artist work
ing through her biography.
In discussing the work of Eva Hesse, Migon Nixon touches on the
ideas of LaPlanche and the relationship between analyst and
analysand, with the analyst offering through transference a place to be
material and found landscapes, come close to this relationship. The
14 15
Ana Mendieta, Untitled, Silueta Series, Old Man’s Creek, Iowa. 1967-78 Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta, Untilled, Silueta Series, Old Man’s Creek, Iowa. 1967-78 Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta. Untitled, Silueta Series. 1967-78. Lifetime colour photograph.Estate of Ana Mendieta and Galerie Lelong, New York
uncultivated land, as one central to working ritually outside, and to
return to, or to go inside that space. Mendieta often returned to sites
the Silueta’s became reworked, re-juvinated, re-ritualized, allowed
multiple lives, but Mendieta never speaks of ownership. Nothing
rests, movement is maintained, agency is given away and the works
existed acutely, “on the level of being in nature and eventually being
return” an artist “(not) staking a claim, (on the land) but personifying
it” in an effort to present “a vision of human production as only one
aspect of a living system.” (2013: 23-24)
“Mendieta wants the public to come upon her outdoor works as one
comes upon nature.” (1979) In presenting these works Mendieta
explored ways and means of activating such a response, printing
images to scale and playing with the idea of placing the photographs o
works of Rome.
and we speak in the hushed tones suited to the environment, shared
thoughts. He speaks of strangeness of the setting, of wanting the real,
to see the work in-situ, wondering what remains. Romantically we
Experienced in-situ, is it art, or an explicit love story? The ground be
comes unsteady, it’s frightening, and exciting. Performance remains
can be some of the most emotionally powerful aspects of an action,
16
Ana Mendieta Late Works: 1981-85Estate of Ana Mendieta and Galerie Lelong, New York
when the moment has gone and the site continues to be charged:
retaining energy, speaking of action, and passing time.
Remains generate questions and unique narratives, with the
potential to become intensely personal experiences. In 1977,
versity of Iowa, Mendieta expands this “perhaps my images can lead
the audience to speculation based on their own experience, or what
they might feel I have experienced. Their minds can be triggered
so that the images I present retain some of the quality of the actual
experience.”(Mendieta: 1977) By bringing a dynamic relationship
to life through the triangulation of action, document, and audience,
Mendieta often chose a single image from what was often durational,
involving multiple works. The document was carefully made and
chosen to represent and share. In this precision, what Mendieta gives
is a just a hint, a souvenir, a glimpse at excess, essentially offering a
fragmentary thus feminine way of sharing knowledge, meaning you’ll
never get the whole of the work.
Park in Havana, Mendieta completed a number of goddess forms.
The emotional quality of these works is profoundly different from
what has gone before. Referencing deities from a destroyed culture,
story, made in response to invitation, in a space of sanction, they carry
a calm and graceful ambience. On making the trip, Mendieta said, 17
Ana Mendieta, Itiba Cahubaba, Rupestrian Sculptures, Cuba, 1981. Estate of Ana Mend-ieta and Galerie Lelong, New York
18
New York.” (Mendieta, 1982)
Out of Time
By not being in the work, and using the Silueta as a both universal
symbol and a substitute for self, Mendieta gained artistic freedom and
frequent methods of enacting change. She can be clothed in feathers
or earth, she can lie upon a bleeding heart, and imprint stains, kiss
corpses, but not totally dissolve, not burn.
To locate the meaning of El Yagula Mendieta explained, “The analogy
was that I was covered by time and history.”(1995: 99) Importantly
time and history are distinct materials, combining through a human
need for narrative. As Irit notes her “minor gestures “ can be read as
of time and space.”(2013) And we can see again the progressive ideas
of continental philosophy, where “the search for lost time becomes
the catalyst for a different future.” (Rye Day Holmboe, 2013: 114)
In giving away her body to the earth and a tangle of tiny blossoming
blends but is not obscured, her presence is one of the multiple,
dissolving as time expands to a cosmic oneness.
“My art is grounded in the belief of one universal energy which
“I was afraid before I went there because I felt I’ve been living
has nothing to do with me? But the minute I got there, it was this
whole thing of belonging again.”
In Aurora de Armendi’s project of 2012, “30 years later” the artist
in 1981. The natural processes of weathering have reclaimed the
limestone and the sculptures are slowly being erased. Although just
30 years old, they have, through their disintegration,
achieved the expression of the past Taino culture they represent.
Subtly pointing back through time to monumental moments of history.
Mary Sabbatino, vice President of Galerie Lelong, speaks of the
had made objects in her homeland.” (05.01.14), and her work
totems, and drawings. Exploring form and material and continuing
her dialogue with nature, without being embedded in it, Mendieta
traditional art objects.
between nature and the mythical female body, (that) has evolved
dialectically in response to diverse landscapes as an emotional, Ana Mendieta, Imagen de Yagul, Silueta Series, Mexico 1973-1977. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta, Guanaroca, Rupestrian Sculptures, Cuba, 1981. http://www.brooklynmuseum.org/opencollection/images/objects/size3/CUR.2007.15.jpg 04.06.14
Aurora de Armendi, Cueva del Aguila, Cave of the Eagle, Cuba. 2012. Colour Photograph from the Thirty Years Later Series.
New York.” (Mendieta, 1982)
Out of Time
By not being in the work, and using the Silueta as a both universal
symbol and a substitute for self, Mendieta gained artistic freedom and
frequent methods of enacting change. She can be clothed in feathers
or earth, she can lie upon a bleeding heart, and imprint stains, kiss
corpses, but not totally dissolve, not burn.
To locate the meaning of El Yagula Mendieta explained, “The analogy
was that I was covered by time and history.”(1995: 99) Importantly
time and history are distinct materials, combining through a human
need for narrative. As Irit notes her “minor gestures “ can be read as
of time and space.”(2013) And we can see again the progressive ideas
of continental philosophy, where “the search for lost time becomes
the catalyst for a different future.” (Rye Day Holmboe, 2013: 114)
In giving away her body to the earth and a tangle of tiny blossoming
blends but is not obscured, her presence is one of the multiple,
dissolving as time expands to a cosmic oneness.
“My art is grounded in the belief of one universal energy which
“I was afraid before I went there because I felt I’ve been living
has nothing to do with me? But the minute I got there, it was this
whole thing of belonging again.”
In Aurora de Armendi’s project of 2012, “30 years later” the artist
in 1981. The natural processes of weathering have reclaimed the
limestone and the sculptures are slowly being erased. Although just
30 years old, they have, through their disintegration,
achieved the expression of the past Taino culture they represent.
Subtly pointing back through time to monumental moments of history.
Mary Sabbatino, vice President of Galerie Lelong, speaks of the
had made objects in her homeland.” (05.01.14), and her work
totems, and drawings. Exploring form and material and continuing
her dialogue with nature, without being embedded in it, Mendieta
traditional art objects.
between nature and the mythical female body, (that) has evolved
dialectically in response to diverse landscapes as an emotional, Ana Mendieta, Imagen de Yagul, Silueta Series, Mexico 1973-1977. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta, Guanaroca, Rupestrian Sculptures, Cuba, 1981. http://www.brooklynmuseum.org/opencollection/images/objects/size3/CUR.2007.15.jpg 04.06.14
Aurora de Armendi, Cueva del Aguila, Cave of the Eagle, Cuba. 2012. Colour Photograph from the Thirty Years Later Series.
19
20
runs through everything; from insect to man, from man to
spectre, from spectre to plant, from plant to galaxy. My works
medium of capture. As Rosalind Krauss (1977) has written the era
was one of indexing, of pointing to an event. Mendieta’s pointing
captures both process and distance, she points to “events whose
materiality has escaped us.” (Steward, 1995: 170)
Mendieta’s use of the photograph has added to the heavy weight of
her absence, “Its essence is absence. The absence of the human body,
the absent culture, the absent moment that is only captured on paper
as a photographic echo.” (Rosenthal, 2013: 18) At times there
appears a morning for the momentary, “These performances and
actions were never seen by a public nor did they remain. They
disappeared, reappropriated by the landscape.” (Merewether, 1996:
115) And there is a sensation within her own writings that Mendieta
was aware of this. In her plans to produce a book of photo etchings
from the Rupestrian Sculpture Series with the written myths of the
Tainan woven between the images, Mendieta hoped to resurrect one
culture and inform another, writing, “Because of the impermanence
of much of my earth/body sculptures it has created
misapprehensions.”(1996: 181)
Mendieta understanding of time was one of continual process, history
Mendieta with an untitled wood sculpture, 1984.
com/2014/04/02/ana-mendieta_n_5071279.html?utm_hp_ref=arts&ncid=tweetlnkushpmg0000006706.04.14
Ana Mendieta, Corazón de roca con sangre,
http://blog.uprising-art.com/cifo-collection-cisneros-pardo/ 06.04.14
21
and cosmology were vital sources of strength and inspiration but she
did not thirst for things past, repeatedly stating, “There is no original
past to redeem”, rather her interest lay in provoking new responses to
now through immersion, “I have thrown myself into the very
elements that produced me.” And invoke wonder, a very human
appreciation of the natural world. The ambition of shared experience
is one than runs through many of her writing, “Perceptually, the works `which emphasize natural process would in turn trigger a greater
awareness of nature to the public. And spiritually the enjoyment and
experience of nature would add brightness to people and daily life. “
(Mendieta, 1996: 183)
Resolving Abjection
“The time of abjection is double: a time of oblivion and thunder, of
(Kristeva, 1982: 9)
the cracks, disregarding the boundaries, and emphasizing the
ontological, and the pleasure found in playing within a Latourian
“Parliament of Things.” If Abject is “something rejected
from which one does not part...what disturbs identity, system, order.
ambiguous, the composite.” (Kristeva, 1982: 4) Then yes, Mendieta
Ana Mendieta. Alma Silueta en Fuego (Soul Silhouette on Fire), 1975. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Ana Mendieta. Untitled, Silueta Series, Iowa, 1980. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
is abject. Yet through being so, she embodied the openness of Eco,
the becoming of Deleuze, lived Hegel’s Life of the Spirit, and
existed in Heidegger’s ecstasis. A female scientist whose way of
“being-in-the-world” was an affront. Politically active, Mendieta
saw the dominant status quo, consumer culture and social structure
of race/class/sex as a force that “pushes to paralyse social
development... in an effort to have all of society identify with and
serve their own interests” by raising the currency of a culture that
idealises “ways of life and behaviours with a vision of social reality
and history that causes conformism and submission.” (1982) Once
again I can turn to Kristeva, “for abjection, when all is said and done,
is the other facet of religious, moral, and ideological codes on which
rest the sleep of individuals and the breathing spells of societies.”
(1982: 209)
Her stance, her step outside, seemed to embrace the energy of the
push and push it further, explore rupture, to connect to the
fundamental nature of change.
The experience of this walk from has lead me along a timeline to
timelessness. My eyes have felt fully globular, aware of their
casing, the rim of sight. Notes written, circled and re-written, are
almost indecipherable, but the act of writing entwines my own
dialogue with Mendieta’s, to be recalled in a hynagogic echo.
I’ve stood in-front of works with arms raised, and pressed my face
into glass, and it seems time to conclude with a few words on my
personal practice.
22
Ana Mendieta. Untitled, Silueta Series, Iowa, 1977. Lifetime colour photograph. Estate of Ana Mendieta and Galerie Lelong, New York
Taussig, M 1993, Mimesis and Alterity : A Particular History of the Senses, London: Routledge
Taylor, B ed. 2006, Sculpture and Psychoanaylsis, Farnham: Ashgate Publishing
de Zegher, C ed. 1995, Inside the Visible: An Elliptical Traverse of 20th Cen-tury Art in, of, and from the Feminine, Le Praz-de-Lys en Haute-Savoie: Les Editions le Chambre
Zepke, S & O’Sullivan, S eds. 2010 Deleuze and Contemporary ArtEdinburgh: Edinburgh University Press
Exhibitions
Hopkins, D After Image: Simryn Gill, Ana Mendieta, Cindy Sherman and Francesca Woodman 2003, Fruitmarket Gallery, Edinburgh, UK
Ana Mendieta: Traces 2013, Hayward Gallery, London, UK
Coker, G. Ana Mendieta 1979 A.I.R Gallery, New York, USA
Journals
Cabañas, K M 1999, ‘Pain of Cuba, Body I am’ Woman’s Art Journal vol. 20, no. 1,pp. 12-17
Holmboe, R D ‘If not Now, When? The Question of the Future in Continen-tal Philosophy’ The White Review vol. 4, pp. 114
Krauss, R 1977, ‘Notes on the Index: Seventies Art in America’ October vol. 3, pp. 68-81
Mendieta, A 1987, ‘untitled’ Heresies vol. 5, pp. 69
Artist Writings
Proposal for Cityarts, 1982Proposal for Public Art Project, 1984The Estate of AM Collection, Galeries Lelong, New York, Paris
Online Resources
Armendi, A 05.01.14 http://www.auroradearmendi.com/index.php?/exhibi-tions/mendietas-rupestrian-sculptures/
Sabbatino, M 05.01.14 http://www.youtube.com/watch?v=KbYFjJomZag
Warner, M The Writing of Stones 05.10.14 http://www.cabinetmagazine.org/issues/29/warner.php
Talks
Irit Rogoff on Ana Mendieta, Royal Festival Hall, London. 04.11.13
Bibliography
Benthall, J & Polhemus, T eds. 1975, The Body as a Medium of Expression, London: Allen Lane
London: Hayward Publishing
Caillois, R 1938, Le Mythe et l’Homme, Paris: Gallimard
Deleuze, G & Guattari, F 1988, Thousand Plateaus: Capitalism and Schizo-phreniatrans. Massumi, B, London: Athlone Press
Franke, A & Folie, S eds. 2012, Animism: Modernity Through the Looking Glass, Wein: Generali Foundation
Guattari, F 2008, The Three Ecologies, London: Continuum
Haraway, D J 1991, Simians, Cyborgs and Women : The Reinvention of Na-ture, London: Free Association Books
Hegel, G W F 2003, The Phenomenology of Mind, trans. Baillie, J B, New York: Dover Publications; 2nd edition
Jung, C G 1968, Psychology and Alchemy, trans. Hull, R F C, London: Rout-ledge & Kegan Paul
London: Routledge
Krauss, R E 1981, Passages in Modern Sculpture, Cambridge, MS; London: MIT Press
Kristeva, J. 1980 Powers of Horror : An Essay on Abjection trans. Leon S. RoudiezNew York: Columbia University Press, 1982
Latour, B 1993, We Have Never Been Modern, trans. Porter, C, Cambridge, Mass: Harvard University Press
Latour, B & Weibel, P eds. 2002 Iconoclash, Cambridge, MS; London: MIT Press
Lévi-Strauss, C 1973, Triste Tropiques, trans. John & Doreen Weightman, London: Cape
Mircea, E 1964, Myth and Reality, London: Allen & Unwin
Mircea, E 1989, Shamanism: Archaic Techniques of Ecstasy, trans. Trask, W R London: Arkana(Penguin)
Moure, G ed. 1996, Ana Mendieta, Barcelona: Ediciones Poligrafa
Sina, A 2012, Feminine Futures: Performance, Dance, War, Politics And Eroti-cism, Paris: Presses du Reel
24 25
Taussig, M 1993, Mimesis and Alterity : A Particular History of the Senses, London: Routledge
Taylor, B ed. 2006, Sculpture and Psychoanaylsis, Farnham: Ashgate Publishing
de Zegher, C ed. 1995, Inside the Visible: An Elliptical Traverse of 20th Cen-tury Art in, of, and from the Feminine, Le Praz-de-Lys en Haute-Savoie: Les Editions le Chambre
Zepke, S & O’Sullivan, S eds. 2010 Deleuze and Contemporary ArtEdinburgh: Edinburgh University Press
Exhibitions
Hopkins, D After Image: Simryn Gill, Ana Mendieta, Cindy Sherman and Francesca Woodman 2003, Fruitmarket Gallery, Edinburgh, UK
Ana Mendieta: Traces 2013, Hayward Gallery, London, UK
Coker, G. Ana Mendieta 1979 A.I.R Gallery, New York, USA
Journals
Cabañas, K M 1999, ‘Pain of Cuba, Body I am’ Woman’s Art Journal vol. 20, no. 1,pp. 12-17
Holmboe, R D ‘If not Now, When? The Question of the Future in Continen-tal Philosophy’ The White Review vol. 4, pp. 114
Krauss, R 1977, ‘Notes on the Index: Seventies Art in America’ October vol. 3, pp. 68-81
Mendieta, A 1987, ‘untitled’ Heresies vol. 5, pp. 69
Artist Writings
Proposal for Cityarts, 1982Proposal for Public Art Project, 1984The Estate of AM Collection, Galeries Lelong, New York, Paris
Online Resources
Armendi, A 05.01.14 http://www.auroradearmendi.com/index.php?/exhibi-tions/mendietas-rupestrian-sculptures/
Sabbatino, M 05.01.14 http://www.youtube.com/watch?v=KbYFjJomZag
Warner, M The Writing of Stones 05.10.14 http://www.cabinetmagazine.org/issues/29/warner.php
Talks
Irit Rogoff on Ana Mendieta, Royal Festival Hall, London. 04.11.13
Bibliography
Benthall, J & Polhemus, T eds. 1975, The Body as a Medium of Expression, London: Allen Lane
London: Hayward Publishing
Caillois, R 1938, Le Mythe et l’Homme, Paris: Gallimard
Deleuze, G & Guattari, F 1988, Thousand Plateaus: Capitalism and Schizo-phreniatrans. Massumi, B, London: Athlone Press
Franke, A & Folie, S eds. 2012, Animism: Modernity Through the Looking Glass, Wein: Generali Foundation
Guattari, F 2008, The Three Ecologies, London: Continuum
Haraway, D J 1991, Simians, Cyborgs and Women : The Reinvention of Na-ture, London: Free Association Books
Hegel, G W F 2003, The Phenomenology of Mind, trans. Baillie, J B, New York: Dover Publications; 2nd edition
Jung, C G 1968, Psychology and Alchemy, trans. Hull, R F C, London: Rout-ledge & Kegan Paul
London: Routledge
Krauss, R E 1981, Passages in Modern Sculpture, Cambridge, MS; London: MIT Press
Kristeva, J. 1980 Powers of Horror : An Essay on Abjection trans. Leon S. RoudiezNew York: Columbia University Press, 1982
Latour, B 1993, We Have Never Been Modern, trans. Porter, C, Cambridge, Mass: Harvard University Press
Latour, B & Weibel, P eds. 2002 Iconoclash, Cambridge, MS; London: MIT Press
Lévi-Strauss, C 1973, Triste Tropiques, trans. John & Doreen Weightman, London: Cape
Mircea, E 1964, Myth and Reality, London: Allen & Unwin
Mircea, E 1989, Shamanism: Archaic Techniques of Ecstasy, trans. Trask, W R London: Arkana(Penguin)
Moure, G ed. 1996, Ana Mendieta, Barcelona: Ediciones Poligrafa
Sina, A 2012, Feminine Futures: Performance, Dance, War, Politics And Eroti-cism, Paris: Presses du Reel
24 25