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LU L L Y R 1 C H A R D

S I D E N î T C A R T O G R A P H I E S C I T iY . BA P O L 1 T 1 C IS ( 0 N T F E r w 0 R K 0 F L 0 T T Y R 0 S E N F E L D )

Critic and essayist. Editor of Revista de Critica Cultural since 1990. Slie has penned the books Fracturas de la memoria. Arte y pensamiento crítico (Buenos Aires, 2007), Intervenciones críticas (Arte, cultura, género e política (Belo Horizonte, Editora Universidad Federal de Minas Gérais, 2002), Residuos y metáforas (Cuarto Propio, 19981, La insubordi­nación de los signos: cambio político, transformaciones cul­turales y poéticas de la crisis (Cuarto Propio, 199A) and many texts and essays published in her home country and abroad.

1. Chilean ort and military dictatorship: the context of "Escena de Avanzada"

The 1973 military coup d'état sent multiple shockwaves that shattered the historical and political life of Chilean society and reconfigured its institutional organisation. The military regime of Augusto Pinochet established a culture of fear and violence that per­meated the fabric of the entire community, forcing the bodies and the city alike to conform to diktats of prohibition, exclu­sion, persecution and punish­ment.

In the early years of the dic­tatorship. the art of the activist culture of the antidictatorship front was grounded in the ideological repertoire of the orthodox left to evoke-invoke silenced voices, mutilated representations and disinte­grated symbols. The art of this culture of activism sought to shape these remnants of the national memory and identity into a symbolic memory of the past that would gather the victims of this historic defeat together in solidarity Folklore, popular music, theatre, mural paintings, and other media portray the sacrificial identity of a victimised Chile through a grassroots art that denounces and protests: an art governed by an epic of meta-mean-ing (People, Memory, Identity. Resistance, Antidictatorship. etc.) transmitted with openly referential and testimonial languages.

A scene of experimental prac­tises with a neo avant-garde slant emerged in Chile toward the end of the 70s, grouped under the name of Escena

de Avanzada [Advance Scene]. Like the leftist art of denunciation and protest it opposed the military govern­ment. though at times it did so with novel strategies of critical resistance that raised controversy^ In contrast to the focus on content of activist art. the Escena de Avanzada unfolds its critical self-reflec­tion around the micropolitics of the signifier which, along bodies and surfaces, repre­sent the ruptures of history through processes of frag­mentation and dispersion, of emptying and exploding and through the disconnection between materials, techniques, and supports. In the Chile of the late 70s, the Escena de Avanzada stood out for its conceptual transgressions, its ruptures of language and its exploration of new genre hy­brids that waged war on the academicism of the Fine Arts as well as the cultural insti-tutionalism of the dictatorship, while seeking to pressure the artistic and cultural lexicon of the leftist front with actions that challenged the ideological content and the political in­strumentality of an "art at the service of the fight against the dictatorship". While activist art sought refuge in the continuity of the memory of the histori­cal past and the tradition that preceded the 1973 rupture, the Escena de Avanzada op­posed historicism and promot­ed a cut and interruption to emphasize the violent rupture of the codes that the military regime had used to disrupt the interpretive worlds of Chil­ean society.

The members of the Escena de Avanzada reformulated the processes of creative produc­

tion, blurring the boundaries between genres (visual arts, literature, poetry, video and film, critique-writing, perform­ance, urban intervention) and expanding the material sup­ports of art to include the living body and the city. In the case of the performance, the body acts as a trans-semi-otic axis of pulsating ener­gies that flow toward margins of rebellious subjectification. Meanwhile, the city structures a landscape whose perceptual and communicative routines are fleetingly altered by a vibrant gesture challenging the militaristic framework and its attempt to homogenize the quotidian.

2. "Art actions" as interventions of a city subjected to military oppression

In 1979, the CADA group [Art Actions Collective] presented its first collective work "Para no morir de hambre en el arte" [Not to starve to death in art]2 and later on. Lotty Rosenfeld — a member of the group — started an interven­tion project entitled "Una milla de cruces sobre el pavimento" [One mile of crosses on the pavement]^ The work "Para no morir de hambre en el arte" — a decisive project that launched a series of urban in­terventions in Chile — defined itself as a "social sculpture". The CADA group stated: "We understand by social sculpture a work of art action that tries to organize, by means of in­tervention, the time and space in which we live, firstly to make it more visible, and then to make it more liveable. The present work ("Para no morir

Nelly Richard, Mor-' and Institutions: art in niie since 1973. Melbourne. ^ and Text. 1986. For a critical reinferpretation of •he cultural and political meaning of the Escena de /ivanzada see: Nelly Richard, T.0 critico y lo polìtico en el jp)e: "¿Quién teme a la neo-^^guardia?" in Revista de Critica Cultural issue 28, June 2004. Santiago de Chile. 2 This work is documented jnd reviewed in Margins and

Institutions. 3 See: Desacato. Sobre la otra de Lotty Rosenfeld Eugenia Brito, Diamela Eltit, Gonzalo Muñoz, Nelly Richard, Raúl Zurita. Santiago, Fran­cisco Zegers Editor 1986,

h CAOA, 'Para no morir (te hambre en el arte". La Bicicleta magazine, issue 8, Santiago, December 1980,

de hambre en el arte") is a sculpture since it organises the material of art in terms of volume, and it is social to the extent that such material is our collective reality"'. With an affinity to the concepts elabo­rated by German artist Wolf Vostell, the CADA group de­clares that the artist is merely a "worker of experience" and that the work of art is noth­ing but "corrected life". The artistic quality of art — dis­placed from its conventional format in the exhibition hall — lies in proposing designs that encourage a critical self-processing of everyday life, as art's aesthetic substance is reshaped into a gesture that transforms experience. Such designs occupy the city as the strategic arena where will and desire clash: the author­ity of the repressive power of the military years that imprints the territory with the marks of disciplining bodies and minds, and the yearning power of art that seeks to shake the everyday ruins with the new declarative and preformationist combinations of an unyielding subjectivity.

The works of the CADA group and Lotty Rosenfeld chal­lenged the dead time of the works within galleries and museums with the living time of a "situation art" that re­processes substrata of vital experiences to broaden the margins of liberty and change, which the military dictatorship sought to repress or suppress. In the context of a dictator­ship whose totalitarian stance imposed rigidity and confine­ment. the Chilean works of the Avanzada -made of biographi­cal and community events — chose to work with unfin­

ished materials to guarantee the incompleteness of the work. They asked the viewer (any given passer-by) to par­ticipate actively in the task of multiplying and disseminating signals at the frontier and the margins of the oppressive and repressive dogma of historical confinement.

The urban interventions of the CADA group and Lotty Rosen-feld meant to alter the social organisation of the city, which had been condemned to pas­sivity by the military regime. To do so. they established a relationship between art, city and politics that disorgan­ised the system of repressive conventions by creating new networks of social intersubjec-tivity, drawing models of col­lective action.

3. "Una milla de cruces sobre el pavimento"

What does the artistic gesture of Lotty Rosenfeld compre­hend? A gesture that started out in the late 70s and is going on still by 2007, as demonstrated in her last in­tervention at Kassel?

The gesture of Lotty Rosenfeld simply consists in altering the marks traced on the pave­ment to form an axis between its lanes. These vertical lines, traced by the regime, were crossed by horizontal white strips - cloth bandages — which she physically un­folded at a 90 degree angle. The lines on the pavement signal the directionality of an order and the new order: go straight forward, following a path prearranged by the es­tablishment. The lines on the

pavement — the signs drawn to funnel traffic in a mandato­ry direction — are a metaphor of everything that regulated behaviours, disciplined the minds, subjected the bodies to coerced directives, etc in the Chile of the dictatorship. By altering a simple stretch of everyday traffic (a seem­ingly harmless sign) with a subtly structured design and extremely economical means, Lotty Rosenfeld subversively highlighted the relationship between communication sys­tems, the techniques to repro­duce the social order, and the homogenizing of submissive subjects.

Thus, the first layer of the tracing of the crosses on the pavement seeks to break the linearity of the repressive axes by (materially) twisting their one-way flow with an insurgent stroke — the cross­ing — that rebels against the path imposed by authoritar­ian powers. At another level, Lotty Rosenfeld's gesture uses art to establish a relationship with signs that contradicts the univocity of the codes of social planning and admin­istration from the plurivocity of its aesthetic twist. In ef­fect, by crossing the signs on the pavement the artist transforms the minus sign (-) into a plus sign (+). While the - sign alludes to subtraction, the + sign is the operator of addition and multiplication. The gesture of Lotty Rosenfeld symbolises art's potential to open meaning to a multiplica­tive and combinatorial plural­ism, by working on continu­ously displacing contexts and thus becoming susceptible to ever-shifting heterogeneous interpretations.

U. "No, no fui feliz"

In 1979, Lotty Rosenfeld ti­tled her action of crossing the lines on the pavement "No, no fui feliz" [No, I was not happy], indicating that a critical art born of social non­conformity also works with the fragmentation and weakness of the subjective, the unfulfil-ment of identity and meaning. The work of Lotty Rosenfeld engages in the conceptual deconstruction of the gram­mars of the power-in-repre-sentation by transgressing the meaning of the lines marked by the establishment When the time comes to sign this work of symbol deconstruction, the artist insists on perpetuat­ing a void of negativity and resistance in the title ("No, no fui feliz"), which speaks of an unbreached subjectivity, of a suspicious identity that rejects the compensatory fictions of harmony, integration and con­ciliation in art.

The internal dissent of the self expressed in the title ("No, no fui feliz") produces the identity discrepancies that power the opposition in the critical art of Lotty Rosenfeld: an oppositional force that demands for us to read the work of Lotty Rosenfeld from the perspective of the femi­nine in the way she decon­structs the hegemonic (social masculine) narratives of the absolute reason and the ulti­mate truth, from the position of a symbolic minority acti­vated by gender awareness (the Deleuze-Guattari concept of becoming-minor in "becom­ing-woman") that grows in the interstices, the folds, and the creases of the dominant social discourse.

The "No, no fui feliz" of Lotty Rosenfeld's crosses becomes the living instrument to recre­ate a subjectivity-as-becom­ing that chooses discordance and maladjustment in op­position to the passive and self-congratulatory categories of social adjustment and its linear identity formations.

5. Frontiers and journeys

The gesture of Lotty Rosenfeld combines the dual dimen­sion of being a vector of disobedience (which rejects the imposed linearity of a path traced univocally) and of creative resignifying (which generates a relationship with signs that is heterogeneous and fertile instead of fixed and invariable). This dual con­dition repeats itself in different contexts, recharging in new energy flows that vary ac­cording to the social, political and economic relationships met by its intervening force.

From the start, Lotty Rosenfeld has been crossing the + sign of her urban interventions by marking territories associated to the theme of the frontier: the frontier — in the repres­sive and exclusionary sense — of a layout that operates as an agent of division and segregation, but simultane­ously the frontier — in the emancipatory sense — into which to escape, move, and journey. The intervention of Lotty Rosenfeld's crosses in the tunnel of "Cristo Redentor" on the border of Chile and Argentina (1983) or the bor­der between the FRG and the GDR in Berlin's Allied Check­point (1983) are examples of this intent to place art at the strategic limits of delimitation

5 A performance by Pedro Lemebel took piace on the same night that Lotty Rosen-feld intervened In the Hos­pital. To read on the work of Lotty Rosenfeld, see: Diamela Eltit. "Los sobresaltos de la crisis" in Revista de Crítica Cultural, issue 1. Santiago de Chile. May 1990.

and juncture, where national and political communities ei­ther close or open up to dif­ference, embracing the mono-logic self-centeredness of the "we" or allowing themselves to be interrupted by the multitu­dinous — and sometimes wild — dialogue of the "others". The art of Lotty Rosenfeld uses the crossing of territories to draw an in-between place — an area of intermittence and suspension, of paradox and questioning, of ambigu­ity and indefinition — that questions the binary logic of the identity affirmations and denials imposed by segrega­tionist national frontiers when their territorial dogma speaks the hegemonic language of the Nation or the Race. The crossing of frontiers — with the white line of the cross; with the body that crosses the lines, with the camera that intermixes the images of different tracings of the cross — questions the arbitrariness of the limits that either join or divide the relationships of identity and belonging, that use geo-political sovereignty to demarcate certainties or, on the contrary, resort to critical imaginarles to promote artistic risk and creative uncertainty.

In Cautivos [Prisoners], (1989). the video installation made by Lotty Rosenfeld in an un­finished hospital on the out­skirts of Santiago®, the author combined on the screen the TV broadcast of an official trial of Cuban dissidents and the images of the "traveller of freedom", Mathias Rust, land­ing in Moscow's Red Square. After mixing both visual ma­terials on the screen, Rosen-feld intervened on them by introducing the marking of

Chilean ballots (once again, the tracing of a cross) that put an end to the dictatorship of Augusto Pinochet during the 1989 election. This video installation in the abandoned hospital of the outskirts of Santiago managed to recre­ate the complex tensions between: Utopian failures (the military coup that thwarted the "socialist revolution" and halted the construction of the hospital planned by Salvador Allende during the rule of Unidad Popular), an ideologi­cal crisis (the multiple shakes and tremors experienced by the world of dogmas, convic­tions and militancy following the Cold War and the crisis of real socialisms), politico-in-stitutional restructurings (the Chilean redemocratisation handled by transitional gov­ernments since the 1999 elec­tion) and social exclusions (the crust of marginalization and delinquency covering the hospital in which the work was carried out, revealing the symptoms of an organic failure in the system that frac­tures the neoliberal order).

The cross gestures to show how certain frontiers open while others are shut in a fluctuation of signs and pow­ers that are politically deter-ritorialized and reterritorialized according to alliances and coalitions that can never be totally controlled.

To speak of the displacement of borders between territo­ries, nations and identities is to speak of how capitalistic globalisation has reorganised the world with the high-speed circulation of the informational messages of the globalised transnational market.

In her video installations. Lotty Rosenfeld selects and manip­ulates materials pertaining to current affairs that flow back and forth within world-wide communication networks, mix­ing the local and the global (the Soviet Union. Korea. Af­ghanistan. the United States, Cuba, Iraq, Chile, etc.) How­ever — and this is one of the sources of the critical power of her work — this seeming permeability of frontiers never ceases to exhibit a recalci­trant opacity, the opacity of those peripheral substrata that resist the transcoding apparatus of metropolitan art's multiculturalism, exposing the margins that cannot be assimilated nor translated to the standardised language of the hegemonic culture.

6. Alignments and escapes; "Moción de orden"

Lotty Rosenfeld's work "t^oción de orden" [Point of order], (2002)® combines the images of the road in "Una milla de cruces en el pavimiento", whose lines were segmented into crosses, with lines of ants. The reiteration of the gesture of the crosses on the pavement can be interpreted as a double quotation from memory: the gesture of the crosses in a sustained and consequential trajectory that continues to vindicate the critical stance of oppositional art, even during a period of democratic normalizing: and the memory of a work carried out under the dictatorship that during the transition op­posed how the post-dictator-ship government became an accomplice of the deaths and sequestration of those who

had opposed the regime by obscuring the memory of the disappeared and obliterat­ing the discussion of Human Rights as a topic likely to disturb the peace-seeking attitude of the "democracy of agreements". (The violent past of the military regime is remembered in several video images in "Moción de orden", citing the traumatised memory of the violation of Human Rights).

The organised ant trails in "Moción de orden" evoke, at one referential level, the means of control exerted by the Chilean Transition in an attempt to normalize the so­cial and political bodies, quiet­ing the conflicts of the violent and traumatic coup d'état past with a dual scheme of integration into Order (the Consensus and the Market). The pact that sealed the "de­mocracy of agreements" es­tablished by the Concertación coalition governments com­mitted itself to the exorcism of the ghost of ideological po­larisation tied to the memory of the extremes (the Unidad Popular and the 1973 military coup d'état), and to imposing a unanimous voice around the — centrist — dictum of moderation and acquiescence.

The lines on the pavement and the trailing ants on the walls in "Moción de orden" both speak of the recruitment which, in the name of a new politico-institutional order (the restoration of democ­racy) and the socio-economic productionism (neoliberal-ism). set up files and series to bureaucratise the social body to fit the order. But the work of Lotty Rosenfeld knows

how to introduce tension in these dictums, designed to discipline identities and be­haviours. introducing a variety of interferences that seek to rupture the regularity of the uniform and the conformist: for instance, the image of the finger that breaks and scat­ters the trail of ants before it regroups. In contrast to the order of the pavement layouts and the ant trails "Moción de orden" presents images of so­cial turmoil and creative out­bursts: they are images that present the social protests in Latin America as a catalyst for breaking ranks and het-erogenizing series, sparking spots of searing conflict. The expansive energies of the political and the critical can gamble with the disorders of social imagination, the Utopian fugues and the desirous pul­sations shared by art and the masses as an escape from the muted direction of the programmed neutrality sym­bolised by the ants.

7. Economic powers and arithmetics ^ of transgression

In July 1982, Lotty Rosenfeld intervened in the Santiago Stock Exchange in Chile by showing images of the crosses she had set on the pavement in the monitors habitually used to display the financial fluctuations of stock trading. Without asking for permission, the insubordinate tracing of the cross and its transgression arithmetic dared to toy with the + and - signs, so carefully watched by the hoarding order of economic balances. It could be said that art disrupted the accounting

( See: Lotty Rosenfeld, noción de orden. Santiago, Ocho Libros Editores, 2003.

Moción de orden. 2002

of the economic and trade transactions: it produced a critical distortion in the nego­tiated equations of the capi­talist free market and its mar­kets. A woman-subject, using art as a pretext, infiltrated the systems that control the rationality of calculations and interests, cracking the utili­tarianism of capitalistic logic guarded by the masculine traffic of economic exchange with her + sign, a gesture "in excess".

The image of stock fluctua­tions — with the intervention of her 1982 pavement crosses — reappears in the work "Mo­ción de orden" (2002) with the scene of the reopening of the New York Stock Exchange af­ter the terrorist attack of Sep­tember 11, 2001 on the United States. This glorification of the economic reactivation of the Empire is reinforced and con­trasted at the same time with images of the oil platforms of Tierra de Fuego (in the south­ernmost portion of Chile, in Patagonia) to evince the links of economic power that sus­tain (from deep underground) the structure of political power and its imperialistic grip on the nation. The work "Moción de orden" establishes a con­nection and a sequential view of the reopening of the New York Stock Exchange and the search for more oil in Tierra del Fuego as an indirect way to unveil the economic and political dealings of the inter­est groups that protect the global order. Tierra de Fuego, the ocean of Patagonia and its endless land are exposed to the post-industrial vorac­ity of transnational capitalism, whose insatiable pursuit of riches (oil) is reminiscent of

the Spanish Conquista in its succession of exploitations and lootings. Once again, it is the cross that links the narra­tives of a peripheral devasta­tion and that of the economic supremacy of a country that monopolises the enjoyment of profits — the United States — , aiming to alert the sur­vivors of colonialism in Latin America that they are under attack once again, ransacked by the greed for profit of mul­tinational capitalism.

8. Art, streets and institution

During the dictatorship in Chile, urban interventions (by the CADA group and Lotty Rosenfeld) were driven by a desire to discredit the official culture of the military regime, including — of course — their muséographie rituals in tra­ditional art. They would do so with the rupturing force of an "outside" of the system that, from an avant-garde stand­point, provided a territoriality conducive to the transgressive fusion of art and life.

In "Moción de orden" and the subsequent video installations proposed by Lotty Rosenfeld, the relationships between the urban landscape, social eve­ryday life, and artistic events blurred the established bor­ders between the institutional and the non-institutional.

For instance, "Moción de or­den" resorts to the use of multiple spaces so that art can journey through a vari­ety of reading protocols and systems of artistic ascription without falling prey to hierar­chical characterisations.

On one hand, "Moción de orden" establisfies a virtual connection between three art spaces (the National Museum of Fine Arts, the Museum of Contemporary Arts, and the Gabriela Mistral Gallery of Santiago de Chile) by simultaneously project­ing the same trailing ants on the walls of each. In this manner, the work penetrates the intricacies of institu­tional supports, infiltrates the cracksin the surfaces of cultural power, and shows to us that institutions are not homogeneous blocks (whose sole purpose is to reproduce ranges of hegemonic values) but discontinuous strokes that are always suscepti­ble to the critical fission of gestures meant to alter the established agreements of convention. Furthermore, the ant parade of "Moción de orden" steps off the path of institutional art — off museum and gallery walls — to spread through the city, running into the various urban groups (the Palacio de la Moneda, the CTC headquarters, the Santiago underground, the Civil Registry, Codeico) on which the ants leave traces of their questions about the order, the dispersion and the reconcentration (of forces, wills, inclinations, pulsations and compulsions) exposed to whichever gazes happen upon them.

It had already happened with the crosses. When the artist traced the cross and chose not to sign it, the artistic es­sence of her gesture was diluted as the ortistic-insti-tutional referential framework in which the work originated actually disappeared. The fra­

gility and ephemerality of the tracing of the cross opens an indeterminate relationship between art and the quotid­ian. In the street, lacking the designating — and legiti­mising — framework of the museum or the gallery that grants its artistic status, the foundations of this relation­ship remain unresolved. This margin of artistic indefinabil-ity around the fleeting and almost anonymous tracing of the cross on the pavement confirms Lotty Rosenfeld's desire for the work to fulfil the majority of its destiny of exposure in the collective and indiscriminate space of everyday city life.

The trailing ants projected on the walls of Santiago de Chile are similar in nature. In a society governed by mediatic and advertising technologies, which achieve strong effects by overexpos­ing their message, the work of Lotty Rosenfeld chooses to make visible a seemingly harmless detail of everyday life (a line of ants) and, by the singularity of its size and their location as projec­tions on city buildings, alert the public to something. Yet what that something may be remains unclear, since the ants are not given an artistic contextualisation to guide the interpretation of their mean­ing toward the intentionality of a precise construction of meaning. Works like the ones of Lotty Rosenfeld seek to produce a subtle, rather than a striking intervention: a semi-pronounced interven­tion that in part plays with the indiscernible quality of its framework of artistic evalu­ation, as if the work was an

adventure that takes place on the margins of what is endorsed and legitimised by institutionalised art, whose reception is not guaranteed because it is not precondi­tioned by the fixed field of reference usually provided by the context. The point is to produce a gentle percep­tual and mental imbalance in the urban vision to subtly disturb the character of the real, introducing the unknown into the known, without giving a precise answer to resolve the ambiguity of where this disturbance of the gaze took place, and to what end, by introducing art into the quo­tidian. The point is to open a breach of strangeness on ei­ther side of the border of the artistic institution, altering the ordinary touring with the sur­prise of the unusual to dena­ture habits and conventions. Between the places inscribed into the art-system (The Na­tional Museum of Fine Arts, the Museum of Contemporary Arts, and the Gabriela Mistral Gallery) and the unbound spaces of the city-wide tra­jectories, the discontinuous segmentation of the ant trail perforates walls and floors with its enigmatic parade. This discontinuous segmenta­tion leads to the production by means of art of intervals, cuts and interruptions that pierce the media and the mediations that achieve the interconnectivity of technolo­gies, power, and the market in the city. The work of Lotty Rosenfeld models possibilities of exchange unforeseen by the trading of representations characteristic of the "society of the spectacle" (Debord). She partakes in a "relational aesthetics"' that operates be-

7 N. Bourriaud defines it thus: "Aesthetic theory consisting in judging art­works on the basis of the inter-human relations which they represent, produce or prompt" {p. U2). From the standpoint of relational aes­thetics, the work would be a "vector of subjectification" IDeleuze-Guattari) that ma­nipulates contextual relation­ships. operating by means of signs, forms, gestures, or objects that call attention on the act of showing itself and the desire to show. Nicolas Bourriaud. Estética rela-cional. Buenos Aires. Adriana Hidalgo editor. 2006.

tween the strategic autonomy of art — as a framework of relative specificity — and the existential territories of every­day life within society, thanks to a critical work in the res-ingulorization of the imagi­nary and symbolic devices of the political and the artistic.

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Exhibition

Organized by State Corporation for Spanish Guttural Action Abroad. SEACEX Ministry of Foreign Affairs and Co-operation. The General Department of Cultural and Scientific Relations

Curator José Miguel G. Cortés

Catalogue

Published State Corporation for Spanish Cultural Action Abroad, SEACEX

Direction José Miguel G. Cortes

Design BaseDesign

Exhibition Coordination Editorial Coordination Esther Suârez Monreal Esther Suârez Monreal

Susana Urraca Uribe Design and Set-Up Direction Nereo Catvillo Texts

Jesús Carrillo José Miguel G. Cortés Francisco Jarauta Ana Longoni Carlos Monsivóis Beatriz Preciado Nelly Richard

English Translation Lambe & Nieto

Prepress La Sixtina 2.0

Printing IGOL, Industria Gràfica Offset Lito, SA

Distribution ACTAR D

Roca i Botile 2 08023 Barcelona I +3A 93 ¿18 77 59 F +34 93 418 67 07 office@actar-d.com

ISBN 978-84-96933-11-8 D.L B-10052-2008

© Sociedad Estatal para la Acción Cultural Exterior, SEACEX, 2008 © Of the photographs, their authors © Of the texts, their authors

Photography Credits Annie Sprinkle, Google Earth, Lotty Rosenfeld.

All the exhibition catalogues can lie consulted online at the website www.seacex.es

158 Lafayette Street, 5th FL New York, NY 10013 I +1 212 966 2207

F. +1 212 966 22U officeusa9actar-d.com