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Jennifer Allora and Guillermo Calzadilla: “All we do is manage diverging points of view”
ExhibitionsInterview
№73
Newspaper material
Art duo from Puerto Rico Allora & Calzadilla come to Moscow with the installation “Privoy” — on May 26 they will cover the square in front of the Garage Museum with exotic golden tabebuya petals. Artists told us about their work
Andrey Rymar
05/17/2019
Allora & Calzadilla.
“Body in flight”. 2011. Installation at the US Pavilion at the 54th Venice Biennale.
Photo: Allora & Calzadilla
One of you grew up in the USA, the other in Cuba. How did it happen that you both ended up in Puerto Rico, and how important is this location for your work, what does it mean for you?
Our work is mainly related to multiplicities, convergences and intersections. Let’s start with the fact that we are two people of different sexes, with different native languages and cultural backgrounds. Everything we do is an exercise in managing dissenting points of view! The old feminist slogan “the personal is political” seems to us true on many levels. In our work, we strive to embody the lessons of feminism. Our collaboration is an expression of coexistence, codependency, and multiple viewpoints that challenge a unified understanding of being and maintain inexhaustible gaps between us in relationships.
Guillermo: I was born in Cuba but grew up in Puerto Rico from the age of eight.
Jennifer: I’ve been living in Puerto Rico, coming and going, since I met Guillermo 25 years ago. Our daughter was born here, we raise her here, so we are deeply connected to this island. He shaped us.
Allora & Calzadilla. “Returning Sound”. 2004. Single channel color video with sound.
Photo: Allora & Calzadilla
Puerto Rico is an island charged with the energy of controversy created by its legal designation as an unincorporated territory of the United States—a designation that openly contradicts America’s fundamental democratic and constitutional principles.
We create art from this place where things collide in material confrontations, where procedural contradictions meet ontological oppositions, where magmatic words meet recalcitrant matter, where nameless currents create resonant traces, and where energetic outbursts emanate from intense phenomena. This archipelago of paradoxes, hybrids, violence and beauty is the vantage point through which we accept and explore our connection to the world.
Allora & Calzadilla. “Puerto Rican Light”. 2015. Site-specific installation.
Photo: Allora & Calzadilla
Your installation in Gorky Park will be about climate change. As far as I know, you are going to “graft” tropical flowers into the flora of the park. Do you think this topic will be read by Muscovites, for most of whom the problem of climate change is very abstract and far from their lives?
We hope that the work we will show in Moscow embodies something of the carnivalization that the beloved, especially in the Caribbean, Russian philosopher Mikhail Bakhtin described as a radical redefinition of “normal” spatial and temporal dimensions. In “Privoye” (the name of the installation in Gorky Park. – TANR), fallen flowers move from one geographical point to another. Their strange sojourn in Moscow during the spring and summer should contrast sharply with the natural course of the seasons, and perhaps even help to register this course more clearly.
This temporality is very different from an ordinary flower, which would wither a few hours after falling to the ground. This creates a new event that resets the usual coordinates of reality, demonstrates a gap that can open up new forms of sensibility and possibilities.
Jennifer Allora and Guillermo Calzadilla in 2011.
Photo: GETTY IMAGES
We know that over 4.6 billion years the climate on Earth has changed many times, just like the landscape and climate of Moscow, where the work will be shown. Scientists have irrefutably proven that changes in the Earth’s atmosphere are definitely related to human actions. Graft links these time and space scales together to reveal new insights into the collective and complex future we all contribute to shaping.
I would like to ask about the proportion between art and politics in your work. How would you generally define today’s relationship between art, power and the world of “ordinary” people?
We are constantly asking questions about why things are the way they are, what types of authorities control them, and how they can be changed.
Nevertheless, these ideas are always expressed aesthetically and must be analyzed in the context of aesthetics. For us, the best art is that which takes us to an unknown and indefinite place. And for us it has more to do with poetics than with politics.
Golden tabebuia flowers — the emblem of the “Privoy” installation in Moscow.
Photo: Allora & Calzadilla
You love to combine cultural and political meanings and at the same time work a lot with music, which seems to be the most abstract art. What does she mean to you?
Although music is indeed an abstract language, we are very interested in listening processes that are more about presence than representation. “Me and the other” is the basis of listening, we live in a common world. The sounds we hear connect us to each other and to the space we are in. When it comes to making music, we like how Jacques Attali defines it: “Making music is, above all, enjoying making differences.”
Allora & Calzadilla.
“Half lift / Full lift”. 2011. Two-channel HD color projection without sound.
Photo: Allora & Calzadilla
You have been working together for 20 years. Can you describe your evolution as an artist? What has changed during this time?
We would say that our values have remained largely unchanged over the past 20 years. It is to think and act critically, to experiment fearlessly with form, to be familiar with history but understand its limitations, to see and relate the “other” to that which contributes to the common good, and to dive unhindered into the complexity and wonder of our life experience. What has changed is that we have never stopped learning and at every point in the matrix of our lives we have a new view of the multiverse.
Allora & Calzadilla. “Athletics”. 2011. Installation at the US Pavilion at the 54th Venice Biennale.
Photo: Allora & Calzadilla
Reference
USA Pavilion at the 54th Venice Biennale
Jennifer Allora and Guillermo Calzadilla have been working together since 1995, using different genres in their work.
Perhaps their most high-profile project is the Glory exhibition at the US Pavilion at the Venice Biennale in 2011. The artists ironically combined different themes: money, militarism, sports and art. The two most memorable objects are a working tank turned upside down and turned into a treadmill for famous American athletes, and an ATM connected to a church organ that plays a random piece every time a visitor inserts a card into the ATM.
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Allora & Calzadilla. “Stop, fix, cook.” Variations of the ode “To Joy” for prepared piano. 2008. Installation.
Photo: GETTY IMAGES
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Stop, fix, cook
During the performance “Stop, fix, cook. Variations of the Ode “To Joy” for prepared piano” (Munich, 2008) several pianists performed variations of the fourth movement of Beethoven’s Symphony No. 9 – Ode “To Joy”, being, like hostages, inside the instrument and dragging it on themselves. At the same time, the musical text of the variations was created for each performer.
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Allora & Calzadilla. “Ascension of the Predator”. 2012. Video installation with sound.
Photo: Allora & Calzadilla
Reference
Raptor’s Rapture
At Documenta in 2012, the artists showed the video Raptor’s Rapture. The film features a prehistoric flute found by archaeologists in southern Germany in 2009. At that time, it was the oldest known musical instrument, created by man 35 thousand years ago from the bone of the neck wing. Flutist Bernadette Kefer was invited to play the ancient instrument, who did it in the presence of a live bird of prey.
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Garage Museum of Contemporary Art
Aleksey Shchusev’s drawings given new life
At the jubilee exhibition of the famous architect, the Tretyakov Gallery shows, among other things, the works of its graphics restoration department. Paper sheets from the time of designing the Kazansky railway station and the Marfo-Mariinsky Convent required serious restoration work
11/21/2022
Igor Grabar: Art Manager
An exhibition dedicated to the 150th anniversary of Igor Grabar, an artist, theorist, teacher, restorer and administrator, who is still admired by the versatility of his achievements, is opening in the Tretyakov Gallery
11/17/2022
Yerevan: modern values on ancient land as a rule, they go for ancient architectural sights, but meanwhile in its capital Yerevan there are more than a dozen of the most interesting museums
11/11/2022
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Next year’s exhibitions do not sin with monotony, but mostly they are forced to turn to our proven and reliable heritage, sometimes turning to contemporary art or science
07.
12.2022 Liana Shelia-Roginskaya (1951–2022), the widow of artist Mikhail Roginsky, who did a lot for his recognition, died of illness0003
At Christie’s in New York, the Microsoft co-founder’s collection of masterpieces fetched a record $1.5 billion. Twenty artist price records were broken, and five works sold for more than $100 million in Alina Pinsky Gallery. The works of 18 Russian artists were selected for it
11/17/2022
The governor of Puerto Rico asks Trump to treat the inhabitants of the territory the same way as other Americans
US President Donald Trump and Puerto Rico Governor Ricardo Rosello met at the White House. The meeting was followed by a press conference, during which the President praised the progress of the restoration work and emphasized the scale of assistance that the federal government has provided and continues to provide to the territories affected by the devastating Hurricane Maria.
In response to journalists’ questions, trump again dismissed allegations of collusion between his campaign staff and Russia, calling them “fake”.
At the same time, he said that the real scandal is that 20% of the uranium reserves are in the hands of Russia, however, according to Trump, the press does not pay attention to this.
“Uranium is a big deal,” said President Trump. – If the mainstream media covers the uranium scandal, while Russia has 20% uranium, whatever the reasons are, and many people understand what those reasons are, then I think this is a story about Russia. This is a real story about Russia. Not a story that only talks about collusion, but in fact there was none. It was fake. The real story with Russia is uranium and how they got that uranium.”
“It’s a shame that fake news doesn’t cover this,” President Trump said.
As previously reported, the Governor intends to tell the President that the people of Puerto Rico want “equal treatment” in the aftermath of the disaster.
Puerto Rico, an island in the Caribbean Sea located 1,600 kilometers southeast of the US mainland, continues to suffer from the effects of the elements: less than 20 percent of the territory’s 3.
4 million inhabitants have access to electricity, and 35 percent still do not have drinking water.
Ahead of his meeting with Trump, Rosello said he was going to tell the president what the island’s most urgent needs are: first of all, help to rebuild hospitals, food, medicine and water, and rebuilding infrastructure.
US President Donald Trump and Puerto Rico Governor Ricardo Rosello. White House, Washington. October 19, 2017
Federal assistance to residents of hurricane-hit southern states is generally received positively, but the situation in Puerto Rico was more problematic.
“This is our common problem,” said Rosello. “We need equal treatment.”
He says Puerto Rico needs resources to rebuild its already shaky infrastructure, which was severely damaged by the storm that hit the island on September 20.
Rosello said.
While he is generally positive about the federal government’s efforts, the mayor of the territory’s capital and largest city, San Juan, Carmen Yulin Cruz-Soto, has often been critical of Trump’s response.
Rosello and others justify the relatively slow response of the Office of Emergency Management with logistical difficulties.
However, Cruz-Soto said: “This is the most ridiculous and insulting excuse. The most powerful nation in the world can’t deliver aid to a 100-by-35-mile island? They just don’t want to bring help. It’s impossible to imagine that they couldn’t, which means they simply don’t want to.”
Congress Considering 4.9 Emergency Assistance for Puerto Ricobillion dollars. The territory had amassed $124 billion in debt before the storm and filed for bankruptcy. Rosello is asking for another $4.6 billion for rebuilding.
Trump expresses mixed feelings about helping the island, saying the federal government will help as much as needed, while emphasizing that help cannot be “endless”. Earlier this month, he visited the island to personally assess the progress of restoration work, and at one point threw rolls of paper towels at the crowd of residents.