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Arjantinli 74 ya\u015f\u0131ndaki sanat\u00e7\u0131 Marta Minuj\u00edn, 100,000 yasakl\u0131 kitaptan, Yunanistan\u2019daki Parthenon Tap\u0131na\u011f\u0131\u2019n\u0131n tam boyutlu devasa bir replikas\u0131n\u0131 yapt\u0131. Sanat\u00e7\u0131ya g\u00f6re bu \u00e7al\u0131\u015fma, bask\u0131lara duyulan tepkiyi sembolize ediyor.<\/p>\n
\u00dcniversitesi \u00f6\u011frencilerinin katk\u0131lar\u0131yla sanat\u00e7\u0131 Minuj\u00edn, \u00f6nce d\u00fcnyan\u0131n her yerinden \u00fclkelerde bir zamanlar yasaklanm\u0131\u015f ya da halen yasakl\u0131 olan kitaplar\u0131 belirledi ve bu kitaplar\u0131, plastik kaplamalar\u0131 ve \u00e7eli\u011fi kullanarak tam boyutlu bu replikay\u0131 yaratt\u0131.<\/p>\n
Ancak muhtemelen Almanya\u2019n\u0131n en tart\u0131\u015fmal\u0131 kitab\u0131 olan Adolf Hitler\u2019in \u201cKavgam\u201d isimli kitab\u0131 bu sanat eserinde yer almayacak. Ancak bunun i\u00e7in \u00f6nemli bir gerek\u00e7esi var Marta Minuj\u00edn\u2019in: D\u00fcnyan\u0131n en \u00fcnl\u00fc sans\u00fcrc\u00fcleri Nazilerdi. Hatta Minuj\u00edn\u2019in \u00e7al\u0131\u015fmas\u0131, \u00e7ok geni\u015f bir sans\u00fcr kampanyas\u0131n\u0131n bir par\u00e7as\u0131 olarak 1933 y\u0131l\u0131nda Nazilerin 2000\u2019i kitab\u0131 yakt\u0131\u011f\u0131 tarihi alanda yer al\u0131yor. Heinrich Heine\u2019in 19. y\u00fczy\u0131lda dedi\u011fi gibi, \u201cKitaplar\u0131 yakt\u0131klar\u0131 yerde, en sonunda insanlar\u0131 da yakarlar.\u201d<\/p>\n
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The Parthenon was built in Athens at the instigation of Pericles, under the supervision of the sculptor Phidias, between 447 and 38 BCE. The structure is ten meters high by seventy meters long and thirty meters wide. The temple was conceived to house a colossal gold statue of Athena, as well as the Delian League\u2019s treasury and the city\u2019s silver reserves\u2014in the event of a Persian attack, these precious metals could be melted down and made into new coins to finance war. Transformed into a Christian church in the Middle Ages, then into a mosque during the Renaissance, the deconsecrated Parthenon of the modern period became a symbol of democracy and of Western cultural supremacy.<\/p>\n
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Marta Minuj\u00edn, born in Buenos Aires in 1943, seized this aesthetic and political archetype of democracy for her own situation: corrupted by a \u201cnational Catholic\u201d dictatorship that reigned in Argentina up until 1983, she put the democratic ideal back into circulation at the moment when the military junta fell. Her artistic project was part of her series \u201cLa ca\u00edda de los mitos universals\u201d or \u201cThe Fall of Universal Myths,\u201d which appropriated monumental icons to replicate them, break them up into pieces, and redistribute them into the public realm. In a certain way, the artist gives back to these symbols\u2014reified and confiscated by institutionalization or capitalization\u2014their status as offerings. For El Parten\u00f3n de libros (The Parthenon of Books, 1983), 25,000 books, taken from cellars where they had been locked up by the military, covered a scale replica of the Greek edifice; built out of metal tubes and elevated to one side, this Parthenon was placed in a public square in the southern part of Buenos Aires.<\/p>\n
Minuj\u00edn\u2019s monuments to democracy and to education through art revive the ceremonies of archaic societies\u2014contrary to the banning of books by the junta\u2019s army and different from the privatization of public property that, through speculating on the debt of the state, encourages the suppression of public-sector services and creates social shortages. In her mass-participation projects, Minuj\u00edn rediscovers the initial value of a collective treasure; she melts shared capital back down into cultural currency without remainder. She lays down the verticality of public edifices that embody confiscated cultural knowledge and a hidebound heritage. She dilapidates the fortune these myths represent. By literally tilting these symbols, Minuj\u00edn not only gives new meaning to these monuments, she offers them a new sensuality.<\/p>\n
\u2014Pierre Bal-Blanc<\/p>\n
Posted in Public Exhibition<\/p>\n
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Excerpted from the documenta 14: Daybook<\/p>\n
Life and work of Minoujin\u00a0<\/p>\n
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Marta Minuj\u00edn was born in the San Telmo neighborhood of Buenos Aires. She met a young economist, Juan Carlos G\u00f3mez Sabaini, and married him in secret in 1959; the couple had two children. A student in the National University Art Institute, she first exhibited her work in a 1959 show at the Teatro Ag\u00f3n. A scholarship from the National Arts Foundation allowed her to travel to Paris as one of the young Argentine artists featured in Pablo Curatella Manes and Thirty Argentines of the New Generation, a 1960 exhibit organized by the prominent sculptor and Paris Biennale judge.[7]<\/p>\n
Her time in Paris inspired her to create “livable sculptures,” notably La Destrucci\u00f3n, in which she assembled mattresses along the Impasse Roussin, only to invite other avant-garde artists in her entourage, including Christo and Paul-Armand Gette, to destroy the display. This 1963 creation would be the first of her “Happenings” \u2013 events as works of arts in themselves; among her hosts during her stay was Finance Minister Val\u00e9ry Giscard d’Estaing (later President of France).[8]<\/p>\n
She earned a National Award in 1964 at Buenos Aires’ Torcuato di Tella Institute, where she prepared two happenings: Er\u00f3ticos en technicolor and the interactive Revu\u00e9lquese y viva (Roll Around in Bed and Live). Her Cabalgata (Cavalcade) aired on Public Television that year, and involved horses with paint buckets tied to their tails. These displays took her to nearby Montevideo, where she organized Sucesos (Events) at the Uruguayan capital’s Tr\u00f3ccoli Stadium with 500 chickens, artists of contrasting physical shape, motorcycles, and other elements.[7]<\/p>\n
She joined Rub\u00e9n Santanton\u00edn at the di Tella Institute in 1965 to create La Menesunda (Mayhem), where participants were asked to go through sixteen chambers, each separated by a human-shaped entry. Led by neon lights, groups of eight visitors would encounter rooms with television sets at full blast, couples making love in bed, a cosmetics counter (complete with an attendant), a dental office from which dialing an oversized rotary phone was required to leave, a walk-in freezer with dangling fabrics (suggesting sides of beef), and a mirrored room with black lighting, falling confetti, and the scent of frying food. The use of advertising throughout suggested the influence of pop art in Minuj\u00edn’s “mayhem.”[7]<\/p>\n
These works earned her a Guggenheim Fellowship in 1966, by which she relocated to New York City. The coup d’\u00e9tat by General Juan Carlos Ongan\u00eda in June of that year made her fellowship all the more fortuitous, as the new regime would frequently censor and ban irreverent displays such as hers. Minuj\u00edn delved into psychedelic art in New York, of which among her best-known creations was that of the “Minuphone,” where patrons could enter a telephone booth, dial a number, and be surprised by colors projecting from the glass panels, sounds, and seeing themselves on a television screen in the floor.[9] She was on hand in 1971 for the Buenos Aires premiere of Operaci\u00f3n Perfume, and in New York, befriended fellow conceptual artist Andy Warhol.[7]<\/p>\n
She returned to Argentina in 1976, and afterwards created a series of reproductions of classical Greek sculptures in plaster of paris, as well as miniatures of the Buenos Aires Obelisk carved out of panettone, of the Venus de Milo carved from cheese, and of Tango vocalist Carlos Gardel for a 1981 display in Medell\u00edn. The latter, a sheet metal creation, was stuffed with cotton and lit, creating a metaphor for the legendary crooner’s untimely 1935 death in a Medell\u00edn plane crash.[8] She was awarded the first of a series of Konex Awards, the highest in the Argentine cultural realm, in 1982.[10]<\/p>\n
The return of democracy in 1983, following seven years of a generally failed dictatorship, prompted Minuj\u00edn to create a monument to a glaring, inanimate victim of the regime: freedom of expression. Assembling 30,000 banned books (including works as diverse as those by Freud, Marx, Sartre, Gramsci, Foucault, Ra\u00fal Scalabrini Ortiz, and Darcy Ribeiro, as well as satires such as Absalom and Achitophel, reference volumes such as Enciclopedia Salvat, and even children’s texts, notably The Little Prince by Antoine de Saint Exup\u00e9ry), she designed the “Parthenon of Books,” and following President Ra\u00fal Alfons\u00edn’s December 10 inaugural, had it mounted on a boulevard median along the Ninth of July Avenue. Dismantled after three weeks, its mass of newly unbanned titles was distributed to the public below.[8][11]<\/p>\n
A conversation with Warhol in New York regarding the Latin American debt crisis inspired one of her most publicized “happenings:” The Debt. Purchasing a shipment of maize, Minuj\u00edn dramatized the Argentine cost of servicing the foreign debt with a 1985 photo series in which she symbolically handed the maize to Warhol “in payment” for the debt; she never again saw Warhol, who died in 1987.[12]<\/p>\n
Minuj\u00edn has continued to display her art pieces and happenings in the Buenos Aires Museum of Modern Art, the National Fine Arts Museum, the ArteBA contemporary art festival Buenos Aires, the Barbican Center, and a vast number of other international galleries and art shows, while continuing to satirize consumer culture (particularly relating to women).[10][13] She is well known for her belief that “everything is art.” [7]<\/p>\n
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