In an article written by Francisco Goldman for BOMB Magazine the reader gets a glimpse into the life and work of the prolific Guatemalan artist, Regina Jose Galindo. Within his interview, Goldman’s curiosity peaked when discussing Galindo unprecedented performance called Himenplastia or Hymenoplasty where Galindo had an illegal operation to restore her virginity all while being filmed. After an extremely painful process, the video of the operation was edited and exhibited as part of Belia de Vico show, Cinismo. After a painful process Galindos comments on her experience: "So many things must have been said about it. I didn’t pay any attention to any of it, not any time. It was already done, and I knew that I’d had to do it." …"It's done" (Galindo, 5). This particular performance piece begs the question, is the performance about the final product, the video that the audience is allowed to see or is it about the intimate process experienced solely by the artist? If the latter is true, isn’t the “art” itself being hidden from the public and substituted for just an excerpt? For this work in particular I find the interest not so much in the operation it self, but the process and people involved. For example, the fraudulent doctor who agreed to record the operation, the women who receive these types of operations, and finally the nurses at the hospital who felt sorry for Galindo is essentially the “art”.
Karla, thank you for setting the standard (and early at that!) for the blog.
I would definitely argue that the video is not the work of art. The video serves as documentation, but the action is the art. Would you agree? Does anyone disagree? Why?
So, then, if this is so, in part, the work is indeed obstructed from view. This brings up the discussion of public and private, which we will re-visit throughout the semester.
In Regina Jose Galindo’s interview with Francisco Goldman in BOMB magazine, the artist’s revolutionary work is explored in the context of how it strives to awaken the minds of the inhabitants of Guatemala. Early in the interview Goldman discusses the suffering in Guatemala and how it informs Galindo’s work. She notes her country has “suffered an eternity of calamities” and she asks, “When are we going to stop being so submissive?” Galindo strives through her performances to rile up viewers, the way she herself feels “sustained” by rage. What is truly inspiring is the length at which Galindo will go to, to make these injustices known. Subjecting herself to illicit surgeries, walking blindfold, whipping herself and hanging from arches to read poetry is beyond brave. It amplifies how grave the situation in Guatemala is and how earnest Galindo is in trying to subvert the “country without memory.” By laying herself bare, both figuratively and literally, she becomes a vessel for the viewer to experience not only her country's pain but also that of the females who are repressed there. The issue is that although her work has gained notoriety in the international sphere, what has it done for Guatemala? For an artist so invested in change, it raises the question of futility in performance work. To viewers outside of her home of Guatemala it poses a different question. Is it possible to work past empathy and to strengthen Galindo’s cry with another voice or another active body?
The last paragraph of your response is rather thought provoking. You raised some good concerns regarding the influences of the work beyond fame. What has changed in the issues addressed by Galindo's performances?
This feeling made me recall a scene from Hotel Rawanda, when Jack, the video journalist, recorded a footage from a horrific scenes in Rawanda, hoping people in the United States, or anyone sees the footage, would intervene. The line that made me choke was when Jack said, "I think if people see this footage they'll say, 'Oh my God that's horrible' and then go on eating their dinners."
But how do we measure the futility of a performance work?
I felt so connected to Galindo when she was talking about how frustrated she was when she saw that Efrain Rios Montt had won acceptance as a presidential candidate. She said she "suffered an attack of panic and depression. I cried out, I kicked, I cursed the system that rules us." Because that is what I do at 11pm at night when I'm up reading the news and getting all infuriated with old white men in congress saying appalling things about women's rights or when the senate hearing on birth control policy in the new health care legislation is all male. But what do I do about it? I rant in my women's studies class or lecture my boyfriend about it after I've had a glass of wine (poor guy.)
But here is a woman, doing these brave things I would never do in an attempt to bring awareness about injustices she sees everyday. I also worry about the delicacy of interfering with other country's issues. So she has international awareness, although I feel as though her international stardom is also limited to an audience of a certain intellectual level, but can anyone in the international community actually help? When does it cross the negative path from empathy into pity? I think women everywhere are fighting oppression in some form or another and that any work to call attention to it, is better than none. Especially since what Galindo is fighting is extreme violence.
And concerning the video footage, I feel like that applies to everything so perfectly. Take for example any of the natural disasters that have recently happend. Yes, there was aid to Haiti, celebrities built houses in New Orleans for a while, and everyone donated $5 through Red Cross to Japan but without lasting coverage, it slips from peoples consciousness. If Galindo thinks Guatemala is a forgetful country, she should feel comforted that so too is the United States in most cases. Except if it has to do with the Kardashians or Obama's birth certificate.
Hopefully that made sense or was somewhat relevant.
I like where this is going, ladies. Let's continue tomorrow.
I'm always wondering about the transformative power of performance, always asking, "What does the work DO?" For long, I've felt that I've wanted art to make some kind of change happen, or to serve, at least, as an impetus.
Lately though, I've started to think that maybe just doing what it is doing is what the art is doing. Does that make sense? In a way, does the mere moment of witnessing do enough? Is the act itself a small change? A colleague and I have been talking about this idea of these performative actions serving as little scars, small ruptures, that, together, add up to something bigger.
In the Bomb Magazine interview of Regina Jose Galindo by Francisco Goldman we get disturbing insight into the experiences and work of young artist RJG. It is safe to say that Galindo's work is both very private and public at both times. Interestingly enough Galindo's body works range from the very private such as a botched re-hymen surgery to bold public fearless political statements such as her bloody walk in the heart of the city. What I love about this artist is the bare bones raw language in which her arts messages are communicated. The common non art person can easily pick up on the message and references of her work. This single action I believe is a very difficult thing for artists to do and that is what makes her standout, her scope of the everyday life she lives...
Regina Jose Galindo is one courageous individual fueled by the love and frustration she feels for her native country and its people. In the article interview conducted by Francisco Goldman for BOMB magazine, we learn about and experience this artist through her own words. Her responses inspire as she explains what causes her to create and, as other performance artists, to put her body through possible bodily harm. As a performance artist, she is a vehicle that portrays messages. These messages generated through her works, speak for the unspoken. Galindo wonders about the people of Guatemala, asking the questions: "why have we not woken up and taken action? when are we going to stop being so submissive?". She takes matters into her own hands by performing, by reacting to the environment of governmental corruption and human rights violations that others will not speak of or react to. Her works have brought her to win prizes and recognition. I am curious as to what it has done for the country and why more people in Guatemala have not awakened as she has and reacted to what has gone on.
Francisco Goldman conversed with performance artist Regina Jose Galindo in the winter of 2006 for BOMB magazine. Through asking all the pertinent questions, Goldman unveils Galindo and declares her a teeming talent. Goldman began with a description of the trail and psychological imprint made by Regina Galindo’s trek from the Court of Constitutionality to the National Palace of Guatemala. Goldman accredits Galindo as having produced the “most powerful statement about the violence and injustice inside Guatemala” that he had come across in ages. A listing of all the adversity endured by the people of Guatemala launched the discussion. The question of what explanation can be given for Guatemala’s natural and man-made misfortunes first prompted Galindo followed by a brief recounting of Galindo’s performance endeavors. The manner in which Goldman details Galindo’s demonstrations suggests that within him lies a notable degree of regard. He marvels at the lengths to which this young woman has gone in the name of suppression. He extols upon her body of work, audacity and creative fervor. He admits to being impressed by her poetry as well as he expressed his emotional response to just the thought of what her actions bear witness to. In defense of her country, Galindo exposes and exacerbates her body. Galindo addressed the atrocities that serve as motivation for her efforts, the intention behind her vocation and her approach to the pieces execution. Galindo characterizes the championing of her country as a calling. Galindo’s application depends on her reasoning therefore she channels distinct energy into every recital. My chosen quote is attributed to Galindo and her performance that I am most fond of. It is in reference to Who can erase the traces? and it is my single favorite. The performance is powerful for one in that it is universally understandable. I found the sentence, “It probably lasted about 45 minutes: that walk on pavement that did not burn” to be profound and poetic. I deem several other statements of hers to be contradictory. She divulged that her practice is for her, that she had to take to the streets because there is necessity in that Guatemala is a country without memory but that she has no expectations when her art is done. I don’t understand how you can do something with meaning without expecting some sort of result. I however can relate when she speaks on the passivity of writing. I know the power and energy that goes into performing. I enjoy writing because it releases my mind but I get more out of acting because it releases my body. Like Galindo, I am aware that writing can be categorized as passive and actions in bringing about a collective emotion can beget a superior impact.
The article in BOMB magazine written by Francisco Goldman gives readers some insight to the performance art of Guatemalan artist Regina Jose Gallindo. Many of Gallindo's works express the struggle and oppression of the Guatemalan people. Her works consists of performances of self mutilation, whippings, and illegitimate surgeries. Gallindo wishes to express her rage at the shortcomings of her people, like her poetry he performances are a way of releasing her anger. In the beginning of the article Goldman admits that he has never paid much attention to performance art, but many who may know nothing about performance art would have no problem interpreting the message of Regina Jose Gallindo's performances. Gallindo's messages in her performances relate directly to political and social injustices of her people and her country. Gallindo is asked by Francisco Goldman what expectations she has for her works after they are done, Gallindo replys " I never have any expectations after completing something. What I do have is a certain amount of nervousness and anxiety before every performance. But after that I have no expectations" (Goldman, 5). I felt this was an appropriate attitude towards her work. In a country with so much turmoil it can be quite difficult to have certain expectations on how your work will be interpreted. I believe for Gallindo that the importance of her work for her is to release her anger and express her objections to the unfortunate events within her country.
Francisco Goldmand has captured Regina Jose Galindo's series of work and story with curiosity and admiration in an interview in BOMB Magazine: Regina Jose Galindo by Francisco Goldman. The interview recalls Galindo's intensive performance work addressing politic issues regarding war, human rights, and woman's status etc in Guatemala. Many of these performances were driven by an extended, passionate emotions, strong enough that pushed the artist beyond physical expectations of her body.
If emotions or feelings were on a scale of a positive and negative energy spectrum, it may seem like her drive came from extreme end of the negative energy. But what about love? Her love for her country and the people living in it? What about hope? What is purpose of creating awareness if there's no message, no hope, and/or no expectations of a response?
Jenny, you bring up such an important, and often overlooked, point. This question of hope or a positive message would seem to be the eventual outcome of a long discussion of this type of art. Eventually, once all the outrage and anger subsides, one is left to think, "What is left? What is next?" What does it mean to be productive?
My colleague Emma Willis is writing about this in New Zealand. Check this out: http://lettingspaceorgnz.squarespace.com/productive-bodies-essay/
In an article written by Francisco Goldman for BOMB Magazine the reader gets a glimpse into the life and work of the prolific Guatemalan artist, Regina Jose Galindo.
ReplyDeleteWithin his interview, Goldman’s curiosity peaked when discussing Galindo unprecedented performance called Himenplastia or Hymenoplasty where Galindo had an illegal operation to restore her virginity all while being filmed. After an extremely painful process, the video of the operation was edited and exhibited as part of Belia de Vico show, Cinismo. After a painful process Galindos comments on her experience:
"So many things must have been said about it. I didn’t pay any attention to any of it, not any time. It was already done, and I knew that I’d had to do it." …"It's done" (Galindo, 5).
This particular performance piece begs the question, is the performance about the final product, the video that the audience is allowed to see or is it about the intimate process experienced solely by the artist? If the latter is true, isn’t the “art” itself being hidden from the public and substituted for just an excerpt? For this work in particular I find the interest not so much in the operation it self, but the process and people involved. For example, the fraudulent doctor who agreed to record the operation, the women who receive these types of operations, and finally the nurses at the hospital who felt sorry for Galindo is essentially the “art”.
Karla, thank you for setting the standard (and early at that!) for the blog.
DeleteI would definitely argue that the video is not the work of art. The video serves as documentation, but the action is the art. Would you agree? Does anyone disagree? Why?
So, then, if this is so, in part, the work is indeed obstructed from view. This brings up the discussion of public and private, which we will re-visit throughout the semester.
How important is visibility?
In Regina Jose Galindo’s interview with Francisco Goldman in BOMB magazine, the artist’s revolutionary work is explored in the context of how it strives to awaken the minds of the inhabitants of Guatemala.
ReplyDeleteEarly in the interview Goldman discusses the suffering in Guatemala and how it informs Galindo’s work. She notes her country has “suffered an eternity of calamities” and she asks, “When are we going to stop being so submissive?” Galindo strives through her performances to rile up viewers, the way she herself feels “sustained” by rage. What is truly inspiring is the length at which Galindo will go to, to make these injustices known. Subjecting herself to illicit surgeries, walking blindfold, whipping herself and hanging from arches to read poetry is beyond brave. It amplifies how grave the situation in Guatemala is and how earnest Galindo is in trying to subvert the “country without memory.” By laying herself bare, both figuratively and literally, she becomes a vessel for the viewer to experience not only her country's pain but also that of the females who are repressed there.
The issue is that although her work has gained notoriety in the international sphere, what has it done for Guatemala? For an artist so invested in change, it raises the question of futility in performance work. To viewers outside of her home of Guatemala it poses a different question. Is it possible to work past empathy and to strengthen Galindo’s cry with another voice or another active body?
The last paragraph of your response is rather thought provoking. You raised some good concerns regarding the influences of the work beyond fame. What has changed in the issues addressed by Galindo's performances?
DeleteThis feeling made me recall a scene from Hotel Rawanda, when Jack, the video journalist, recorded a footage from a horrific scenes in Rawanda, hoping people in the United States, or anyone sees the footage, would intervene. The line that made me choke was when Jack said, "I think if people see this footage they'll say, 'Oh my God that's horrible' and then go on eating their dinners."
But how do we measure the futility of a performance work?
I felt so connected to Galindo when she was talking about how frustrated she was when she saw that Efrain Rios Montt had won acceptance as a presidential candidate. She said she "suffered an attack of panic and depression. I cried out, I kicked, I cursed the system that rules us." Because that is what I do at 11pm at night when I'm up reading the news and getting all infuriated with old white men in congress saying appalling things about women's rights or when the senate hearing on birth control policy in the new health care legislation is all male. But what do I do about it? I rant in my women's studies class or lecture my boyfriend about it after I've had a glass of wine (poor guy.)
DeleteBut here is a woman, doing these brave things I would never do in an attempt to bring awareness about injustices she sees everyday. I also worry about the delicacy of interfering with other country's issues. So she has international awareness, although I feel as though her international stardom is also limited to an audience of a certain intellectual level, but can anyone in the international community actually help? When does it cross the negative path from empathy into pity? I think women everywhere are fighting oppression in some form or another and that any work to call attention to it, is better than none. Especially since what Galindo is fighting is extreme violence.
And concerning the video footage, I feel like that applies to everything so perfectly. Take for example any of the natural disasters that have recently happend. Yes, there was aid to Haiti, celebrities built houses in New Orleans for a while, and everyone donated $5 through Red Cross to Japan but without lasting coverage, it slips from peoples consciousness. If Galindo thinks Guatemala is a forgetful country, she should feel comforted that so too is the United States in most cases. Except if it has to do with the Kardashians or Obama's birth certificate.
Hopefully that made sense or was somewhat relevant.
I like where this is going, ladies. Let's continue tomorrow.
DeleteI'm always wondering about the transformative power of performance, always asking, "What does the work DO?" For long, I've felt that I've wanted art to make some kind of change happen, or to serve, at least, as an impetus.
Lately though, I've started to think that maybe just doing what it is doing is what the art is doing. Does that make sense? In a way, does the mere moment of witnessing do enough? Is the act itself a small change? A colleague and I have been talking about this idea of these performative actions serving as little scars, small ruptures, that, together, add up to something bigger.
In the Bomb Magazine interview of Regina Jose Galindo by Francisco Goldman we get disturbing insight into the experiences and work of young artist RJG. It is safe to say that Galindo's work is both very private and public at both times.
ReplyDeleteInterestingly enough Galindo's body works range from the very private such as a botched re-hymen surgery to bold public fearless political statements such as her bloody walk in the heart of the city. What I love about this artist is the bare bones raw language in which her arts messages are communicated. The common non art person can easily pick up on the message and references of her work. This single action I believe is a very difficult thing for artists to do and that is what makes her standout, her scope of the everyday life she lives...
Justin, we should continue this discussion of public and private. Can you talk more about it in class tomorrow?
DeleteRegina Jose Galindo is one courageous individual fueled by the love and frustration she feels for her native country and its people. In the article interview conducted by Francisco Goldman for BOMB magazine, we learn about and experience this artist through her own words. Her responses inspire as she explains what causes her to create and, as other performance artists, to put her body through possible bodily harm. As a performance artist, she is a vehicle that portrays messages. These messages generated through her works, speak for the unspoken. Galindo wonders about the people of Guatemala, asking the questions: "why have we not woken up and taken action? when are we going to stop being so submissive?". She takes matters into her own hands by performing, by reacting to the environment of governmental corruption and human rights violations that others will not speak of or react to. Her works have brought her to win prizes and recognition. I am curious as to what it has done for the country and why more people in Guatemala have not awakened as she has and reacted to what has gone on.
ReplyDeleteClaudia, I think that you and Jenny and Ariel should get together in class tomorrow to continue this discussion.
DeleteDoes a work of art have to produce some kind of measurable change to be considered successful?
Francisco Goldman conversed with performance artist Regina Jose Galindo in the winter of 2006 for BOMB magazine. Through asking all the pertinent questions, Goldman unveils Galindo and declares her a teeming talent. Goldman began with a description of the trail and psychological imprint made by Regina Galindo’s trek from the Court of Constitutionality to the National Palace of Guatemala. Goldman accredits Galindo as having produced the “most powerful statement about the violence and injustice inside Guatemala” that he had come across in ages. A listing of all the adversity endured by the people of Guatemala launched the discussion. The question of what explanation can be given for Guatemala’s natural and man-made misfortunes first prompted Galindo followed by a brief recounting of Galindo’s performance endeavors. The manner in which Goldman details Galindo’s demonstrations suggests that within him lies a notable degree of regard. He marvels at the lengths to which this young woman has gone in the name of suppression. He extols upon her body of work, audacity and creative fervor. He admits to being impressed by her poetry as well as he expressed his emotional response to just the thought of what her actions bear witness to. In defense of her country, Galindo exposes and exacerbates her body. Galindo addressed the atrocities that serve as motivation for her efforts, the intention behind her vocation and her approach to the pieces execution. Galindo characterizes the championing of her country as a calling. Galindo’s application depends on her reasoning therefore she channels distinct energy into every recital.
ReplyDeleteMy chosen quote is attributed to Galindo and her performance that I am most fond of. It is in reference to Who can erase the traces? and it is my single favorite. The performance is powerful for one in that it is universally understandable. I found the sentence, “It probably lasted about 45 minutes: that walk on pavement that did not burn” to be profound and poetic.
I deem several other statements of hers to be contradictory. She divulged that her practice is for her, that she had to take to the streets because there is necessity in that Guatemala is a country without memory but that she has no expectations when her art is done. I don’t understand how you can do something with meaning without expecting some sort of result.
I however can relate when she speaks on the passivity of writing. I know the power and energy that goes into performing. I enjoy writing because it releases my mind but I get more out of acting because it releases my body. Like Galindo, I am aware that writing can be categorized as passive and actions in bringing about a collective emotion can beget a superior impact.
Expectation is a dangerous dilemma. I can only suspect the limitation of the expectations she has for herself and her performances.
DeleteLet's talk more about memory.
DeleteThe article in BOMB magazine written by Francisco Goldman gives readers some insight to the performance art of Guatemalan artist Regina Jose Gallindo. Many of Gallindo's works express the struggle and oppression of the Guatemalan people. Her works consists of performances of self mutilation, whippings, and illegitimate surgeries. Gallindo wishes to express her rage at the shortcomings of her people, like her poetry he performances are a way of releasing her anger. In the beginning of the article Goldman admits that he has never paid much attention to performance art, but many who may know nothing about performance art would have no problem interpreting the message of Regina Jose Gallindo's performances. Gallindo's messages in her performances relate directly to political and social injustices of her people and her country.
ReplyDeleteGallindo is asked by Francisco Goldman what expectations she has for her works after they are done, Gallindo replys " I never have any expectations after completing something. What I do have is a certain amount of nervousness and anxiety before every performance. But after that I have no expectations" (Goldman, 5). I felt this was an appropriate attitude towards her work. In a country with so much turmoil it can be quite difficult to have certain expectations on how your work will be interpreted. I believe for Gallindo that the importance of her work for her is to release her anger and express her objections to the unfortunate events within her country.
Let's talk about audience reactions, though. Is the spectator's response part of the work?
DeleteFrancisco Goldmand has captured Regina Jose Galindo's series of work and story with curiosity and admiration in an interview in BOMB Magazine: Regina Jose Galindo by Francisco Goldman. The interview recalls Galindo's intensive performance work addressing politic issues regarding war, human rights, and woman's status etc in Guatemala. Many of these performances were driven by an extended, passionate emotions, strong enough that pushed the artist beyond physical expectations of her body.
ReplyDeleteIf emotions or feelings were on a scale of a positive and negative energy spectrum, it may seem like her drive came from extreme end of the negative energy. But what about love? Her love for her country and the people living in it? What about hope? What is purpose of creating awareness if there's no message, no hope, and/or no expectations of a response?
Jenny, you bring up such an important, and often overlooked, point. This question of hope or a positive message would seem to be the eventual outcome of a long discussion of this type of art. Eventually, once all the outrage and anger subsides, one is left to think, "What is left? What is next?"
DeleteWhat does it mean to be productive?
My colleague Emma Willis is writing about this in New Zealand.
Check this out:
http://lettingspaceorgnz.squarespace.com/productive-bodies-essay/
I think we need to explore this topic further.