2

3( ):

CURADORAS / CURATORS

María José Bunster y / and Julia P. Herzberg

EDITOR GENERAL / GENERAL EDITOR

Julia P. Herzberg

ENSAYOS DE / ESSAYS BY

Julia P. Herzberg y / and Adriana Valdés

( ):

Publicado en ocasión de la exposición / Published on the occasion of the exhibition

Monika Weiss: Sustenazo (Lament II)

Organizada por / Organized by

Museo de la Memoria y los Derechos Humanos

Santiago de Chile

13 de diciembre, 2012 – 7 de abril, 2013 / December 13, 2012 – April 7, 2013

A ser exhibida en / Also exhibited at

The Patricia and Phillip Frost Art Museum

Florida International University, Miami, Florida

26 de abril, 2014 – 3 de agosto, 2014 / April 26 – August 3, 2014

Curadoras / Curators: María José Bunster y / and Julia P. Herzberg

Editora de textos en ingles / English Text Editor: Frances Kianka

Editora de textos en español / Spanish Text Editor: Cora Sueldo

Traducción de inglés a español / Translation from English to Spanish: Cora Sueldo

Traducción de español a inglés del ensayo de Adriana Valdés: Neil Davidson

Translation from Spanish to English of Adriana Valdés’ essay: Neil Davidson

Graphic Designer: Paz Moreno Israel

Impresión / Printer: Ograma Impresores

Derechos reservados. Ninguna parte de esta publicación puede ser reproducida sin autorización / All rights reserved.

No parts of this publication may be produced in any form without prior written consent

Portada / Cover

Sustenazo (Lament II), 2010-2012

Fotograma de video con composición de sonido, 5:79 / Still from video and sound composition, 5:79

Dimensiones variables / Dimensions variable

© 2012 Museo de la Memoria y Derechos Humanos© 2012 Textos de los autores / The authors’ texts© 2010-2012 Obras propiedad y cortesía de Monika Weiss /Artwork copyright and courtesy of Monika Weiss

ISBN :

Índice / Contents

02 Introducción / Introduction

Ricardo Brodsky Baudet / María José Bunster

04 Prólogo / Preface

Julia P. Herzberg

08 Agradecimientos / Acknowledgments

Monika Weiss

11 Conversación con Monika Weiss / Conversation with Monika Weiss

Julia P. Herzberg

36 Lamento y lugar para la memoria: Sustenazo (Lament II) de Monika Weiss /

Lamentation and the Locus of Memory: Monika Weiss’s Sustenazo (Lament II)

Adriana Valdés

44 Fotogramas de video / Video Stills

66 Artist’s Selected Biography

72 Colaboradores / Collaborators

75 Lista de obras en exposición / List of Works in the Exhibition

2

IntroducciónRicardo Brodsky, Director Museo / María José Bunster, Jefa de Museografía y Exposiciones

Sustenazo (Lament II) de Monika Weiss.

Sustenazo invita a la audiencia a vivir una experiencia sensorial –inspirada en la evacuación forzada

expresado en una danza de lamento continuo, como si fuera un rezo, una súplica, una expresión de

pesadumbre, arrepentimiento y denuncia.

Monika Weiss: Sustenazo (Lament II),

Julia P. Herzberg, especialmente para ser emplazada en el Museo de la Memoria y los Derechos

Humanos de Chile, en el marco de la programación de exhibiciones temporales del año 2012. Desde

la misión-visión del Museo de la Memoria y los Derechos Humanos, interpretada en la exposición

permanente, se establece un evidente puente de diálogo con Sustenazo, interpelando el abuso de

poder desde lo particular hacia lo universal.

Agradecemos especialmente a la artista y a la curadora Julia P. Herzberg, por haber escogido el

Museo de la Memoria para la exhibición de este importante proyecto de investigación artística.

Asimismo a la Galería Samuel Lallouz por su compromiso, colaboración y apoyo, al Sam Fox School

of Design & Visual Arts, Washington University en St. Louis, Missouri, a Roxana Varas por su

3

Sustenazo

by Monika Weiss.

Sustenazo invites viewers to undergo a sensory experience inspired by the forced evacuation of more

than eighteen hundred patients and medical personnel from the Ujazdowski Hospital (today, the Centre

for Contemporary Art Ujazdowski Castle [CAA]) during the Warsaw Uprising in 1944. In this video,

gestures and sounds combine to evoke the universal pain expressed through a dance of continuous

lament, as if it were a prayer, a plea, or an expression of grief, remorse, and condemnation.

Within contemporary artistic modes or language, Weiss transforms the memory of the thoughtless

violence of war into a poetic exercise, which encourages a conceptual and material reinterpretation of

brutality.

by the Polish-American artist

Monika Weiss is presented here to the public. The installation was proposed by the curator Julia P.

creates a dialogue with the Museum’s permanent collection, which closely

questions the abuses of power, both local and universal.

We offer special thanks to the artist and to the curator for having chosen the Museum of Memory

possible.

IntroductionRicardo Brodsky, Director / María José Bunster, Head of Museology and Exhibitions

4

PrólogoJulia P. Herzberg

Ha sido un gran privilegio colaborar en la exposición Monika Weiss: Sustenazo (Lament II).

cuya obra he estado involucrada durante muchos años. Esta videoinstalación, en particular, es

especialmente apropiada para el Museo de la Memoria y los Derechos Humanos, una institución

dedicada a traer a un primer plano la memoria histórica como un acto de resistencia al olvido.

Sustenazo (Lament II) son evocados a través de una secuencia de

en direcciones opuestas, encarnando en sus gestos la expresión del lamento. Estas imágenes sirven

y sus consecuencias inhumanas, el lamento se convirtió en el vehículo para expresar los estados

opuestos de guerra y paz, totalitarismo y libertad, enfermedad y salud, vida y muerte.

Esta exposición nos ofreció a María José Bunster y a mí una espléndida oportunidad de

mi contraparte en el proceso curatorial, por haberse ocupado de innumerables detalles, por su

contribución relativa a aspectos institucionales y por su pronta respuesta a cada desafío en el

5

Monika Weiss presenta su obra por primera vez en Chile.

de la performance de la noche de la inauguración. Y por último, si bien no menos importante,

aprendidas de la historia posterior a la Segunda Guerra Mundial, así como temas relacionados con

museo y más allá de él.

Quiero expresar mi agradecimiento personal a Samuel Lallouz por su generoso apoyo para la

realización del catálogo y por facilitar muchos elementos importantes para la muestra. Dentro del

marco del catálogo, expreso mi más amplio reconocimiento a Adriana Valdés, cuyo poético ensayo

deseo agradecer a Neil Davidson, cuya excelente traducción de este ensayo permite a los lectores

angloparlantes apreciar la creativa respuesta de la autora a Sustenazo (Lament II).

Museum en Miami, donde tendrá lugar una nueva conexión y un nuevo intercambio entre los dos

museos.

6

PrefaceJulia P. Herzberg

It has been a great privilege to collaborate on the exhibition .

The curatorial project gave me the opportunity to work once again with an artist whose work I have been

involved with for many years. This particular video installation is especially appropriate for Museo de la

Memoria y Derechos Humanos, an institution dedicated to foregrounding historical memory as an act of

resistance to forgetting.

The multiple meanings of are evoked through a sequence of imagery featuring

the torso of a woman moving slowly backward and forward in opposite directions, embodying in her

gestures the expression of lament. Against this imagery are those of old maps of Europe, medical

instruments used before and during World War II, a medical photograph of a woman’s chest, and a

white-gloved hand moving gently over it. The visual narrative is dramatically enhanced by the artist’s

musical composition, which includes recitations of literary texts.

Hospital, who were forced to evacuate by the German Army (Wehrmacht) onto the streets of Warsaw

the artist to communicate the devastating effects of totalitarian invasions and their inhuman

consequences, lament became the carrier of the emotional states of grief and sorrow endured by

humanity throughout time. Lament is a responsive geture, perhaps greater than speech, to oppositional

This exhibition offered María José Bunster and me a splendid collaborative occasion, one that every

curator hopes for. I am grateful to her as my curatorial counterpart for dealing with countless details, for

the institutional input she provided, and for her prompt responses to every organizational challenge so

time in Chile.

I thank all the persons on María José Bunster’s team who worked on this exhibition and the design of its

accompanying catalogue and who made the opening-night performance possible. And last, but not least,

7

brilliant conceptualization of historical memory in her work. The lessons learned from post-World War

context of this museum and beyond.

I personally wish to thank Samuel Lallouz for his generous support of the catalogue and for facilitating

many important elements of the exhibition. Within the framework of the catalogue, I express my great

appreciation to Adriana Valdés, whose poetic essay mirrors the depth of vision and the sonorous

composition of the artist’s work. I also thank Neil Davidson, whose excellent translation of this essay

enables English-speaking readers to appreciate the author’s creative response to .

We look forward to seeing the exhibition travel to the Patricia and Phillip Frost Art Museum in Miami,

where a new connection and exchange between the two museums will take place.

8

AgradecimientosMonika Weiss

contribuyeron a la concreción de Sustenazo (Lament II): Escuela de Diseño y Artes Visuales Sam Fox,

Washington University en St. Louis, Missouri, Estados Unidos; Galerie Samuel Lallouz, Montreal,

Estados Unidos; Instituto Goethe de Chicago, Estados Unidos; Instituto Goethe de la Ciudad de

México, Ciudad de México, México. Desea extender este agradecimiento a: Mark Dorrance, Karina

Katherine Lorimer, Irmi Maunu-Kocian, and Godiva Reisenbichler.

9

The artist would like to thank the following institutions and individuals who contributed to Sustenazo

: Sam Fox School of Design & Visual Arts, Washington University in St. Louis, Missouri, United

Mexico City, Mexico. Additional thanks to: Mark Dorrance, Karina Gutiérrez, Lisa Haegele, Javiera Jaque

Hidalgo, Yu-Cheng Hsieh, Ignacio Infante, Krystyna Janda, Katherine Lorimer, Irmi Maunu-Kocian, and

Acknowledgments Monika Weiss

Siguiente página / Next page

Sustenazo, 2010Videoproyección de tres canales, dos composiciones de sonido, libros y objetos médicos. Vista de la instalación en el Centro de

Arte Contemporáneo del Castillo Ujazdowski, Varsovia, Polonia

Three-channel video, two sound compositions, books, and medical

objects. Installation view at the Centre for Contemporary Art

Ujazdowski Castle, Warsaw, Poland

10

11

Sustenazo (Lament II) es uno de los tres videos presentados en cinco salas de exposición contiguas en

para la transformación conceptual de la narración en múltiples capas de Sustenazo (Lament II).

una exposición y también a participar como artista residente en el Laboratorio de Artistas en 1 Durante 2009, la artista

desarrolló tareas de investigación tanto in situ como en los alrededores, comenzando por el Castillo

continuaron con las colecciones reservadas de la Biblioteca Central de Medicina de Varsovia, el

Museo del Levantamiento de Varsovia, el Museo Histórico de Varsovia y Media in Motion en Berlín.

a la colección del museo algunos años antes del comienzo de la Segunda Guerra Mundial. Muchas

imágenes incluidas en el proyecto Sustenazo tienen su origen en los archivos de estas instituciones.

En las instalaciones de Media in Motion, Weiss grabó las voces de oradores alemanes recitando

Fausto II

Sustenazo.

Monika Weiss dirigió, grabó, compuso y diseñó la coreografía de Sustenazo. Las siguientes personas

contribuyeron a la producción de Sustenazo (Lament II)

Costanzo; las voces en alemán en la Tercera Parte son las de Barbara Caveng, Heiko Daxl, Andreas

Matthias Grimm, Max Hannes, Anna Hope, Cordula Hufnagel, Ralf Niebuhr, Christoph Rasch, Bele

el video.

Conversación con Monika WeissJulia P. Herzberg

12

Sustenazo (Lament II)

memoria histórica al presente.

JPH: Sustenazo (Lament II) es uno de los tres videos que componen Sustenazo (2010), una obra

performativa que engloba a la historia, la memoria y el lenguaje a través de la superposición de

ritmos y formas. Hablemos sobre cada uno de estos temas y sus subtextos, comenzando por tu

relación con la historia en general, su dinámica política y el acontecimiento particular que tuvo lugar

durante la Segunda Guerra Mundial y que inspiró en parte el proyecto.

MW: Tal como yo lo entiendo, la historia se compone de historias paralelas -nunca se trata de

una sola historia. Múltiples historias convergen y ocasionalmente se superponen-

abordar el archivo de los acontecimientos, prestando especial atención a las narraciones y las

violencia concebida desde lo institucional.

enmascara agendas económicas y colonialistas ocultas. Sustenazo se desarrolló en torno a la

-la repentina

en 1944. El antecedente histórico de este acontecimiento es la invasión de Polonia del 1 de

división y anexión de Polonia por parte de Alemania y la Unión Soviética.2

de correos se rindieron. Él fue uno de un puñado de empleados que logró escapar y más tarde fue

capturado e internado en un campo de concentración, donde falleció un año más tarde.

13

MW:

Europa.3

Leon Knopik, un empleado de correos, fue capturado poco después, encarcelado y trasladado

Oranienburg4, en las proximidades de Berlín. Algunos meses más tarde, mi abuela, a la sazón

crudo de 1940.

JPH: Tú creciste en los años setenta en Varsovia bajo un régimen comunista. ¿Qué te enseñaban

formalmente en la escuela acerca de la Segunda Guerra Mundial, enseñanza que presumo sería

enfocada a través de la lente comunista? ¿Qué recuerdos o experiencias relataba tu familia, si es que

lo hacían, con respecto a crecer durante y después de la guerra?

MW:

-los libros guardaban absoluto silencio sobre este

acontecimiento. De hecho, estaba prohibido mencionar el Levantamiento en público.5 De niña,

de radio Kosciuszko

su lucha contra los alemanes.6 El Levantamiento comenzó el 1 de agosto de 1944 y se prolongó

del centro de Varsovia, los soviéticos no acudieron en su ayuda. Permanecieron en la margen

opuesta del río Vístula.7

/ CONVERSACIÓN CON MONIKA WEISS

14

JPH: En tu obra, te has referido a menudo a la memoria,

desarrolla la representación de la memoria de la ciudad

en Sustenazo

relación con la memoria de una ciudad?

MW: Mi obra reciente, incluida Sustenazo, considera

aspectos de la memoria y la amnesia pública en

la construcción del espacio de una ciudad y de su

son planos; sin embargo, sus historias contienen

de la topografía y la conciencia de una ciudad podemos

ubicar a su memoria? El cuerpo de una ciudad puede

compararse metafóricamente con nuestro cuerpo y su

memoria. Una de las manifestaciones de la memoria

Shrouds, 2012 Fotograma de la videoproyección de dos canales, 32:41 Vista aérea del antiguo campo de concentración de Gruenberg en Zielona Góra, Polonia

Still from the two-channel video, 32:41 Aerial view of the former Gruenberg concentration camp in Zielona Góra, Poland

15

en el transcurso de los siguientes tres meses, prendieron fuego a la infraestructura de cada barrio

8

Parafraseando a Saskia Sassen, las ciudades son espacios potenciales de resistencia al poder militar: 9

Mi proyecto reciente, Shrouds (2012)

partes de su propia historia. Los mapas actuales representan un área rectangular vacía y sin

10

En Sustenazo presento en forma simultánea, y superpuestos, primeros planos del pecho de una

Shrouds

tuyo o el mío, como si se tratase de una membrana entre el yo y el mundo externo.

JPH: ¿Existe el lamento en la vida contemporánea de una ciudad? Y de ser así, ¿qué forma adopta?

MW: Nuestra sociedad occidental a menudo sublima el duelo, transformándolo en otras formas

de expresión o en monumentos conmemorativos de distintas clases. Utilizamos carteles o placas

para conmemorar holocaustos o genocidios; tenemos rezos públicos para llorar a los muertos;

publicamos libros de historia para recordar el pasado, y llevamos a una fracción de los individuos

responsables de esos genocidios ante tribunales internacionales. Sin embargo, no estamos

habituados al duelo colectivo expresado en la forma de antiguos rituales de lamentación. El lamento

como reacción emocional parece estar estigmatizado por una asociación con la esfera de lo privado

y por lo tanto es considerado inapropiado o vergonzoso en público.

JPH: ¿Así que dirías que el ritual público de la lamentación se ha vuelto obsoleto a todos los efectos y

propósitos?

/ CONVERSACIÓN CON MONIKA WEISS

16

MW:

y responsabilidad hacia el Otro. Al representar antiguos gestos de lamentación, Sustenazo toma en

consideración contextos contemporáneos de apatía, indiferencia, invisibilidad y amnesia histórica

dentro del foro público y la polis. El lamento es una expresión extrema ante la pérdida. En última

11 El duelo grupal es un acto

de fuerza política y no solamente una respuesta al dolor individual. Deberíamos, por lo tanto, preguntar:

pérdida del Otro, pero en realidad el Otro es también una parte de uno mismo. La empatía y el duelo

pueden convertirse en una herramienta política poderosa opuesta a las heroicas fantasías masculinas

que expresaba el gesto del lamento. En esta obra, el lamento es una respuesta a la guerra y una metáfora del

sufrimiento. Háblanos de la superposición de relatos.

MW: En Sustenazo el gesto atemporal del lamento es confrontado con el archivo de un acontecimiento

-la repentina evacuación forzada de los mil ochocientos pacientes y el personal

-

-presentada en tiempo real y reproducidos

videos-coreografía y dirigí los movimientos de la intérprete. Sus gestos lentos de lamentación o duelo son a la

vez teatrales y mínimos. No narran un relato histórico: el espectador desconoce los motivos de su duelo.

El lamento -performativo y comunitario- se convierte en una experiencia emocional compartida.

Decidí no actuar en Sustenazo

Sustenazo

Trata más ampliamente de la pérdida de vidas causada por la guerra y por otros actos políticos y

organizados de violencia y opresión. Para mí, la guerra no sólo es devastadora: es inaceptable.

JPH: ¿Por qué elegiste la obra de Goethe como uno de los elementos centrales en Sustenazo?

segundo de los cuales reza:

17

Todo lo transitorio

Lo inaccesible

Lo indescriptible12

MW: Faust, Der Tragödie zweiter

Teil (Faust II) / Fausto, Segunda parte de la tragedia, de Johann Wolfgang von Goethe. Este famoso

Coro Místico Fausto II sesenta años después de la

primera parte de la Tragedia

en la segunda parte no es ya el alma de Fausto, vendida al diablo, sino más bien los fenómenos

-la alta cultura

y el genocidio; y en este caso en particular, entre el legado simbólico de Goethe y el moderno

famoso Goethe Eiche

el cual Goethe solía sentarse a escribir. Alrededor de este árbol, los alemanes construyeron, en 13 uno de los primeros y más grandes campos

Goethe Eiche

aún en la actualidad como parte del monumento conmemorativo en el campo de concentración

poeta a su Eiche

14. De acuerdo con Shifting Memories: The Nazi Past in the New Germany,

-es

-15

memoria y su historia, tratándolo como un intervalo irrelevante. En Sustenazo no hay un Goethe

/ CONVERSACIÓN CON MONIKA WEISS

Alles Vergängliche

Das Unzulängliche,

Das Unbeschreibliche,

Hier ist’s getan.

18

sombras y los rastros del Holocausto.

JPH: En tu instalación, colocaste libros de Goethe y

Schiller junto a libros de medicina alemanes publicados

médicos sobre el piso y en la vitrina. ¿Cuál es la relación

entre los libros de medicina y la poesía alemana?

MW: En Sustenazo, los libros de medicina y el

instrumental médico hacen referencia al Hospital

era el hospital más grande de Varsovia y uno de los

muchos hospitales cuyos pacientes y personal fueron

evacuados forzadamente a las calles de la ciudad en

llamas. La mayoría de los mil ochocientos pacientes

ser: un lugar donde se salvan vidas humanas. Sustenazo

evoca ese acontecimiento como una metáfora de la

alemanes eran escritos para enseñar cómo salvar

vidas humanas,16 los libros de Goethe y también los

de Schiller representan la esencia de la alta cultura

alemana y eran atesorados por los nazis por esa razón.

Hay preguntas contenidas en esta conexión entre la

medicina y la poesía -

dé origen al Holocausto. Zygmunt Bauman ha escrito

aún en peligro, y al mismo tiempo continúa creando

activamente este peligro.17 Bauman hace referencia

Sustenazo-Drawing on Goethe, 2009–2010

110 dibujos sobre páginas de obras de Goethe, 16,5 x 10,1 cm cada una

Ink, charcoal, wine, saliva, and graphite

110 drawings on pages from Goethe’s writings, each 6 ½ x 4 inches

19

-de manera muy

-. Los holocaustos contemporáneos se

relacionan con sistemas de opresión a escala masiva y a menudo son el resultado de la política de

JPH: Hablemos de tu formación musical, ya que ha constituido una parte tan importante de las

primeras etapas de tu formación y de tu obra actual. Sé que estuviste expuesta a la música desde

la infancia, aunque más no fuera por el hecho de que tu madre era concertista de piano. Estudiaste

prepararon tus estudios allí para tu trabajo como compositora?

MW: Cuando pienso en la música, también pienso en el silencio. No obstante, John Cage nos

entorno, y medios musicales como mis propias improvisaciones de piano. Transformo y escalono

polifónica.

JPH: Compusiste el video y el sonido como tres partes distintivas siguiendo la tradición de la música

clásica. ¿Por qué, dónde y cuándo elegiste a los oradores y los cantantes?

MW:

el mundo de los muertos es representado como un diálogo entre dos seres, uno presente y

otro ausente, o entre dos grupos antifonarios de dolientes. En las tradiciones del lamento, el

Sustenazo (Lament II) Fausto II de Goethe y

del Schneepart de Paul Celan. En Sustenazo

alemanes, representa el simbolismo opuesto al de Goethe.

/ CONVERSACIÓN CON MONIKA WEISS

20

Fausto II. Más tarde ese mismo año, durante mi residencia en el Centro

adolescente. Su frágil voz de persona de edad se escucha en la Parte I del video, mientras se

- -

Más tarde, recorté digitalmente notas y palabras individuales, aun sílabas, y las mezclé, creando

convirtiéndose en lamento.18

JPH: Me has relatado que dibujas desde que tienes uso de memoria. Aparte de tus dibujos como tales,

a menudo has incorporado el dibujo como elemento en tus videos y performances. Por ejemplo, en

Phlegethon-Milczenie y Leukos-Early Morning Light

Phlegethon-Milczenie, 2005 Autofotografía en la performance e instalación de video monocanal, con composición de sonido

Self-shot photograph in the single-channel video, sound composition,

installation, and performance

Collection Cisneros Fontanals Art Foundation, Miami, Florida, USA

21

tu cuerpo. El dibujo continua siendo un vehículo de expresión importante en Sustenazo. ¿Por qué

Sustenazo?

MW: Sustenazo

libros. Las manchas fueron hechas escupiendo tinta de mi boca sobre las páginas de los libros.

de carbón, cubriendo lentamente un mapa de Europa con una nube oscura de cenizas. El mapa

se transforma gradualmente en una fotografía en blanco y negro tomada de un libro de medicina

Leukos-Early Morning Light, 2006Lienzo, carbón, piedra, video de dos canales y composición de sonido

Vista de la instalación en Remy Toledo Gallery, Nueva York, EUA

Canvas, charcoal, stone, two-channel video, and sound composition

/ CONVERSACIÓN CON MONIKA WEISS

22

libros de medicina se encuentran obras de Goethe y

Schiller publicadas en el siglo XIX y a principios del siglo XX.

enfermera. Algunos de los libros e instrumentos médicos

están colocados en la vitrina, donde pueden ser observados

de cerca. Hay dos clases de manchas en Sustenazo. La voz

a mano en las páginas de los escritos de Goethe, simbolizan

voz de Goethe, y por extensión, la voz de la cultura, ya no

pueden existir sin esta otra voz -la voz de las personas

encuentro con el poder.

Sustenazo, 2010Tinta, libro de Goethe, Fausto (1944)Dibujos de la artista en las pp. 160–161 y 180–181

Ink, book by Goethe, Faust (1944)

Drawings by the artist on pp. 160–161 and 180–181

Shrouds, 2012 Fotograma de la videoproyección

de dos canales, 32:41

Still from the two-channel video, 32: 41

23

24

1

del Trust for Mutual Understanding de Nueva York.

2 La invasión de Polonia de 1939, también conocida como la Campaña de Septiembre o el Polenfeldzug, fue la invasión

marcó el comienzo de la Segunda Guerra Mundial en Europa. La invasión alemana comenzó el 1 de septiembre de

dio comienzo el 17 de septiembre de 1939, a continuación del Acuerdo Molotov-Togo, suscrito entre Alemania y

y anexando la totalidad de Polonia. En el protocolo secreto del Pacto de No Agresión Molotov-Ribbentrop, la Unión

y el Reino Unido. Ambos países tenían pactos con Polonia y habían declarado la guerra a Alemania el 3 de septiembre,

Norman Davies, Heart of Europe: The Past in Poland’s Present

3

4

políticos desde 1936 hasta la caída del Tercer Reich en mayo de 1945. Alrededor de treinta mil prisioneros fallecieron

o murieron como resultado de brutales experimentos médicos. Un artículo publicado el 13 de diciembre de 2001 en

el New York Times

tres campos de internación soviéticos en la zona de ocupación soviética. Desde la muerte de mi abuelo en el campo

concentración de Sachsenhausen. Se estima el número de muertos en doce mil. Para referencias adicionales, ver los

5

conocidos de la guerra. La razón es simple: el dar a conocer los acontecimientos de agosto y septiembre de 1944 no

directo a su legitimidad. La lucha también ha sido olvidada en gran medida fuera de Polonia. El Alzamiento constituía

en World War II Magazine

and-betrayal.htm

6 Kosciuszko

25

7

ciudad de Varsovia fuera aplastada. Churchill intercedió ante Stalin y Roosevelt -sin ningún resultado-ayudaran a los aliados polacos de Gran Bretaña. Lugo, prescindiendo de la liberación del espacio aéreo por parte de

Más tarde, luego de obtener autorización soviética para operar en la zona, la Fuerza Aérea de Estados Unidos envió

una misión de alto nivel para el lanzamiento masivo de abastecimientos en socorro de Varsovia como parte de la

Heart of Europe: The Past in Poland’s Present.

8

9 Para un análisis más detallado, ver Saskia Sassen,

10

Goldhagen, Hitler’s Willing Executioners: Ordinary Germans and the Holocaust

333.

11 Judith Butler, Precarious Life: The Powers of Mourning and Violence

12 Johann Wolfgang von Goethe, Faust. Der Tragödie zweiter Teil,

13

de Sachsenhausen y Dachau. Propuesto originalmente por Fritz Saukel, el alcalde de Thuringen, fue aceptado por

recluidos en el campo provenientes de toda Europa y Rusia -y religiosos, criminales, homosexuales y prisioneros de guerra-fábricas de armamento locales. Desde 1945 hasta 1950, el campo fue utilizado como campo de internamiento por

las autoridades de ocupación soviética. Según cifras conservadoras consignadas en archivos de las SS, el número

prisioneros.

14 Johann Peter Eckermann, Gesprache mit Goethe in den letzen Jahren seines Lebens

Shifting Memories: The Nazi Past in the New Germany

15 Klaus Neumann, Shifting Memories: The Nazi Past in the New Germany

16 Tras la Segunda Guerra Mundial, los experimentos médicos realizados con prisioneros de campos de concentración

moderna de la medicina.

17 Ver Zygmunt Bauman, Modernity and the Holocaust

18 Etimológicamente, la palabra lamento se deriva del griego leros New Collegiate

Dictionary

26

is one of three videos presented at the Centre for Contemporary Art Ujazdowski

and an installation of vintage books, many with the artist’s drawings, together with medical objects

research, which became the foundation for the conceptual transformation of the multilayered narrative of

.

Monika Weiss was invited to do an exhibition by Milada , the former Chief Curator of the

International Exhibitions at the Centre for Contemporary Art (CCA) in Warsaw and, as well, to be an artist

Nowacka.1 During 2009 the artist did research both on-site and off-site beginning at the Ujazdowski

Castle, where she became interested in the history of the Ujazdowski Hospital’s expulsion. Her research

Museum, the Historical Museum of Warsaw, and Media in Motion in Berlin.

archival materials such as documents, letters, photographs, and medical instruments that had survived the

Ujazdowski Hospital expulsion. At the Historical Museum of Warsaw, Weiss photographed German aerial

military maps that had entered the museum’s collection some years after World War II. Many images in the

Sustenazo project originated in the archives of these institutions. At Media in Motion, Weiss recorded the

voices of German speakers reciting passages from Goethe’s Faust II

composition in Sustenazo.

Monika Weiss directed, recorded, composed, and choreographed Sustenazo. The following persons

contributed to the production of : the German voices in Part One are those of

Bele Papperitz-Hannes, Wolfgang Strankowski, and Jens Umlauf. Gillian Lipton is the dancer in the video.

A Conversation with Monika WeissJulia P. Herzberg

27

presented at the Museo de la Memoria creates a space that restores historical

memory to the present.

JPH: Sustenazo (Lament II) is one of the three videos of Sustenazo (2010

embraces history, memory, and language in overlapping rhythms and forms. Let’s talk about each of

these subjects and their subtexts beginning with your relationship to history in general, its political

dynamics, and to the particular event during World War II that in part inspired the project.

MW: My understanding of history is that it is composed of parallel histories—it is never one history.

Multiple histories coincide with each other and at times overlap. I believe there is a responsibility

that comes with being an artist, which is in part poetic and in part political: to listen to and to address

the archive of events, paying special attention to the forgotten narratives and voices. The concept of

the ideology of “protection,” which usually veils hidden economic and colonialist agendas. Sustenazo

developed around the notion of lament as a form of expression outside language: the timeless expression

of Ujazdowski Hospital on the sixth day of the Warsaw Uprising in 1944. The historical background for

this event is the invasion of Poland on September 1, 1939, which marks the beginning of World War II and,

subsequently, the partition and annexation of Poland by Germany and the Soviet Union.2

of employees who escaped and was later captured and imprisoned in a concentration camp, where he

died a year later.

/ A CONVERSATION WITH MONIKA WEISS

28

MW:

in Europe.3

to Sachsenhausen-Oranienburg concentration camp,4 near Berlin. Some months after my grandfather’s

capture, my grandmother, then pregnant with my mother, received a package from Sachsenhausen-

Oranienburg with a letter explaining that my grandfather died in the camp “due to pneumonia.” The

package contained his winter coat soaked in blood, which my grandmother washed carefully and gave to

taught about World War II in school, which I assume was taught through the Communists’ lens? What

memories or experiences did your family relate, if any, about growing up during and after the war?

MW: In primary school I was taught that the Soviet Union was Poland’s “brother,” and in the history

completely silent about it. In fact, mentioning the Uprising in public was forbidden.5 As a child I learned

about the Uprising from my parents who kept “illegal” (underground) history books and who listened to

a major World War II operation conducted by the Polish resistance to liberate Warsaw from German

occupation, timed to coincide with the Soviet army’s arrival at the city’s eastern suburbs.

Kosciuszko, broadcasted in Polish a call

Germans.6 The Uprising began on August 1, 1944 and lasted for sixty-three days. Although the Poles

established control over most of central Warsaw, the Soviets did not come to their aid. They remained on 7

a city’s memory play itself out in Sustenazo? Why does the subject of lamentation surface in relation

to a city’s memory?

MW: My recent work, including Sustenazo, considers aspects of public memory and amnesia in the

vertical strata of events. Where in the topography and consciousness of a city can we locate its memory?

29

The body of a city may be compared metaphorically to our body and its memory. One of the manifestations

of a city’s memory is its architecture, such as in the case of Warsaw. After the capitulation of the Warsaw

to the infrastructure of every neighborhood and later demolished those buildings that did not completely

river that offered a close-up view of what was happening in Warsaw as it became a landscape of rubble.8

To paraphrase Saskia Sassen, cities are potential spaces of resistance to military power: they are “weak

regimes.” While cities cannot destroy power, they can contest it.9 My recent project focuses

on a Polish city, Zielona Góra, which has forgotten parts of its own history. Current maps depict an empty

unnamed, rectangular area located in the center of the city, which is covered with debris from destroyed

buildings. During World War II this site was a small concentration camp for Jewish women.10 In Sustenazo

I juxtapose and overlay close-up views of a woman’s chest covered with surgical drawings, a 1942 German

map of Eastern Europe, and my gloved hand smearing charcoal on the map. (See video still 15) In Shrouds

I also contrast and superimpose a close-up view of a woman’s chest covered with bandages together with

contemporary aerial views of the former Gruenberg (Zielona Góra) concentration camp, now in rubble. The

female body in these videos stands for an anonymous body, yours or mine, as if it were a membrane between

the self and the external world.

JPH: Does lamentation exist in the contemporary life of a city? And if so, what form does it take?

MW: Our western society often sublimates mourning into other forms of expression or of memorials of

responsible for those genocides to international tribunals. However, we are not accustomed to collective

mourning in the form of ancient rituals of lamentation. Lament as an emotional reaction seems to be

stigmatized by an association with the private sphere, and is thus considered inappropriate or shameful in

public.

JPH: So would you say that the public ritual of lamentation has become obsolete for all intents and

purposes?

MW: The language of public lament could offer a possibility for expanding our awareness of coexistence and

responsibility for the Other. By enacting ancient gestures of lamentation, Sustenazo considers contemporary

contexts of apathy, indifference, invisibility, and historical amnesia within the public forum and polis. Lament

/ A CONVERSATION WITH MONIKA WEISS

30

is extreme expression in the face of loss. Ultimately, as Judith Butler wrote, “grief furnishes a sense of political

implications for theorizing fundamental dependency and ethical responsibility.” 11 Group mourning is an

act of political force, and not only a response to individual grief. We should ask then, whose life is or is not

worthy of grief? In the context of war, loss is often about the loss of the Other, but in reality the Other is

also a part of oneself. Empathy and collective mourning, including mourning the loss of others who are

supposed to be our enemies, can become a powerful political tool, in opposition to heroic, masculine

fantasies of conquest and power.

express the gesture of lamentation. In this work, lamentation is a response to war and a metaphor for

suffering. Tell us about the overlapping narratives.

MW: In Sustenazo

event—the forced overnight evacuation of the Ujazdowski Hospital’s eighteen hundred patients and staff on

August 6, 1944. In Part I of the video, the woman appears as two persons moving in opposite directions—

the performer’s movements. Her slow-moving gestures of lamentation or mourning are at once theatrical

and minimal. They do not tell a historical narrative: the viewer does not know the reasons for her mourning.

Lament—performative and communal—becomes a shared emotional experience.

I decided not to perform in Sustenazo (or in my other recent works) to avoid autobiographical

interpretations. Sustenazo is not solely about Poland or Polish history or European history. It is more

oppression. For me, war is not only devastating: it is unacceptable.

JPH: Why did you choose Goethe’s writing as one of the central elements in Sustenazo? Let’s begin with

the texts and their meaning. At the beginning of the video there are two passages from Goethe, the second

of which reads:

All that is transitory

what seems unachievable

what’s indescribable12

Alles Vergängliche

Ist nur ein Gleichnis;

Das Unzulängliche,

Das Unbeschreibliche,

31

MW: This second passage in my video is one of two fragments from Johann Wolfgang von Goethe’s

/ Faust, Second Part of the Tragedy. This famous Chorus

Mysticus is located at the end of the play. Goethe wrote Faust II

Tragedy during the last year of his life (1831). The focus in the second part is no longer on the soul of

Faust, which has been sold to the devil, but rather on social phenomena such as psychology, history,

and politics, in addition to mystical and philosophical topics. I am interested in the complex relationship

between Goethe’s symbolic heritage and the Holocaust’s modern system of oppression and cleansing.

For example, my new project involves the famed near Weimar, a tree

under which Goethe used to sit and write. Around this tree, in 1937, Germans built the Buchenwald

concentration camp,13

American bombing raid (August 24, 1944) damaged the Goethe Eiche, the Nazis carefully preserved

the stump, which is still maintained today as part of the memorial at KZ Buchenwald. As noted by

Goethe’s secretary, during the poet’s September 1827 visit to his Eiche, Goethe stated: “I have very

often been in this spot, and as of late years I have thought…I should look down hence on the kingdoms of

the world, and their splendor.” 14 According to Klaus Neumann’s Shifting Memories: The Nazi Past in

, one could consider Weimar’s main function as providing the stage for memorializing

Goethe: “If one took ‘Goethe’ to be a shorthand symbol—that is, if ‘Goethe’ encompassed Schiller, Wieland,

Herder, Nietzsche, Bach, Liszt, and other famous writers and composers who resided in Weimar—then one

could argue that there is no Weimar without Goethe.” 15 Weimar’s citizens have erased Buchenwald from

their memory and their history, treating it as an irrelevant intermezzo. In Sustenazo, there is no Goethe

without eighteen hundred people expelled overnight from Ujazdowski Hospital, just like there is no Goethe

without the stains, shadows, and traces of the Holocaust.

JPH: You placed books by Goethe and Schiller together with German medical books published before

relationship between the medical books and German poetry?

MW: In Sustenazo, medical books and medical instruments refer to the Ujazdowski Hospital, which,

at the time of the Uprising, was the largest hospital in Warsaw and one of many hospitals that were

forcibly evacuated onto the streets of the burning city. Most of the eighteen hundred patients died

shortly thereafter. The act of “throwing out” a hospital contradicts everything a hospital ought to be:

a place where human lives are saved. Sustenazo evokes that event as a metaphor for war in general.

While German medical books were written to teach about how to save human lives,16 books by Goethe

/ A CONVERSATION WITH MONIKA WEISS

32

as well as Schiller represent the essence of German high culture and were cherished by the Nazis for that

reason. There are questions embedded in this linking of medicine and poetry —for example, we can ask

what are the circumstances that allow for a highly sophisticated, modern, and humanistic culture to give

birth to the Holocaust? Zygmunt Bauman has written that our evolving modernity is still in danger, and

at the same time it is still actively producing this danger.17 Bauman speaks of a garden as a metaphor for

modernity’s disposition to improve the world, to compose it anew, to cleanse it —much like a gardener is

getting rid of weeds in the garden. Contemporary holocausts are related to systems of oppression on a

massive scale and often result from the politics of “gardening.”

JPH: Let’s talk about your musical background because it has formed such an important part of your

earlier training and current work. I know you were exposed to music from infancy, if for no other reason,

because your mother was a concert pianist. You studied music as a child at the Warsaw School of Music in

MW: When I think of music, I also think of silence. However, John Cage reminds us that absence of sound is

never entirely possible or complete. Within my sound and video projections, silence is the punctuation that

forms the space and allows the work to breathe. I compose sound from testimonies, recitations, laments,

the environment, and musical instruments such as my own piano improvisations. I transform and layer the

recorded tracks to construct new shifting harmonies. I often work with human voices and their relationships to

language. In my recent projects, lament questions language. My work focuses on the moment when language

that all my work is musical. For example, I merge disparate narratives together into a polyphonic composition.

JPH: You composed the video and sound as three distinctive parts in the tradition of classical music. Why,

where, and when did you choose the speakers and singers?

MW: In the oldest archaic examples of lament, the encounter between the world of the living and the world of

the dead is performed as a dialogue either between two beings, one present and one absent, or between two

antiphonal groups of mourners. In the traditions of lament, the address (an opening) would be followed

address. I employ this ternary form in German speakers read several passages

from Goethe’s Faust II and from Paul Celan’s Schneepart. In Sustenazo, Celan, whose poetry was

burned by German Nazis, represents the opposite symbolism to that of Goethe.

33

During my artist residency in Berlin (2009), I invited a group of Germans to slowly recite passages

from Faust II. Later that year, during my residency at the Centre for Contemporary Art Ujazdowski

Castle, I recorded the voice of a survivor of the Ujazdowski Hospital’s expulsion, who at the time of the

Uprising was a teenage nurse. Her elderly and fragile voice is heard in Part I of the video, as it overlaps

voice represents a “sonic stain,” a trace that cannot be erased. For Part II of the video, I recorded a

countertenor whom I asked to sing short fragments of laments—formal compositions that exist in

classical music—however without any accompaniment. Later, I digitally cut single notes and words,

even syllables, and moved them around, creating a sense of language and melody that disintegrates into

indecipherable sound, becoming lament.18

JPH: You have told me that you have been drawing for as long as you can remember. Aside from

your independent drawings, you have often incorporated drawing as an element of your videos and

performances. For example, in Phlegethon-Milczenie and Leukos-Early Morning Light

Sustenazo Sustenazo?

MW: Traces left on top of the book pages in Sustenazo connote another layer of meaning that interrupts

or veils already existing meanings and past histories contained in the books. The stains were made by

spitting the ink out of my mouth onto the book pages. The lines were drawn by my lying down on top of

the books. Both types of drawn marks appear in the video, where my white-gloved hand smashes a chunk

of charcoal, slowly covering a map of Europe with a dark cloud of ashes. The map gradually changes into

a black and white photograph taken from a 1930s German medical book, showing a woman’s chest,

her skin covered by a doctor’s drawing, presumably in preparation for surgery. (See video still 16) Open

rubble. Alongside the medical books are works of Goethe and Schiller published in the nineteenth and

early twentieth centuries. Syringes, ampoules with surgical threads, and a nurse’s cap are also scattered

around. Some of the books and medical instruments are placed in the vitrine, where they may be viewed

up-close. There are two kinds of stains in Sustenazo. The Polish voice in the sound composition represents

symbolize traces of history that cannot be erased. Goethe’s voice, and by extension the voice of culture,

can no longer exist without this other voice—the voice of the people who were damaged by their abrupt

encounter with power.

NOTES / A CONVERSATION WITH MONIKA WEISS

34

The artist has provided the historical accounts in the endnotes and has cited authoritative sources for those interested in

1

the Trust for Mutual Understanding in New York.

2 The 1939 Invasion of Poland, also known as the September Campaign or Polenfeldzug, was an invasion of Poland by

Germany, the Soviet Union, and a small Slovak contingent. This invasion marked the beginning of World War II in Europe.

ust 23), while the Soviet invasion commenced on September 17, 1939 following the Molotov-Togo agreement between

Germany and Japan (September 16). The campaign ended on October 6, 1939 with Germany and the Soviet Union

Soviet Union and Germany agreed to divide the Baltic countries and Poland along the Narew, Vistula, and San rivers.

Polish forces prepared for a long defense and awaited expected support and relief from France and the United Kingdom.

The two countries had pacts with Poland and had declared war on Germany on September 3, but ultimately their aid to

never formally surrendered. For further reading, see Norman Davies,

(Oxford/New York: Oxford University Press, 2001).

3 was created

in 1920 under the Treaty of Versailles, and its buildings were considered extraterritorial Polish property.

4 Sachsenhausen-Oranienburg was a German concentration camp used primarily for political prisoners from 1936 to

and pneumonia. Many were executed or died as the result of brutal medical experimentation. An article published on

December 13, 2001 in the stated: “In the early years of the war, the SS practiced methods of mass

killing there that were later used in the Nazi death camps.” In 1948 the site of the former German Sachsenhausen-

Oranienburg concentration camp became the Soviet “Special Camp No. 1,” the largest of the three Soviet internment

camps in the Soviet Occupation Zone. Since my gradfather’s death in KZ Sachsenhausen-Oranienburg (1940), mass

graves have been discovered near Sachsenhausen concentration camp. The dead were estimated at twelve thousand. For

further references, see the archives of the Memorial and Museum Sachsenhausen: http://www.stiftung-bg.de/gums/en/

index.htm

5

the war. The reason is simple: publicizing the events of August and September 1944 was in nobody’s interest during the

Communist era. For the ruling regime in Poland, it was a direct attack on their legitimacy. The struggle has been largely

the brutal reprisals against civilians in the city was tried at Nuremberg. In fact, the events of August and September

1944 were barely mentioned, for fear of roiling the tense relationship with Moscow.” Andrew Curry,

Hope and Betrayal, in World War II Magazine, 2012 on http://www.historynet.com/warsaw-rising-hope-and-

betrayal.htm

6 Kosciuszko broadcasted an appeal to Warsaw residents imploring

encyklopedia/powstanie_warszawskie/?q=Moskwa

7 Historians have concluded that Stalin tactically halted his forces to let the city of Warsaw be crushed. Churchill

35

NOTES / A CONVERSATION WITH MONIKA WEISS

Force under British High Command. Later, after gaining Soviet air clearance, the U.S. Army Air Force sent one high-level

mass airdrop as part of Operation Frantic. Also see Davies,

8 Most people who walk through the streets of Warsaw today do not realize that almost every building they see was

newly built or reconstructed after the war. The notion of a simulacrum comes to mind, especially with regard to the Old

Town of Warsaw, which was rebuilt brick by brick, replicating the former city based on preserved prewar architectural

drawings.

9 For further discussion, see Saskia Sassen, Territory, Authority, Rights (Princeton, N.J.: Princeton University Press,

2006).

10 the prisoners

in concentration camps were evacuated to camps further from enemy lines. One such ‘death march’ began in Gruenberg

(Zielona Góra).” See Daniel Jonah Goldhagen,

(New York: Alfred A. Knopf, 1996), p. 333.

11 Judith Butler, (London/New York: Verso, 2004), p. 22.

12 Johann Wolfgang von Goethe, 1832, trans. Stuart Atkins (Princeton, N.J.:

Princeton University Press, 1984), p. 305.

13 Buchenwald concentration camp was built in 1937 following Sachsenhausen and Dachau. Originally proposed by

religious and political prisoners, criminals, homosexuals, and prisoners of war—worked primarily as forced labor in local

armament factories. From 1945 to 1950 the camp was used by the Soviet occupation authorities as an internment

240,000 prisoners.

14 Johann Peter Eckermann, Gesprache mit Goethe in den letzen Jahren seines Lebens, ed. Fritz Bergemann

(Frankfurt: Insel, 1955), as quoted in Klaus Neumann, Ann

Arbor: University of Michigan Press, 2000), p. 179.

15 Klaus Neumann, (Ann Arbor: University of Michigan Press,

2000), p. 180.

16 In the aftermath of World War II, the medical experiments executed on camp prisoners by German doctors in

concentration camps and in labor camps have negatively impacted our thinking about the modern science of medicine.

17 See Zygmunt Bauman, Modernity and the Holocaust (Ithaca, N.Y.: Cornell University Press, 1989).

18 Etymologically, the word lament derives from Greek leros – “nonsense.” (C. &

36

Lamento y lugar para la memoria: Sustenazo (Lament II), de Monika Weiss

Adriana Valdés

“!ere is a delicate empiricism which so intimately involves itself with the object that it becomes true theory”

(Goethe)1

I

se superpone a sí misma lenta y obstinadamente, haciendo los

una y otra y otra vez sobre sí mismo. Tocar el cuerpo, anudar y

desanudar, cubrir y descubrir, en una pureza espartana de los

por el dolor busca — —

de Goethe va siendo interferida por otra voz, cascada y

superpuesta. Es la del relato de una sobreviviente de los hechos

de Varsovia, 1944. Un tiempo —el de la poesía—

intemporal, deslocalizado y nítido, va recibiendo el impacto de

herido y confuso, el de una historia particular, local, con fechas,

37

II

tiempo y el destiempo, la consonancia y la disonancia. Muchos

y otros van, vuelven, reaparecen, se pierden una y otra vez.

A la vista, unas manos enguantadas, profesionales, realizan

—

materializan en el espacio frente a la proyección del video —con

las de antiguas escrituras difícilmente descifrables, donde

mucho tiempo, algunos con las marcas para operaciones

y lentos, hacen sus propias operaciones, con un instrumental

de la instalación. Hurgan, pero también acarician, recorren.

modo de la interferencia.

III

El rostro otra vez, pero ahora de frente, y cubierto por las

un espacio mental íntimo, el del duelo. Pero muchas voces

resuenan en ese espacio interior, muchas, superponiéndose

nuevo, son textos de Goethe, leídos por varias personas de

inarticulados, a la manera del lamento.

/ ADRIANA VALDÉS

38

IV

inteligencia artística se hace y se descubre a sí misma mediante

La descripción minuciosa de las operaciones de una obra es a la

vez una exploración de sus posibles sentidos.

Sustenazo II surge de hechos sucedidos en otra geografía,

en Varsovia, Polonia, y en otro tiempo, los últimos años de la

Segunda Guerra Mundial. Sin embargo, sus gestos resultan

muy próximos, y sus operaciones, reconocibles. El dolor

memoria, en Santiago de Chile, empalma en esta obra con

la pérdida nos acompañan desde los inicios de nuestra cultura.

Recuperarlos es apelar a una experiencia común, más allá de los

distintos lugares y fechas. Es ahondar en ella —

dimensiones del duelo propio—.

V

El dolor, en esta obra, es obstinadamente femenino, y se

expresa, tanto al oído como a la vista, en las formas del lamento.

Sustenazo es palabra griega: lamento, gemido, sonido indistinto

cuerpo y el de la mente entran en una densa convergencia. El

lamento es a la vez manifestación y silencio. Se produce ante

una mudez —la de la ausencia, la de la muerte—

es, como género musical, un lamento intemporal, hecho de

otras.

39

es tratado como una amenaza para la polis: no debe contaminar la

ciudad.2 Como conducta, dice Platón, el lamento es indigno de un

hombre.3 Al varón, al ciudadano, le cabe la expresión articulada en

palabras —en el ágora—

VI

De cultura en cultura, sin embargo, el lamento se niega a

desaparecer. Desde muy antiguo existen los más diversos espacios

dedicados a suscitar, a convocar colectivamente, de alguna manera,

la mudez de las ausencias, el dolor de los cuerpos, los rituales de

un apego brutalmente interrumpido. Locus memoriae, machina

memorialis...4

extremos5

en carne propia la pérdida de un otro, el corte de los vínculos, la

desposesión de su propio ser ante la ausencia de otro. Por eso, esta

machina memorialis construida por Monika Weiss piensa el lamento

en términos no sólo conmovedores, sino también sorprendentes.

trae esta obra invita a pensar de manera más contemporánea el

es imprevisible.6 Este proceso se vive en el fuero interno, con

poéticamente en escena esboza una historia y una comunidad

pensar,7capaces de incorporar —y no de segregar—

estado siempre ausentes: las víctimas y los vencidos.

1

Selected Writings, vol. 2: 1927-1934, ed. Michael

W. Jennings (Cambridge, Mass.: Belknap Press/

Discursos interrumpidos I

2 Nicole Loraux, Madres en duelo, trad. Ana

3 Loraux, Madres en duelo de

Platón,

4 Mary Carruthers, Machina memorialis,

Meditazione, retorica e costruzioni delle immagini

(400-1200)

The Craft of

Thought [Cambridge: Cambridge University

5 Extreme

Bodies: The Use and Abuse of the Body in Art

6 sufrir

Vida precaria. El poder del

duelo y la violencia,

7

Butler, Vida precaria, pp. 48–49

/ ADRIANA VALDÉS

40

I

Two time sequences, if not more. They interfere, almost merge,

separate, all but merge again. They are and yet are not the same

the movements a woman’s body makes as, eyes closed, inwardly,

she feels the shock of a deep grief that returns upon itself time

and again. Touching her body, tying and untying, covering and

uncovering, in a spartan purity of gesture. Two time sequences,

if not more, in which the body with its interference of sorrow

seeks, eyes closed, for who can say what impossible lucidity, what

unattainable comfort. This is what we see.

What we hear is a classically pure, clear voice reading poems by

Goethe, but overlaid by the interference of a broken voice that

tells the story of a survivor of the events of 1944 in Warsaw. A

time sequence, that of poetry, purportedly clear, beyond time or

place, receives the shock of a different one which confounds that

clarity, contaminates it with another sequence which is more

wounded and confused, that of a particular history in a time and

Lamentation and the Locus of Memory: Monika Weiss´s Sustenazo (Lament II)

Adriana Valdés

“!ere is a delicate empiricism which so intimately involves itself with the object that it becomes true theory”

(Goethe)1

41

II

In the second part, it is the music that both establishes and

disrupts the time sequence, creates the consonance and the

dissonance. Numerous laments (the lament is a musical genre)

become a single sound in which sequences and tones are

confounded, in which one after another they depart, return, and

reappear only to vanish again and again.

We see deft, gloved hands carrying out operations upon a

background where images of old medical textbooks—like the ones

that materialize in the space in front of the video projection—

merge with those of old writings, not easy to decipher, in which

human torsos photographed long ago, some of them marked up

for surgery. The movements of the gloved hands, slow and careful,

perform their own operations with old-fashioned instruments

that are also physically present in the installation space. They

delve but also caress, explore. In the images, once again, time

sequences are overlaid and then divide upon one another,

returning to coexist as interference.

III

The face again, but from the front now, hands covering it. The eyes,

is an inward one, in a private mental space, that of mourning. Yet

there are many voices reverberating in this inward space, many,

overlaying one another, even if they sometimes seem to be saying

the same thing. They are texts of Goethe’s once again, read by

several German voices and setting up a mutual interference until

they become inarticulate, in the way a lament does.

42

IV

In art, “form” and “content” are indistinguishable: the artistic

intelligence fashions and discovers itself through the materials

it chooses and the operations it carries out with them. A minute

description of the operations in a work is also an exploration of its

possible meanings.

arose out of events from a different

geography, Warsaw in Poland, and a different time, the closing years

of the Second World War. Yet its gestures come home to us and its

operations are recognizable. The suffering of our own history, the

history shown here in this museum of memory in Santiago, Chile,

connects in this work with much older sufferings: we are reminded

that the gestures of loss have been with us since the beginnings of our

culture. In summoning them, we draw upon a common experience,

not constrained by places and dates. We explore this experience—

and with it, we may hope, the dimensions of our own grief.

V

The suffering in this work is obstinately feminine, and it is expressed,

both to the ear and to the eye, in the forms of the lament. Sustenazo

is a Greek word: lamentation, groans, the indistinct sound that comes

from a group of mourners, predating articulate speech, situated in

that traumatic place where the pain of the body and the pain of the

mind come together in a dense convergence. Lamentation is at once

expression and silence. It occurs in the presence of a muteness—that

of absence, that of death—which resists any kind of articulation or

interpretation. What we hear is a genre of music, a timeless lament

made up of a number of others that combine to create interference,

as the voices also do. What we see is a body closed in upon itself,

invaded by outside voices that reverberate and cancel out.

In ancient Athens, the inarticulate excess of women’s grief was

treated as a threat to the polis: it must not be allowed to pollute the

43

/ ADRIANA VALDÉS

1 The quotation from Johann Wolfgang von Goethe

is cited in Walter Benjamin,

in Benjamin, Selected Writings,

vol. 2: 1927-1934, ed. Michael W. Jennings

(Cambridge, Mass.: Belknap Press/Harvard

University Press, 1999), p. 520. The Spanish

translation reads: “There is a delicacy of experience

becomes theory.” See Walter Benjamin, Discursos

interrumpidos I (Madrid: Taurus, 1973), p. 77.

I prefer “empiricism” in this case to the word

“experience” used in the Spanish: it is a method of

description I aspire to . . . from afar.

2 Nicole Loraux, Madres en duelo, trans. Ana

Iriarte (Madrid: Abada Editores, 2004), p. 34.

3 Loraux, Madres en duelo, p. 17 (cited from

Plato, Republica, III, 395 E. Arquiloco, fr. 13

West).

4 Mary Carruthers, Machina memorialis,

Meditazione, retorica e costruzioni delle

(Pisa: Edizione della

Normale, 2006) (original English edition, The

Craft of Thought [Cambridge: Cambridge

University Press, 1998]): “Il luogo - insegna

Alberto Magno - aquello che l’anima construisce in

se per conservare l’immagine.” p. 18.

5 See Francesca Alfano Miglietti (FAM), Extreme

Bodies: The Use and Abuse of the Body in Art

(Milan: Skira, 2003).

6 “Mourning has to do with agreeing to undergo a

transformation the full result of which you cannot

know in advance.” Judith Butler,

in Undoing

Gender

7 Many think that grief is privatizing, that it returns

us to a solitary situation, but I think it exposes the

constitutive sociality of the self, a basis for thinking

a political community of a complex order.” Butler,

” p. 19.

city.2 As a form of conduct, says Plato, lamentation is unworthy of

a man.3 Articulate expression in words—in the agora—and martial

excluded from citizenship in Athens.)

VI

From culture to culture, however, the lament refuses to disappear.

Since very ancient times, the most diverse spaces have been

dedicated to the evocation, the collective summoning up, in

some way, of the muteness of absences, the pain of bodies, the

rituals of an attachment brutally cut short. Locus memoriae,

machina memorialis . . .4

Today’s artists, who dwell so much on extreme bodies,5 rarely

think about the body that experiences in the flesh the loss of some

other, the breaking of ties, the dispossession of its own being by

another’s absence. That is why the approach to lamentation in

this machina memorialis constructed by Monika Weiss is not

only moving, but surprising too.

Far removed from the political censorship imposed upon it

by the Athenians, far removed too from any grief that begins

and ends in itself, the lamentation which this work brings to

us is an invitation to consider the mourning process in a more

contemporary way: as a transformation whose ultimate result

is unknowable.6 This process is experienced by the inner self,

and social dimensions. The suffering poetically presented by

Monika Weiss shows the lineaments of a history and a political

community that are far more complex and demanding than is

usually thought,7 and that are capable of incorporating, rather

than segregating, those who have been perennially absent: the

victims and the defeated.

44

Fotogramas / Video Stills

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

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SELECCIÓN DE DATOS BIOGRÁFICOS DE LA ARTISTA /

SELECCIÓN DE EXPOSICIONES INDIVIDUALES

2012 Monika Weiss: Shrouds,

Monika Weiss & Alan Sondheim: Enunciation, Centro de Arte y Tecnología EYEBEAM,

Nueva York, EUA

2010 Monika Weiss: Sustenazo,

Varsovia, Polonia

Monika Weiss: Sustenazo (Lament II), Temporary Art Zone TAZ, Potsdam, Alemania

2009 Expulsion, Concentart, Berlín, Alemania

2008 Monika Weiss – Marginalia, Galerie Samuel Lallouz, Montreal, Quebec, Canadá

2006 Drawing Lethe,

2005 Lehman College Art Gallery, Universidad de la Ciudad de

Nueva York, Nueva York, EUA

Monika Weiss: Leukos—Early Morning Light, Remy Toledo Gallery, Nueva York, EUA

Phlegethon-Milczenie, Inter-Galerie, Potsdam, Alemania

2004 Monika Weiss: Vessels, Museo de Arte de Chelsea, Nueva York, EUA

Monika Weiss: Intervals

Remy Toledo Gallery, Nueva York, EUA

2002 Ennoia, Diapason Gallery, Nueva York, EUA

1998 Koiman, Space 1081, Atlanta, Georgia, EUA

1996 Saint Sebastian from Atlanta, Centro de Arte Contemporáneo Nexus, Atlanta,

Georgia, EUA

1993 Monika Weiss en Christian Caburet

1990 Monika Weiss, Galerie Joanna Vermeer, París, Francia

1989 Monika Weiss,

SELECCIÓN DE EXPOSICIONES GRUPALES

2012 A John Cage Centennial Tribute, Streaming Museum, Nueva York, EUA

2010 The Sixth Borough, No Longer Empty y Governors Island, Nueva York, EUA

2009 The Prisoner’s Dilemma,

Basel, Miami, EUA

Opening, Museo Montanelli, Praga, República Checa

2008 Frauen bei Olympia, Frauenmuseum, Bonn, Alemania

Galería Nacional de Arte Contemporáneo, Opole, Polonia

Wa(h)re Kunst, Concentart, Berlín, Alemania

www.women, Headbones Gallery, Toronto, Canadá

2007 You Won’t Feel a Thing, Instituto de Arte Wyspa, , Polonia y Kunsthaus

Dresden, Alemania

Loneliness and Melancholy,

Connecticut, EUA

67

POZA: On the Polishness of Polish Contemporary Art, Real Art Ways, Hartford,

Connecticut, EUA

Cornice, Feria Internacional de Arte, con Federica Marangoni, concurrentemente con

La Biennale di Venezia, Italia

2006 Fundación de Arte

Von der Abwesenheit des Lagers, Kunsthaus Dresden, Alemania

Codes of Culture: Video Art from Seven Continents, ArteBA, Buenos Aires, Argentina

Moment by Moment: Meditations of the Hand, Museo de Arte de Dakota del Norte,

Grand Forks, EUA

Spirit of Discovery, Fundação para as Artes, Ciências e Tecnologias - Observatório

Portugal

Polyphony of Images, Consulado General de Polonia, Nueva York, EUA

2005 DIVA Feria de Video y Arte Digital, Nueva York, EUA

Guess Who’s Coming to Dinner, Remy Toledo Gallery y AIR Gallery, Nueva York, EUA

2004 Video Artists in Dialogue, Hudson Valley Center for Contemporary Art, Peekskill, EUA

2003 OHM 2, a performance in frequency, El Museo del Barrio, Nueva York, EUA

The Sonic Self, Museo de Arte de Chelsea, Nueva York, EUA

SELECCIÓN DE MONOGRAFÍAS

Lehman College Art Gallery, Universidad de la Ciudad de

Nueva York, 2007

Monika Weiss: Intervals, Museo de Arte de Chelsea, Nueva York, 2004

SELECCIÓN DE PUBLICACIONES

and the Technology of Transformation. Universidad de Aveiro, Portugal, 2011, pp. 274–278.

Springer Viena/Nueva York, 2009,

pp. 310–314.

Homo Ludens Ludens. LABoral Centro de Arte y

,

Intellect. Bristol, Inglaterra, 2006, pp. 79–88.

SELECCIÓN DE BECAS Y RESIDENCIAS

2010 Artista residente, YADDO, Saratoga Springs, Nueva York, EUA

2009 Beca de investigación, Fundación de Nueva York para las Artes, Nueva York, EUA

2009 Laboratorio A-I-R, Artistas en residencia, Centro de Arte Contemporáneo del

2007 Artista visitante, Universidad de Loughborough, Loughborough, Inglaterra

2006 Beca para la realización de obra por encargo, World Financial Center Winter Garden,

68

Nueva York, EUA

2005 Artista residente, YADDO, Saratoga Springs, Nueva York, EUA

2002/ Artista residente, Experimental Intermedia Foundation, Nueva York, EUA

2005

2002 Artista residente, Escuela del Art Institute de Chicago, Illinois, EUA

1996 Beca de investigación, Universidad Estatal de Georgia, Atlanta, EUA

1996 Artista residente, Departamento de Asuntos Culturales, Ciudad de Savannah,

Georgia, EUA

SELECCIÓN DE COLECCIONES PÚBLICAS

Museo Albertina, Viena, Austria

Hudson Valley Center for Contemporary Art, Peekskill, Nueva York, EUA

Lehman College Art Gallery, Universidad de la Ciudad de Nueva York, EUA

Real Art Ways, Hartford, Connecticut, EUA

Colección Enid McKenna Soifer, Nueva York, EUA

La artista se desempeña actualmente como profesora en Sam Fox School of Design & Visual Arts,

Washington University en St. Louis, Missouri. La representa Galerie Samuel Lallouz, Montreal.

69

ARTIST S SELECTED BIOGRAPHY /

1964

SELECTED INDIVIDUAL EXHIBITIONS

2012 Monika Weiss: Shrouds,

Monika Weiss & Alan Sondheim: Enunciation, EYEBEAM Art & Technology Center,

2010 Monika Weiss: Sustenazo,

Monika Weiss: Sustenazo (Lament II), Temporary Art Zone TAZ, Potsdam, Germany

2009 Expulsion, Concentart, Berlin, Germany

2008 Monika Weiss – Marginalia, Galerie Samuel Lallouz, Montréal, Quebec, Canada

2006 Drawing Lethe,

2005

Monika Weiss: Leukos—Early Morning Light,

Phlegethon-Milczenie, Inter-Galerie, Potsdam, Germany

2004 Monika Weiss: Vessels,

Monika Weiss: Intervals

2002 Ennoia,

1998 Koiman, Space 1081, Atlanta, Georgia, USA

1996 Saint Sebastian from Atlanta, Nexus Contemporary Art Center, Atlanta, Georgia,

USA

1993 Monika Weiss en Christian Caburet, Galerie BMB, Amsterdam, The Netherlands

1990 Monika Weiss, Galerie Joanna Vermeer, Paris, France

1989 Monika Weiss, Galerie Laurent A. Daane, Amsterdam, The Netherlands

SELECTED GROUP EXHIBITIONS

2012 A John Cage Centennial Tribute,

2010 The Sixth Borough,

2009 The Prisoner’s Dilemm

Basel, Miami, USA

Opening, Museum Montanelli, Prague, Czech Republic

2008 Frauen bei Olympia, FrauenMuseum, Bonn, Germany

National Gallery of Contemporary Art, Opole, Poland

Wa(h)re Kunst, Concentart, Berlin, Germany

www.women, Headbones Gallery, Toronto, Canada

2007 You Won’t Feel a Thing, Wyspa Institute of Art, Gdansk, Poland and Kunsthaus

Dresden, Germany

Loneliness and Melancholy,

70

Connecticut, USA

POZA: On the Polishness of Polish Contemporary Art, Real Art Ways, Hartford,

Connecticut, USA

Cornice Art Fair,

Venezia, Italy

2006 Cisneros

Von der Abwesenheit des Lagers, Kunsthaus Dresden, Germany

Codes of Culture: Video Art from Seven Continents, ArteBA, Buenos Aires,

Argentina

Moment by Moment: Meditations of the Hand, North Dakota Museum of Art,

Grand Forks, USA

Spirit of Discovery, Arts, Sciences and Technology Foundation – Observatory,

Trancoso, Portugal

Polyphony of Images,

2005 DIVA Video and Digital Art Fair,

Guess Who’s Coming to Dinner,

USA

2004 Video Artists in Dialogue, Hudson Valley Center for Contemporary Art, Peekskill,

USA

2003 OHM 2, a performance in frequency,

The Sonic Self,

SELECTED MONOGRAPHS

Monika Weiss: Intervals,

SELECTED ARTIST’S WRITINGS

the Technology of Transformation. Universidade de Aveiro, Portugal, 2011, pp. 274–278.

310–314.

Homo Ludens Ludens. LABoral Centro de Arte y

Intellect.

Bristol, England, 2006, pp. 79–88.

SELECTED GRANTS AND RESIDENCIES

71

2007 Visiting Artist, Loughborough University, Loughborough, England

2005

2002 Artist in Residence, School of the Art Institute of Chicago, Illinois, USA

1996 Artist in Residence, Department of Cultural Affairs, City of Savannah, Georgia, USA

SELECTED PUBLIC COLLECTIONS

Albertina Museum, Vienna, Austria

Real Art Ways, Hartford, Connecticut, USA

The artist is currently professor at the Sam Fox School of Design & Visual Arts, Washington University

in St. Louis, Missouri. Represented by Galerie Samuel Lallouz, Montréal.

72

COLABORADORES /

JULIA P. HERZBERG

arte latinoamericano, obtuvo su doctorado en el Centro de Graduados de la Universidad de la Ciudad de

Nueva York, en 1998. El tema de su tesis fue Ana Mendieta. Actualmente se desempeña como curadora

Iván Navarro: Fluorescent Light Sculptures

Magdalena Fernández: 2iPH009 Navjot Altaf: Lacuna in Testimony Nela Ochoa:

DNA and Art

La Dra. Herzberg se desempeñó también como curadora consultante en la 8a, 9a y 10a bienales de

La Habana, y como curadora de

otras exposiciones.

La Dra. Herzberg ha disertado y publicado ampliamente en Estados Unidos, América Latina y Europa, y ha

consultante y corresponsal de Arte al Día International

ADRIANA VALDÉS

Adriana Valdés es escritora. Ha publicado los siguientes libros: De ángeles y ninfas - Conjeturas sobre la

imagen en Warburg y Benjamin Enrique Lihn: vistas parciales

Memorias

visuales - arte contemporáneo en Chile Studies on Happiness / Estudios

sobre la Felicidad Composición

de lugar - escritos sobre cultura

Señoras del buen morir

Ha editado y prologado los libros siguientes: Alfredo Jaar: La política de las imágenes

Enrique Lihn, Escritos sobre arte

Jaar/ SCL/2006

73

Dislocación - Cultural Location and Identity in Times of

Globalization

Mujeres chilenas – fragmentos de una

historia

del arte en la Universidad de Chile.

MARÍA JOSÉ BUNSTER

María José Bunster es actualmente la Coordinadora General del Museo de la Memoria y los Derechos

Humanos; está a cargo de la exposición permanente y de las exposiciones temporales del museo.

acercarse a lo ocurrido en Chile durante la dictadura militar, entre el 11 de septiembre de 1973 y el 11

de marzo de 1990. Asimismo, a través de exposiciones temporales de diferentes artistas nacionales

intenta abrir un diálogo, poner en tensión e interpelar la exposición permanente, para establecer nuevas

COLLABORATORS /

JULIA P. HERZBERG

Julia P. Herzberg, art historian and curator of contemporary art with a focus on Latin American art, received her

Ph.D. from The Graduate Center, City University, New York in 1998. She wrote her dissertation on Ana Mendieta.

She is currently adjunct curator at the Patricia and Phillip Frost Art Museum, Florida International University,

Miami, Florida (2008-), where she organized Iván Navarro: Fluorescent Light Sculptures

Magdalena Fernández: 2iPH009 and Nela Ochoa:

DNA and Art (2009).

Histories: Aspects of Contemporary Art in Chile since 1982 (co-organized by the Center for Latino Arts and

United Nations, 1993-1995), among many other exhibitions.

As a U.S. Fulbright Scholar (2012–2013), she will teach at the Universidad Diego Portales and work on a

curatorial project at the Museo de la Memoria y Derechos Humanos in Santiago, Chile from March through May

2013. As a Fulbright Senior Specialist (2007–2011), she was a Visiting Professor in the Master’s Program, School

Dr. Herzberg has lectured and published extensively in the United States, Latin America, and Europe, and was a

74

the invitation of the Council for Cultural Affairs in Taipei, Taiwan (Oct. 2009). She is a consulting and contributing

editor for Arte al Día International. She lives and works in New York.

ADRIANA VALDÉS

Adriana Valdés is a writer. She has published the following books:

(Santiago:

Memorias visuales –

arte contemporáneo en Chile Studies on Happiness / Estudios sobre la

Felicidad Composición de lugar

– escritos sobre cultura (Santiago: Editorial Universitaria, 1996). She has also published a book of poetry,

Señoras del buen morir (Santiago: Editorial Orjikh, 2011).

She has edited and written the prologue for the following books: Alfredo Jaar: La política de las imágenes

sobre arte Jaar/ SCL/2006 (Barcelona:

Some of her more recently published or reprinted essays on art are:

in Alfredo Jaar, The Way It Is. An Aesthetics of Resistance (Berlin: Neue Gesellschaft für Bildende Kunst

Dislocación

– Cultural Location and Identity in Times of Globalization, ed. Ingrid Wildi Merino and Kathleen Bühler

el 2010),” in Sonia Montecino Aguirre, compiler, (Santiago:

Catalonia, 2008), pp. 329–342.

Adriana Valdés lives and works in Santiago de Chile. She is currently Vice-chairperson in the Academia Chilena de

la Lengua (Chilean Academy of Letters) and guest lecturer in the University of Chile’s Ph.D. program in Aesthetics

and Theory of Art.

MARÍA JOSÉ BUNSTER

María José Bunster, the General Coordinator for the Museo de la Memoria y los Derechos Humanos, is in charge

of the museum’s permanent and temporary exhibitions. Her responsibilities include presenting photographs,

documents, and objects belonging to the museum’s different collections, adopting varied curatorial approaches

and perspectives, so that the viewers may connect with the events that occurred in Chile during the military

dictatorship from September 11, 1973 to March 11, 1990. In addition, Mrs. Bunster coordinates temporary

exhibits of national and international artists dealing with issues concerning human rights and memory, all aimed at

creating a dynamic dialogue that looks critically at the permanent exhibition, in an attempt to elicit new insights

and readings from a contemporary art point of view.

Mrs. Bunster studied Art History and Theory at the Universidad de Chile, and was the Executive Director of the

Museo de Artes Visuales -MAVI- from 2002 to 2010.

She lives and works in Santiago, Chile.

75

LISTA DE OBRAS EN LA EXPOSICIÓN /

LIST OF WORKS IN THE EXHIBITION

- Instalación de video monocanal con composición de sonido 28:24 minutos / Single- channel video installation and sound composition, 28:24 minutes

- Johann Wolfgang von Goethe, Der junge Feldjäger in französischen und englischen Diensten während des Spanisch-Portugiesischen Kriegs von 1806–1816

- Leopold von Ranke, Berlín: /Signed October

- Friedrich von Schiller, Schillers sämtliche Werke in zwölf Bänden, vol. 5

Das Glykogen und seine Beziehungen zur Zuckerkrankheit

- Friedrich von Schiller, Der Neffe als Onkel

Drawing by the artist on p. 57

- Johann Wolfgang von Goethe, Goethes ausgewählte Werke

- Friedrich von Schiller, Schillers sämtliche Werke in zwölf Bänden

- Friedrich von Schiller, Schillers sämtliche Werke in zwölf Bänden

- Friedrich von Schiller, Schillers sämtliche Werke in zwölf Bänden

- Friedrich von Schiller, Schillers sämtliche Werke in zwölf Bänden, vols. 9–10

Drawing by the artist on pp. 158–159

- Friedrich von Schiller, Schillers sämtliche Werke in zwölf Bänden, vols. 11–12

76

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Gedichte, vol. 2, ed.

artista en las pp. 84–85 / Drawing by the artist on pp. 84–85

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Gedichte, vol. 3, ed.

artista en las pp. 186–187 / Drawing by the artist on pp.186–187

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Gedichte, vol. 4, ed.

artista en las pp. 212–213 / Drawing by the artist on pp. 212–213

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. West-östlicher Divan, vol.

artista en las pp. 10–11 / Drawing by the artist on pp.10–11

- Johann Wolfgang von Goethe,

realizado por la artista en las pp. XXV–XXVII y 1–7 / Drawing by the artist on pp. XXV– XXVII and 1–7

- Johann Wolfgang von Goethe, Satiren. por la artista en las pp. 124–125 / Drawing by the artist on pp. 124–125

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Singspiele, vol. 8, ed. O.

pp. 174–175 / Drawing by the artist on pp. 174–175

- Johann Wolfgang von Goethe, Gelegenheitsdichtungen,

Drawing by the artist on pp. 70–71

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Götz von Berlichingen,

realizado por la artista en las pp. 110–111 / Drawing by the artist on pp. 110–111

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dramen in Prosa: Erwin Egmont, vol. 11, ed.

la p. 181 / Drawing by the artist on p. 181

- Johann Wolfgang von Goethe,

77

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Faust I, vol. 13, ed. Erich

82 / Drawing by the artist on p. 82

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dramatische Fragmente und Übersetzungen,

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Die Leiden des jungen

Drawing by the artist on p. 311

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Lehrjahre I, realizado por la artista en las pp. 156–157 / Drawing by the artist on pp. 156–157

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Lehrjahre II, realizado por la artista en la p. 348 / Drawing by the artist on p. 348

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Wanderjahre I,

Drawing by the artist on pp. 126–127

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Wilhelm Meisters Wanderjahre II,

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Die Wahlverwandtschaften,

Drawing by the artist on pp. 40–41

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit I,

la artista en las pp. 298–299 / Drawing by the artist on pp. 298–299

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit II,

la artista en las pp. 288–289 / Drawing by the artist on pp. 288–289

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit III, por la artista en las pp. 118–119 / Drawing by the artist on pp. 118–119

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Dichtung und Wahrheit IV,

78

- Johann Wolfgang von Goethe, vol.

artista en la p. 61 / Drawing by the artist on p. 61

- Johann Wolfgang vo¬n Goethe, Belagerung von Mainz,

Drawing by the artist on pp. 46–47

- Johann Wolfgang von Goethe, vol. 29, ed. O. Heuer

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Annalen, vol. 30, ed. O. Walzel las pp. 222–223 / Drawing by the artist on pp. 222–223

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Benvenuto Cellini I, vol.

la artista en la portada / Drawing by the artist on the cover page

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Benvenuto Cellini II, vol.

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Kunst I,

por la artista en la p. 155 / Drawing by the artist on p. 155

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Kunst II,

por la artista en la p. 204 / Drawing by the artist on p. 204

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Kunst III,

por la artista en las pp. 188–189 / Drawing by the artist on pp. 188–189

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Literatur,

artista en las pp. 126–127 / Drawing by the artist on pp. 126–127

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Literatur,

artista en la p. 169 / Drawing by the artist on p. 169

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Literatur,

artista en las pp. 188–189 / Drawing by the artist on pp. 188–189

79

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Naturwissenschaft,

Drawing by the artist on pp. 54–55

- Johann Wolfgang von Goethe, Goethes sämtliche Werke. Schriften zur Naturwissenschaft,

Drawing by the artist on pp. 162–163

- Ernst von Romberg, Lehrbuch der Krankheiten des Herzens und der Blutgefässe Drawing by the

artist on p. 320

- Alexander von Korányi, Vorlesungen über funktionelle Pathologie und Therapie der Nierenkrankheiten las pp. 156–157 / Drawing by the artist on pp. 156–157

- Giulio Luigi Sacconaghi, Die klinische Diagnose der Herzbeutel-Verwachsung. Fibrechia cordis pp. 74–75 / Drawing by the artist on pp. 74–75

- Ernst Edens, Die Krankheiten des Herzens und der GefässeDrawing by the artist

on pp. 564–565

- Ernst Ruppanner, Erinnerung an seine 25-jährige Tätigkeit am Kreisspital Oberengadin in Samaden

/ Drawing by the artist on pp. 174–175

- Thomas Mann, Der kleine Herr Friedemann

- Joseph E. A. Alexis y Wilhelm Karl Pfeiler, In Deutschland

- Johann Wolfgang von Goethe, Faust por la artista en las pp. 160–161 y 180–181 / Drawings by the artist on pp. 160– 161 and 180–181

- Johann Wolfgang von Goethe, Goethes Werke: Vollständige Ausgabe in vierzig Teilen, artista en las pp. / Drawings by the artist on pp. 686–687, 696–697, 708–709, 712–713, 772–773, 788–789, and 860–861

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- Walter Marle, Einführung in die klinische Medizin: Eine kurze Darstellung ihrer Grundbegriffe für Studierende und Ärzte. Allgemeine Pathologie: Klinische

- Walter Marle, Einführung in die klinische Medizin: Eine kurze Darstellung ihrer Grundbegriffe für Studierende und Ärzte. Innere Medizin: Neurologie, Psychiatrie,

- Carl Adolf Ernst, Praktische Anleitung zur Organisation von Fürsorgestellen

der Privatwohltätigkeit und ArbeitgeberDrawings by the artist on p. 19

- Martin Heidenhain, Plasma und Zelle: eine allgemeine Anatomie der lebendigen Masse

- Apósito de gasa para heridas, con texto impreso: / Verbangaze—Gaza Higroskopijna, alemán/polaco, c años 30 / Wound Dressing Gauze with printed text: Verbangaze— Gaza Higroskopijna, German/Polish, c. 1930s

30 / Sphygmomanometer Blood Pressure Tester, New England, c. 1930s

c. años 20 / Binaural Stethoscope with name inscribed inside Squattrito, unknown origin, c. 1920s

- Estetoscopio binaural, origen desconocido, c. años 30 / Binaural Stethoscope, unknown origin, c. 1930s

Nurse cap with hairpins, European, c. 1940s

Nurse cap, European, c. 1940s

Nurse cap, European, c. 1940s

- Apósitos de tela para protección de heridas, origen desconocido, c. años 30 / Wound protection fabric, unknown origin, c. 1930s

- Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

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- Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

- Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

- Jeringa con texto impreso: / Syringe with printed text: Thermo-Stahl—Made in Germany, Austauschbar, c. 1910–1920

- Ampolla conteniendo hilo para suturar heridas con un texto impreso: / Ampule with

CD 6, 70 cm, Starke 00, VEB CATGUT, Markneukirchen, 1546093, c. años 30 / c. 1930s

- Ampolla conteniendo hilo para suturar heridas con un texto impreso: / Ampule with

CD 6, 70 cm, Starke 00, VEB CATGUT, Markneukirchen, 1546093, c. años 30 / c. 1930s

- Ampolla conteniendo hilo para suturar heridas con un texto impreso: / Ampule with

CD 6, 70 cm, Starke 00, VEB CATGUT, Markneukirchen, 1546093, c. años 30 / c. 1930s

- Venda, alemana, c. años 30 / Bandage, German, c. 1930s

- Venda con texto impreso: Gebrauchsanweisung, alemana, c. años 30–40 / Bandage with printed text: Gebrauchsanweisung, German, c. 1930–1940s

- Venda elástica, alemana, c. años 40 / Bandage wrap, German, c. 1940s

Injektions-Kanülen, Chromnickelstahl, made by Injecta Berlin, alemana, c. años 30 /German, c. 1930s

Metal box with seven medical needles and a printed text: Stainless-Steel, made by Injecta Berlin, alemana, c. años 30 /German, c. 1930s

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La exposición y la publicación Monika Weiss: Sustenazo (Lament II) fueron posibles gracias al generoso auspicio de

Galerie Samuel Lallouz, en Montreal, Quebec, Canadá y del Sam Fox School of Design & Visual Arts, de la Universidad

The exhibition and publication

Monika Weiss: have been made possible thanks to the generous support of Galerie Samuel Lallouz

the Consejo Nacional de la Cultura y las Artes, Gobierno de Chile.

DIRECTORIO FUNDACIÓN

MUSEO DE LA MEMORIA

Y LOS DERECHOS HUMANOS

María Luisa Sepúlveda, Presidenta

María Eugenia Rojas, Secretaria

Arturo Fontaine, Tesorero

Michelle Bachelet

Gastón Gómez

Milan Ivelic

Cecilia Medina

Fernando Montes

Enrique Palet

Carlos Peña

Daniel Platovsky

Margarita Romero

Marcia Scantlebury

Agustín Squella

Carolina Tohá

DIRECTOR EJECUTIVO

MUSEO DE LA MEMORIA

Y LOS DERECHOS HUMANOS

Ricardo Brodsky

JEFES DE ÁREA

María José Bunster, Coordinación General, Museografía y Exposiciones

María Luisa Ortiz, Colecciones e Investigación

Patricia Farías, Extensión y Comunicaciones

Jo Siemon, Educación y Audiencias

Claudio Canales, Tecnología e Informática

Fanny Santander, Administración y Finanzas

EQUIPO EXPOSICIÓN

Jimena Bravo, Museógrafa

Paz Moreno Israel, Directora de Arte

Rodrigo Medel, Diseñador

Elias Fuentes, Diseñador

María Teresa Viera Gallo, Encargada Audiovisual

Alejandra Ibarra, Difusión

José Manuel Rodriguez, Audiovisual

Rodrigo Sepulveda, Productor Técnico

Verónica Sánchez, Conservadora

Eric Valencia, Jefe de Mantención

Héctor Arancibia, Mantención

Julio Meléndez, Mantención

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