Pub Date : 2019-01-15DOI: 10.5744/florida/9781683400707.003.0005
María C. Gaztambide
Chapter 4 reads Homenaje a la cursilería’s format as a potent gesture against bourgeois notions of etiquette, taste, and social practices. In a manifesto accompanying the exhibit, El Techo emphasized lo cursi (not just melodramatic flare and excessive garishness [tackiness, or kitsch when applied to an object], but also excessive sentimentality bordering on the ridiculous [schmaltz])and lo pavoso(the distasteful conduits of bad luck). The balleneros believed that these Venezuelan traits were often repressed in official discourse, particularly those intended for international circulation. Yet here the group reclaimed them as the defining parameters for its selection of materials. Indeed, Homenaje a la cursilería represented an oppositional posture against the banalities and superficiality of the country’s outwardly projected state of affairs. The recuperation and redirection of the kitsch aspects of Venezuelan culture became the basis for a critique on the partial nature of national “modernity.” At the same time, El Techo’s use of these popular behavioral traits also required it to confront and destabilize the Situationist notion of the spectacle, that numbing corpus of commodities and experiences that alienated the capitalist body from the pain of real life.
第四章将《Homenaje a la cursilería》的形式视为反对资产阶级礼仪、品味和社会实践观念的有力姿态。在伴随展览的一份声明中，El Techo强调了lo cursi(不仅仅是夸张的夸张和过度的花哨(俗气或庸俗)，还有过度的多愁善感(近乎荒谬)和lo pavoso(厄运的令人厌恶的管道)。芭蕾舞演员们认为，委内瑞拉的这些特点往往在官方话语中受到压制，尤其是那些旨在国际传播的话语。然而，在这里，该团队将它们作为材料选择的定义参数。事实上，Homenaje a la cursilería代表了一种反对该国对外投射的事务状态的平庸和肤浅的反对姿态。委内瑞拉文化中媚俗方面的恢复和重定向成为对国家“现代性”的局部性质进行批判的基础。与此同时，El Techo对这些流行行为特征的使用也要求它面对并动摇情景主义的景观概念，这种麻木的商品和经验的主体使资本主义身体与现实生活的痛苦疏远。
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Pub Date : 2019-01-15DOI: 10.5744/florida/9781683400707.003.0006
María C. Gaztambide
Chapter 5 considers the exhibition Homenaje a la necrofilia (November 1962) by artist Carlos Contramaestre (1933−96) as an extreme example of how El Techo subverted nationalized aesthetic values associated with petroleum-driven capitalism to create art that reflected the grit of contemporaneity. Through a series of twelve ephemeral assemblages created from disintegrating cattle carcasses, viscera, and blood, Contramaestre confronted death and decomposition with forceful vivid assertions of physical love. The conflation of the Freudian sexual and death drives was a direct affront against the technological utopia projected by hegemonic tendencies such as geometric-abstraction or the restrictive unanimity of (far less popular) strains of folkloric landscapes and genre scenes that circulated in Venezuela at this time.But the strategy also allowed the artist and the collective to challenge an atmosphere of political repression, torture, disappearances, and a corrosive culture of cyclical violence that accompanied a fast-tracked national project of socioeconomic modernization in the country.
第五章认为艺术家Carlos Contramaestre(1933 - 96)的展览Homenaje a la necrofilia(1962年11月)是El Techo如何颠覆与石油驱动的资本主义相关的国有化审美价值，创造反映当代勇气的艺术的一个极端例子。通过一系列由腐烂的牛尸体、内脏和血液组成的12个短暂的组合，Contramaestre以强烈而生动的肉体之爱来面对死亡和分解。弗洛伊德的性驱力和死亡驱力的合并是对霸权倾向所投射的技术乌托邦的直接冒犯，比如几何抽象或当时在委内瑞拉流传的民俗景观和流派场景的限制性一致(远不那么受欢迎)。但这一策略也允许艺术家和集体挑战政治压迫、酷刑、失踪和周期性暴力的腐蚀性文化氛围，这些氛围伴随着该国快速发展的社会经济现代化国家项目。
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Pub Date : 2019-01-15DOI: 10.5744/florida/9781683400707.003.0002
María C. Gaztambide
Chapter 1 maps how petroleum development revenue allowed Venezuelans to acquire and not produce the same type of modernity that had been created elsewhere in response to vastly different conditions. Instead functionalism and the varied genealogies of Constructivism, geometric abstraction and kinetic art in particular, became the architectural and aesthetic signposts of this elusive paradigm. Yet internal conditions limited the reach of these ideologically “neutral” international tendencies as well as of the overarching national modernization project of which they were a part. A close examination of extant texts and photographs by El Techo reveals how the group challenged the cultural establishment, exposed its political dissidence, and anchored its project in the harsh material reality of the human underbelly that fuelled the dreams of progress in Venezuela.
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Pub Date : 2019-01-15DOI: 10.5744/florida/9781683400707.003.0004
María C. Gaztambide
Chapter 3 recapitulates on the most obvious strategies through which El Techo remained rooted in the past in order to define its contemporary visual identity: the perpetuation of medieval symbolism; the adscription to old European literary models such as the kennings of ancient Anglo-Saxon, Scandinavian, and Old German literatures; and the repeated use of sources from Latin American colonial print culture. I also explore the rationale behind the name itself, el techo de la ballena (the roof of the whale). Drawing from the group’s extant documentary record, I argue that both of the elements in the double construct of “the roof” and “the whale” functioned as allegories for an accumulative practice characterized by the juxtaposition of disarticulated elements. While reminiscent of the Surrealist assemblage, El Techo carried this fundamental strategy—which Dámaso Ogaz aptly summarized as lo majamámico—to its unparalleled edge.
第三章概括了El Techo为定义其当代视觉身份而在过去扎根的最明显的策略:中世纪象征主义的延续;对古欧洲文学模式的描述，如古盎格鲁-撒克逊文学、斯堪的纳维亚文学和古德国文学的肯宁斯;以及反复使用拉丁美洲殖民地印刷文化的资料。我还探讨了这个名字背后的原理，el techo de la ballena(鲸鱼的屋顶)。根据该小组现存的文献记录，我认为“屋顶”和“鲸鱼”这两个双重结构中的元素都是一种寓言，其特征是将脱节的元素并置在一起。虽然让人想起超现实主义的集合，但El Techo采用了这种基本策略- Dámaso Ogaz恰当地将其总结为lo majamámico-to其无与伦比的优势。
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Pub Date : 2019-01-15DOI: 10.5744/florida/9781683400707.003.0003
María C. Gaztambide
Chapter 2 examines how, in the context of this imperfect panorama, Informalism represented the visual manifestation of a growing discontent with the economic conditions that spurned the “make-believe” at the core of the diatribes of the Venezuelan anthropologist Fernando Coronil and the telenovela pioneer turned political commentator José Ignacio Cabrujas. In the late eighties, they had observed that with the professionalization of the oil industry in earlier decades the wealth that it generated attained chimerical qualities in Venezuela. Such rapid development that obscured the realities of a largely agrarian nation whose modernization was artificially fed by petrodollars. Here, I borrow from GeorgesBataille’s treatises on ritualistic expenditure and his argument that economic wealth and growth governed the physical force field of all organic phenomena. I propose that by the early sixties Venezuela’s unspent energetic surplus had begun to unleash a destructive process from popular segments of the population that, it may be argued, is climaxing in present-day Chavismo. Bataille’s thinking revealed the paradox of utility, or life “beyond [the realm] of utility” as he described it: its ultimate end could only be uselessness as sovereignty was achieved only by those who consumed but did not labor.
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