E D I T O R I A L S T A T E M E N T
FROM THE EDITORS
This issue of ARTMargins revisits several moments that were formative
for the neoliberal turn in economy, 政治, and culture. We focus on
the Americas, where state-centered modernization projects in the post–
World War II period found themselves intertwined with US economic,
政治的, and cultural imperialism, as well as the rise of mass con-
sumer culture. The articles we offer address the relationship between
the crisis of capitalist development and the concurrent crisis of mod-
ernist art, questioning the shifting contours of the alliance between the
状态, 首都, and culture. Some of the artistic and cultural practices
discussed here served as conduits for a new corporate-funded vision of
national patrimony over and against the promotion of the fi ne arts,
while others utilized the infrastructure of communication, 例如
postal service, to subvert cultural norms from within, and yet others
mobilized alterity and singularity against the exclusory interpellations
of the dictatorial state.
Irene V. Small examines Carlos Vergara’s 1972–75 photographs of
the Cacique de Ramos bloco in Rio de Janeiro as “visual theorizations
of a paradigm of social organization.” She argues that Vergara’s photo-
graphs do not simply document, but rather produce, a collectivity
of “índios” that anyone can join. This collectivity is defi ned in terms of
(非)indigineity, alterity, singularity, and nonhierarchical identifi cation
that contrast as such with the repressive, disciplining, and homogeniz-
© 2018 ARTMargins and the Massachusetts Institute of Technology
土井:10.1162/ARTM_e_00215
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ing effects of the dictatorial state. In Vergara’s hands, photography
becomes a structural device that dissects, analyzes, and then renders
visible the very structure of intersubjective group identification that is
at play in Cacique de Ramos.
The Document in this issue, translated for the first time and
introduced by Small, dwells on the mode of social organization that
coalesces during carnaval. “The Equal and the Different” was written
by Brazilian anthropologist Eduardo Viveiros de Castro in 1975, 在
occasion of an unrealized exhibition of Vergara’s Cacique de Ramos
照片. His essay opens up a space for thinking about collectivity
in terms of nonhierarchical deindividualization, through what Viveiros
de Castro called “the passion of the same.”
同时, Claire Fox’s article engages with the contradictory
endeavors of José Gómez Sicre throughout the 1960s. As part of
the Pan American Union’s Division of Cultural Affairs, Gómez Sicre
produced a series of documentaries about Latin American artists that
developed what Fox calls “an extractivist gaze.” If US corporations,
some of which sponsored the production of these films, treated Latin
America as a source of raw materials, Gómez Sicre’s films apply the
logic of extractive capitalism to regional art and cultural heritage,
envisioning them as further resources ripe for foreign investment.
Colby Chamberlain offers a nuanced analysis of the media that
produced the networked structure of the international Fluxus move-
蒙特, securing the cohesion of its disparate practices. Fluxus, 占婆-
berlain argues, nurtured a particularly deep engagement with the
postal service, which facilitated the technophilic dream of a world
where borders are overcome by “cables, pipes, and wires,” yet also func-
tioned as a medium controlled by the triumvirate of the military, 这
状态, and corporate surveillance.
In this issue’s Artist Project, Alessandro Balteo-Yazbeck and Ana
Alenso’s Homeland’s Agenda: Electoral Autocracy (The Venezuelan Case,
2016), introduced by Arnaud Gerspacher, uses montage to democratize
political content. Compiling source materials from various media,
including YouTube, the Public Broadcasting Network, official news
节目, and archival sources, the work juxtaposes the utterances of
common people with those of politicians, professors, and journalists in
an equal and nonhierarchical arrangement. Animated by the accompa-
nying transcript, the images provide a variety of levels and angles—
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from close-ups of faces to long shots of protesting crowds. Throughout,
the authoritative reportorial third-person perspective is sacrificed for
the sake of the direct speech act as a mode of political subjectivization.
In the Review section, this time published in our online outlet
ARTMargins Online (www.artmargins.com), Ignacio M. Sánchez
Prado discusses two recent publications that theorize neoliberalism in
墨西哥: Sayak Valencia’s Capitalismo gore (Gore Capitalism, 2010) 和
Irmgard Emmelhainz’s La tiranía del sentido común (The Tyranny of
Common Sense, 2016). Both authors focus on the centrality of culture
in neoliberalism through a critical lens disabused of any nostalgia for
the Keynesian welfare state. As Sánchez Prado suggests, the books
draw from diverse strands of European critical theory in order to diag-
nose the specificity of neoliberal policy, 社会, and ideology in Mexico,
subjecting the effects of global capitalism to a far-reaching critique.
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