“Dignity has no nationality” and “Can you hear me?” under the same Sun

Under the Same Sun was the name of the most recent Guggenheim exhibition that explored the scope of Contemporary Art in Latin America. “Under the same Sun” also seems a very appropriate phrase to use in the title of an article that analyses the work of two artists from the lower part of the continent and the influence that the local-global binomial have had in their work.

Tania Bruguera is a Cuban contemporary artist, mostly focused on performance and conceptual art. At present time, she works between Chicago and La Havana.

Jessica Kaire is a Guatemalan contemporary artist, mostly focused on performance and conceptual art. At present time, she works between New York and Guatemala.

There is no need to point out the obvious similarities, but by looking closely at Bruguera’s and Kaire’s work -specifically at Dignity has no nationality and Can you hear me? respectively- an interesting dialogue between their discourses can be appreciated. Let’s just start by describing both pieces:

Dignity has no nationality is a public project (a collective performance?) that challenges the idea of nationality and borders. Guggenheim’s website describes Bruguera’s proposal:

“The artist and her collaborators will be stationed outside the Solomon R. Guggenheim Museum to gather signatures on postcards addressed to Pope Francis. Referring to Vatican City as a place that was “born as a conceptual nation without borders,” these cards request that the Pope grant citizenship to all immigrants as a concrete gesture of support and protection. Members of the public who are unable to visit the museum may also contribute their signatures online at dignityhasnonationality.org.”

DignityHasNoNationality

On the other hand, Can you hear me? was a series of performances and their respective video-record, in which Jessica Kaire recreates identical settings in both sides of Skype conversations she held with Guatemalan friends and family while being in New York. In her website, the Guatemalan artist explains her project as follows: “This low-tech project is an exploration of the dissolving of boundaries through new technologies. It also presents an opportunity to alter our spacial and temporal awareness.”

CanYouHearMe

Image courtesy of Jessica Kaire’s website

After this brief introduction, we can start digging deeper on these projects similarities and specificities.

First, let’s go over what these artists share: Both were born in countries with a rough political history and a significant diaspora (which somehow they are part from), both are currently based in the U.S., globalization and its influence on identity are part of both personal quest, and both embrace technological and social practices’ languages and aesthetics (petition signing and Skype conversations) to create their pieces.

As there is some common ground between both pieces, there are also differences on the way they approach to the subject matter (understood as the intersection between identity, migration, and globalization). Dignity has no Nationality tries to detach identity from its geographical and national constrains. Can you hear me? explores the role of geographical distance in preserving identity, which in this case is not necessarily a national or geographical one, but one that builds up from personal, intimate relationships.

One could say these are variations on the same theme, but while Tania’s proposes a political approach, Jessica’s offers a more ludic one. The former poses again Debord’s and Benjamin’s questions about the role of art and its possibility to promote change. The latter puts those questions aside (at least in this particular piece) and focuses on the experience, on the now.

Bruguera’s and Kaire’s selected pieces ignite several reflections regarding the nature of art, its purposes, its formats, its environment. One thing is certain; a blog post is not enough to express the understanding one can get from posing both pieces “under the same Sun.

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