[Published in CounterPunch 19 May, 2013]

Catching a glimpse of a Facebook discussion this weekend, I noticed that Sharon Smith had written a piece entitled, “Why CounterPunch Owes Women an Apology” in the online weekly SocialistWorker.org regarding Ruth Fowler’s 14 May CounterPunch piece, “Angelina Jolie Under the Knife: Of Privilege, Health Care and Tits.”  It was clear from the Facebook discussion that some members of Smith’s Facebook friends and Smith herself took offense at the word “tits.”  Then the focus of ire shifted to the assumption that the editors changed the title from Fowler’s original article which does not even mention the word “tits” (“One can almost hear them howling with laughter at their own perceived cleverness”). Once it was established that the editors did not change the article’s title and that the title was that of Fowler’s creation, the criticism was then directed at Joshua Frank for not having edited out the word ‘tits’ in the title.  The word ‘sexist’ was thrown around quite a bit and by the end of the Facebook thread, I was hooked.

I recalled reading Fowler’s piece with total agreement as this article highlights the way in which celebrity such as Jolie seems to be performing the benefit of ‘public service’ while in truth these enunciations tend to be condescending and hurtful to many.  And for those who really sit down and think about the consequences of such an ‘announcement’ by a celebrity, as Fowler clearly did, this seemingly generous and confessional act is not one that will help other women and men with cancer deal with their illness–to the contrary:  it merely dangles a carrot at millions whose reach falls short financially.  So, I read Sharon Smith’s article and in turn I reread Fowler’s piece.

To be fair, I found Fowler’s piece quite tame for I would have been far harsher.   Jolie–someone who has bought a child from Ethiopia while paradoxically representing UNICEF an organization with which I have had dealings in their cover-up of child trafficking in Haiti– behaves as if the rest of the world really cares about her life to include her medical traumas and misinformation strangely pimped out to us by the The New York Times. And certainly while I would not dispute the existence of readers of People and Hello magazines who take every minute detail of Jolie’s life with incredible weight in their lives, those who actually face imminent mortality haven’t the time for such publications.  Even in the United States where we assume healthcare to be accessible to those with policy coverage, women and men who suffer with cancer must still spend weeks or months looking for the best specialist under their healthcare plan (if they even have one), with few options left to them they then end up googling and reading up on comparative strategies for dealing with their condition, and finally they must spend hundreds of hours in waiting rooms, doctor’s surgeries and hospitals hoping to survive the ravaging of their bodies and personal existences. And let us not even dare mention those who have no healthcare coverage and are at the mercy of systemic leftovers.

Indeed, when Fowler questions what Jolie has done to deserve praise, she is spot on to point out that cancer is in the vernacular of most everyone in the United States.  Simply put, Jolie brought critique on herself by mentioning that she wanted to “bring awareness” to breast cancer without acknowledging her privilege whilst elaborating a choice she made that most people could never afford.

However there is an poignant issue of sexism which Smith elides and which certainly is not to be found within Fowler’s piece.  Sexism is rife within Jolie’s op-ed piece as she equates “femininity” to womanhood.  Since when is being a woman about “femininity”?  As if women who cannot have reconstructive surgery are somehow less women? Clearly, if anyone made this matter about “tits,” it was Jolie who in her own words equates womanhood with femininity with the ability to recuperate the “lost breasts” through a reconstruction to which so many women can never have access for purely financial and/or somatic reasons.  It seems that Smith missed this glaringly obvious point in her misplaced rage over sexism.

In the Facebook discussion as in Smith’s article there seems to be some cultural sensitivity about the word “tit.”  Could it be because Fowler hails from the UK where the word “tit” is not a “dirty word” and where this word occupies various expressions aside from this literal reference to the body?  I recall when I first moved to London hearing a friend mentioning his business going “tits-up” and in response I burst out laughing in admiration of this wonderfully poetic phrase.  Of course, the fact that my friend’s business went under was of no laughing matter to him but he still chose to use an expression that expressed what he meant.  I also still giggle whenever I hear mention of the tube station, Cockfosters.  I come from a prudish country and this is the cultural baggage I brought with me from the USA. Might Smith’s aversion to the word “tit” also originate in a very base reading of the word?   Moreover, while I am aware of sexism in the world today having seen and experienced it in my own life, I do not think that the word “tit” in the title is inappropriate given that Jolie puts gift wrapping and a bow on her experience by discussing the reconstruction of her breasts.   This begs the question, of course, that in a piece addressing breast surgery and reconstruction, how is one to avoid the word “breast,” or any number of it’s synonyms?

In wanting to ensure that Counterpunch allows for other corporeal turns of phrase in its publication I conducted a search of its past articles.  Just for the record, there are plenty of Counterpunch titles with “dick,” “penis,” and “cock” in them, just in case Smith might be interested in developing further her accusations of sexism.   Here are a few of the titles:

“What I Learned About Being a Dickhead”
“Dick the System”
“Penis Envy”
“Penis Politics”"Cock Chuggers and Cheese Curls”
“Facebook Cock Up” (ironically written by Michael Dickinson)

But let us return to the “tit” and an article written about a cultural icon who exposes her breasts in an ostensible goodwill gesture to our clueless collectivity.  Smith claims that Fowler misses the point that since Jolie’s op-ed piece was published that “the Internet has been abuzz with debate and discussion about this important subject, demonstrating that Jolie has indeed opened a much-needed conversation.”  Oh, I have read these conversations online and open up discussion it has, such as the various conjectures regarding Jolie’s medical  history (“I have not read Jolie’s entire medical history so I don’t know if she’s had not-A-OK mammograms…”) to those who reject claims of self-promotion (“Dude Angelina doesn’t have to “promote” herself”) to some attempting to figure in Jennifer Aniston (“She wanted the majority of women who are still pissed about Aniston to praise her for another reason.”)   This mediatic event has turned every person into Angelina’s BFF  and/or a medical expert with some calling for “biopies.” With such medical “expertise” chiming in on Salon.com and CNN.com message boards why not dismiss our own medical institutions and simply let us all diagnose each other while watching heavy doses of Gray’s Anatomy as we collectively melt into one mass of cyberchondria?  The hard questions about cancer need to be asked and Fowler unveiled Jolie’s performance of martyrdom for the masses because of what it fails to undertake and for the very privilege that it evidences.

What is it about Jolie’s op-ed that necessitates that we speak about cancer at all?  If it is stardom then we have had slews of celebrities in the past twenty years who have struggled with cancer from Audrey Hepburn to Farrah Fawcett.  Perhaps appendiceal and anal cancers are not as appealing to the public?  Regardless, what Jolie’s op-ed piece does signal is the need to question our ethos as a society if indeed our only motivation to speak about cancer is spurred when a Hollywood star tells us to, or when we discover that we have joined the ranks of millions of cancer patients.  For the real problem here is not Fowler’s mention of the word “tit”, but rather it is our inability as a society to embrace the reality of this and other body parts which remain categorically unprotected in a country whose class system decides who can and who cannot have proper screening, treatment and “preservation” of their femininity.

I sat down with Pierre de Meuron and Jacques Herzog (of Swiss architecture firm Herzog & de Meuron) just before the dismantling of the Serpentine Gallery’s 2012 Pavilion in Hyde Park, London.  The 2012 Serpentine Pavilion was designed by Herzog, de Meuron and Chinese artist, curator and architect, Ai Weiwei.  Due to the Chinese government’s restrictions on Weiwei’s travel since 2011, he could not be present for this interview.  

Herzog, de Meuron and I discuss the memories, smells and textures of their pavilion at the Serpentine Gallery.

Vigo: There were three of you involved in the pavilion’s creation.  What was your process for creating this project?

Herzog: This was the result of dialogue–

De Meuron:  Together with Weiwei.

226_EV_08_701_M_HdM press pageHerzog, Weiwei and de Meuron 

Herzog:   Our work is of course is based on inspiration.  Someone has an idea and it is an instant flash.  A lot is generated through a fast and dynamic ping pong–between the park, previous years, old structures, that it is impossible to do a new form, what is an English park, the lawn, et cetera.  I think this is how creative processes are. Very rarely do you have one single idea.

Vigo: Did you choose to work together or were you nominated to work together?

Herzog:  We were nominated together with Ai Weiwei too.  God nominated us.  [laughter]

Vigo:  Was there a specific role that you decided upon each individually, or with Weiwei being restricted to China did this automatically decide certain roles?

Herzog: If people are intelligent and not eager to just defend their own arguments you always automatically go for the best possible new proposal or solution. So it is very difficult to trace back what or who did exactly what or when.  Herzog and I have been working together all our lives and we have been working with Weiwei on various projects for ten years.  Otherwise it would have been impossible because over Skype you couldn’t have developed something like this unless you had previous opportunities to work together.

De Meuron:  Everyone wants to know how this came up.  Yet this perspective is a little sentimental.  We really believe that people should look at it for what it is and everyone should have their own experiences with it and not have a guideline which states what came out of what.  It is a roof over your head.  It is architecturally basic.

HdM Serpentine 6801 Press Page

Vigo: It protects you from the rain and yet is made of rain–it collects rain in its roof.  Speaking as a spectator who lives at times in countries experiencing great drought, this rain collection roof struck me as interesting.  Also this pavilion is not as bright as the previous structures and so I didn’t know how to react to your structure–it is receded into the ground, a virtual rainwater collection roof protects the underbelly, and it maintains an open format.  So, could this roof be linked to the metaphor of rain–that the roof holds onto the wet past that lingers above, that which must be saved for tomorrow’s harvest and fauna? It seems that rain paradoxically protects and yet it is also part of the structure, maintaining a fine line between past and present.   How did you envisage your piece and the reflection of memory?

 

Herzog:  Memory is more attached to interpretations of what we have done. It is not that we have thrown this ahead and then attempted to develop something after an idea. We never do this.  I don’t agree that it is dark–it was sunken in the ground It was made to surprise you–because you were used to these flashy things. You couldn’t do a twelfth and a thirteenth in the same row–you had to break the series to innovate what you do.  You cannot endlessly continue; you couldn’t continue to do this défilé de mode.  That is impossible–strictly impossible.

De Meuron: You have your own spatial experience and so if you say it was dark, maybe it is dark from the outside but as soon as you get inside, it is no longer dark.  So you are really in a different space–the spatial experience is really important. Also the acoustic–if you are outside maybe you hear the traffic and when you go inside you no longer hear the traffic.

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Vigo: Certainly it is cozy and warm in your pavilion.  In fact, in one of the events which happened one Friday nights, the pavilion functioned both as shelter but as artifice for a larger performance. There was a fake awards show wherein each attendee had each to participate with a fake identity where some had to play the role of famous persons, actors, designers, and bankers all in this space of constructed sound.  And this space served to underline the noise–we could only hear ourselves more than anything else nothing else.

De Meuron: It is like you have an invisible membrane around it that protects you from the outside without being physically there.

Vigo: Indeed.  And how did you collaborate with Ai Weiwei–did you communicate with him mostly through Skype?

Herzog:  We produced everything in our offices when we collaborate with artists. Weiwei  is a very good artist but he is also a very good architect.  As I mentionned earlier we have done other projects together which is why when we spoke on the screen he could immediately attach what we were saying somehow to something else that was not so abstract.  When he would show us something on the screen it would make sense to us. The three or four Skype contacts was enough to make us understand the project.  He is not a man of many words.

Vigo:  How did you decide upon cork as the major constructive element of the interior?

Cork landscape

Herzog:  It started two years ago so when we were contacted by a cork company to produce something using cork–door handles and what not.  Then when designing this the cork came to our mind–I think Pierre [de Meuron] came up with the idea, I don’t remember. And we decided to use it since it made sense in this context more than in another context–we know that cork can be applied in spaces but to make a landscape…  We were of course thinking of wood but course is of course even more olfactory and it has this tactile sensation.  I think it is a good example of how things are around and all of a sudden they find a place.

De Meuron: There are many factors, but in the end maybe there is just one which is more important–that you can never know.  When you develop something you look at it from all sides–I look from here and here and there.  It had to happen very fast.  You have to know that there were three or four Skype sessions, we had to have a proposal within a few weeks, then we had to bring it all through to the planning construction. The cork had to be milled and we were interested in having a direct translation of our models which were also milled digitally on milling machines with the same information. We could send them to Portugal to the mill. There was a straightforward reason we had everything constructed beforehand.

Vigo: So everything was pre-made and sent here to build on site?

Herzog:  Yes.

Vigo: And the stools were inspired by corks from wine and champagne bottles?

Herzog:  That was eventually the inspiration but we thought it also made sense to use cork for the seats.  That is a very good model.

De Meuron:  There were different factors in our decisions because cork is a natural material, it grows again (although it grows slowly), it is light and warm, it is for a temporary structure–you wouldn’t do this for two or three years however.  All of this composes the important aspects in our choices.

Vigo: You mentioned smell earlier.  I notice in my lifetime that I can link cities to memories by their smells of the streets, the food, perfumes, cleaning techniques of the urban and domestic spaces.  Were you attempting to evoke some specific memories to the site in using cork?

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Herzog:  Not specific memories but cork is a material that has a stark notion of smell. Most people sense it as something that is nice.  It is natural even if it is resultant of burning wood or burning resins that are inherent in this material.   So there is nothing really industrial or artificial in the classic sense so it is well-received by the people. I think smell is really as important  as any other sense–not more important, just as important.  It is unfortunate that in our culture the visual culture has a huge priority over other senses and it is a pity that we lose those senses.  They are being replaced by starker and starker imposing smells from the consumption industry.  They make you feel like you want to eat chicken and this is aggressive and very unfriendly and that is why I say we should fight against that.

Vigo: You can now have your car sprayed with a ‘new car smell’– [laughter]

Herzog:  But we also shouldn’t over estimate–we are not the smell architects.  But what is nice about the cork is that it is more unusual and tactile–you can feel it.  I don’t want to be a moralist but I think we should never forget who we are and what is our potential. We are more and more driven by consumption issues–you can do this, I am not saying this is bad. I personally think that it is less interesting than being freer than in the sense when you walk, Pierre, Amos [Gitai, who was sitting with us] or whomever.  You can perceive yourself in movement, or that you are being more and more driven by other impulses and influences?  If you walk on stone or on cork or on wood or on grass, there is a big difference between each. I am not saying that people don’t feel the difference any more, but they feel it less and less.  In the same way that they don’t hear any more because everything today is being more and more steered to a target. If you as a person are here, there is nothing else.  There is nothing more to say. I don’t believe in any content, any message, anything.  That is ultimately the point. There is nothing.

During the Serpentine Gallery’s Memory Marathon, I conducted an interview with the artistic duo, Gilbert and George. Moments before they had just finished presenting The Singing Sculpture which encapsulates for them the past, present and future.  Here is our discussion on memory and art.

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George, Gilbert and Hans-Ulrich Obrist at the Serpentine Gallery

 

Vigo: I wanted to ask you about this connection between memory and art.  Various theorists have discussed how memory is a combination of the past and present, that memory impedes us from forgiveness, and various other theories. But now that we can record memory digitally, there is a sense of immediacy that by the time a work of art is produced by tomorrow it becomes already something else.  How does your installation ‘London Pictures’ address this notion that what is news today is forgotten by next week?

Gilbert: But we don’t believe in that.  Every picture is still there, nothing disappears, it becomes more visible.  It depends how you do it.

George: We still  have Shakespeare on stage all over the world and we have been reading books of people long dead .

Gilbert: In the new expressions of modern art, it is sometimes this art which is more dismissive of the past.

Vigo:  Yet we still have this cultural desire to see the new–from Star Academy to X Factor–whereby people desire to see the new constantly supplied to us, renovated over and over.  So it would seem that in our society especially, that we do have an obsession with the new.

George:  Some French philosopher said that we paved the way for reality television.

Gilbert:  Certain things stay in your mind forever where other things disappear.  We only believe in the permanence.

Vigo: Like the song you sang earlier that you still remember after–

George: –forty years.

Gilbert:  More than forty years.

Vigo: Certain customs are lost, for instance, I can no longer write by hand because of having spent so much of my life on a keyboard.  So memory is not only cerebral but it is muscular, it involves the entire body.

Gilbert: Amazing.

George:  The same thing happened with typewriters before that.

Gilbert: And for us the computer is fantastic–we can use the computer to do things so easily and manipulate things how you want it. And we don’t have to go through the smelly chemicals.  It is like the modern brush for us.

George: It is not new–it is a continuation.  We had been practicing for twenty-five years for that preparation for a computer.  If you were to give a young artist a computer today it is not the same.

Gilbert:  We knew exactly what we wanted to do.

George:  The language is the same–the layers and the coloring.  Exactly. The move from the darkroom to the digital space, nobody can see which pictures were produced in which way.

Gilbert:  The end result is that there is a big picture, a frozen sort, like a medieval picture.

It is a different thing to understand, but we know from people speaking with us that it is a totally different experience to stand in front of an artwork from some long dead person. It is like reading a book from a living novelist–it is different from reading a text from someone who is long dead. We don’t why but people feel it in a different way.

Vigo:  A narrative techniques have changed in literature,  perhaps similarly artistic techniques have changed.  Perhaps people perceive this and the different styles and form which inflect themselves differently upon the viewer?  For instance, when you discussed how you moved from one form of mechanical photography and composition to Photoshop, this necessitated a change in form based on the change in technology.

Gilbert:  When you see the movies from the 1930s they are extraordinary and you think, “How did they do it?”  But they didn’t have digital and still did extraordinary stuff.

Vigo:  But along with these technologies in cinema the editing techniques set the style.  To what degree did your use of technology effect your style?

Gilbert: It is an amazing machine to make art so in the end the developments of technology develop the images through time.

Vigo:  I attended the week of Abramović’s ‘Seven Easy Pieces’ at the Guggenheim in 2005 and one critique leveled at her during this time was that she was accused of re-creating and appropriated other artists’ piece. Many people felt this was fraudulent.  Is archiving one’s own work a reconstruction of the art, is it an appropriation or a recording of work?

George: I think it is very honest.  We are not appropriating them.

Gilbert:  No, we don’t do that.  But we photograph our original works for the books–for history.

George:  We are just looking for the best examples from each period.

Vigo:  But how will your be performances be regarded once photographed or videotaped?  Or left not to be.

George: They will be in the book.  And there are videos as well.

Gilbert: We even leave instructions as a blueprint.  It is written down.  It’s not random.

George:  Even someone else can do it based on our instructions–how many minutes is this and that.

Gilbert:  It is like a play and you can do it again and again and again. It is the same construction.  But it is the same construction.

Vigo: When you talk about victims of crime, this installation shows this.   I noticed your piece in New York’s Chelsea:  it remembers history in the poster, commemorating memory in plastic.

George: How privileged we all are.

Gilbert:  Nobody remembers the the poster because it disappears the next day.  Forever!

George: Unless it says John Lennon.  The rest is useless.

Vigo: So this makes the space of art a place of remembering.

George: It is a huge modern cemetery.

Gilbert: Art is always that. You remember the feelings–even the Renaissance. You remember that period. You you don’t remember  your memories or the pope. You only see the leftover picture.

George:  Why do couples find cemeteries quaint? Courting couples love cemeteries–it is extraordinary. You don’t think, ‘What a horrible place with dead bodies.’  You just don’t think that.   There is a certain beauty in the cemetery.

Vigo:  There is a certain sense of closure in the cemetery:  it is like art in the sense that it is finished.  It is a place to which you can return; it is real.

Gilbert:  That is why art is extraordinary because they are freezing time.  We only know most of what we know from medieval time from pictures and books.  There is nothing else, except for the fact that there are decomposed bodies.

George:  And then you must put the facts, thoughts or feelings down somewhere.