Between The Idea And Experience

Published On January 21, 2017 | By Greg Giannis | Artgaze, Bienale, Festivals, Projects, Reviews, Technology

Caminando vias de agua – 12th Havana Bienale 2015

 Report by Greg Giannis.

In the midst of renewed negotiations and the lifting of decades long restrictions, the
12th Havana Bienale and the imprisonment of artist Tania Bruguerra, I walked a lost river
in Havana, Cuba. I was invited to be part of a group exhibition organised by curator,
Claudio Sotolongo Menendez whom I had met many years previously.

In 2003 I visited Cuba for the first time to exhibit and present a paper at the V Salon Y
Coloquio Internacional de Arte Digital. Little did I know that this was the beginning of a
long engagement with Cuba, its music, culture and most importantly, its people. I
participated in the subsequent VI Coloquio and maintained contact with the organisers
for many years, culminating in being invited to participate in the 12th Havana Bienale.
The curatorial theme of “the Bienale intends to involve architecture, design, the
communication phenomena, science and the forms in which the habitat is
constructed” to which my work was a good fit. This iteration of the ongoing series of
walks grouped under the project heading Peripato Telematikos , was one of many that
had taken place in many parts of the world, including Sao Paulo, Brazil and Istanbul,
Turkey.

The project involves identifying waterways in urban settings that have all but
disappeared from view, usually having been subsumed by the urban infrastructure,
rendered invisible. Despite this erasure, traces remain: the shape of the land, the
propensity for flooding and the way that the reclaimed land itself is used. These traces
when paid attention too, can reveal what was once there. The process involves the
utilisation of maps from the 19th Century in order to identify the location of the
waterways and then embedding this information in a contemporary map so that the
waterway can be walked. A mobile phone with a camera and the ability to send an MMS
is used to document the walk. This documentation is transmitted during the walk and
appears in close to real time on a representation in the gallery space, through the
website http://peripato.net .

The curatorial team wanted the Bienale to spread out into public space, and it did this
successfully except for one major hiccup. Tania Bruguera, a Cuban national, artist and activist
.biennialfoundation.org/2014/05/havana-biennial-2015-curatorial-concept/
http://www.peripato.net

tested the limits of the curatorial premise by restaging a participatory
performance piece in a prominent public space, Plaza de la Revolución, despite not
being granted permission to do so. This landed her in jail and months of house arrest.
Many locals supported her, whilst others felt that she had stolen attention away from the
biennale itself. Whilst under house arrest, she performed a public reading of
Hannah Arendt’s ‘The Origins of Totalitarianism’.

The curator had conveyed to me warnings he had received from Bienale organisers,
regarding the photographic component of my work. As he argued, thousands of tourists
traipse through Havana every day taking many photographs that no one seems to worry
about. But these warnings were not to be taken lightly so some anxiety prevailed.
The walk took me through an impoverished part of Havana that was not far from the
centre but somehow well concealed. It has been my experience that much of the
reclaimed land where waterways once existed is prone to flooding, and is used for
public facilities such as car parks, sports grounds and parks but in some cases housing
for poorer communities. As I neared the location where the waterway would have
drained into the sea, I was informed that the flooding in this part of Havana can reach 2
meters.

On my way home, I received a message from a curator I had worked with in Sao Paulo,
Brazil, where I had staged a waterways work in 2009 at the Museum of Image and
Sound. He informed me that since about 2010, there was a large interest in the hidden
waterways of Sao Paulo. Apparently, this was triggered by a water crisis in Sao Paulo,
but the curator wanted to acknowledge my work that preceded. I suspect it was simply
coincidence but it is humbling to think that I may have had a tiny influence.

Upon returning to Melbourne, I discovered that a friend was walking the whole length of
the Murray River . I accompanied him for a day.

Author Bio: “I am an artist, educator and researcher. My work engages communities and public spaces, and often involves walking. I am currently working with establishing maker spaces where young people can engage with creativity through a range of technologies from paper and fabric to computer hardware and software. I see this initiative as art that makes things happen. please visit http:// blog.facade.net.au for more details.”

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About The Author

is an artist with a background in software design engineering. Mostly working with new media, he incorporates the writing of software into his practice, creating new and innovative works. His work has been exhibited locally and internationally and he has presented papers at international media art conferences.

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