JMP 12 (3) pp.

291303 Intellect Limited 2011

Journal of Media Practice

Volume 12 Number 3
2011 Intellect Ltd Article. English language. doi: 10.1386/jmpr.12.3.291_1

Caroline Rodrigues
University of Amsterdam

Performing domination and

resistance between body
and space: The transversal
activism of Regina Jos
Galindo
Abstract

Keywords

This article focuses on several performances of the Guatemalan artist Regina Jos
Galindo, having at its core a discussion concerning the political and artistic capacities
of the body. Galindos body is considered in relation to internationally debated issues
regarding mechanisms of domination: the illegal border crossing between Mexico
and the United States, violence against women, postcolonial hostility and military
techniques of control.

performance
resistance
body
space
violence
torture
border

Introduction
A very small figure; willfully resistant, though. That is how I pictured the body
of Regina Jos Galindo at the Instituto Cultural Cervantes in So Paulo, 2009.
The occasion was a colloquium entitled Belas Abjees/Beautiful Abjections.
There, in amongst the debates around psychoanalysis and art, that focused

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Caroline Rodrigues

Figures 1,2,3: Regina Jos Galindo

Mientras, ellos siguen libres
During my eight month of pregnancy I stayed tied with true umbilical cords to a
bed, on the same position used by the Army to rape native women during the war
in Guatemala.
(2006, Edificio de Correos, Ciudad de Guatemala)
Courtesy prometeogallery di Ida Pisani, Milan/Lucca

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Performing domination and resistance between body

on the common theme of practices of perversion, Galindo spoke as one of

the invited artists and introduced her work. In a straightforward approach she
presented some slides illustrating selected performances and I quickly became
appalled by the abjection suggested in the pictures of Mientras ellos sigen Libres/
While They Remain Free, a work she performed whilst eight months pregnant
at the Casa de los Correos in Guatemala City, 2007. With her hands and feet
bound by umbilical cords and tied naked to the bars of a bed, Galindo was
held in the same position used by militaries for restraining pregnant indigenous women during the recent civil conflicts in Guatemala (196096).
This, the biggest country in Central America where Galindo lives and
works has a population estimated at more than thirteen million, with
80percent of indigenous inhabitants. The vast majority are subject to high rates
of mortality, poverty and repression. Guatemala experienced a period of growth
between 1944 and 1954 with popularly elected presidents who promoted an
egalitarian economic system by boosting employment and introducing fair taxes
for those involved in the fruit business, which represents a major element in the
countrys economy. However, a military coup took place when leftist proposals gained wider social recognition. A program to eliminate the opposition was
instigated. The outcome of this covert operation was a civil war which lasted
for more than 35 years, resulting in 200, 000 deaths and disappearances. The
violence of that period has become known as the silent holocaust, a history
of war crimes and torture involving the serious violation of basic human rights
(Global Exchange 2007), in which a very extensive emphasis on a particular
technique of female subjugation mass rape is evident. The civil war ended
in 1996 but as the term silent holocaust suggests many of the techniques remain
largely unknown, and rape is still a major social problem in Guatemala.
Regarding that reality, Galindo ties her naked and pregnant body to the
bars of a bed. Mientras ellos sigen Libres (See Fig.1) is the re-enactment of a
technique of restraint frequently used by the national army with the evident
goal of direct domination over the female body; behind it is the major strategy
of provoking miscarriage through multiple rapes, aimed at the suppression of
the rebellious indigenous population.
Abjection, indeed, if we apply Julia Kristevas definition to this excruciating
interruption of pregnancy: It is death infecting life (1982). Following a series
of slides showing works in which Galindo puts herself in pain or in extremely
uncomfortable situations such as torture and incarceration, I couldnt help
having a naive thought: how can such a small body take it all?
Taking that question as a point of departure, this article will discuss several
of Galindos works in order to take a broad view of how performance art and
politics function within her bodily space of action/activism.

The body as space of resistance

My body not as an individual body but as a social body, a collective body,
a global body. To be or reflect through me, her, his or others experience;
because all of us are ourselves and at the same time we are others.
(Galindo 2011)
Through the execution of violent practices on her own body, Galindos work
becomes disturbing as it suggests a thin line between resisting and validating the power of dominance. In 150,000 Volts (2007) she was subjected to the

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Caroline Rodrigues

same electric charge that police across the world can inflict on the bodies of
crime suspects. In Confesin/Confession (2007), she asked for a volunteer to
assist her in performing a drowning simulation on her, by forcing her head
into a barrel of water during prolonged sequences. In these two performances
she enacted strategies of domination usually applied by military authorities
and by non-official organizations both during wartime and during less official
political conflicts. In fact, the shock device used can be easily purchased on
the Internet, which arguably represents an inevitable industrial outcome of
biopower: self-generation through commodification. Furthermore, the simulated drowning technique of waterboarding where the victim was held immobilized lying down while water is poured over his or her covered face has
been recently banned in the United States by Barack Obama. However it was
extensively used during George W. Bushs presidency, as part of the offensives
against the Middle East: [] in March 2005, (Porter J.) Goss (by former CIA
director) justified water boarding as a professional interrogation technique
during a Senate hearing (Human Rights Watch 2005).
Michel Foucault sees the essence of technology as the modus operandi of
biopower, deployed for the subjugation of bodies and total control over populations (Foucault 1997). Therefore, torture can be considered a technology, a
collection of techniques that exert the ultimate extension of biopower: the
direct power over life.
According to Elaine Scarrys 1985 study of pain, torture processes are
constructed in three stages: the infliction of great pain, the objectification of
the subjective attributes of pain, when the body becomes and enemy, and
the translation of the objectified attributes of pain into the insignia of power
(1985: 51).
For what the process of torture does is to split the human being into
two, to make emphatic the ever present but, except in the extremity of
sickness and death, only latent distinction between a self and a body,
between a me and my body. The self or me, which is experienced
on the one hand as more private, more essentially at the centre, and
on the other hand as participating across the bridge of the body in the
world, is embodied in the voice, in language. The goal of the torturer
is to make the one, the body, emphatically and crushingly present by
destroying it [].
(1985: 4849)
The dominant power then incorporates the tortured body and begins to act
on the intangible processes of living and dying. If the torturer makes the body
present in order to destroy it, Galindo makes the body present in the art space
in order to reconstruct it as resistance. The line here is thin, as is the linedividing the audience into those able to accept the abjection as a shared space and
those who adopt the uncomfortable and ironic role of whiteness.

Womens bodies in resistance

Male domination of women has repeatedly found expression in many national
contexts. Another Latin American performer has highlighted this issue:
Ana Mendieta (Havana 1948 to New York 1985) [] was less concerned
with the formation of identity through experience than with the

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violence of experience which the social formation of identity entails. []

Mendietas work concerned a subjection of the body to physical stress
or exertion in order that, as a closed system of boundary, it is forced to
its limits.
(Merewether 2000: 136)
In Death of a Chicken (United States 1972), Mendieta, naked, took in
her hands a freshly decapitated bird and deplumed it. Galindo performs
the same sequence in the piece she has called Zopilote, Ave Nacional (2005).
In Mendietas case, violence inflicted upon a womans body is the core
subject. As Merewether suggests, the piece engages [] an identification of the womans body with that of the animal [] what anthropologist Victor Turner would define as a point of liminality, a threshold state
between the dying body and that of the living (Merewether 2000: 136).
However, Galindos action contains explicit references to the civil war in
Guatemala the piece was part of the short film Amorfo te Busqu (Gustavo
Maldonado and Mario Rosales, 2005) concerning the political oppression
of the 1980s.
The close relationship between these two performances is clear, and the
connections between the artists work do not stop here. Whether regarding
a more specific context or protesting against a general state of violence, both
artists present a deep concern for the subject of rape.
The first piece was performed in Mendietas apartment in Moffitt Street,
Iowa City. She had invited friends and fellow students to visit her, and leaving
the apartment door slightly open, they entered to find themselves in a darkened room except for one light over a table. There Mendieta lay stretched out
and bound, stripped from the waist down and smeared in blood. On the floor
around her were broken plates and blood (Merewether 2000: 137).
This performance happened one month after a student had been raped
and killed on the Iowa University campus (2000: 137). Although this can be
seen as a global problem that is intensified within territories that are in conflict
and/or under military occupation, photographic images of such events
are rarely ever visible in any public domain. They belong to the sphere of
images of exception images of extreme violence a concept developed by
the Brazilian researcher Ivana Bentes (2006) that is in turn based on Giorgio
Agambens notion of state of exception. If facts like these materialize as
photographic images, they will almost inevitably be concealed. For example,
the US government has been trying to do this with leaked images of Iraqi
women being raped by militaries (Asian Tribune 2009). Mendieta pictures the
unpicturable, brings the exception into image (Bentes 2006). Galindo enables
it through technique, and inserts it into the sphere of technologies of domination, commenting on rape by showing its industrial character, forcing us to
imagine a line of naked pregnant women tied in the same position, for the
same purpose, as already outlined.
The close relationship between the works of Mendieta and Galindo situates their bodies on common ground, united in the action of resistance. They
propose a common space that can arguably be shared by women worldwide
who may, in many different contexts, recognize the existence of such a threat
against them. Indeed, in the next section I will discuss those performances by
Galindo that concern specific spaces within global politics. They are significantly different from those already discussed, as they involve the direct participation of other bodies.

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Caroline Rodrigues

Figures 4,5,6: Regina Jos Galindo

Curso de supervivencia para hombres y mujeres que viajarn de manera ilegal a
los Estados Unidos
I organized an intensive survival course for a group of ten people, men and women,
who are going to travel illegally to the United States. During the course, they
learned topics such as resistance, orientation, mapage, fire, first aids and wall
climbing.
(2008, Ciudad de Guatemala)
Ph. Marlon Garcia
Courtesy prometeogallery di Ida Pisani, Milan/Lucca

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Performing domination and resistance between body

The body in resistance to the space

Known to be the most dangerous border crossing in the world, the southern limit of the United States is still a target for thousands of Latin American
illegal immigrants. Galindo created a performance to interfere with the
known danger: she contacted a group of ten people among men and women
in Guatemala and provided a survival course for them. Giving first aid, climbing, fire making and treating snake bites and gun shots were some of the skills
that the group intensively learned from paid instructors during proper formal
training installations (See Fig. 4).
Evidently she never knew what happened to the group afterwards, and she
commented on this at the colloquium in So Paulo: They would do it anyway
(2009). She referred to migration as being widely regarded as the only way
out of Latin American poverty. If there was any chance of their getting to the
other side alive, then this possibility was the point of the work. What, then,
would be the actual space of this performance?
If we consider the so-called situational aesthetics of the 1960s and 1970s
when renewed perception of the spaces around art works was emphasized
within different forms, such as installation art, site-specific art and street
art and view them alongside the relational aesthetics of Nicolas Bourriaud
(2002), it becomes possible to argue that several factors working together can
generate new sites for the interaction of spaces and bodies. Combined with
the significance of spaces in art works, the meanings generated by people
dynamically relating to each other can drive the creation of places where
shifts in power relations are possible. The subversive and critical function of
contemporary art is now achieved in the invention of individual and collective
vanishing lines, in those temporary and nomadic constructions whereby the
artist models and disseminates disconcerting situations (Bourriaud 2002: 31).
How to care for the immense issue of illegal immigration? The organizers of
programs that raise money for immigrants to return to their countries (Migration
Information Source 2009: np) know that most of them dont really want to go
back. Far from proposing utopist solutions for the problem, Galindos performance generates a disturbing device for empowering nomadic resistance.
In the following year, 2008, Galindo went to the other side of the border.
Her husband and their child entered a cell designed for families of illegal
immigrants in the United States. It was a Don Hutto Family Residential
Facility lockup model for Latin American illegal families in Texas.
They were in Texas indeed, but inside ArtPace, an experimental institute
for contemporary art in San Antonio that commissioned this work of bringing
the prototype into the art space (See Fig. 7).
The three of them remained inside the container for 24 hours and after that
the cell was left open as an art object, as Galindo describes on her website
(2008). The lockup for families aims at compressing the vast illegal population
coming from Latin America, into the smallest spaces that might still be referred
to as houses. The technique of not seeming too cruel and apparently creating
privacy in constructed home-like arrangements is also deliberately employed.
Nevertheless, many protests have taken place against this detention system,
mainly because of the terrible quality of life for the children. According to the
Womens Refugee website, Children had no stuffed animals or toys and only
one hour of schooling per day. With only 20 minutes to eat their meals, children often went hungry (Womens Refugee Commission 2010). Still, Galindo
brought her 1-year old child with her to remain for a full day living inside such

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Caroline Rodrigues

Figures 7,8,9: Regina Jos Galindo

Americas Family Prison
I rented a family tipe cell from a business corporation which gives all kind of
sevices to private jails. I lived there with my husband and my baby for twenty four
hours and I left the cell opened to the public, as an object of art.
(2008, project originally commissioned and produced by ArtPace San Antonio, Texas)
Ph. Todd Johnson
Courtesy prometeogallery di Ida Pisani, Milan/Lucca

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Performing domination and resistance between body

a containing space. By observing the audience, she realized it was a major

surprise for the Texan population that these detention containers even existed
(Interview with Diana Taylor 2009) and yet, they were part of a huge government project aimed at the suppression of the immigrant population through
mechanisms of industrial technology.
The Womens Refugee Commission investigated the prison in 2006, widely
reported the poor conditions provided for the families and campaigned for its
closure. With the pressure against Don Hutto increasing exponentially, the
US Immigration and Customs Enforcement announced in August 2009 that
families would no longer be detained at these facililities.
By inserting such a container into an art space, Galindo reterritorializes
this practice, moving it from the non-public sphere of US policy on immigration onto a potentially global stage the public/artistic space. Transversality
as Guattari explained in 1964 is intended to overcome both dead ends: both
the verticality of the hierarchical pyramid and the horizontality of compulsory communication and adaptation (Raunig 2007: 205). By transversalizing
her family intimacy, biopower technology and the art space, Galindo radically
shows the possibilities of connection between these apparently distinct spheres
and reverses the technology of domination. A machine of resistance was being
constituted and Galindos action was surely part of it.
On one side of the border she constructed such a machine of resistance
by training a group of people to engage in trespassing; on the other side she
enacted a process of subjugation produced by an industry of domination.
One performance functioned within a space of illegality and insecurity to
be done once and registered the other one was to be performed live inside
an art space, open to a viewing public. When combined, the two very different approaches to the same global issue can generate a landscape of resisting bodies places where bodies can take it all.

Between body and SPACE, BETWEEN body art and activism

In the performance Recorte por la lnea/Cut Along the Line (2005), Galindo
asked a plastic surgeon to mark every part that needed to be changed in her
figure in order for her to achieve a perfect body in accordance to the aesthetics codes manipulated in our society (Galindo 2005). This work is comparable
to the work of Orlan, specifically in the context of associated critical discussion
concerning plastic beauty and body identity constitution. The difference in this
case is that Galindo does not promote the surgery; she makes apparent how
much she would need to change in order to achieve the appropriate level of
bodily perfection, as she has stated. However, in another work, she similarly
registered a surgical process as performance, which she also had recorded. This
was titled Himenoplastia/Hymenoplasty (2004) (See Fig 10). Here, she submitted herself to surgical hymen reconstruction, a common practice in Guatemala
conducted in order to facilitate marriage and obtain social respectability. This
is despite its being a dangerous operation, with many risks of infection, since
it is mainly performed at clandestine clinics, as outlined by Galindo at the
colloquium in So Paolo. For this video she received a Golden Lion award at
the Venice Biennale in 2005, in the category of artist under 30.
The Cuban artist Coco Fusco differentiates the work of Galindo from body
art performance of the 1960s and 1970s. Central to this argument is Galindos
concern for her political context, globally speaking, whereas earlier practitioners
had arguably focused more rigorously on the body as a dominant conceptual

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Figures 10, 11: Regina Jos Galindo

Himenoplastia
A surgical operation in which they rebuild my hymen to make me a virgin again.
(2004, Cinismo exhibition, Guatemala)
Ph. Belia de Vico
Courtesy prometeogallery di Ida Pisani, Milan/Lucca
territory. Galindo distinguishes herself from the body artists of the 70s by refusing to suppress the narrative dimension of her actions or the social contexts from
which they emerge (Fusco 2010: np). Roselee Goldberg suggests that the artists
of the 1960s used the body as a medium, investigating it as yet another apparatus for art production, manipulating the body as they would a piece a sculpture

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Performing domination and resistance between body

or a page of poetry (1988: 159), for example Vito Acconci, and exploring its
formal properties, such as its presence in space, for example Bruce Nauman.
Many artists made references to contemporary conflicts such as the war in
Vietnam and questioned the resistance of the body by defying it. An example
is the work of Chris Burden, who in Shoot (1971) asked an assistant standing
five metres away from him to shoot him with a rifle in the upper left arm.
Galindos work can be clearly related to body art practices. However, she
tightens more emphatically the link between art and politics. Her body is not
the end of any given performance but becomes a device for enabling tactics
of transversalism, facilitating connections between history and contemporaneity, artist and audience, public space and art space. Her powerful ability
to interfere in socio-political realities is disturbing in ways that correspond
with the demands made by Bourriaud of contemporary art practitioners. In
the terms employed by Hans Belting this is global art art intrinsically
engaged, beyond representation, in todays political issues (Belting 2010).
The separation of art and politics might be counterproductive when, for
instance, as Rauning claims, the micropolitical attempts at the transversal concatenation of art machines and revolutionary machines (2010: 18).
Running a survival course for a group of actual illegal immigrants is something quite unique in that sense. Politically, Galindo does not propose
utopist solutions nor defeated conformism; she uses creation in favour of
blurring the frontier between art and activism.
Lucilla Sacc (2006: 34) points out that Ana Mendieta, the Cuban artist
does not care to adapt her style to North Americas wave of body art practices, and underlines Mendietas loneliness as a prominent recurring characteristic in her work. We could say the same of Galindos work, since her style
does not really fit neatly into definitions of body art. Conversely, it situates
itself within diverse channels of distribution including the mainstream artistic circuit. Her piece Looting (2010) a sculpture made from the gold she had
surgically amalgamated to her teeth and then extracted to be exhibited is
now at the Latin American Pavilion of the Venice Biennale 2011. She recently
had a site-specific performance, Alarma/Alarm, commissioned by La Caja
Blanca Gallery, which took place in February 2011 in Madrid. The performance consisted in her driving an ambulance through the city with a siren wailing, and according to the website of the gallery, With breathtaking speed and
the unmistakable sound of a siren, the streets of Madrid merge with those of
Guatemala City (La Caja Blanca 2011). There the panicked mood generated
by the sound of sirens represents a daily atmosphere.
Both pieces suggest another layer of flexibility and sophistication within
Galindos power of transversality. Her body is not the core of these two
performances but it acts as a link between the space from which it came and
the space where it is: the gold travelled from Guatemala to Venice through
her body and so did the tense atmosphere generated by the siren.
Through the abjections of domination, she pictures much stronger bodies,
and by technicizing up without the need to resort to high technology, her work
shows its ambition to reach somewhere beyond mere dialectics. Between the
body art and activism of Regina Jos Galindo lies the construction of the body
as a space for collecting techniques of creative politics: entering the United
States machine of migration policy, mechanizing resistance through the
industrial production of techniques, shifting spaces of the classical polarities
of colonizer and colonized and challenging the essence of technology and its
layers of power.

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Suggested citation
Rodrigues, C. (2011), Performing domination and resistance between body
and space: The transversal activism of Regina Jos Galindo, Journal of
Media Practice 12: 3, pp. 291303, doi: 10.1386/jmpr.12.3.291_1

Contributor details
Caroline Rodrigues is currently completing the Masters in International
Performance Research (MAIPR-Erasmus Mundus) at the University of
Amsterdam and University of Warwick. Before the Masters program she lived
in So Paulo, Brazil, working as an art educator, researcher and producer in art
institutions and as part of cultural projects.
E-mail: caroline.santos.rodrigues@gmail.com

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