November 15th 2002
Buenos Aires – Argentina
On November 15th 2002, in collaboration with the Centro Cultural Rojas under the direction of Fabián Lebenglik, a second edition of the Proyecto Filoctetes took place in the city of Buenos Aires. Students from the different workshops the institution offers participated in the seminar and the urban intervention. The sociologist Horacio González, the historian and art critic María Teresa Constantini, and the writer and playwright Luis Cano were among the special guests invited to reflect on the experience. The performance took place between 9 am and 3 pm. Once again, the project was met with controversy and shock. The project got featured in the print and TV media. The first edition, which included images depicting the experience, got published. It included critical essays and testimonies. A month later, a public debate and an exhibition of the documental material previously selected during the seminar took place at the same cultural center.
Lemnos in Buenos Aires
November 15th 2002. Buenos Aires, Argentina
Universidad de Buenos Aires / Centro Cultural Ricardo Rojas
Director Fabián Lebenglik
Concept & Creation: Emilio García Wehbi
Documentation & Production: Maricel Alvarez
Design of puppets: Norberto Laino
Assistant: Julieta Potenze
Producers (Centro Cultural Ricardo Rojas): Martín Tufro, Hernán Casabella
Guests: Luis Cano, María Teresa Constantin, Horacio González
Tamara Ajzensztat, Margarita Antonini, Elizabeth Arjona, Leonardo Belvedere, Alejandro Berón Diaz, Florencia Bié, Pablo Bologna, Danna Caldara, María Laura Campolongo, María Florencia Carrasco, Margarita Ciarlotti, Luciano Cocciardi, Gabriel Cohen Falah, Silvina Crespo, Lía Dansker, Lidia De Faveri, Nelly Del Valle Benes, Gabriela Escobar, Carlos Eduardo Spíndola, Diego Fernández, María Figueras, Paula Frachia, Gustavo Fredes, Héctor Miguel Gallardo, Alvaro Gorbato, Javier Grosso, Laura Librandi, Luisa Fernanda Lindo, Carlota Lores, Maximiliano Dante Maggiori, Gustavo Alejandro Makrucz, Jorge, Ignacio Martin, Carla Mizzau, Pablo Luis Molina, Cristian Montes, Diego Javier Oriola, Romina Paula, Gabriel Hernán Pecot, Eduardo Pérez Winter, María José Queiro, Amalia Retamozo, Francisco Ricci, Talía Rico, Pablo Alejandro Richard’s, Marisol Rivas Pérez, Soledad Rodriguez, Pablo Sebastián Rojas, Marta Inés Ruiz, Fernando Sánchez, Ezequiel Steinman, Mariana Stizza, Sabrina Torres, Noralí Venini, Julieta Wiedemann, Ignacio Zabaleta.
- Federico Lacroze Ave. & Corrientes Ave.
- Scalabrini Ortiz Ave. & Corrientes Ave.
- Abasto shopping mall
- Corrientes Ave. & Lavalle Str.
- Callao Ave & Corrientes Ave.
- General San Martín Theatre
- Palace of Justice
- Congressional Park
- La Prensa building, the House of Culture
- Paseo Colón Ave. & Belgrano Ave.
- Defensa Str. & Estados Unidos Str.
- Córdoba Ave. & Florida Str.
- San Martín Square
- San Martín Square II
- Alvear Ave. & Schiaffino Str.
- Village Recoleta Cinemas
- Houssay Square
- Botanic Garden
- Cabildo Ave. & Juramento Ave.
- Triunvirato Ave. & Monroe Ave.
- Cuenca Str. & Nazarre Str.
- J.B. Justo Ave. & San Martín Ave.
- Acoyte Ave. & Rivadavia Ave.
“The “Philoctetes Project” scatters around in the city several non-human bodies –dolls, as the participants of the experience called them- in too-human situations. This is to say, in attitudes in which the excess of human quality reads as abandonment, fall, faint, privation, and every other item inside the broad menu of possible pass outs that contemporary cities provide. Specially in the crisis-beaten-Buenos Aires City, where shelterless and grieving human bodies are spread all around. They are not dead; they stand deeply scarred, exposing themselves to the silent and panicked observation of the passers-by. They are dropped bodies, in the verge of transforming into things, defying the moral order of collective perception”.
(Horacio González, "Moral art")
“I’m being asked whether this is art, and I wonder what is art. Art is metaphor in order to question ourselves, to seek desperately, reveal the secret of our specie here on earth, of our finiteness and condemnation”.
(Emilio García Wehbi, "Manifesto II (The day after)")
“Since today reality is so conflicted, social tension is so strong, the artistic work of García Wehbi proposes to go through the walls that holds it within, in order to face a wider audience. It is so, that for Philoctetes, the entire city was the eventual frame and every passer-by a member of the audience and an actor all at once. It does not mean a warned audience that looks for the artwork any more; here the art takes the audience by assault. In fact, when the effect of the bodies lying in the streets provoked and caused commotion among the spectators, many of them questioned the artistic aspect of the intervention and eventually demanded that if it was art why not show it in a Museum. The angry reactions or doubts towards the intervention are comprehensible and even anecdotic. The fact is that the irruption of the puppet awkward the privacy of the passers-by, shakes their perception and invades them. From there comes its inquisitive and repulsive power. But also its healing power”.
(María Teresa Constantin, "Suffering bodies. Emilio García Wehbi and Philoctetes: Lemnos in Buenos Aires")