Ani’s Commonplace and Field Notes

(Before I go on, I just wanna say that this essay may draw on similarities EVA HESSE: POST-MINIMALISM INTO SUBLIME, by Robert Pincus-Witten. I wrote this specific essay more than a year ago for my Cultural, Literary, and Critical Theory class, and I only found this essay just today, as I am writing and doing more research for this piece. LOL. However, I would like to justify that the content of my essay is to draw connections between Hesse’s art and Kristeva’s psychoanalytic theory. I did enjoy Witten’s essay, though!)

(Source: pbs.org)

Eva Hesse

At the height of Nazi Germany, Hesse’s family fled to America for protection from religious persecution, but it was not long until sanctuary proved to be fickle as well, in the land of the free. Due to trauma implicated by the Second World War that vehemently caused the deaths of Hesse’s extended family, the serious circumstances of (Eva Hesse’s mother) Ruth Marcus House’s bipolar disorder worsened. These events dominoed to Wilhelm Hesse’s divorce from Ruth Marcus, and Ruth’s suicide. Adding salt to the wound, Wilhelm would marry a woman named Eva. Upon the new marriage, the young girl and her step-mother would share the same name.

Identity crisis aggravated young Eva’s trauma – from the persecution of family whose faces she had never known, to losing her to suicidal mother at ten. It seemed like grief was her very being.

Graduating from Yale, she exhibited works whose style displayed that of Abstract Expressionism and paved the way for Minimalism.

Art historians speculate how these traumas were sublimated into her art. Her self-portraits showcase distorted images of faces and figures. They are almost like a child’s attempt at creating a figure painting, except that their tone is so somber that only an adult can express such a feeling.

(Untitled, 1965, oil on canvas: From: mutualart.com)

However, the most intriguing work of Hesse does not come from two-dimensions – but three. This includes Hesse’s sculpture, Ennead (1965).

(Ennead, 1965, oil on canvas. From: icaboston.org)

Eva Hesse’s Ennead (1965)

All that there is to the piece: acrylic, paper mache, some resin-coated strings, plywood, some plastic, and a title possibly referencing the Egyptian pantheon.

The Institute of Contemporary Art, Boston, describes the artwork as such:

The orderly, formulaic application of the threads devolves into an increasingly chaotic composition as they accumulate and tangle toward the floor. A few strands are affixed to the adjacent wall, cordoning off a wedge of space that becomes part of the sculpture itself. This gesture also draws the viewer’s attention to the corner of the gallery, activating this normally overlooked area. Additional material hangs to touch the floor, thus uniting three planes. “Ennead” means a group of nine, in this case referring to the nine points from which the strings extend.

How can we interpret art whose surface presence is devoid of any points from its meaning? Baroque art can be so interpreted by its gargantuan number of details that fit on a four-cornered canvas. Poetry can be dissected among its metaphors, language, and enjambments. How can we possibly describe a sculpture so bare of material and overly abstract in its form? Was it meant to be this way – stripped down and bare?

Asymbolia and Melancholia

Many of Hesse’s works portray a distinct use of asymbolia, and the stimulation of asymbolia to its audience.

It is impossible to speak of Ennead without speaking about Hesse – primarily because Hesse and her art are one. Hesse even says: “My life and art have not been separated. They have been together.”

Ennead is no exception – however, with absolutely little to no “initial and final'' interpretation of meaning when you see the sculpture. What can we then say about Eva Hesse through the piece? Even art historians themselves, up to this day, consider Ennead to be an enigma on its own – its minimalism minimizes itself, to the point of devoiding any meaning, making us doubt if there is any at all.

First, we must discuss the asymbolia in Ennead – the art itself. Though by instinct and intuition, the substance of Ennead is uninhabited on its own, I would like to shed a few pointers on the piece and its asymbolia through its deliberate absurdity.

The strings were meant to be orderly at first, until its tail-end, wherein Hesse describes them as a jungle. Hesse even took in the effort to dye the strings to possibly add more aesthetic depth to them. Hesse describes the process of this piece in one of her journals.

The further it went toward the ground, the more chaotic it got; the further you got from the structure, the more it varied. I've always opposed content to form or just form to form. (Quoted in L. R. Lippard, op. cit., p. 62)

However, even when Hesse describes her decision to irrationalize the hinds of the strings, the art still talks gravel to the path towards the most inane question: What does it mean?

So, we shall secondly address the audience’s confusion, that stems from the asymbolia of the audience themselves – the very inability to attach any familiarity or meaning to the symbols the art presents, because of the very fact that it lacks anything.

The only thing that makes sense of Hesse’s art is nonsense – the asymbolia found in Hesse’s art, that stems from dissecting, stripping down, and representing her trauma. Hesse states in one of her interviews: “There is no abstract art. You must always start with something… A painter paints to unload himself of feelings and vision.”

Must her own “something” be from her depression – from the trauma of losing her mother, identity, and other factors throughout?

We take the theory behind this inquiry from Julia Kristeva’s illustration of asymbolia and melancholia in her book, Black Sun – “The negation of that fundamental loss opens up the realm of signs for us, but the mourning is often incomplete. Melancholia then ends up in asymbolia, in loss of meaning…” (p.42).

Hence, to study the bare Ennead is to study Hesse’s bare melancholia.

We may never have the opportunity to bear witness to Hesse’s trauma, as only she and herself can live it, so we turn to her journals,

Throughout her life, Hesse seems to be on good terms with working through with her depression, as she sublimates it with her art – if it means going against the conventions imposed on her by four-cornered dimensions of papers and canvases, and the one-platform norm of past sculptures (Ennead takes up two adjacent walls, and thereby two dimensions).

Asymbolia and the neglect of the pre-conceived semiotic can be seen in her journals – which instead of letters and intelligible words, consist of drawings that penetrate any dividers and lines.

Kristeva furthermore explains this psychoanalytic mechanism as she illustrates the control of the preverbal in aesthetic creation: “When the struggle between imaginary creation (art, literature) and depression is carried out precisely on that frontier of the symbolic and the biological we see indeed that the narrative or the argument is ruled by primary processes” (p.65) – explaining the subnormality of Hesse’s art and entries, and how the manifestations of obscurity stem from the mere struggle of Hesse’s melancholia.

(Figure 3: Hesse’s journal. From: sugarcandymtn.com)

Other than these, her excerpts write of her own feelings of depression and anxiety: “I must write, my sanity is involved. I cry and cry, the pages are wet. I have no one, to go to and the edge of hysteria and insanity is not far apart” (October 19, 1964).

Anne M. Wagner writes: “Anyone who wants to make a serious contribution to remembering Hesse will likewise have to speak about a wound. For what is striking about Hesse’s art is its utter inwardness, with artistic languages of the day: her imagery and effects are not learned by rote, only to be parroted back more or less unchanged” (p. 159)

With this: Must her melancholia still be the root of her asymbolic art? Or was this art a testament to her ability to self-scrutinize all along? Furthermore, will there be anything to self-scrutinize when there is no trauma?

Conclusion: The Futile Point of Interpretation

Hesse intended her work to be autobiographical, but never understood – and thus reflecting the paradox of identity: to know, but never understand. Even her journals were not meant for the purpose of understanding: “Hesse’s journals and their users have meant that it is no longer possible for viewers “not to know the artist” – or at least, not to feel they know her, and to prepare themselves accordingly when looking at her art.”

Yet, even when we have read Hesse’s journals, watched documentaries, and studied countless journals from art historians – the impossibility to fully understand still looms over her audience. So then we ask the question: What should we feel to know of Hesse? The illness caused by both personal and socio-economic circumstances of her time? Must her works be cursed with the fallacy of perpetually being tied to her trauma.

On Dostoevsky, Kristeva writes: “Works of art thus lead us to establish relations with ourselves and others that are less destructive, more soothing.” Hesse’s artifacts are therefore not records of her mania, but documentations of her survival from it. Her illness, therefore, is not what should be reflected of her life – but her sisyphean triumph over it.

Maybe it is for the better – as the point of art itself is to sublimate the traumatic aggression of the artist, and (like a monster) to never let it out of the cage of the canvas. Kristeva can even attest to this, saying: “Art seems to point to a few devices that bypass complacency and, without simply turning mourning into mania, secure for the artist the connoisseur a sublimatory hold over the lost Thing” (p. 97)

Hesse did this concealment well, so much so that it is said the artist herself might not have realized this. As Wagner would write: “If Hesse’s life did enter her art, it did so by a process that Hesse herself was in a position to describe. We would be looking for ways (Hesse’s unconscious) repeatedly configured. I think such imagery exists in Hesse’s art, and I take it to concern the artist’s feelings toward her mother above all” (p. 165) So much so, that even daring to question the trauma behind Hesse’s art, we do not only turn a blind eye to the artist herself, but arrive at a futile destination when we do: “Yet, in asking them [questions on Hesse’s art] we risk losing sight of the workings of Hesse’s unconscious – a notion that, after all, was the motivating impulse of this discussion. But the artist and her unconscious are not far away.” (p. 173)

Conclusion

I will close with another one of Wagner’s concluding lines:

“To claim that Hesse’s art aims to remember and express a common human quality or experience is not the same as attributing to it some universal force or purpose. It gives its own account of that experience.” (p. 186)

This aim of art is reminiscent to how beauty sublimates melancholia in the form of art, much like giving its own account of an experience. Kristeva writes:

“Beauty emerges as the admirable face of loss, transforming it in order to make it live. Melancholia to the point of becoming interested in the life of signs, beauty may also grab hold of us to bear witness for someone who grandly discovered the royal way through which humanity transcends the grief of being apart.”

(p. 100)

Hesse’s journey as an artist is proof that asymbolia – another result of melancholia – paves the way into sublimation. Art is therefore not rooted in the melancholic, its her way of forging a path deeper underneath it. Art is agency from the trial of inner-disagency. Art is therefore the artist’s most individual and subjective struggle, not of her depression, but one of working through. Precisely through this art, we unlock the beauty sculpted from the marble of melancholia. Hesse and Ennead are just among the myriad of melancholic beauty in the realm of art.

SOURCES

Kristeva Julia. Black Sun : Depression and Melancholia. Columbia University Press 1989. https://archive.org/details/blacksun00juli. Accessed 27 Feb. 2023.

Artincontext. “Eva Hesse - The Brief Life and Incredible Works of Eva Hesse the Artist.” Artincontext.org, 4 Apr. 2022, https://artincontext.org/eva-hesse/.

Branaman, Bianca. “Love - Eva Hesse.” Sugar Candy Mountain, Sugar Candy Mountain, 4 Sept. 2018, https://sugarcandymtn.com/blogs/the-brand/love-eva-hesse.

“Ennead.” EVA HESSE, https://www.christies.com/en/lot/lot-315751.

“Ennead.” Institute of Contemporary Art, Boston, https://www.icaboston.org/art/eva-hesse/ennead.

Evemy, Benjamin Blake, et al. “Auctions, Exhibitions & Analysis for +500K Artists.” MutualArt, MutualArt, 17 Feb. 2023, https://www.mutualart.com/.

There were three events that mark as significant events and turning points in the movements of the Filipino people.

Austronesian Migration: Wherein a seaborne migration set sail from the island of Taiwan to Batanes, in Northernmost Philippines. Objects traced and left behind by our Austronesian ancestors revealed marks of cultural connections along their trail.

1887 Madrid Exposition: Wherein maltreatment from the colonial Spaniards sought to display people of the Igorots in Human Zoos. The Filipino people have become an object themselves according to the colonizer.

Philippine Diaspora and Globalization: Wherein Filipino artifacts are now dispersed in cultural and archival institutions globally. Now, the material culture heritage of the Philippines is in large measure overseas. Filipinos do not have access to much of the material evidence of our heritage. Among the outcomes of this unknowing is an abyssmal loss of measures of quality that Philippine Peoples enjoyed until about a century ago.

The substantial collection of the National Museum of the Philippines was nearly totally destroyed during the Second World War, the same event which led to the adopted of the 1954 Hague Convention, briefly discussed in the previous post.

Material Culture Studies were not a significant area of work for Philippine Studies during the Post-War Period.

Philippine Material Culture collections started to be an activity in the 1970's.

What is lost to the Filipinos, as diasporic objects are detached from them?

Key pieces that embody the most ✨ sublime ✨ levels of cultural expression in material form by specific Philippine Peoples. Here, Marian does not refer to these pieces by the quantity of cultural objects being produced, but by the quality of it. You can get traditional, authentic fabric anywhere in the region where the community resides — but all the ones that were made special, limited, and ceremonious are all stored in museums abroad.

Key pieces for which no equivalent exists.

The full range of variations of certain traditions, as expressed by the artists of specific community.

The opportunities to study continuities or commonalities between and among parts of the Philippine experiences that are normally separated.

Accurate analysis of what is Philippine — and thus to inform policy.

WHO DO YOU RETURN THE OBJECTS TO? Repatriation vs. Rematriation

Repatriation:

Nation-state as destination of return.

The loss of legitimacy or ethical high ground of holdings of powerful entities.

Rematriation:

Not return to the state — but the people who made them.

Though legal processes are able to create a process for repatriation, you cannot template rematriation.

You need to built trust with the community you are rematriating to.

The Legal Practice and Rematriation:

Cultural Heritage law centers more on private/institutional ownership (i.e. cultural property). However, Cultural Heritage is inherently collective. Hence, what we need is a legal basis for cultural custodianship as well — in collaboration in both the communal (discourses among the ethnic group), and international (UNESCO).

Enumeration of Investigative Directions that will have useful impact on Policy, Governance, Philantrophy, Grassroots Work, and International Relations, with regard to Philippine Material Culture

The celebration of global peak achievements in material culture.

The acknowledgement of Philippine Material Culture as rooted in village cosmologies that are shared across island Southeast Asia.

The establishments of living links between past and future art.

The metamorphosis from village to supra village ethos.

The fullsome recognition of a different way of being human in this part of the world.

Please note that the bulleted points are excerpts HEAVILY based on the resource material (book, lecture notes, powerpoints, etc.) Phrases in purple are my annotations regarding the bulleted points of the matter, while the phrases in blue are excerpts from different legal codals. Thank you!

An Introduction to Art and Cultural Heritage Law

The subject of art works, antiquities, and other cultural objects first became explicit in the 1954 Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict.

Damage to cultural property belonging to any people whatsoever means damage to the cultural heritage of all mankind, since each people makes its contribution to the culture of the world – Preamble of the 1954 Hague Convention.

It is good to note that alongside this legislature are two other international laws that aim to protect cultural heritage, such as The Rome Statue and the UNIDROIT Convention of 1995. These two other statues shall be discussed in a future post.

In these objects, we imbue with our values and aspirations; reflect onto them the attitudes about society and culture — past, present, and most significantly, the future.

In legal context, we must determine when art works should be subject to special legal rules or whether legal rules should be given particular interpretations when they are applied to art works. This makes the subject of Art and Cultural Heritage law inherently disciplinary.

But, what is Art anyway?

Honestly, the law still doesn’t know how to define art — mainly because different areas of the law treat art differently. (Customs law may value fine art over “industrial or mechanical art; Copyright law focuses on the “originality” of the work; International and property law legislate and litigate on the work’s provenance and property)

Judges waver between resolving cases without having to define art, and would admit the biases in their judgement regarding their decisions. And how could they not be biased? Art itself always is.

Art and Cultural Heritage

Works of art are a subset of a broader category of both immovable a movable objects, which ultimately are translated to cultural property and cultural heritage — especially when imbued with a history of custodianship, meaning that the item has a history being passed down from one generation to another. With such history of custodianship, there blossoms a broader consideration of culture itself, and a discourse regarding the role that art works and cultural objects play win the development of culture.

Here is what the 1954 Hague Convention has to say:

For the purposes of the present Convention, the term "cultural property" shall cover, irrespective of origin or ownership:

(a) movable or immovable property of great importance to the cultural heritage of every people, such as monuments of architecture, art or history, whether religious or secular; archaeological sites; groups of buildings which, as a whole, are of historical or artistic interest; works of art; manuscripts, books and other objects of artistic, historical or archaeological interest; as well as scientific collections and important collections of books or archives or of reproductions of the property defined above;

(b) buildings whose main and effective purpose is to preserve or exhibit the movable cultural property defined in sub-paragraph (a) such as museums, large libraries and depositories of archives, and refuges intended to shelter, in the event of armed conflict, the movable cultural property defined in sub-paragraph (a);

(c) centers containing a large amount of cultural property as defined in sub-paragraphs (a) and (b), to be known as "centers containing monuments".

Culture is defined as the external manifestation of a particular group or segment of a population. However, we must note that the "definition" of a particular cultural group is often comparative; its scope will vary depending on the characteristics of the larger universe of which the (said) cultural group is a subset.

Art objects are examples of human creative ability that transcend the limitations of time & place to spears to us about the human condition; representing the highest point of human achievement, they are regarded as testaments to the greatness of their individual creators.

A cultural object may be taken out of its specific content when it gains recognition as art. It thus acquires a universal value and is considered to be a part of the progressive development of human civilization.

We need to address the questions of the cultures to which there objects belong to, and impliedly also the legal system to which They will be subject. We must view objects within their cultural contexts, and not merely as objects to be admired and divorced from their context.