Thursday, February 9, 2017

X [ STEPS ]
1:\> FILE INFO.EXE
[ According to the Peruvian journalist Jose Carlos Mariategui, there was too much coincidence about the apparitions of European Saints in Peru. Mariategui mentions that the Catholic Church adapted their own traditions to blend with the locals.[1] The Mexican writer Carlos Fuentes also argues something similar in relation to the Virgin of Guadalupe. Fuentes states that there is a strong coincidence about where the image of the Virgin appeared, similar to what happened in Peru. This place was a sacred location as well.[2] In the project of Colonization nothing was accidental. Before the colonizers touched or removed something in the locals’ land, they studied it. One of the architects behind this project was King Phillip II, even though there are no records that demonstrate that he went to the Americas. He was also knowledgeable of the locals’ culture; “…upon hearing that the people of Peru still adored the sun, the Gods of the mountains and mother earth, he ordered various images be made for Cusco. Among these images he commissioned a large beautiful Christ with a copper color and features that would allow the Indians to recognize themselves in it.”[3] This knowledge was used to accommodate their culture within the locals’ culture; for instance, they knew that nudity was considered a form of disgrace in the Andes. In order to avoid conflict, the images of Christ needed to be dressed, even though the Catholic Church agreed that Christ had been crucified without clothes.[4] Knowing and understanding the foundations of the locals’ culture facilitated the process of invasion.]




[1] José Carlos Mariátegui. 1971. Seven interpretive essays on Peruvian reality. Austin: University of Texas Press, 134.
[2] Carlos, Fuentes. 1992. The buried mirror: reflections on Spain and the New World, 144, 146.
[3] STANFIELD-MAZZI, MAYA. 2013. Object and Apparition Envisioning the Christian Divine in the Colonial Andes. TUCSON: University of Arizona Press. (102).
[4] Ibid., (99).





Wednesday, February 8, 2017

2:\> DISTORT AND TRANSFORM.EXE
[ Many of the imported images that came from Europe were already prepared to fit in specific places in the Americas. The intention behind this was to replace the locals’ deities with equivalent European religious versions. In Bolivia, for instance there are paintings of angels that appear next to natural elements that were sacred for the Andeans. “In one way or another, the religious in America became aware of this relationship between angels and celestial phenomena, and created the series of angels with these names, so as to encourage the substitution of star idolatry within the Christian faith.”[1] The plan of overlapping Gods was also achieved through the process of association. Another example can be seen in the engraving of the Virgin of Remedios. The graphic shows how the Virgin emerging from of a local plant,[2] altering the relationship of the local with nature. After which they understood their land through the combination of foreign and local symbols. By making the foreign look local they calmed down the spirits of revolution in the locals’ minds.]




[1] Jose de Mesa and Teresa Gisbert. "Angelic Ways." Franco MariaRicci (FMR), no. 85 (1997): 32.
[2] Katzew, Ilona, and Luisa Elena Alcalá. 2011. Contested visions in the Spanish colonial world. Los Angeles: Los Angeles County Museum of Art. 240.

Tuesday, February 7, 2017

3:\> CROP MARKS.EXE
[ Once the European images were placed on top of the locals’ deities, the environment needed to be altered. Many churches and altars were built on the locations where these images apparently appeared. “…Just as the sanctuaries of these cult figures were often situated at the margins of cities, between urban and openly rural places, in places where people of all classes and conditions would come together, so the legends and the stories were inclusive, combining native elements with others of European origin.”[1] The purpose of building churches was to solidify the colonizers’ presence. These new landmarks functioned as factories and bunkers. They operated as a surveillance system to maintain control of the society and to produce more images. Their goal was to expand the colonizers’ territory to eradicate the locals’ past. As it happens today in the territory of Palestine, “many Palestinian villages that once existed in what is now Israel…have become parks, and other open spaces, erasing the existence of their prior inhabitants from public memory.”[2] Even though this is an indication of a direct form of colonization, it does not mean that a direct colonization is still practiced today as it was in the past.]



[1] Joseph J Rishel and Suzanne L. Stratton-Pruitt. 2006. The arts in Latin America, 1492-1820. Philadelphia, PA: Philadelphia Museum of Art. 331.
[2] Kennedy, Dane Keith. 2016. Decolonization: a very short introduction. 98.