Tom Sachs: la concreción del Cosmos.

Tres años atrás, el escultor más relevante del arte contemporáneo, inspirador de las nuevas moonboots de Nike y parte crucial de la muestra Stages a beneficio de la fundación de Lance Armstrong, lanzó “Space Program”, su obra definitiva: módulos lunares con botellas de whisky, científicos y viajeros cósmicos recreados a la perfección. Hoy, importa más que nunca. Nuevas misiones a Marte, co-labs con la NASA misma, nuevas obsesiones americanas y el sueño interminable del espacio exterior.

TEXTO: Federico Fahsbender
FOTOS: The Selby

¿Qué pasó con el sueño de viajar al espacio?
El sueño sigue vivo, aunque ya no haya sexo en el programa espacial, o un elemento humano. O sea, veías a Neil Armstrong, a su familia, era real, te ponías en su lugar, te imaginábas a vos mismo como él. Y Carl Sagan fue el visionario supremo, él nos dijo por tele de llevar esto a las estrellas, que este era el futuro posible. Parece que “Cosmos” se va a editar en Blu-Ray. Acabo de ver toda la serie en streaming, online en Netflix. Y ahí tengo otra excusa para verla toda de nuevo. Eso también te demuestra que, como te decía, el sueño y la fantasía siguen vivos. Ahora, en octubre de 2011, NASA va a lanzar Curiosity, el módulo-laboratorio más avanzado y elaborado hasta hoy, y va a aterrizar en marzo de 2012 en Marte para buscar evidencias de vida microbiana. Esa es la continuación del programa espacial.

Sin embargo, no hay tanta excitación popular al respecto. Dudo que la humanidad se paralice frente a sus teles o iPads cuando Curiosity aterrice.
Al público le parece un poco carente de glamour, no le parece tan excitante. Parece un poco tibio y aburrido, enviar robots al espacio. Además, tampoco hay una carrera espacial, una competencia con Rusia. No es lo mismo sin la Guerra Fría. Es una venta difícil, no es lo mismo que las misiones Apollo, pero es la herencia de todo esto que representé. Tenemos oportunidades en Marte, Obama lo dijo, de olvidarnos de la Luna e ir al planeta rojo. Eso me fascina.

Ahora, ¿cómo llegaste a la idea de construír un modelo lunar a escala completa? Es, por lo menos, una idea desafiante.
Es que siempre me interesaron estos temas de los que estamos hablando ahora mismo. Como Sagan dice en “Cosmos”, estamos a orillas del océano cósmico y el agua nos está invitando. Si no nos destruímos a nosotros mismos en el proceso, iremos a las estrellas. Y mi habilidad es como escultor, es hacer cosas con las manos. Soy excelente en poner estantes, soy el tipo que te instala muy bien los estantes en tu armario, soy bueno en hacer cosas con madera aglomerada, tornillos y láminas de metal. Y ver mi modulo lunar, o el de la NASA mismo, te conecta a esa forma, te lleva a ese lugar, a esa identificación con las misiones lunares. Se hicieron otros, para cine y teatro, pero el mío es el único a escala completa y que se para en sus cuatro patas. Hay un gran nivel de detalle.

Que tenga un anaquel lleno de botellas de Jack Daniel’s implica un elemento humano, y que quizá los astronautas necesitan un trago en plena misión.
Me es importante explotar el aspecto humano, la condición humana. No soy un gran simpatizante del uso recreativo de drogas, cuando me voy de camping como un ejercicio en supervivencia y economía no llevo alcohol, pero el licor está en todos lados, te lo meten por la garganta vía publicidad, es como un lado oscuro. Es más, ahora me estoy yendo a una fiesta y me voy a tomar un par de tragos. Pero ningún programa espacial estaría completo sin algo real. Si vas a colonizar un planeta, más te vale ser honesto con quién o qué sos. Las drogas son gran parte de lo que somos, para bien o para mal.

La presentación original hace cinco años en Gagosian, con guardapolvos de científico, trajes de astronauta y perforación del suelo de la galería, fue como una falsa misión de la NASA en sí misma
Falsa, OK, pero, ¿sabés? Fue muy real para nosotros, no fue una maqueta. Me entrevisté antes de hacerla con Buzz Aldrin, miembro de la misión Apollo XI, el segundo hombre en pisar la Luna, y pensaba: “¿Qué le voy a decir? ¡Es un astronauta de verdad!” Entonces le pregunté por el problema de la condensación de los cascos, por la humedad que se acumula e impide la visión y la respiración. Y me dijo: “Pero, Tom, tu muestra no es real, hacele un agujero al casco y listo.” Y le dije lo mismo que te digo a vos: es real. A ese nivel de detalle fui, hasta la condensación en los cascos, lo resolví con un ventilador de enfriamiento. El hecho de que haya tenido que compensar la humedad en los cascos es un don, un regalo para mí, profundiza mi experiencia como un constructor. Y toda esa fanfarria, ese despliegue que mencionas, de nuevo, es muy real. Te lo llevo a esta analogía: un maestro de karate, se dice, necesita diez mil horas de entrenamiento para convertirse en un maestro. Luego va al combate, y, ¡bang!, es un golpe de puño y la pelea termina antes de que se entere, como que nunca ocurrió. Para ser astronauta, entrenás y entrenás, el 99 por ciento del tiempo es entrenamiento y un 1 por ciento la misión real, si tenés la suerte de ir al espacio. Bueno, yo puse mis diez mil horas en todo esto. Y hay algo más: creo que esta muestra es un hecho de magia simpatética.

¿Y qué es la magia simpatética?
A ver, es como hacer un muñeco de tu enemigo y quemarlo para destruírlo, o hacer un muñeco del brazo de tu hijo para sanarlo. Es una proyección, es usar mis recursos al respecto. Mi ambición era llegar a algo relacionado a NASA, o al Jet Propulsion Lab en Pasadena, donde pasa lo más excitante en material de exploración espacial. Y por afinidad y amistad, llegué a tipos como Greg Bane, verdaderos científicos, y terminé diseñando el parche con el emblema para la misión del Mars Science Laboratory. OK, no es tan científico, pero es imágen, es relación pública y es un trabajo de equipo, todo tiene que ver. Y aquí estoy, trabajando con quienes me inspiraron.

Jamás vi tu obra en vivo, pero, honestamente, no puedo evitar intelectualizarla, preguntarme por qué pasa todo esto. ¿No preferís el “wow”, la sorpresa infantil? El hecho de decir: “¡Esto es enorme!”
Bueno, soy un hombre codicioso, y lo quiero todo. No hay nada malo con el “wow”, para nada. De hecho, está mal visto en el arte contemporáneo, esa reacción primitiva. Hay una inseguridad y un elitismo en la comunidad artística que no me gusta, que va en contra de lo que es el arte para mí, una forma de innovar y expandir nuestras conciencias, un lugar para desarrollar nuestro sentido ético del mundo. A mí el arte me salvó la vida, no es un chiste lo que te digo. Me salvo de vivir una vida bastante infeliz. Lo entendí cuando conocí a Duchamp y a su mingitorio.

¿Cuál fue tu reacción al verlo?
Me sorprendí, me pareció inmediatamente brillante. Me dije a mí mismo: “Este tipo lo entendió todo. O sea, un mingitorio es arte, una locura, se está meando en el arte quizá.” Tomar un objeto, quitarle su función, ponerlo en un nuevo lugar. Fue muy “wow” para mí. Ni me imagino cuando lo estrenó en 1918, en el Armory de New York. Y en 2012, para cuando Curiosity aterrice, vamos a volver a mostrar “Space Program” en el Armory mismo y en una nueva versión. Quizá haré lo mismo que Duchamp casi cien años después.

Casualmente, Duchamp es la referencia obvia en cualquier charla intelectual sobre el arte moderno.
Totalmente. Es como un poster boy para el intelectualismo. Creo que si escuchara todas las charlas sobre su persona se sentiría bastante avergonzado.

Tu trabajo condensa símbolos clásicos de Estados Unidos, lo que el mundo entiende por Estados Unidos: McDonald’s, California, la NASA misma, lo que se conoce como Americana, esa simbología colectiva. Si esa es la Americana clásica, ¿cuál es la nueva?
Quizá no hay una nueva. Todos amamos a la Coca Cola, al cowboy de Marlboro, a los camiones monstruo de Budweiser, y todos estamos enfurecidos y humillados por lo que hizo la administración Bush en Irak, por el 9-11, que nos hizo saber cuánto este país es odiado en el resto del mundo. Ya no hay una sóla América, Camelot y John Kennedy están muy lejos, se fueron hace mucho tiempo. Hoy es un complejo lío de íconos. Pero yo aspiro a representar lo artesanal de esta sociedad, su industria, por así decirlo, el hecho de hacer, de construír, de poner las manos, lo que hicieron los hombres y mujeres que hicieron grande a este país, que se basaron en orgullo y no en concesiones. Como te decía, el sueño sigue vivo, por eso te estoy predicando al estilo Carl Sagan. Vos vas a ser el mejor periodista que puedas ser, y yo el mejor escultor que pueda ser. Esa es la idea. Sagan dijo en “Cosmos”: “¿Quién habla por la Tierra? ¿Quién va a conducir esta nave?” Nos toca a nosotros ser los capitanes de esto.

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  77. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  78. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of «neighbors» will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune «Social» is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  79. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  80. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

  81. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  82. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  83. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

  84. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  85. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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  87. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  88. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  89. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

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  92. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of «neighbors» will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune «Social» is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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  133. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of «neighbors» will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune «Social» is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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