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Redefining Garbage in Contemporary Buenos Aires: The Imagination of Crisis and its Aesthetic Responses_Gisela Heffes
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Brœjula
Volume 11 ¥ 2017
Enfoques
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Redefining Garbage in Contemporary Buenos Aires: The Imagination of Crisis and its Aesthetic Responses
1
Gisela Heffes
*
Rice University The phenomenon of waste, what we discard and what we simply call Òtrash,Ó Òjunk,Ó Òleftovers,Ó and Òcrap,Ó is not defined by any inherent characteristics but by assigned and imposed categories. In
Rubbish Theory
(1979), British anthropologist Michael Thompson points out that objects designated as trashÑwhatever has been given a ÒdeathÓ certificateÑcan remain in this dormant state, deprived of time and value until they have the chance to be ÒdiscoveredÓ and even transferred into a ÒdurableÓ category which includes
1
An earlier presentation draft of this article was delivered at the Centre for Latin American Studies at The University of Cambridge (UK) on 30 January 2012, and an expanded version can be found in my book
Pol’ticas de la destrucci—n/PoŽticas de la preservaci—n. Apuntes para una lectura (eco)cr’tica del medio ambiente en AmŽrica Latina
(Rosario: Beatriz Viterbo, 2013).
*
Copyright
!
Gisela Heffes, 2017. Used with permission.
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Enfoques
Heffes ¥ Redefining Garbage in Contemporary Buenos Aires
2
Brœjula
¥ Volume 11 ¥ 2017
works of art and antiques; these are objects that conserve or even increase their value over time (7). This change of categoryÑwhich, beyond material culture, can be related to systems of ideas and knowledgeÑis linked, according to Thompson, to a change in ownership and is therefore connected to the social relations of power. In equal measure, this way of looking at things with respect to their old functions allows new values and meanings for trash. Considering the arbitrary and multilayered nature of trash that Thompson evokes, I would like to focus on the figure of
cartoneros
or Òcardboard scavengers,Ó a growing phenomenon throughout Latin America that has been drawing the attention of literary critics, sociologists and anthropologists as well as writers and artists over the last fifteen years or so
.
The central thrust of this essay is that the
cartoneros
phenomenon highlights that the impetus behind recycling in Latin America differs starkly from what one finds in the developed world. Whereas the recycling and reuse of objects in the US and Europe typically reflects an ideological commitment to better or improve the environment, Latin American recycling is more often than not motivated by the straightforward economic need for survival. To a certain degree,
cartoneros
emerge as a possible example of how to re-imagine both environmental policy and justice as a set of evolving community relationships, personalizing the process of recycling through a more communal and less individualistic endeavor, one more akin to labor practices. If garbage is a relational concept, a relative one that comprises notions of value that change from one society to another, as Thompson rightly has demonstrated,
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Enfoques
Heffes ¥ Redefining Garbage in Contemporary Buenos Aires
3
Brœjula
¥ Volume 11 ¥ 2017
garbage can also operate as a critique of consumption which is contingent upon the specific place where the trash is produced and to which it is addressed. In this sense, and as I hope to demonstrate throughout this article, (environmental) innovation could also emerge hand in hand with crisis and socio-economic degradation. Before exploring the cultural production that has been preoccupied with waste and its reuse in Buenos Aires since 2000, I will first offer a brief overview of earlier aesthetic responses to garbage. In closing, I will consider some of the political, cultural and theoretical implications of the
cartonero
phenomenon. The story of people who live in garbage dumps is not new. Ever since human beings have lived on earth they have generated, produced, manufactured, excreted, separated, discarded, and eliminated all different forms of waste, as Martin Melosi has correctly pointed out in his 1981 classic
Garbage in the Cities
. Nevertheless, garbage has not always been a problem, or at least a problem of the scale and magnitude it represents in contemporary societies: throughout history, agrarian societies have successfully avoided solid waste pollution and contamination. Therefore, Melosi signals that trash is an urban problem, and although it varies in degree and intensity, it is exacerbated by the limits that habitable space implies, such as population density (1). It is in this scenario of environmental contamination articulated as an urban issue that I attempt to analyze those textual and visual representations in which the subjects, besides collecting trash for its later use, whether through sale
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