{"id":33840,"date":"2021-09-20T07:30:44","date_gmt":"2021-09-20T06:30:44","guid":{"rendered":"http:\/\/a-desk.org\/?p=33840"},"modified":"2023-07-09T14:45:05","modified_gmt":"2023-07-09T12:45:05","slug":"hablamos-marciano-3","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/hablamos-marciano-3\/","title":{"rendered":"SPEAKING MARTIAN"},"content":{"rendered":"<p>Two women from the same generation, who probably never met. However, both lived at relatively close distance in Switzerland and despite their distinctive social background they developed a creative practice at the crossroad of healing (body and soul), art and research. Both dedicated their lives to study the nature of the universe and of humankind through the conception of polysemic image systems. Olga Fr\u00f6be-Kapteyn\u2019s and Emma Kunz\u2019s worlds were nurtured with interest in science and biology and by an opening to ancient and non-western cultures, imbued with spiritual dimensions. In times of social and political unrest, they devoted themselves to their art in an expanded field, believing in its agency, and its curative and re-enchanting power. An art using geometric patterns and symbolism infused with their practice of weaving, archetypal images, ornaments and with a thorough observation of the micro and macrocosm leading to the imagination of a singular cosmos.<\/p>\n<p>The work of both women has been brought to light for a wide audience posthumously. Some of their artworks are about to be shown at the Guggenheim Museum in Bilbao; they were also at the core of several exhibitions lately \u2013 inviting contemporary artists to dialogue directly or indirectly with them<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_1');\" onkeypress=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_1');\" ><sup id=\"footnote_plugin_tooltip_33840_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33840_1_1\" class=\"footnote_tooltip\">\u00a0Six paintings on carboard by Olga Fr\u00f6be-Kapteyn will be showcased in Bilbao (22.10.2021-27.02.2022) in the context of the travelling exhibition Elles font l\u2019abstraction, Centre Pompidou (05.05&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33840_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_33840_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0Yet, in the &#8217;30s, the \u201cmeditations plates\u201d realised by Olga Fr\u00f6be-Kapteyn were displayed only for some time in the new conference room of her house. In the &#8217;50s, the large-scaled diagrams drawn on graph paper by Emma Kunz were hanging in layers on the walls of her home, close to the S\u00e4ntis mountain in Appenzell, ready to be used and reused for diagnosis or prognostics. Both women also had their <i>genius loci<\/i> that can still be visited today.<\/p>\n<p>Olga Fr\u00f6be-Kapteyn was born from a Dutch bourgeois family in London in 1881. She received a higher education in Zurich, first in applied art (she exhibited an embroidered blouse in the Museum of Applied Arts in Zurich in 1916), and then in art history before moving to Munich and Berlin with her husband; he was an orchestra conductor who died in an air crash during the First World War, leaving her with their newborn twin girls. She had a creative practice (in the field of textile and book illustration) but was also a Salon organizer in cultural milieus where esoterism and spiritual syncretism were already in vogue and where women played an active role. In 1920, she definitely moved to Ascona, in the Italian-speaking part of Switzerland, just twenty minutes away from Monte Verit\u00e0, the colony of artists and free thinkers who promulgated an alternative and decelerative lifestyle. There, in her house by the Lake Maggiore, between 1926 and 1934, Olga Fr\u00f6be-Kapteyn realised around 200 paintings in a refined, geometrical, and illuminated Art deco style synthetizing oriental, Christian, but also theosophical and mystical symbols. She revealed creating these works in a meditative state in which she also envisioned, in 1927, the building of a \u201ctemple\u201d that would take shape first as a \u201cCenter for Spiritual Research\u201d with the theosophist Alice Ann Bailey, and then become the <em>Eranos<\/em> project, marked by the collaboration with Carl Gustav Jung. <em>Eranos<\/em>, which means a \u201cbanquet\u201d in Greek, will be through the years an equally intimate place for her research on spirituality and symbolism, and a collective laboratory for interdisciplinary conferences on the history of culture. The very first <em>Eranos<\/em> symposium was held in 1933, under the theme of \u201cYoga and Meditation in the East and the West\u201d. It hosted in the following summers, around its round table, speakers like Mircea Eliade and Erwin Schr\u00f6dinger. Even during WWII, Olga Fr\u00f6be-Kapteyn decided to maintain the symposium, even if for just one speaker and a listener, as an act of resistance.<\/p>\n<p>As for Hilma af Klint with Rudolf Steiner, it seems that there is, for Olga Fr\u00f6be-Kapteyn\u2019s art, a before and after following her encounter with C. G. Jung. Although her pictures have been the main topic of their early correspondence, after Jung\u2019s vivid critics she decided to remove her works from the lecture hall and keep their creation and presentation more private. From 1934, she progressively entered in a new figurative and auto-biographical phase, embracing the idea of an active imagination through the creation of a series that she called the <em>Visions<\/em>. Olga Fr\u00f6be-Kapteyn\u2019s fascination with iconography lead her also to build a thematic photographical archive comprised of about 6\u2019500 items spanning from depictions of paintings, sculptures, artefacts to symbols from all over the world. A large section of the collection concerned the archetype of the Great Mother that she curated according to the conferences\u2019 topics<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_2');\" onkeypress=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_2');\" ><sup id=\"footnote_plugin_tooltip_33840_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33840_1_2\" class=\"footnote_tooltip\">Olga Fr\u00f6be Kapteyn donated her original pictures archive to the Warburg Institute in 1954. Depictions of St Christopher, Hermes, astrological images, the cross, and Western Mandalas were others&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33840_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_33840_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<div id=\"attachment_33795\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-33795\" decoding=\"async\" class=\"wp-image-33795 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/OFK_initiation_portal.jpg\" alt=\"\" width=\"1000\" height=\"1494\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/OFK_initiation_portal.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/OFK_initiation_portal-268x400.jpg 268w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/OFK_initiation_portal-768x1147.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-33795\" class=\"wp-caption-text\">Olga Fr\u00f6be-Kapteyn, &#8220;The Portal of Initiation, from Meditation Drawing Screenprints&#8221;, c. 1930, color screenprint on paper, 497 x 360 mm, \u00a9 The Eranos Foundation<\/p><\/div>\n<p>And what about Emma Kunz? Close to Zurich, the Roman quarry in W\u00fcrenlos was the site where she had had the stone composing her healing powder \u201cAion A\u201d extracted, and where she used to meditate. Today, the cave is part of the Emma Kunz Centre, built in 1986 by a former patient who also opened a museum with Kunz\u2019s works in 1991. The \u201cgrotto\u201d and its content have been, for these last three years an experimental site for contemporary artists including Christodoulos Panayiotou, Lauryn Youden and Laura Viale<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_3');\" onkeypress=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_3');\" ><sup id=\"footnote_plugin_tooltip_33840_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33840_1_3\" class=\"footnote_tooltip\"><a href=\"https:\/\/www.artforum.com\/interviews\/christodoulos-panayiotou-talks-about-emma-kunz-79552\" target=\"_blank\" rel=\"noopener\">See Christodoulos Panayiotou interview<\/a>, Artforum, April 2019, Lauryn Youden\u2019s <a href=\"https:\/\/soundcloud.com\/user-492259292\/lauryn-youden-emma-kunz-wave-guide\" target=\"_blank\" rel=\"noopener\">sonic piece<\/a>,\u00a0and the new series of frottages <a href=\"https:\/\/www.lauraviale.com\/WORKS\/49-inframondo-at-emma-kunz-grotto\" target=\"_blank\" rel=\"noopener\"><em>Inframondo<\/em><\/a>\u00a0by Laura Viale<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33840_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_33840_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>Emma Kunz, was born in 1892, in Brittnau, in the centre of the German-speaking part of Switzerland, within a modest context. She earned her living working in a knit factory and as a maid for a wealthy painter, who portrayed her as a pastoral muse. A strong intuitive woman, she was eager to learn and kept herself informed on scientific and esoteric concepts found in popular science journals, talked with chemists who helped her developing her remedies, and cultivated a fascination for the new world that opened up through the lens of her microscope. When her healing practice and unconventional way of life (she never married and had no children) became too suspicious for the authorities, she moved to the small canton of Appenzell, in the far east of Switzerland, where alternative healers were, and are still today, well accepted.<\/p>\n<p>Emma Kunz published a collection of poems <i>Life<\/i> (<i>Leben<\/i>,1930) and in 1953, self-published two almost identical theoretical booklets about her methods of drawing: <i>The Miracle of Creative Revelation <\/i>and <i>New methods of drawing<\/i>, both subtitled <i>Design and form as measure, rhythm, symbol and transformation of number and principle<\/i>. Yet, in the conciseness of her explanations she remained cryptic, choosing not to unveil how she toyed with the numbers at the core of her practice neither how she used her pendulum; a tool today conserved at the Emma Kunz Centre with three note\/sketch books and more than 400 drawings realised from 1938 until her death. Her booklets, nevertheless, inform us that she envisaged her images as records of energetic flux in and around crystals, plants, animals and humans. Regarding her creative protocols and biography, the main sources are the reports by eyewitnesses and entourage who passed down quotations and informations that, told and retold, contributed to create her legendary persona.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Olga Fr\u00f6be-Kapteyn and Emma Kunz used their creative practice to find answers in the world order and to materialize imponderable energies; they integrated orientation tools and automatic process within this scope. The need to assemble and organize images and cross-cultural symposia (also trough the depiction of mandala figures) was made by Fr\u00f6be-Kapteyn at her desk, with her typewriter and an image of an old wind rose under the eyes, when she wasn\u2019t using a long needle to select images in diverse libraries or consulting the <i>I Ching<\/i>,<i> <\/i>the Chinese divinatory book of revelations. Emma Kunz, as her former patient reports, drew standing, using the grid of the graph paper weighed down on the table to mark gravity centers following the virtual forms of her pendulum on a wooden board. She then \u201cwove\u201d with a ruler and pencils a net of pulsating lines in a state of concentration that might have brought to her mind images in which she saw the operating forces in nature. Once accomplished, Kunz re-used her drawings for new interpretations (that she gave orally). She also reproduced and framed her drawings at a smaller scale and sometimes offered them to her patients, perhaps like talismans.<\/p>\n<div id=\"attachment_33792\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-33792\" decoding=\"async\" class=\"wp-image-33792 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/EK_at_her_desK.jpg\" alt=\"\" width=\"1000\" height=\"985\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/EK_at_her_desK.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/EK_at_her_desK-406x400.jpg 406w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/EK_at_her_desK-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-33792\" class=\"wp-caption-text\">Werner Schoch, &#8220;Emma Kunz at her desk&#8221;, 1953, Staatsarchiv Appenzell Ausserrhoden<\/p><\/div>\n<p>The artworld is rediscovering these influential figures of the past within the context of their emblematic \u201celder sisters\u201d Hilma af Klint, Georgina Houghton, Agnes Pelton, and Josefa Tolr\u00e0 among others<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_4');\" onkeypress=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_4');\" ><sup id=\"footnote_plugin_tooltip_33840_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33840_1_4\" class=\"footnote_tooltip\">See for example the exhibition Alma. Mediums y Visionarias\u00a0curated by Pilar Bonet, held at the Es Baluard Museu, Palma de Majorca (2019) and the activities of the Visionary Women Art Research Group.&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_33840_1('footnote_plugin_reference_33840_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33840_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_33840_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0The progressive valourisation of women\u2019s work, posthumanist and holistic worldviews, but also the expansion of the categorization of art and beliefs today play a role in the enhancement of a creativity that until recently has been marginalised. A creativity that in many ways will have anticipated the debates on the power and functions of art. The knowledge of their work proceeds slowly though and sometimes with lacunary sources. Their art, research and figures open up then to speculative projections and artistic dialogues that drive a creative force in their own and make us reflect upon our society in a past future tense.<\/p>\n<p>&nbsp;<\/p>\n<p>(Front image: Olga\u00a0Fr\u00f6be-Kapteyn,<i>\u00a0<\/i><i>The Portal of Initiation, from Meditation Drawing Screenprints<\/i>, c. 1930, color screenprint on paper,\u00a0497 x 360 mm,\u00a0\u00a9\u00a0The Eranos Foundation)<\/p>\n<hr \/>\n<hr \/>\n<p>Bibliographical references:<\/p>\n<p>BONNEFOIT R\u00e9gine and PETRUCCI Sara (ed.), <em>Zahl, Rhythmus, Wandlung. Emma Kunz und Gegenwartskunst \/Nombre, rythme, transformation. Dialogues contemporains avec Emma Kunz<\/em>, cat.exp. Kunsthalle Ziegelh\u00fctte Appenzell (26.04. \u2013 25.10.2020), Appenzell\u00a0: Gebert\u00a0Stiftung\/G\u00f6ttingen\u00a0: Steidl, 2020.<\/p>\n<p>AFSCHAR Yasmin (ed.), <em>Kosmos\u00a0Emma\u00a0Kunz\u00a0: eine Vision\u00e4rin im Dialog mit zeitgen\u00f6ssischer Kunst =Emma\u00a0Kunz\u00a0cosmos: a visionary in dialogue with contemporary art, Z\u00fcrich<\/em>: Scheidegger &amp; Spiess, 2021.<\/p>\n<p>BERNARDINI Riccardo,\u00a0<em>Jung a Eranos. Il progetto della psicologia complessa,<\/em> Milan: Franco Angeli, 2011.<\/p>\n<p>BERNARDINI Riccardo and MERLINI Fabio, \u201cOlga Fr\u00f6be-Kapteyn (1881-1962): a Woman\u2019s individuation Process trough Images at the Origins of the Eranos Conferences\u201d, in: <em>ARAS connections<\/em>, n\u00b04, 2020, pp. 1-19.<\/p>\n<p>HACKL Hans Thomas, <em>An alternative Intellectual History of the Twentieth Century<\/em>, Routledge, 2013.<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_33840_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_33840_1();\">[<a id=\"footnote_reference_container_collapse_button_33840_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_33840_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33840_1('footnote_plugin_tooltip_33840_1_1');\"><a id=\"footnote_plugin_reference_33840_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">\u00a0Six paintings on carboard by Olga Fr\u00f6be-Kapteyn will be showcased in Bilbao (22.10.2021-27.02.2022) in the context of the travelling exhibition <i>Elles font l\u2019abstraction<\/i>, Centre Pompidou (05.05 -23.8.2021). Some works and part of the archive gathered by Olga Fr\u00f6be-Kapteyn were presented during the exhibitions <i>La Grande Madre<\/i> (Palazzo Reale, Milan, 2015) and <i>The Keeper<\/i> (New Museum, New York, 2016). Thirteen of her artworks are permanently displayed in the restaged exhibition <i>The Breast of Truth<\/i> curated by Harald Szeemann in 1978, at the Casa Anatta Museum, Monte Verit\u00e0, in Ascona. There isn\u2019t any monograph yet. Emma Kunz\u2019s drawings have received worldwide recognition, concretising somehow a quotation often attributed to her reporting that her images were meant to be for the 21<sup>st<\/sup> Century<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33840_1('footnote_plugin_tooltip_33840_1_2');\"><a id=\"footnote_plugin_reference_33840_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Olga Fr\u00f6be Kapteyn donated her <a href=\"https:\/\/wayback.archive-it.org\/16107\/20210312213631\/http:\/\/blog.wellcomelibrary.org\/2016\/01\/western-mandalas-in-the-cary-baynes-archive\/\" target=\"_blank\" rel=\"noopener\">original pictures archive<\/a> to the Warburg Institute in 1954. Depictions of St Christopher, Hermes, astrological images, the cross, and Western Mandalas were others themes of her research<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33840_1('footnote_plugin_tooltip_33840_1_3');\"><a id=\"footnote_plugin_reference_33840_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\"><a href=\"https:\/\/www.artforum.com\/interviews\/christodoulos-panayiotou-talks-about-emma-kunz-79552\" target=\"_blank\" rel=\"noopener\">See Christodoulos Panayiotou interview<\/a>, Artforum, April 2019, Lauryn Youden\u2019s <a href=\"https:\/\/soundcloud.com\/user-492259292\/lauryn-youden-emma-kunz-wave-guide\" target=\"_blank\" rel=\"noopener\">sonic piece<\/a>,\u00a0and the new series of frottages <a href=\"https:\/\/www.lauraviale.com\/WORKS\/49-inframondo-at-emma-kunz-grotto\" target=\"_blank\" rel=\"noopener\"><em>Inframondo<\/em><\/a>\u00a0by Laura Viale<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33840_1('footnote_plugin_tooltip_33840_1_4');\"><a id=\"footnote_plugin_reference_33840_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">See for example the exhibition <em><a href=\"https:\/\/www.esbaluard.org\/en\/exposicion\/alma-soul-mediums-and-visionaries\/\" target=\"_blank\" rel=\"noopener\">Alma. Mediums y Visionarias<\/a><\/em>\u00a0curated by Pilar Bonet, held at the Es Baluard Museu, Palma de Majorca (2019) and the activities of the <a href=\"http:\/\/www.visionarywomen-art.com\" target=\"_blank\" rel=\"noopener\">Visionary Women Art Research Group<\/a>. It is worth mentioning that the next theme of the Venice Biennale is organised under the auspices of a Leonora Carrington\u2019s books<a href=\"https:\/\/www.labiennale.org\/en\/art\/2022\/statement-cecilia-alemani\" target=\"_blank\" rel=\"noopener\">: <em>The Milk of Dreams<\/em><\/a><\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_33840_1() { jQuery('#footnote_references_container_33840_1').show(); jQuery('#footnote_reference_container_collapse_button_33840_1').text('\u2212'); } function footnote_collapse_reference_container_33840_1() { jQuery('#footnote_references_container_33840_1').hide(); jQuery('#footnote_reference_container_collapse_button_33840_1').text('+'); } function footnote_expand_collapse_reference_container_33840_1() { if (jQuery('#footnote_references_container_33840_1').is(':hidden')) { footnote_expand_reference_container_33840_1(); } else { footnote_collapse_reference_container_33840_1(); } } function footnote_moveToReference_33840_1(p_str_TargetID) { footnote_expand_reference_container_33840_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_33840_1(p_str_TargetID) { footnote_expand_reference_container_33840_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>Two women from the same generation, who probably never met. However, both lived at relatively close distance in Switzerland and despite their distinctive social background they developed a creative practice&#8230;<\/p>\n","protected":false},"author":2729,"featured_media":33797,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6123],"tags":[],"coauthors":[6661],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>SPEAKING MARTIAN &#8211; A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/en\/magazine\/hablamos-marciano-3\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SPEAKING MARTIAN &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"Two women from the same generation, who probably never met. 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