Professional Documents
Culture Documents
Doris Salcedo
MCA Chicago
| Chicago
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Doris Salcedo
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Doris Salcedo
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Contents
Directors Foreword
Madeleine Grynsztejn
Acknowledgments
Madeleine Grynsztejn and Julie Rodrigues Widholm
12
Introduction
Madeleine Grynsztejn
17
29
Seeing Things
Elizabeth Adan
41
Plates
201
209
215
A Work in Mourning
Doris Salcedo
218
Exhibition History
Bibliography
Compiled by Steven L. Bridges
228
231
232
233
234
Exhibition Checklist
Contributors
Exhibition Sponsors
Lenders to the Exhibition
Index
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Directors Foreword
The Museum of Contemporary Art Chicago is honored to present the work of Doris Salcedo, one of
the most renowned sculptors working today, in her
first major survey. The exhibition spans the artists
thirty-year career and represents all major bodies of
productionmany of which are shown together for
the first time. Salcedos sculptures and installations,
which are informed by her passionate study of the
humanities, in particular philosophy and poetry,
address some of the most troubled and troubling
aspects of human society. Herwork gives form to
pain, trauma, and loss, creating spaces for individual
and collective mourning, with a great sensitivity to
aesthetics and a dedication to making visible that
(and those) which often remains invisible.
Organizing this timely exhibition of one of the
worlds most seminal artists is no small task. It is
with the enduring vision and unwavering focus of
my cocurator, Julie Rodrigues Widholm, that this
herculean endeavor has been made possible. Her
oversight of the exhibition, catalogue, and accompanying documentary video reflects her curatorial
prowess and broad range of skills.
I would like to express my sincere gratitude to
the exhibitions benefactors, without whose enlightened support, the sheer magnitude and significance
of this exhibition and accompanying publication
would not have been possible. We are indebted to
the generous lead support provided by the Harris
Family Foundation in memory of Bette and Neison
Harris: Caryn and King Harris, Katherine Harris,
Toni and Ron Paul, Pam and Joe Szokol, Linda
and Bill Friend, and Stephanie and John Harris.
Additional lead support is provided by Stefan Edlis
and Gael Neeson, The Bluhm Family Foundation,
Anne Kaplan, Howard and Donna Stone, The Andy
Warhol Foundation for the Visual Arts, and Helen
and Sam Zell. Major support is provided by The
Chicago Community Trust; Ministry of Foreign
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Acknowledgments
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Introduction
Madeleine Grynsztejn
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individual is recognizable, but the works still communicate an explicit sense of loss and anguish, and
of corporealfragility.
Though anchored in real events, and often
incorporating real material traces, Salcedos works
emphatically elide representation, preferring the
visual strategy of an aesthetics held in suspension.
Itis precisely because of their provisional nature
that processes such as sewing and suturing, piercing
and puncturing, return in different bodies of work
over the years, whether in the impaling of stacks of
plastered shirts by lengths of steel rebar (Untitled,
198990/2013; pp. 5053), the crude surgical stitching that closes off the niches of Atrabiliarios (1992
2004; pp.10209), the follicle-sized holes drilled into
the surfaces of each of the works in the Unland series
legaria Muda (200810;
(199598; pp. 12235) and P
pp. 18491), or, more recently, the suturing of rose
petals constituting AFlor de Piel (2014; pp. 19293).
This combination of puncturing and suturing
mending and woundingvisually recapitulates the
unresolved nature of the tragedy that is the works
first source and to which it always indirectly points,
never to be resolved but also never to be forgotten or
dismissed.
Salcedos use of gestures such as stitching, grafting, and patching is also and importantly part of a
larger program emphasizing the labor inherent in the
making of her works. The sculptures are clearly the
results of intense acts of working and reworking. An
exhausting process of painstaking handiwork may be
the only way Salcedo allows herself to feel that she
can bear legitimate witness to pain and suffering, to
the gratuitous and uncompensated work of loss,
as if in solidarity with those who manually labor at
societys margins.3 The visceral and insistent materiality born of this laborwhose rawness is often
compounded by the discreet yet highly charged
inclusion of organic matter such as hair, bone,
and fabricvigorously grounds the work in the
world, and puts the beholder in its immediate and
emphatic presence. Perhaps Salcedo seeks this insistent and continuous presentness because she sees
it as the necessary precursor to any possible agency
on the part of the works viewer: in the affective
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Salcedo makes in her studio, and indeed, their contribution to her larger oeuvre cannot be overemphasized. In addition, the film shows how each public
work is tantamount to a public hearing of events
and concerns that government bodies, authoritative organizations, even whole cultures refuse to
acknowledge. In these public works, S
alcedos role
as an artist also takes on the complex facets of what
it means to be a citizen, performing acts of willful
remembrance and commemoration while simultaneously exposing the lack of official address.
Public action lies at the core of these largescale site-specific projects. Through them we come
to understand Salcedos concern with expanding notions of what constitutes civic space and
thecivic itself, and of the importance of the public
arena. These ideas, of course, convey an interest
in the political, which is and always has been a
fundamental aspect of Salcedos work. But perhaps
moresignificantly, these ideas suggest a sense of
responsibilitythe public responsibilityto directly
confront what many willingly veil or actively forget.
In this way, and to cast her practice in a slightly different light, Salcedos work is not so much a work of
memory as a work against amnesia. Through these
projects she gives voice to the voiceless, form to the
formless, and power to the powerless. We live in an
age of radically divergent access to a collective arena.
For Salcedo, who has personally witnessed a disintegration of public life and space and has long devoted
herself to materializing the conditions of displacement and exclusion, lending voice and visibility to
those who are denied access to the public sphere is
acentral task.
Many of these ideas are explored in the pages
of this catalogue, which accompanies the exhibition. Rather than reformulate past arguments, the
volumes insightful essays move the conversation
on Salcedos work forward, casting new light (and
new shadows) thanks to the advantage of historical
hindsight and the new perspectives gained in planning this retrospective. Julie Rodrigues Widholm, in
Presenting Absence: The Work of Doris Salcedo,
introduces the aesthetic strategies in Salcedos work,
analyzing key installations and the artists varied
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material choices to illuminate Salcedos philosophical, humanist, and sociopolitical concerns. Elizabeth
Adan, in Seeing Things, addresses issues of representation across Salcedos oeuvre to explore what
it means to see thingsparticularly in bodies of
work such as La Casa Viuda and Unlandmoving
along the continuum from literality to metaphor.
In her essay, Doris Salcedos Readymade Time,
Helen Molesworth reconsiders the concept of the
Duchampian readymade and recalibrates the term
inlight of the political, social, and psychological
dimensions of Salcedos production. Katherine
Brinson, in The Muted Drum: Doris Salcedos
Material Elegies, draws upon religious and elegiac
themes that figure in Salcedos recent works. Finally,
we are delighted to include a version of a text written by the artist on the occasion of receiving the 9th
Hiroshima Art Prize in 2014. It conveys the philosphical and social concerns of the artists oeuvre in
her ownwords.
As the essays by these esteemed scholars attest,
the time is ripe to look back at the career of one of
the most vital artists living today. Through her works
and in response to them, it is possible to learn something about ourselves and our communities, and the
spaces in between. Even if only for a moment, this
process of recognition brings together the individual and the community, and underscores a shared
humanity, fraught as it may be.
NOTES
1. All of these issues are germane to Salcedos work and feed
into her investigation of social death, a term used to describe
a condition wherein certain groups of people in a society are
viewed and treated as less than human.
2. Salcedos proposed public work, Palimpsest (2013present),
is designed for a large urban plot, in which drops of water slowly
give form to row upon row of the names of victims of gun
violence in the United States.
3. Stella Baraklianou, Silently Disturbing: The Political Aesthetics of Doris Salcedos Recent Installations. 2008. academia
.edu/1287796/Silently_disturbing_the_political_aesthetics_of
_Doris_Salcedos_recent_installations.
4. It is during this unique moment of beholding that the viewer
may enter, as I did, into communion with the victims experience, in Doris Salcedo and Carlos Basualdo. Interview, in
Doris Salcedo (London: Phaidon Press Limited, 2000), 1718.
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Presenting Absence:
The Work of Doris Salcedo
Julie Rodrigues Widholm
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ofjoint and dislocated. This vocabulary of oppositionis most notable in the concrete furniture
piecesher most expansive body of work spanning
the largest period of outputfor example, Untitled
(1995; pp. 7073), in which an armoire intersects a
bed frame, creating a strong sense of vertical and
horizontal forms. A chair fades, or perhaps emerges
from the surface as if to demand presence in Untitled
(2007; pp. 8485). Other sculptures in this body of
work include soft and pliable white floral fabric,
once clothing, that has been made rigid with concrete, forever entombed and only partially visible.
They are like memories inevitably receding yet
constantly recalled by the smallest detail: a shirt,
achair, asmell.
In Salcedos sculptures and installations, familiarhousehold elements used in everyday life become
specters of the familiar, suggesting transformations
that occur when ones life is irrevocably altered.
Sociologist Avery Gordon has described those
instances when home becomes unfamiliar, when
your bearings on the world lose direction, when the
over-and-done-with comes alive . . . as haunting ...
The whole essence of a ghost is that it has a real
presence and demands its due, your attention.19
This ghost furthermore is a symptom of what is
missing. It gives notice not only to itself but also to
what it represents . . . usually a loss, sometimes of
life, sometimes of a path not taken . . . and we must
reckon with it out of a concern for justice.20
This sense of haunting and displacement,
however, could pertain equally to a different and
profound experience of the world brought about by
suffering, trauma, or loss resulting from the fear of,
and hostility toward, difference, otherness, and the
unknown. Salcedos work gives presence to those
who cannot escape oppressive states of being that
prevent a fully lived, humane life because they
live on the economic, geographical, and political
peripheries. Salcedo locates art as a contact zone for
difference: The experience of the victim is something presenta reality that resounds within the
silence ofeach human being that gazes upon it. It
is because of this that the work of art preserves life,
offering possibility that an intimacy develops in a
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NOTES
1. Jean-Luc Nancy, The Ground of the Image (New York: Fordham
University Press, 2005), 6768.
2. Doris Salcedo: Variations on Brutality, By Susan Sollins,
Art21.org, April 2013, art21.org/texts/doris-salcedo/interview
-doris-salcedo-variations-on-brutality.
3. Avery F. Gordon, Ghostly Matters: Haunting and the Sociological Imagination (Minneapolis: University of Minnesota Press,
2008),4.
4. When speaking about the interviews with trauma survivors
that shape her work, Salcedo frequently uses the nouns witness
and testimony as if to suggest a context in which justice is being
sought, even though the artist has made it clear that seeking
justice is not the impetus of her work.
5. Colombian Conflict Has Killed 220,000 in 55 Years, Commission Finds, The Guardian, July 25, 2013, theguardian.com/
world/2013/jul/25/colombia-conflict-death-toll-commission.
6. This term refers to forced disappearance, in which victims
are abducted, and often tortured and murdered. Such disappearances leave no body to prepare for burial or evidence of
thevictims death.
7. Doris Salcedo, acceptance speech for the 9th Hiroshima
Art Prize (Hiroshima City Museum of Contemporary Art,
Hiroshima, July 18, 2014). See also Salcedos essay in this
publication.
8. Ibid.
9. Paul Gilroy, Brokenness, Division and the Moral Topography
of Post-Colonial Worlds, in Doris Salcedo: Shibboleth, ed. Achim
Borchardt-Hume (London: Tate Modern, 2007), 28.
10. Sollins, Doris Salcedo.
11. See Alexander and Margarete Mitscherlich. The Inability to
Mourn: Principles of Collective Behavior (New York: Grove Press,
1975).
12. Curator Achim Borchardt-Hume uses the work of French
philosopher Jacques Rancire to make this point; see BorchardtHume, Salcedo: Shibboleth, 21.
13. Maggie Nelson, The Art of Cruelty: A Reckoning (New York:
W.W. Norton, 2011), 144.
14. Frederic Jameson, The Political Unconscious: Narrative as
Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981),
102.
15. Gordon, xviii.
16. Doris Salcedo, Hiroshima Art Prize lecture, July 19, 2014.
17. Doris Salcedo in discussion with the author, May 20, 2014.
18. Ibid., July 31, 2010.
19. Gordon, xvi.
20. Ibid., 64.
21. Interview with Charles Merewether 1998, in Doris Salcedo,
eds. Nancy Princenthal, Carlos Basualdo, and Andreas Huyssen
(London: Phaidon, 2000), 137.
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that is to say, they are things that see such violence. By exposing to the field of vision the forces
and effects of brutality, Salcedos sculptures not only
exhibit the second sense of seeing things, but the
third sense develops in the artists work as well.
These combined visible properties and visual
capacities are also evident in the artists many
untitled furniture-and-concrete sculptures, in which
smaller pieces of furniture can be readily distinguished from the larger structures within which
theyare contained through variations in color, overall shape, surface decoration, and related details. A
number of these artworks, such as an armoire filled
with concrete (1998; pp. 7677), include articles
of clothing encased in the material and similarly
apparent. V
isibly trapped within the mass of concrete, the smaller pieces of furniture and clothing
vividlyevoke suffocation and entombment, and all
of these sculptures can be understood to visualize,
orsee, the torture of being buried alive.
In a related vein, Salcedos three Unland artworks also provide much to see, including the
thousands of hairs that cover areas of each artwork.
Indeed, the stitches that attach the fibers to the
sculptures may individually involve no more than
the relatively inconsequential prick of a needle,
but each one constitutes a physical rupture, and
the cumulative force of these thousands of piercingsexplicitly suggests intense pain, if not outright agony.27
By making these thingsincluding evidence of
violence and abusevisible, Salcedos sculpture and
installation projects effectively engage in their own
acts of seeing. In particular, the artist exposes political violence to vision in ways that cannot be ignored,
and as a result her artworks suggest that postwar
notions of unrepresentability, with their iconoclastic rejection of vision, do not entirely hold up. But
even as Salcedos sculptures and installations display
a wide range of things for viewers to perceive and
seem themselves to actively see violence, neither
ofthese senses of seeing things uses familiar, pictorial means of visual representation, and Salcedos
work consistently maintains its commitment to the
first sense as well.
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NOTES
1. See Terry Smith, Contemporary Art and Contemporaneity,
Critical Inquiry 32 (Summer 2006): 681707; Terry Smith, Okwui
Enwezor, and Nancy Condee, eds., Antinomies of Art and Culture:
Modernity, Postmodernity, Contemporaneity (Durham, NC: Duke
University Press, 2008); Questionnaire on The Contemporary, October 130 (Fall 2009): 3124; Julieta Aranda, Brian Kuan
Wood, Anton Vidokle, eds., E-flux journal: What Is Contemporary
Art? (New York: Sternberg Press, 2010); Richard Meyer, What
Was Contemporary Art? (Cambridge, MA: MIT Press, 2013).
2. See especially Meyer, 25961.
3. On these points, see Questionnaire on The Contemporary; Smith, Enwezor, and Condee; Meyer. On the spectacle, see Guy Debord, The Society of the Spectacle, trans. Donald
Nicholson-Smith (New York: Zone Books, 1995 [1967]); Guy
Debord, Comments on the Society of the Spectacle, trans. Malcolm
Imrie (London: Verso Books, 1990 [1988]).
4. On this point, see especially Smith, Enwezor, and Condee.
5. A number of authors have located the shift from modernism
and/or postmodernism to contemporaneity in the late 1980s
and early 1990s; in particular, see responses to Questionnaire
on The Contemporary by Terry Smith (4654), Alexander
Alberro (5560), Yates McKee (6473), and Isabelle Graw (119
21), as well as Terry Smith, What Is Contemporary Art? (Chicago:
University of Chicago Press, 2009), 68, 24243, and 25759;
Meyer, 1416.
6. Such points have been made by the majority of the authors
whose texts I cite throughout this article. In addition, I have
discussed such points in my earlier research on Salcedo, above
all in Elizabeth Adan, Acknowledging Disappearance, Representation, and Ritual in the Work of Doris Salcedo, in Matter,
Presence, Image: The Work of Ritual in Contemporary Feminist
Art (PhD diss., U.C. Santa Barbara, 2006), 15494.
7. Charles Merewether, Naming Violence in the Work of
Doris Salcedo, Third Text 24 (Autumn 1993): 3544; Nancy
Princenthal, Silence Seen, in Nancy Princenthal et al., Doris
Salcedo (London: Phaidon, 2000), 4089.
8. Olga M. Viso, Doris Salcedo: The Dynamics of Violence, in
Distemper: Dissonant Themes in Art of the 1990s, ed. Neal Benezra
and Olga M. Viso (Washington, DC: Hirshhorn Museum and
Sculpture Garden, Smithsonian Institution, 1996), 8695.
9. Monica Amor, Doris Salcedo, ArtNexus 13 (JulySeptember
1994): 16667; Susan Harris, Doris Salcedo, Art Press 193
(July/August 1994): bilingual pages I; Faye Hirsch, Doris
Salcedo at Brooke Alexander, Art in America, October 1994, 136.
10. See also Charles Merewether, Zones of Marked Instability:
Woman and the Space of Emergence, in Rethinking Borders, ed.
John C. Welchman (Minneapolis: University of Minnesota Press,
1996), 42, 10124.
11. Santiago Villaveces-Izquierdo, Art and Media-tion: Reflections on Violence and Representation, in Cultural Producers in
Perilous States: Editing Events, Documenting Change, ed. George E.
Marcus (Chicago: University of Chicago Press, 1997), 237.
12. Jill Bennett, Tenebrae after September 11: Art, Empathy, and
the Global Politics of Belonging, in World Memory: Personal Trajectories in Global Time, eds. Jill Bennett and Rosanne K
ennedy
(Hampshire, UK: Palgrave Macmillan, 2003), 18990.
13. Edlie L. Wong, Haunting Absences: Witnessing Loss in
Doris Salcedos Atrabiliarios and Beyond, in The Image and the
Witness: Trauma, Memory and Visual Culture, eds. Frances Guerin
and Roger Hallas (London: Wallflower Press, 2007), 174. See
also Edlie Wong, The Afterlife of Loss: Situating Memory
in the Sculptural Art of Doris Salcedo, Critical Sense 9, no. 1
(Winter 2001): 5585. For more recent discussions of Salcedos
work in these terms, see also Joan Gibbons, Contemporary Art
and Memory: Images of Recollection and Remembrance (London:
I.B. Tauris, 2007), 5864; Judith Rugg, Exploring Site-Specific Art:
Issues of Space and Internationalism (London: I.B. Tauris, 2010),
16165; Mieke Bal, Of What One Cannot Speak: Doris Salcedos
Political Art (Chicago: University of Chicago Press, 2010).
14. A number of recent texts have drawn upon elements of
iconoclasm to investigate contemporary art and images, such as
Bruno Latour and Peter Weibel, eds., Iconoclash: Beyond the Image
Wars in Science, Religion, and Art (Karlsruhe, Germany: ZKM/
Center for Art and Media and Cambridge, MA: MIT Press,
2002); W.J.T. Mitchell, Cloning Terror: The War of Images, 9/11
to the Present (Chicago: University of Chicago Press, 2011). On
related points, see also Maria Hlavajova, Sven Ltticken, and
Jill Winder, eds., The Return of Religion and Other Myths: A Critical
Reader in Contemporary Art (Utrecht, Netherlands: BAK, 2009);
Sven Ltticken, Idols of the Market: Modern Iconoclasm and the
Fundamentalist Spectacle (Berlin: Sternberg Press, 2009). For an
approach to these matters that instead emphasizes the workings of icons, see Marie-Jos Mondzain, Image, Icon, Economy:
The Byzantine Origins of the Contemporary Imaginary, trans. Rico
Franses (Stanford, CA: Stanford University Press, 2005 [1996]);
I will turn to Mondzains work below.
15. Madeleine Grynsztejn, Voice of the Invisible, Tate, Etc. 11
(Autumn 2007): 46.
16. Euridice Arratia, Spotlight: Doris Salcedo, Flash Art 31,
no.202 (October 1998): 122. Dan Cameron has also noted the
follicle structure of these artworks; see Dan Cameron, Inconsolable, in Doris Salcedo (New York: New Museum of Art,
1998), 13. For a particularly in-depth discussion of the Unland
series, see Tanya Barson, Unland: The Place of Testimony,
Tate Papers 1 (Spring 2004), http://www.tate.org.uk/research/
publications/tate-papers/unland-place-testimony.
17. Laura Garcia Moreno, Troubled Materiality: The Installations of Doris Salcedo, Mosaic 43, no. 2 (June 2010): 97.
18. On these points, see, for example, Lynn Zelevansky, Sense
and Sensibility: Women Artists and Minimalism in the Nineties
(New York: Museum of Modern Art, 1994); Nancy Spector,
Felix Gonzalez-Torres (New York: Guggenheim Museum, 1995);
Tracey Warr and Amelia Jones, The Artists Body (London:
Phaidon, 2000).
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Plates
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Untitled, 1986
Steel shelving, steel cot, plastic dolls, rubber, wax,
and animal fiber
73 9478 1818 in. (187 241 46 cm)
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pp. 5253:
Installation view, Doris Salcedo Studio, Bogot, 2013
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Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
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56
Untitled, 1989
Steel crib, steel mesh, fabric, and wax
38 31 18 in. (96 79 45 cm)
63
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Untitled, 1990
Wooden table, steel table, and concrete
28 21 18 in. (72.5 55 45.5 cm)
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60
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Untitled, 1992
Wooden armoire with glass, wooden chairs with
upholstery, concrete, and steel
45 73 20 in. (114.3 186.7 50.8 cm)
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Untitled, 1995
Wooden dresser, wooden chairs with upholstery,
concrete, and steel
93 41 19 in. (236.2 104.1 48.2 cm)
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67
pp. 6669:
Installation views, 52nd Carnegie International,
Pittsburgh, 1995
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Untitled, 1995
Wooden armoire, wooden bed frame, concrete, steel,
and clothing
7718 7478 4958 in. (195.8 189.9 125.8 cm)
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Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
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Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
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Above, left:
Untitled (and detail, right), 1995
Wooden chair with upholstery, concrete, and steel
38 16 22 in. (98.2 42.7 57.4 cm)
Above, right:
Untitled, 2000
Wooden chair, concrete, and steel
32116 1618 1618 in. (81.5 41 41 cm)
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Untitled, 2007
Wooden armoire, wooden chair, concrete, and steel
39 78 19 in. (100.5 200 48.5 cm)
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85
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96
Untitled, 2001
Wooden armoire, wooden cabinet with glass,
concrete, steel, and clothing
80 67 50 in. (203.5 170 127 cm)
pp. 9899:
Left:
Untitled, 2008
Wooden table, wooden armoires, concrete, and steel
30 97 4758 in. (78 247 121 cm)
Right:
Untitled, 2008
Wooden table, wooden armoires, concrete, and steel
30 105 68 in. (76 268.5 172.5 cm)
Installation view, Doris Salcedo Studio, Bogot, 2008
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89
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Untitled, 1998
Wooden armoire, wooden cabinet, concrete, and steel
49 82 34 in. (124.5 208.3 88.3 cm)
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92
Untitled, 2008
Wooden armoire, wooden cabinet, concrete, and steel
8658 95 40 in. (220 242 102 cm)
pp. 9495:
Installation view, White Cube, Hoxton Square,
London, 2007
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Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
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Untitled, 2001
Wooden armoire, wooden cabinet with glass,
concrete, steel, and clothing
80 67 50 in. (203.5 170 127 cm)
pp. 9899:
Left:
Untitled, 2008
Wooden table, wooden armoires, concrete, and steel
30 97 4758 in. (78 247 121 cm)
Right:
Untitled, 2008
Wooden table, wooden armoires, concrete, and steel
30 105 68 in. (76 268.5 172.5 cm)
Installation view, Doris Salcedo Studio, Bogot, 2008
12/12/14 1:25 PM
97
12/12/14 1:25 PM
98
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:25 PM
99
12/12/14 1:25 PM
100
12/12/14 1:25 PM
101
12/12/14 1:25 PM
102
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:26 PM
103
12/12/14 1:26 PM
104
pp. 10207:
Atrabiliarios, 19922004
Shoes, drywall, paint, wood,
animal fiber, and surgical thread
43 niches and 40 boxes; overall
dimensions variable
Installation views, San Francisco
Museum of Modern Art, 2005
12/12/14 1:26 PM
105
12/12/14 1:26 PM
106
12/12/14 1:26 PM
12/12/14 1:26 PM
108
12/12/14 1:26 PM
109
12/12/14 1:26 PM
110
12/12/14 1:26 PM
111
12/12/14 1:26 PM
112
12/12/14 1:26 PM
125
12/12/14 1:26 PM
114
12/12/14 1:26 PM
115
12/12/14 1:26 PM
116
12/12/14 1:26 PM
117
12/12/14 1:26 PM
118
12/12/14 1:26 PM
119
12/12/14 1:26 PM
120
12/12/14 1:26 PM
134
pp. 13235:
Unland: audible in the mouth, 1998
Wooden tables, silk, human hair, and thread
31 29 124 in. (80 75 315 cm)
12/12/14 1:26 PM
122
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:26 PM
123
12/12/14 1:26 PM
124
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:26 PM
125
12/12/14 1:26 PM
126
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:26 PM
127
12/12/14 1:26 PM
128
pp. 12223:
Installation view, SITE Santa Fe, 199899
pp. 12427:
Unland: the orphans tunic (details), 1997
Wooden tables, silk, human hair, and thread
31 96 38 in. (80 245 98 cm)
Unland: irreversible witness, 199598
Wooden tables, steel crib, silk, human hair,
and thread
44 98 35 in. (111.8 248.9 88.9 cm)
129
12/12/14 1:26 PM
130
12/12/14 1:26 PM
131
12/12/14 1:26 PM
132
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:26 PM
148
pp. 14849:
Untitled, August 20, 1999
Roses
Dimensions variable
Ephemeral public project, Bogot, 1999
12/12/14 1:27 PM
134
pp. 13235:
Unland: audible in the mouth, 1998
Wooden tables, silk, human hair, and thread
31 29 124 in. (80 75 315 cm)
12/12/14 1:26 PM
135
12/12/14 1:26 PM
136
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
137
12/12/14 1:26 PM
138
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
139
pp. 13639:
Tenebrae Noviembre 7, 1985 (and detail, left),
19992000
Lead and steel
Thirty-nine parts, overall: 76 221 218 in.
(193 561.3 555 cm)
12/12/14 1:26 PM
140
Noviembre 6, 2001
Stainless steel, lead, wood, and resin
Three parts: 44 30 16 in.
(112.5 78 41 cm); 47 29
19 in. (120.5 74.5 48.5 cm); and
24 16 14 in. (62 41.5
37.5 cm); overall dimensions variable
12/12/14 1:26 PM
12/12/14 1:26 PM
12/12/14 1:27 PM
143
12/12/14 1:26 PM
144
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:26 PM
145
12/12/14 1:26 PM
146
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
12/12/14 1:27 PM
148
pp. 14849:
Untitled, August 20, 1999
Roses
Dimensions variable
Ephemeral public project, Bogot, 1999
12/12/14 1:27 PM
150
12/12/14 1:27 PM
151
12/12/14 1:27 PM
152
Nov. 6, 11:45 am
Nov. 6, 12 pm
Nov. 6, 2:15 pm
Nov. 6, 4:30 pm
pp. 15255:
Noviembre 6 y 7, 2002
Two hundred and eighty wooden chairs and rope
Dimensions variable
Ephemeral public project, Palace of Justice,
Bogot, 2002
12/12/14 1:27 PM
153
Nov. 6, 8 pm
Nov. 7, 11:30 am
Nov. 7, 4 pm
Nov. 7, 7:40 pm
12/12/14 1:27 PM
12/12/14 1:27 PM
155
12/12/14 1:27 PM
156
pp. 15659:
Untitled, 2003
One thousand one hundred and fifty wooden chairs
Approx. 33 20 20 ft. (10.1 6.1 6.1 m)
Ephemeral public project, 8th International Istanbul
Biennial, 2003
12/12/14 1:27 PM
12/12/14 1:27 PM
12/12/14 1:27 PM
12/12/14 1:27 PM
160
12/12/14 1:27 PM
161
pp. 16065:
Neither, 2004
Steel fencing, drywall, and paint
194 291 590 in. (494 740 1500 cm)
Installation views, White Cube, Hoxton Square, London, 2004
12/12/14 1:27 PM
12/12/14 1:27 PM
164
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
165
12/12/14 1:27 PM
166
pp. 16671:
Abyss, 2005
Brick, concrete, steel, and epoxy resin
17358 54558 63938 in. (441 1386 1624 cm)
Installation views, T1 Triennial of Contemporary Art,
Castello di Rivoli Museo dArte Contemporanea, Turin, 2005
12/12/14 1:27 PM
12/12/14 1:27 PM
168
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
169
12/12/14 1:27 PM
12/12/14 1:27 PM
12/12/14 1:27 PM
188
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
173
12/12/14 1:27 PM
12/12/14 1:27 PM
176
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
177
12/12/14 1:27 PM
178
12/12/14 1:27 PM
179
12/12/14 1:27 PM
180
pp. 18083:
Accin de Duelo, July 3, 2007
Candles
Approx. 267 350 ft. (81.4 106.7 m)
Ephemeral public project, Plaza de Bolvar,
Bogot, 2007
12/12/14 1:27 PM
12/12/14 1:27 PM
182
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
183
184
pp. 18489
Plegaria Muda, 200810
Wood, concrete, earth, and grass
One hundred and sixty-six parts, each: 6458 84 24 in.
(164 214 61 cm); overall dimensions variable
Installation views, CAMFundao Calouste Gulbenkian,
Lisbon, 2011
pp. 19091:
Plegaria Muda, 200810
Wood, concrete, earth, and grass
One hundred and twenty-two of one hundred and sixty-six
parts, each: 6458 84 24 in. (164 214 61 cm);
overall dimensions variable
Installation view, MAXXI National Museum of XXI Century
Arts, Rome, 2012
12/12/14 1:27 PM
185
12/12/14 1:27 PM
12/12/14 1:27 PM
12/12/14 1:27 PM
188
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
12/12/14 1:25 PM
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
12/12/14 1:27 PM
12/12/14 1:27 PM
193
12/12/14 1:27 PM
pp. 19497:
A Flor de Piel (details), 201112
Rose petals and thread
257 421 in. (652.8 1070 cm)
Installation view, White Cube, Masons Yard, London, 2012
12/12/14 1:27 PM
195
12/12/14 1:27 PM
196
Title, Year TK
Materials TK
Dimensions TK, Dimensions cm TK
Collection information TK
12/12/14 1:27 PM
197
12/12/14 1:27 PM
198
Disremembered I, 2014
Sewing needles and silk thread
35 21 6 in. (89 55 16 cm)
12/12/14 1:27 PM
199
12/12/14 1:27 PM
219
1988
Saln Nuevas Tendencias, Galera de Arte Ventana, Cali,
Colombia
Seleccin del Saln Nacional, Biblioteca Luis ngel Arango,
Bogot
1989
Concurso Nacional de Arte, Ro Grande, Museo de Arte Moderno,
Medelln, Colombia
El Hierro, Galera Garcs Velsquez, Bogot (exh. cat.)
1990
Arte Colombiano de los 80s: Obras tridimensionales, Centro
Colombo Americano, Bogot
Nuevos nombres seguimiento, Biblioteca Luis ngel Arango,
Bogot (exh. cat.)
1991
New Acquisitions, Biblioteca Luis ngel Arango, Bogot
1992
Ante Amrica, Biblioteca Luis ngel Arango, Bogot; traveled
to Museo de Artes Visuales Alejandro Otero, Caracas (1993);
Queens Museum of Art, New York (1993); Centro Cultural
de la Raza, San Diego (1993); Center for the Arts Yerba
Buena Gardens, San Francisco (1994); Spencer Museum
of Art, Lawrence, Kansas (1994); Museo de Arte y Diseo
Contemporneo, San Jos, Costa Rica (1994) (exh. cat.)
The Boundary Rider, 9th Biennale of Sydney (exh. cat.)
Currents 92: The Absent Body, Institute of Contemporary Art,
Boston
Ulf Rollof, Doris Salcedo, Cecile Huber, Lilliana Moro, Marianna
Uutinen, Shedhalle Zurich (exh. cat.)
1993
Aperto 93: Emergenza, 45th Venice Biennale, Italy (exh.cat.)
Building a Collection, Museum of Fine Arts, Boston
Matthew Benedict, Willie Cole, Jim Hodges, Doris Salcedo, Brooke
Alexander, New York
Sculpture and Multiples, Brooke Alexander, New York
1994
Cocido y Crudo, Museo Nacional de Arte Reina Sofa, Madrid
(exh. cat.)
Points of Interest, Points of Departure, John Berggruen Gallery,
San Francisco
Sculpture, Rhona Hoffman Gallery, Chicago
The Spine, de appel arts centre, Amsterdam (exh. cat.)
Willie Doherty/Mona Hatoum/Doris Salcedo, Brooke Alexander,
New York
1995
52nd Carnegie International, Pittsburgh (exh. cat.)
About Place: Recent Art of the Americas, Art Institute of Chicago
Sleeper: Katharina Fritsch, Robert Gober, Guillermo Kuitca,
Doris Salcedo, Museum of Contemporary Art, San Diego
(exh.cat.)
1996
Dissonant Wounds: Zones of Display/Metaphors of Atrophy, Hessel
Museum of Art, Bard College, Annandale-on-Hudson,
New York (exh. broch.)
Distemper: Dissonant Themes in the Art of the 1990s, Hirshhorn
Museum and Sculpture Garden, Washington, DC (exh. cat.)
Domenico Bianchi: Recent Works, Peter Shelton: Mreubu, Doris
Salcedo: Atabiliarios, L.A. Louver Gallery, Los Angeles
(exh.cat.)
Propositions, Muse departemental dart contemporain de
Rochechouart, France (exh. cat.)
The Visible & The Invisible: Representing the Body in Contemporary Art and Society, Institute of International Visual Arts at
St.Pancras Church, London
1997
As est la cosa: Instalacin y arte objeto en Amrica Latina, Centro
Cultural Arte Contemporneo, Mexico City (exh. cat.)
Body, Art Gallery of New South Wales, Sydney (exh. cat.)
The Hirshhorn Collects: Recent Acquisitions, Hirshhorn Museum
and Sculpture Garden, Washington, DC (exh. cat.)
New Work: Words & Images, Miami Art Museum
Selections from the Collection, Museum of Modern Art, New York
1998
Claustrophobia, Ikon Gallery, Birmingham, United Kingdom
(exh. cat.)
Displacements: Mirosaw Baka, Doris Salcedo, Rachel Whiteread,
Art Gallery of Ontario, Toronto (exh. cat.)
Eugenio Dittborn, Willie Doherty, Mona Hatoum, Doris Salcedo,
Alexander and Bonin, New York
From Head to Toe: Concepts of the Body in Twentieth Century Art,
Los Angeles County Museum of Art
Roteiros, 24th So Paulo Biennial (exh. cat.)
Wounds: Between Democracy and Redemption in Contemporary Art,
Moderna Museet, Stockholm (exh. cat.)
1999
Arte y violencia en Colombia desde 1948, Museo de Arte Moderno, Bogot (exh. cat.)
Modern Starts: Places, Museum of Modern Art, New York
Trace, 1st Liverpool Biennial of Contemporary Art (exh. cat.)
2000
Age of Influence: Reflections in the Mirror of American Culture,
Museum of Contemporary Art Chicago
Converge, Miami Art Museum
Making Choices: In the Marriage of Reason and Squalor, Museum
of Modern Art, New York
Of the Moment: Contemporary Art from the Permanent Collection,
San Francisco Museum of Modern Art
Open Ends, Museum of Modern Art, New York
The Quiet in the Land: Everyday Life, Contemporary Art and
Projeto Ax, Museo de Arte Moderna da Bahia, Salvador da
Bahia, Brazil (exh. cat.)
Still, Alexander and Bonin, New York
201
Doris Salcedos
Readymade Time
Helen Molesworth
224
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203
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204
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205
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206
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207
Coda
We have grown too accustomed to weak interpretations of Duchamp, in which the readymade is art
because that artist said so, or a version of political
art that is imagined to be all content and no form.
This is partly due to the inherent deficit of language,
partly due to the easy reduction of complicated
ideas into truisms that become the lingua franca of
an art world perpetually on the move. One of the
most trenchant aspects of Salcedos practice has
been to complicate such anodyne formulations. Her
oeuvres engagement with the Duchampian readymade complicates our understanding of it. Salcedos
works anticipation of a time yet to come, her works
understanding of itself as both art for our time and
an artifact for the future is a potent release from the
stranglehold commodity time has on our culture, on
our ideas about art, on our very sense of self. Preoccupied with mourning the deaths of those who go
uncounted, unnamed, and unrecognized, S
alcedos
work offers us a vision of our own futurity and
implicitly asks us to think about the long judgment
of time. Refusing immediacy is brave, for it implies
that not all meaning is available in the moment,
or to each of us. To refuse the contemporaneity of
art is to make us aware as viewers that perhaps not
everything is for us. Salcedo herself has written:
Art speaks to the other; it addresses an other altogether other, even if it does not reach the person it is
addressing.20 Reading this reminded me of a quote
by art historian and anthropologist George Kubler:
Astronomers and historians have this in common:
both are concerned with appearances noted in the
present but occurring in the past.21 Salcedo says:
The past is the only place where we can find both
our origins and our destiny.22 This is true. And
now, as we sit surrounded by the all-encompassing
present, we can possess only curiositycuriosity
tinged with hopeabout how Salcedos handmade
readymades will pass through time, messages buried
deep within the concrete, for those whom we will
neverknow.
NOTES
1. Monica Amor, Doris Salcedo, Artforum 47, no. 6 (2009), 191.
2. Nancy Princenthal, Silence Seen, in Doris Salcedo, ed.
Carlos Basualdo (London: Phaidon, 2000), 40.
3. Marcel Duchamp, Apropos of Readymades, in The Writings
of Marcel Duchamp, eds. Michel Sanouillet and Elmer Peterson
(New York: Da Capo Press, 1989), 141.
4. Interview with Charles Merewether 1998, in Doris Salcedo
(London: Phaidon, 2000), 134.
5. Amor, Doris Salcedo, 191.
6. Mieke Bal, Earth Aches: the Aesthetics of the Cut, in Doris
Salcedo: Shibboleth (London: Tate Publishing, 2007), 61.
7. Duchamp, The Creative Act, in The Writings of Marcel
Duchamp, 138.
8. Later on in The Creative Act Duchamp writes: the
creative act is not performed by the artist alone; the spectator
brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds
his contribution to the creative act. Ibid., 140.
9. Duchamp, The Green Box, in The Writings of Marcel
Duchamp, 26.
10. On the proliferation of the readymades, see William
Camfields excellent Marcel Duchamp, Fountain (Houston: The
Menil Collection/Houston Fine Arts Press, 1989). For more on
the logic of the handmade readymade and its many twentieth-
century practitioners, see my Part Object Part Sculpture (University Park, PA: Penn State University Press, 2005).
11. For more on Duchamp and a critique of consumption (rather
than production), see my Rrose Slavy Goes Shopping, in The
Dada Seminars, ed. Leah Dickerman, series: The Casva Seminar
Papers (Washington, DC: National Gallery of Art, 2005).
12. Bal, Earth Aches: the Aesthetics of the Cut, 55.
13. My thanks to artist Steve Locke for discussions about the
violence of neutrality, particularly the violence of the white wall
in the modernist museum.
14. Interview with Charles Merewether 1998, 140.
15. Olga Viso, Doris Salcedo: The Dynamic of Violence, in
Distemper: Dissonant Themes in the Art of the 1990s (Washington,
DC: Hirschhorn Museum and Sculpture Garden, 1996), 94.
16. Bal, Earth Aches: the Aesthetics of the Cut, 55.
17. See Duchamp, The Green Box, 26.
18. This is the now standard critique of hallmark feminist works
such as Judy Chicagos The Dinner Party, 1979.
19. Doris Salcedo, Traces of Memory: Art and Remembrance in Colombia, ReVista, Spring 2003. Accessed online
at http://revista.drclas.harvard.edu/publications/revistaonline/
spring-2003/traces-memory.
20. Ibid.
21. George Kubler, The Shape of Time: Remarks on the History of
Things (New Haven and London: Yale University Press, 1961),
19.
22. Salcedo, Traces of Memory: Art and Remembrance
inColombia, ReVista, Spring 2003.
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209
The
Muted Drum: Doris
Salcedos Material Elegies
Katherine Brinson
12/12/14 1:25 PM
210
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211
12/12/14 1:25 PM
212
12/12/14 1:25 PM
213
NOTES
1. Susan Sontag, Regarding the Pain of Others (New York: Picador,
2003), 115.
2. Judith Butler, Afterword: After Loss, What Then? in Loss:
The Politics of Mourning, ed. David L. Eng and David Kazanjian
(Berkeley: University of California Press, 2002), 467.
3. Doris Salcedo, unpublished proposal for Palimpsest
(2013present).
4. See Sigmund Freud, Mourning and Melancholia, in On the
History of the Psycho-Analytic Movement Papers on Metapsychology
and Other Works, vol. XIV, ed. James Strachey and Anna Freud
(Toronto: Hogarth Press Limited, 1957), 24358.
5. I am indebted to Jahan Ramazanis illuminating study of the
elegy, Poetry of Mourning: The Modern Elegy From Hardy to Heaney
(Chicago: University of Chicago Press, 1994), ix.
6. Sylvia Plath, The Collected Poems, ed. Ted Hughes (New York:
Harper and Row, 1981 [1960]), 2723.
7. The traditional mourning rite of weaving a shroud or burial
clothes is also the foundation of a 2014 body of work by Salcedo
titled Disremembered, in which she constructs tunics from thousands of burnt needles. From a distance the object appears to be
woven from a shimmering silk but closer inspection reveals it to
be a garment that would torment the wearer. As in A Flor de Piel,
a disjunction is present between the constructive elegiac act of
weaving and an imaging of the excruciation of loss.
8. This reading is supported by the works title. Translated literally as On the surface of the skin, it is also an idiomatic phrase
that denotes the display of passionate emotions.
9. Elaine Scarry, The Body in Pain: The Making and Unmaking of the
World (Oxford, UK: Oxford University Press, 1985), 35.
10. Doris Salcedo in discussion with the author, June 20, 2014.
11. Ibid.
12. Keats requested that his grave be marked with no name
or date beyond this phrase, but his friends Joseph Severn and
Charles Brown had the stone erected in the Protestant Cemetery in Rome engraved with the text: This Grave/contains all
that was Mortal/of a/Young English Poet/Who/on his Death
Bed, in the Bitterness of his Heart/at the Malicious Power of
his Enemies/Desired/these Words to be/engraven on his Tomb
Stone:/Here lies One/Whose Name was writ in Water. 24 February
1821.
13. John Ruskin, The Complete Works of John Ruskin, Modern Painters,
Vol. III (New York: T.Y. Crowell, 1905), 155.
14. Correspondence with the author, June 20, 2014.
15. Judith Butler, Precarious Life: The Powers of Mourning and
Violence (London: Verso, 2004), 30.
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215
A Work in Mourning
Doris Salcedo
12/12/14 1:25 PM
216
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217
12/12/14 1:25 PM
218
EXHIBITION HISTORY
Compiled by Steven L. Bridges
Born in Bogot in 1958
Lives and works in Bogot
1980
1984
1987
198788
198991
1993
1995
2005
2006
2008
2010
2014
1994
La Casa Viuda, Brooke Alexander, New York
2011
Plegaria Muda, Museo Universitario Arte Contemporneo,
Universidad Nacional Autnoma de Mxico, Mexico City;
traveled to Moderna Museet, Malmo, Sweden (2011);
Centro de Arte Moderna, Fundao Calouste Gulbenkian
Lisbon (2011); Museo Nazionale delle Arti XXI Secolo
(MAXXI), Rome (2012); and Pinocoteca, So Paulo (2012)
(exh. cat.)
1995
La Casa Viuda VI, White Cube, Duke Street, London
2012
Doris Salcedo, White Cube, Masons Yard, London
1996
Atrabiliarios, L.A. Louver Gallery, Los Angeles
Doris Salcedo, Le Creux de lenfer, Centre dart contemporain,
Thiers, France
Doris Salcedo, Galeria Camarco Vilaa, So Paulo
2014
Hiroshima Art Prize Commemorative Exhibition, Hiroshima City
Museum of Contemporary Art (exh. cat.)
Plegaria Muda, FLORA ars + natura, Bogot
1985
Nuevos Nombres, Casa de Moneda, Bogot (exh. cat.)
1990
Doris Salcedo, Galera Garcs Velsquez, Bogot (exh. cat.)
1997
Doris Salcedo: Atrabiliarios, Edwin A. Ulrich Museum of Art,
Wichita State University, Kansas (exh. broch.)
1998
Doris Salcedo: Unland, SITE Santa Fe; traveled to New
Museum of Contemporary Art, New York (exh. cat.)
1999
Doris Salcedo: Unland, Tate Gallery, London (exh. broch.)
2015
Doris Salcedo, Museum of Contemporary Art Chicago; traveled
to Solomon R. Guggenheim Museum, New York; and Prez
Art Museum Miami (2016) (exh. cat.)
Selected Group Exhibitions
1987
XXXI Saln Nacional de Artistas Colombianos, Antiguo
Aeropuerto Olaya Herrera, Medelln, Colombia
12/12/14 1:25 PM
219
1988
Saln Nuevas Tendencias, Galera de Arte Ventana, Cali,
Colombia
Seleccin del Saln Nacional, Biblioteca Luis ngel Arango,
Bogot
1989
Concurso Nacional de Arte, Ro Grande, Museo de Arte Moderno,
Medelln, Colombia
El Hierro, Galera Garcs Velsquez, Bogot (exh. cat.)
1990
Arte Colombiano de los 80s: Obras tridimensionales, Centro
Colombo Americano, Bogot
Nuevos nombres seguimiento, Biblioteca Luis ngel Arango,
Bogot (exh. cat.)
1991
New Acquisitions, Biblioteca Luis ngel Arango, Bogot
1992
Ante Amrica, Biblioteca Luis ngel Arango, Bogot; traveled
to Museo de Artes Visuales Alejandro Otero, Caracas (1993);
Queens Museum of Art, New York (1993); Centro Cultural
de la Raza, San Diego (1993); Center for the Arts Yerba
Buena Gardens, San Francisco (1994); Spencer Museum
of Art, Lawrence, Kansas (1994); Museo de Arte y Diseo
Contemporneo, San Jos, Costa Rica (1994) (exh. cat.)
The Boundary Rider, 9th Biennale of Sydney (exh. cat.)
Currents 92: The Absent Body, Institute of Contemporary Art,
Boston
Ulf Rollof, Doris Salcedo, Cecile Huber, Lilliana Moro, Marianna
Uutinen, Shedhalle Zurich (exh. cat.)
1993
Aperto 93: Emergenza, 45th Venice Biennale, Italy (exh.cat.)
Building a Collection, Museum of Fine Arts, Boston
Matthew Benedict, Willie Cole, Jim Hodges, Doris Salcedo, Brooke
Alexander, New York
Sculpture and Multiples, Brooke Alexander, New York
1994
Cocido y Crudo, Museo Nacional de Arte Reina Sofa, Madrid
(exh. cat.)
Points of Interest, Points of Departure, John Berggruen Gallery,
San Francisco
Sculpture, Rhona Hoffman Gallery, Chicago
The Spine, de appel arts centre, Amsterdam (exh. cat.)
Willie Doherty/Mona Hatoum/Doris Salcedo, Brooke Alexander,
New York
1995
52nd Carnegie International, Pittsburgh (exh. cat.)
About Place: Recent Art of the Americas, Art Institute of Chicago
Sleeper: Katharina Fritsch, Robert Gober, Guillermo Kuitca,
Doris Salcedo, Museum of Contemporary Art, San Diego
(exh.cat.)
1996
Dissonant Wounds: Zones of Display/Metaphors of Atrophy, Hessel
Museum of Art, Bard College, Annandale-on-Hudson,
New York (exh. broch.)
Distemper: Dissonant Themes in the Art of the 1990s, Hirshhorn
Museum and Sculpture Garden, Washington, DC (exh. cat.)
Domenico Bianchi: Recent Works, Peter Shelton: Mreubu, Doris
Salcedo: Atabiliarios, L.A. Louver Gallery, Los Angeles
(exh.cat.)
Propositions, Muse departemental dart contemporain de
Rochechouart, France (exh. cat.)
The Visible & The Invisible: Representing the Body in Contemporary Art and Society, Institute of International Visual Arts at
St.Pancras Church, London
1997
As est la cosa: Instalacin y arte objeto en Amrica Latina, Centro
Cultural Arte Contemporneo, Mexico City (exh. cat.)
Body, Art Gallery of New South Wales, Sydney (exh. cat.)
The Hirshhorn Collects: Recent Acquisitions, Hirshhorn Museum
and Sculpture Garden, Washington, DC (exh. cat.)
New Work: Words & Images, Miami Art Museum
Selections from the Collection, Museum of Modern Art, New York
1998
Claustrophobia, Ikon Gallery, Birmingham, United Kingdom
(exh. cat.)
Displacements: Mirosaw Baka, Doris Salcedo, Rachel Whiteread,
Art Gallery of Ontario, Toronto (exh. cat.)
Eugenio Dittborn, Willie Doherty, Mona Hatoum, Doris Salcedo,
Alexander and Bonin, New York
From Head to Toe: Concepts of the Body in Twentieth Century Art,
Los Angeles County Museum of Art
Roteiros, 24th So Paulo Biennial (exh. cat.)
Wounds: Between Democracy and Redemption in Contemporary Art,
Moderna Museet, Stockholm (exh. cat.)
1999
Arte y violencia en Colombia desde 1948, Museo de Arte Moderno, Bogot (exh. cat.)
Modern Starts: Places, Museum of Modern Art, New York
Trace, 1st Liverpool Biennial of Contemporary Art (exh. cat.)
2000
Age of Influence: Reflections in the Mirror of American Culture,
Museum of Contemporary Art Chicago
Converge, Miami Art Museum
Making Choices: In the Marriage of Reason and Squalor, Museum
of Modern Art, New York
Of the Moment: Contemporary Art from the Permanent Collection,
San Francisco Museum of Modern Art
Open Ends, Museum of Modern Art, New York
The Quiet in the Land: Everyday Life, Contemporary Art and
Projeto Ax, Museo de Arte Moderna da Bahia, Salvador da
Bahia, Brazil (exh. cat.)
Still, Alexander and Bonin, New York
221
BIBLIOGRAPHY
van Duyn, Edna, and Victor Joseph. The Spine: Tiong Ang,
Janine Antoni, Christine Borland, Willie Doherty, Pepe Espaliu,
Doris Salcedo. Amsterdam: de appel, 1994. Exh. cat.
1989
El Hierro: Escultura. Bogot: Galera Garcs Velsquez, 1989.
Exh. cat.
1995
Armstrong, Richard, and Paolo Morsiani. Carnegie International
1995. Pittsburgh: Carnegie Museum of Art, 1995. Exh. cat.
Cubitt, Sean. Dispersed Visions: About Place. Third Text 9,
no. 32 (Autumn 1995): 6574.
Dermota, Ken. Colombian Protests Violence with Sculpture. Christian Science Monitor, August 16, 1995, 14.
Grachos, Louis, and Kathryn Kanjo. Sleeper: Katharina Fritsch,
Robert Gober, Guillermo Kuitca, Doris Salcedo. San Diego:
Museum of Contemporary Art, 1995. Exh. cat.
Grynsztejn, Madeleine, and Dave Hickey. About Place: Recent
Art of the Americas: The 76th American Exhibition, The Art
Institute of Chicago. Chicago: Art Institute of Chicago, 1995.
Exh. cat.
Gutierrez, Natalia. Other Directions. Poliester 4, no. 12
(Summer 1995): 1625.
Saltz, Jerry, Mar Villaespesa, Gerardo Mosquera, Jean Fisher,
and Dan Cameron. Cocido y crudo. Madrid: Museo Nacional
Centro de Arte Reina Sofa, 1995. Exh. cat.
1990
Ospina, Nadin. Nuevos nombres: Seguimiento. Bogot: Biblioteca
Luis ngel Arango, 1990. Exh. cat.
Ponce de Len, Carolina. Imagenes de duelo. Bogota: Galera
Garcs Velsquez, 1990. Exh. cat.
1992
Bond, Anthony, ed. The Boundary Rider: The 9th Biennale of
Sydney. Sydney: Biennale of Sydney, 1992. Exh. cat.
Currents 92: The Absent Body. Directed by Branka Bogdanov
and Reb Butler. 1992. Boston: Institute for Contemporary
Art, 1992. VHS.
Lux, Harm, Edith Krebs, and Ulf Rollof. Ulf Rollof, Doris
Salcedo, Ccile Huber, Liliana Moro, Marianna Uutinen.
Zurich: Shedhalle, 1992. Exh. cat.
Merewether, Charles. Doris Salcedo. In Ante America, 4142.
Bogota: El Museo de Biblioteca Luis ngel Arango, 1992.
Exh. cat.
1993
Burke, Gregory. The Boundary Rider: the 9th Biennale of
Sydney. Art New Zealand 67 (Winter 1993): 5053.
Merewether, Charles. Community and Continuity: Naming
Violence in the Work of Doris Salcedo. ArtNexus 9 (June
August 1993): 10409, 18386.
. Doris Salcedo. In XLV Biennale di Venezia: Aperto 93:
Emergency/Emergenza, edited by Achille Bonito Oliva and
Helena Kontova, 39495. Milan: Giancarlo Politi Editore,
1993. Exh. cat.
. Naming Violence in the Work of Doris Salcedo.
Third Text 7, no. 24 (Autumn 1993): 3544.
Parias Durn, Mara Claudia. Doris Salcedo. Poliester 2, no. 7
(Fall 1993): 2831.
Salcedo, Doris. Doris Salcedo. Flash Art 171 (Summer 1993):
97.
1994
Amor, Monica. Doris Salcedo. ArtNexus 13 (AugustOctober
1994): 16667.
Aukeman, Anastasia. Doris Salcedo: Privileged Position. Art
News 93 (March 1994): 157.
Cameron, Dan. Absence Makes the Art: Doris Salcedo.
Artforum 33, no. 2 (October 1994): 8891.
Cotter, Holland. Art in Review: Doris Salcedo. New York
Times, April 15, 1994, C26.
Hirsch, Faye. Doris Salcedo at Brooke Alexander. Art in
America 82, no. 10 (October 1994): 136.
Morgan, Stuart. The Spine: de Appel, Amsterdam. Frieze 16
(May 1994): 5253.
1996
Benezra, Neal, and Olga M. Viso. Distemper: Dissonant Themes
in the Art of the 1990s. Washington, DC: Hirshhorn Museum
and Sculpture Garden, Smithsonian Institution, 1996.
Exh.cat.
Domenico Bianchi: Recent Works; Peter Shelton: Mereubu;
Doris Salcedo: Atrabiliarios. Venice Beach: L.A. Louver
Gallery, 1996. Exh. cat.
Gutierrez, Natalia. Conversation with Doris Salcedo.
ArtNexus 23 (JanuaryMarch 1996): 4850.
Merewether, Charles. The Anonymity of Violence:
Re-Elaborating the Non-Site. In Propositions, 10206.
Rochechouart, France: Muse dpartemental deart contemporain de Rochechouart, 1996. Exh. cat.
. Zones of Marked Instability: Woman and the Space
of Emergence. In Rethinking Borders, edited by John C.
Welchman, 10124. Minneapolis: University of Minnesota
Press, 1996.
Pini, Ivonne. Rodrigo Facundo, Juan F. Herran y Doris
Salcedo: Al rescate de la memoria. Atlntica:Revistade arte
y pensamiento 15 (Winter 1996): 98104.
Vicario-Heras, Gilbert. Dissonant Wounds: Zones of Display/
Metaphors of Atrophy. Annandale-on-Hudson, NY: Center for
Curatorial Studies, Bard College, 1996. Exh. broch.
Young, Lisa Jaye. Spiritual Minimalism. Performing Arts
Journal 18, no. 2 (May 1996): 4452.
1997
Bradley, Jessica. Doris Salcedo: La Casa Viuda II. Toronto: Art
Gallery of Ontario, 1997. Exh. broch.
Cameron, Dan. Unland: Doris Salcedo. Grand Street 61 (July
1997): 7281.
224
12/12/14 1:25 PM
225
Doyle, Jennifer, Gilane Tawadros, and NGon Fall. Feminism: Three Views. Frieze 105 (March 2007): 17479.
Falconer, Morgan. Mind the Gap. ARTnews 106, no. 11
(December 2007): 44.
Gibbons, Joan. Contemporary Art and Memory: Images of Recollection and Remembrance. London: IB Tauris, 2007.
Grynsztejn, Madeleine. Voice of the Invisible. Tate Etc. 11
(Autumn 2007): 4649.
Guardiola-Rivera, Oscar. The Image-Space. Naked Punch 9
(SummerFall 2007): 5865.
Hedges, Ruth. Doris Salcedo. Blueprint 260 (November
2007): 34.
Herbert, Martin. The Unilever Series: Doris Salcedo: Shibboleth.
London: Tate Publishing, 2007. Exh. broch.
Jasper, Adam. Counting the Hours: Visual Arts of Contemporary Latin America. Art and Australia 45, no. 2 (December
2007): 20001.
Jury, Louise. Artist Takes a Crack at Tate Modern. Evening
Standard (London), October 8, 2007, A9.
Lyall, Sarah. Caution: Art Afoot. New York Times, December11, 2007, E1.
Mack, Joshua. Doris Salcedo: Freedom Fighting. Art Review
15 (October 2007): 5863.
Mead, Andrew. The Message Behind Salcedos Shibboleth
Is Frustratingly Elusive. Exhibit 226, no. 15 (October 25,
2007): 57.
Mengham, Rod. Doris Salcedo. London: Jay Jopling/White
Cube, 2007. Exh. cat.
Nicolin, Paola. Attenzione! Guarda dove metti i piedi.
Abitare 478 (2007): 5053.
Seleanu, Andr. Art et violence, lments dun dbat. Vie des
Arts 207 (Summer 2007): 2529.
Sullivan, Edward. The Language of Objects in the Art of the Americas. New Haven, CT: Yale University Press, 2007.
Wong, Edlie L. Haunting Absences: Witnessing Loss in
Doris Salcedos Atrabilarios and Beyond. In The Image and
The Witness: Trauma, Memory, and Visual Culture, edited by
Frances Guerin and Roger Hallas, 17388. London: Wallflower Press, 2007.
Wu, Chin-Tao. Worlds Apart: Problems of Interpreting
Globalised Art. Third Text 21, no. 6 (November 2007):
71931.
2008
Birkhofer, Denise. Trace Memories: Clothing as Metaphor in
the Work of Doris Salcedo. Anamesa 6, no. 1 (Spring 2008):
4967.
Capdevila, Pol. Doris Salcedo. Lapiz 27, no. 239 (January
2008): 84.
Carey-Kent, Paul. Destroying the Gallery. Art World 6
(AugustSeptember 2008): 4849.
Carrozzini, Stefania. Shibboleth. DArs 48, no. 193 (March
2008): 1417.
Charlesworth, JJ. Shaping Politics. Art Review 18 (January
2008): 7073.
De Wild, Femke. Mind the Gap. Frame 61 (MarchApril
2008): 53.
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226
2010
Adan, Elizabeth. An Imperative to Interrupt: Radical Aesthetics, Global Contexts and Site-Specificity in the Recent
Work of Doris Salcedo. Third Text 24, no. 5 (September
2010): 58396.
Adler, Phoebe, Tom Howells, and Nikolaos Kotsopoulos.
Contemporary Art in Latin America. London: Black Dog
Publishing, 2010.
Bal, Mieke. Of What One Cannot Speak: Doris Salcedos Political
Art. Chicago: University of Chicago Press, 2010.
Escobar, Sol Astrid Giraldo. Cuerpo de mujer: Modelo para
armar. Medelln, Colombia: La Carreta, Alcalda de
Medelln, 2010.
Harris, Gareth. Arrivederci nellutero. Giornale dellArte 28,
no. 299 (June 2010): 36.
Lubiak, Jarosaw, Jacques Derrida, and Monica Bonvicini.
Hospitality: Receiving Strangers. Lodz, Poland: Muzeum
Sztuki, 2010. Exh. cat.
Lequeux, Emmanuelle, and Bernardo Paz. Fondation
Inhotim: 100 hectares de paradis. Beaux-Arts Magazine
no.318 (2010): 10407.
Malagon-Kurka, Maria Margarita. Arte como presencia indexica:
La obra de tres artistas Colombianos en tiempos de violencia:
Beatriz Gonzalez, Oscar Munoz y Doris Salcedo en la decada de
los noventa. Bogota: Universidad de Los Andes, Facultad de
Artes y Humanidades, 2010.
Moreno, Laura Garcia. Troubled Materiality: The Installations of Doris Salcedo. Mosaic: A Journal for the Interdisciplinary Study of Literature 43, no. 2 (June 2010): 95111.
Rugg, Judith. Exploring Site-Specific Art: Issues of Space and
Internationalism. London: IB Tauris, 2010.
Rugoff, Ralph. The New Dcor. London: Hayward Gallery,
2010. Exh. cat.
Supelano-Gross, Claudia. El contrapeso de la barbarie.
Benjamin en Colombia. Constelaciones: Revista de Teora
Crtica 2 (2012): 31841.
2011
Acevedo, Beatriz. Memories of Violencia in the Work of the
Colombian Artist Doris Salcedo: A Subjective View. Journal of Arts and Communities 2, no. 2 (July 2011): 15370.
Arajo, Judit Uzctegui. El imaginario de la casa en cinco artistas
contemporaneas: Remedios Varo, Louise Bourgeois, Marjetica
Potrc, Doris Salcedo y Sydia Reyes. Madrid: Eutelequia Editorial, 2011.
Cole, Lori. At the Site of State Violence: Doris Salcedos and
Julieta Hanonos Memorial Aesthetics. Arizona Journal of
Hispanic Cultural Studies 15, no. 1 (2011): 8794.
Corvaln, Kekena. Artistas Latinoamericanas: Un recorrido de
dilogos conceptuales. Havana: Artecubano Ediciones, 2011.
Dahlberg, Isabell. Doris Salcedo: Plegaria Muda. Flash
Art44, no. 279 (JulySeptember 2011): 103.
Ehrmantraut, Paola, and Dianna Niebylski. Violence and
the Latin American Imaginary: Preliminary Reflections.
Arizona Journal of Hispanic Cultural Studies 15, no. 1 (2011):
7986.
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12/12/14 1:25 PM
228
EXHIBITION CHECKLIST
Untitled, 1986
Steel shelving, steel cot, plastic dolls,
rubber, wax, and animal fiber
73 9478 1818 in. (187 241 46 cm)
Tate: Purchased 2002
pp. 20, 4245
Untitled, 1987
Steel apparatus, wooden chest, plastic,
and dust
Three parts: 301516 45 3738 in. (76
115 95 cm); 301516 2278 1878 in.
(76 58 48 cm); and 29 3658
22716 in. (75 93 57 cm)
Collection of the artist
p. 20
Untitled, 1989
Steel crib, steel mesh, fabric, and wax
38 31 18 in. (96 79 45 cm)
Museum of Fine Arts, Boston, Contemporary Curators Fund
pp. 5657
Untitled, 1989
Wooden chair with upholstery, concrete,
and steel
38 16 17 in. (97.8 42.5
45cm)
Collection of Barbara F. Lee, Cambridge,
Massachusetts
pp. 6061
Untitled, 1989
Wooden nightstand, concrete, and steel
20 14 19 in. (50.8 35.6 48.9 cm)
Collection of Carolyn Alexander
Untitled, 198990
Steel bed frames, plaster, cotton shirts,
and animal fiber
Two parts, each: 7178 35 5 in.
(182.6 89.5 14 cm)
San Francisco Museum of Modern Art,
purchase through a gift of Shawn and
Brook Byers
pp. 4649
Untitled, 198990/2013
Steel bed frames, plaster, cotton shirts,
and animal fiber
Four parts, each: 5 35 7178 in.
(14 89.5 182.6 cm)
Collection of the artist
pp. 4647
Untitled, 198990/2013
Cotton shirts, steel, and plaster
Five parts, overall: 70316 901516 1038 in.
(178.3 231 26.3 cm)
Private collection
pp. 4647, 5053
Untitled, 198990/2013
Cotton shirts, steel, and plaster
Three parts, overall: 68916 4458
1038in. (174.2 113.4 26.3cm)
Courtesy of the artist; Alexander and
Bonin, New York; and White Cube
pp. 4647, 5253
Untitled, 198990/2013
Cotton shirts, steel, and plaster
6538 1338 1038 in. (166.1 34
26.3cm)
Courtesy of the artist; Alexander and
Bonin, New York; and White Cube
pp. 4647, 5253
Untitled, 198990/2013
Cotton shirts, steel, and plaster
6918 1338 1038 in. (175.6 34
26.3cm)
Courtesy of the artist; Alexander and
Bonin, New York; and White Cube
pp. 4647, 5253
Untitled, 198990/2013
Cotton shirts, steel, and plaster
6458 1338 1038 in. (164.1 33.97
26.3 cm)
Flvia and Guilherme Teixeira
Collection
pp. 4647, 5253
Untitled, 1990
Wooden table, steel table, and concrete
28 21 18 in. (72.5 55 45.5 cm)
Collection of the artist
p. 5859
Untitled, 1991
Wooden chair with upholstery, concrete,
and steel
39 17 17 in. (99.1 43.2 43.2 cm)
Tiago Ltd: The Tiqui Atencio Collection
Untitled, 1992
Wooden dresser, concrete, and steel
35 54 21 in. (88.9 138.4 53.3 cm)
Private collection
Untitled, 1992
Wooden armoire with glass, wooden
chairs with upholstery, concrete, and
steel
45 73 20 in. (114.3 186.7
50.8cm)
The Art Institute of Chicago, gift of
Society for Contemporary Art
pp. 6263
Atrabiliarios, 19922004
Shoes, drywall, paint, wood, animal fiber,
and surgical thread
43 niches and 40 boxes; overall dimensions variable
San Francisco Museum of Modern Art,
Accessions Committee Fund purchase:
gift of Carla Emil and Rich Silverstein,
Patricia and Raoul Kennedy, Elaine
McKeon, Lisa and John Miller, Chara
Schreyer and Gordon Freund, and
Robin Wright
pp. 28, 10209
La Casa Viuda II, 199394
Wooden door, wooden cabinet, wood,
steel, clothing, and bone
Four parts, overall: 102 3138 23 in.
(259.7 79.7 60.3 cm)
Collection Art Gallery of Ontario,
Toronto, gift from the Volunteer
Committee Fund, 1997
pp. 21, 11215
La Casa Viuda III, 1994
Wooden doors, wooden bed frame, and
clothing
Two parts: 101 34 238 in. (258.5
86.4 6 cm) and 32 34 2 in.
(83.2 86.4 5.1 cm)
Private collection
pp. 11617
La Casa Viuda IV, 1994
Wooden door, wooden bed frame,
clothing, and bone
102516 18 13 in. (259.9 47 33 cm)
Museum of Modern Art, New York,
Committee on Painting and Sculpture
Funds, Latin American and Caribbean
Fund, and gift of Patricia Phelps de
Cisneros
pp. 11819
12/12/14 1:25 PM
229
Untitled, 1998
Wooden armoires, wooden table,
concrete, and steel
71 49 25 in. (181 124.5 63.5 cm)
Collection of Leo Katz
pp. 7879, 8687
Untitled, 2000
Wooden chair, concrete, and steel
32116 1618 1618 in. (81.5 41 41 cm)
Planta, Fundacin Sorigu, Spain
p. 82 (right)
Untitled, 1998
Wooden armoire, wooden cabinets,
concrete, and steel
82 47 39 in. (210 129.5
100cm)
Planta, Fundacin Sorigu, Spain
pp. 7879
Untitled, 2001
Wooden armoire, wooden cabinet,
concrete, and steel
79 39 81 in. (201 100.5 206 cm)
essel
Marieluise Hessel Collection, H
Museum of Art, Center for Curatorial Studies, Bard College,
Annandale-on-Hudson, New York
Untitled, 1998
Wooden dressers, concrete, and steel
59 45 22 in. (151.5 115.6
57cm)
Private collection
pp. 8081
Untitled, 2001
Wooden armoire, wooden cabinet with
glass, concrete, steel, and clothing
80 67 50 in. (203.5 170 127 cm)
The Rachofsky Collection
pp. 9697
Untitled, 1998
Wooden cabinet with glass, concrete,
steel, and clothing
72 39 13 in. (183.5 99.5 33 cm)
Collection of Lisa and John Miller,
fractional and promised gift to the San
Francisco Museum of Modern Art
pp. 7677
Thou-less, 200102
Stainless steel
Nine parts: 2 parts: 421116 301116
30516in. (108.5 78 77 cm), 43516
36 221316 in. (110 92 58 cm);
2parts: 43516 2638 20316 in. (110
67 51 cm), 43516 27316 191116 in.
(110 69 50 cm); 2 parts: 43516
27916 18 in. (110 70 47 cm),
43516 2538 17 in. (110 64
45cm); 1 part: 43516 271516 191116in.
(110 71 50 cm); 2 parts: 421516
14916 1438 in. (109 37 36.5 cm),
43516 17516 1538 in. (110 44
39cm); overall dimensions variable
Museumslandschaft Hessen Kassel,
Neue Galerie, State and Municipal Art
Collections
pp. 14246
Untitled, 1998
Wooden armoire, wooden chair, concrete,
and steel
84 5878 22 in. (214 149.5
57cm)
Tate: Presented by the American Fund
for the Tate Gallery 1999
p. 78
Untitled, 1998
Wooden armoire, wooden cabinet,
concrete, and steel
49 82 34 in. (124.5 208.3
88.3cm)
National Gallery of Canada, Ottawa,
Purchased 1999
pp. 78, 9091
Untitled, 1998
Wooden chair, concrete, and steel
37 17 21 in. (96 44 53.5 cm)
Fine Arts Museums of San Francisco,
Museum purchase, Robert and
Daphne Bransten New Art Purchase
Fund
Untitled, 200405
Stainless steel
42 15 16 in. (107 41 38 cm)
Collection of the artist
Untitled, 200405
Stainless steel
42 48 27 in. (107 122 70 cm)
Collection of Marilyn and Larry Fields
p. 147
12/12/14 1:25 PM
230
Untitled, 2007
Wooden armoire, wooden chair, concrete,
and steel
39 78 19 in. (100.5 200
48.5cm)
Private collection
pp. 8485
Untitled, 2008
Wooden armoire, wooden cabinet,
concrete, and steel
8658 95 40 in. (220 242 102 cm)
Collection Museum of Contemporary
Art Chicago, gift of Katharine S.
Schamberg by exchange, 2008.20
pp. 9293
Untitled, 2008
Wooden armoires, concrete, and steel
89 57 23 in. (228 145 59 cm)
Collection of Jill and Peter Kraus
p. 8889
Untitled, 2008
Wooden chair, concrete, and steel
3938 16 18 in. (100 42 47 cm)
Collection of Clarissa Alcock Bronfman
Plegaria Muda, 200810
Wood, concrete, earth, and grass
Seventy-eight of one hundred and
sixty-six parts, each: 6458 84
24in. (164 214 61 cm); overall
dimensions variable
Inhotim Collection, Brazil
pp. 18491, 214
A Flor de Piel, 2014
Rose petals and thread
445 252 in. (1130 640 cm)
Courtesy of the artist
pp. 19293, book jacket
Disremembered I, 2014
Sewing needles and silk thread
35 21 6 in. (89 55 16 cm)
Collection of Diane and Bruce Halle
pp. 19899, endsheets
Disremembered II, 2014
Sewing needles and silk thread
35116 2158 6516 in. (89 55 16 cm)
Courtesy of the artist and White Cube
232
EXHIBITION SPONSORS
233
12/12/14 1:25 PM
234
INDEX
12/12/14 1:25 PM
235
Milton, John
Lycidas, 209
Minh-ha, Trinh T., 22
Minimalism, 31
Mondzain, Marie-Jos, 31, 3334, 38n30, 216
mourning
collective, 12, 23, 25, 27n24
and empathy, 19, 26
experience of, 18, 30, 207, 212, 213, 215
gestures of, 18, 209, 210, 213n7
museums
idea of, 206
supposed neutrality of, 26, 2056
Nancy, Jean-Luc, 17, 25, 26, 38n2830, 39n32
Neither (2004), 14, 2425, 36, 160, 161, 2056
details, 163, 16465
title of, 206
neutrality of museums, 25, 2056
New York University, 19
nonrepresentational art, 26, 2930
Noviembre 6 (2001), 24, 14041
Noviembre 6 y 7 (2002), 14, 24, 15253
details, 154, 155
title of, 24
oppression, 3536, 39n39, 206
oration, funeral, 21516
organic elements, 13, 17, 209. See also materials
Palace of Justice, Bogot, 14, 24. See also Noviembre 6,
Noviembre 6 y 7
Palimpsest (2013present), 14, 15n2, 2526, 21213
detail, 208
Plath, Sylvia
Edge, 21011
Plaza de Bolvar, Bogot, 14, 25, 181
Plegaria Muda (200810), 18485, 19091, 205, 209, 210
details, 187, 18889, 214
genesis of, 23, 21617
title of, 23, 212
poetics, 12, 209, 215
postcolonialism, 2045
Postminimalism, 20, 31
presence
divine, 34, 38n29
imposing, 13, 18, 22, 3334, 202, 209
Ramazani, Jahan, 209
Rancire, Jacques, 27n12, 32, 33, 34, 39n35, 39n38
readymades
Duchampian, 201, 207
handmade, 20102, 204
representation, postwar crisis of, 31, 38n20
responsibility, 14, 206, 217
Revolutionary Armed Forces of Colombia (FARC), 25
12/12/14 1:25 PM
236
12/12/14 1:25 PM
237
12/12/14 1:25 PM
238
Chair
King Harris
Vice Chairs
Stefan Edlis
Anne Kaplan
Sylvia Neil
Secretary
Rob Bellick
Treasurer
Michael OGrady
Trustees
Sara Albrecht
Michael Alper
Jennifer Aubrey
Gerhard Bette
Leslie Bluhm
Marlene Breslow-Blitstein
Marc Brooks
Michael Canmann
Carol Cohen
Nancy Crown
Robert H. Defares
Donald J. Edwards
Elissa Hamid Efroymson
Lois Eisen
Larry Fields
Brenda Fleissner
Jay Franke
Nicholas Giampietro
James A. Gordon
W. George Greig
Kenneth C. Griffin
Madeleine Grynsztejn**
Jack Guthman
William J. Hokin
William Hood
Cynthia Hunt
Gretchen Jordan
Don Kaul
Liz Lefkofsky
Ron Levin
Robert N. Mayer
Nancy A. Lauter McDougal
Marquis D. Miller
Kate Neisser
Martin Nesbitt
Michael J. OConnor
Carol Prins
Naomi Mori Reese
Eve Rogers
Cari Sacks
Marjorie Susman
Sara Szold
Kathy Taslitz
Dia S. Weil
Helen Zell*
Martin E. Zimmerman
Life Trustees
Marilynn B. Alsdorf
John D. Cartland*
Marshall Front
Helyn D. Goldenberg*
Doris Holleb
Mary Ittelson*
John C. Kern
Sally Meyers Kovler*
Lewis Manilow*
Mrs. Robert B. Mayer
Judith Neisser
Dorie Sternberg
Daryl Gerber Stokols
Donna A. Stone
Jerome H. Stone
Allen M. Turner*
Artist Trustee
David Hartt
Presidents of Support Groups
Kristin Stevens, Womens Board**
Ann Feinberg, Docents**
*Past Chair
**Ex-officio
As of December 2014
12/12/14 1:25 PM
(Permanence of Paper).
Photo Credits
All artworks by Doris Salcedo are reproduced courtesy of the artist;
Alexander and Bonin, New York; and White Cube.
Unless otherwise mentioned, all artworks Doris Salcedo.
Every reasonable attempt has been made to locate the owners of copyrights in the book and to ensure the credit information supplied is accurately listed. Errors or omissions will be corrected in future editions.
Jacket: Doris Salcedo, A Flor de Piel (detail), 2014; rose petals and thread;
445 252 in. (1130 640 cm); installation view Hiroshima City Museum
of Contemporary Art, 2014. Photo: Kazuhiro Uchida
Endsheets: Doris Salcedo, Disremembered I (detail), 2014; sewing needles
and silk thread; 35 21 6 in. (89 55 16 cm)
p. 16: Doris Salcedo, Untitled (detail), 1995; wooden cabinet with glass,
concrete, steel, and clothing; 63 39316 14916 in. (162 99.5 37cm)
p. 28: Doris Salcedo, Atrabiliarios (detail), 19922004; shoes, drywall,
paint, wood, animal fiber, and surgical thread; 43 niches and 40boxes;
overall dimensions variable
p. 200: Doris Salcedo, Shibboleth (detail), 2007; concrete and steel; length:
548 ft. (167 m); Turbine Hall, Tate Modern, London, 2007
p. 208: Doris Salcedo, Palimpsest (test fragment), 2014
p. 214: Doris Salcedo, Plegaria Muda (detail), 200810; wood, concrete,
earth, and grass; one hundred and sixty-six parts, each: 6458 84 24 in.
(164 214 61 cm); overall dimensions variable; installation view, Museo
Universitario Arte Contemporneo (MUAC), Mexico City, 2011
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Editor: Donna Wingate
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