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Doris Salcedo ドリス・サルセド

第9回ヒロシマ賞受賞記念 ドリス・サルセド展

❶ Doris Salcedo: Plegaria Muda
Doris Salcedo, Mieke Bal, Moacir Dos Anjos
Prestel Publishing, 2011. 196p.



This book presents the renowned artist Doris Salcedo's latest large-scale installation, which is a moving tribute to those who die needlessly and violently in every corner of the world. This exhibition catalog highlights Salcedo's most recent work, in which the artist commemorates  violent deaths around the world. In particular, the work can be seen as an artistic response to the murder of some 1,500 young men by groups within the Colombian army from 2003 to 2009. Salcedo's installation Plegaria Muda, which can be translated as silent prayer, comprises a large number of similar, roughly hewn tables, placed in pairs with one table upside down on top of another. Between the table tops is a layer of densely packed soil, and thin blades of grass force their way through the tiniest spaces in the table-tops. The wood's grey hue and smooth, dull surface contrasts with the mossy contours of the soil, and with the jewel-like delicacy of the grass. These unmarked burial grounds characterize Salcedo's talent for transforming mundane objects into eloquent works of art. Full-page illustrations capture the installation's palette and somber patterns, allowing the reader to experience the sorrow and solace of Salcedo's work. In addition, this volume includes images of Salcedo's other sculptures, including Shibboleth, the Unland, and La Casa Viuda series, along with essays by curator Isabel Carlos and other acclaimed critics.

❷ Doris Salcedo: Shibboleth
Achim Borchardt-Hume
Tate Publishing, 2007. 132p. Unilever Series

Doris Salcedo: Shibboleth (Unilever Series): Achim Borchardt-Hume


Published on the occasion of the exhibition at Tate Modern, London 9 October 2007-6 April 2008. Doris Salcedo was the eighth artist to have been commissioned to produce work for the turbine hall of the Tate Modern gallery in London. Her piece, Shibboleth (2007), was a 167-metre-long crack in the hall's floor.

❸ Doris Salcedo, Künstler - Kritisches Lexikon der Gegenwartskunst.
Hedda Dunker
Eine Edition der Verlage Weltkunst und Bruckmann;, 2006


Künstler – Kritisches Lexikon der Gegenwartskunst ist ein periodisch erscheinendes Lexikon, das Künstler der Gegenwart vorstellt. Es wurde herausgegeben von Detlef Bluemler und Lothar Romain. Nach Herrn Romains Tod ist Detlef Bluemler alleiniger Herausgeber. Seit Februar 1988 erscheint es in einem Rhythmus von drei Monaten und umfasst je Ausgabe die Arbeit von jeweils sieben Künstlern. Jedes Heft umfasst 16 Seiten über die Arbeit der Künstler, aus zwei Druckseiten persönlicher Äußerungen der Betreffenden, einem Künstlerporträt sowie aus drei Doppelseiten Abbildungen. Die Redaktion liegt bei Hans-Joachim Müller. Im angebotenen Heft befindet sich noch ein Stempel des Vorbesitzers; ansonsten liegt eine sehr gute Erhaltung vor.

❹ Unland/ Doris Salcedo
Charles Merewether; Dan Cameron
New Museum of Contemporary Art (1998-05-01)
79 pages, 28 color plates, softback, 12 x 9 inches


彫刻作品は、コロンビア内戦中、両親を殺害された子どもたちの証言が反映されている。Exhibition catalog for a show that ran March 19 through May 31, 1998 in New York and then August 15 through October 18, 1998 in Santa Fe. Introduction by Louis Grachos. Essays by Dan Cameron and Charles Merewether.

❺ Doris Salcedo
Carlos Basualdo, Nancy Princenthal, Andreas Huyssen
Phaidon Press Ltd, United Kingdom, 2000. 160p.

Doris Salcedo (Paperback): Carlos Basualdo, Nancy Princenthal, Andreas Huyssen

With work in the collections of The Museum of Modern Art, New York, and Tate, London, Colombian artist Doris Salcedo (b.1958) is one of today's most internationally respected South American sculptors. Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments - symbols of a vanished existence and of the human tragedies that are its cause. In Atrabiliaros (1991-6) abandoned shoes of 'disappeared' Colombian people, half-concealed behind membranes of animal fibre, become ghost-like symbols of mourning. In Salcedo's ongoing untitled works, wooden furnishings, worn by long use and filled with concrete, mutely evoke the lives they once served. American art critic Nancy Princenthal surveys Salcedo's work in terms of the universal themes it evokes, contextualized in discussion of contemporary scultural practice. New York-based poet and curator Carlos Basualdo discusses with the artist her formative influences, which range from the art of precedecessors such as Joseph Beuys to the writings of philosophers and poets. German literary critic Andreas Huyssen focuses on Salcedo's sculpture Unland: The Orphan's Tunic (1997). For the Arist's Choice, Salcedo has selected two texts: an extract from Otherwise Than Being (1974) by philosopher Emmanuel Levinas, and poems by Paul Celan. The Doris Salcedo's observations on the human condition and its reflection in the work of poets, novelists and thinkers are discussed in conversation with art historian Charles Merewether.

❻ Doris Salcedo
Rod Mengham
White Cube, United Kingdom, 2007 48p.


Salcedo's work functions as political and mental archaeology, using domestic materials charged with significance and suffused with meanings accumulated over years of use in everyday life. In his catalogue essay, Rod Mengham described Salcedo’s work as a ‘junction point, a crossing place for different objects, forms and meanings’. Salcedo often takes specific historical events as her point of departure, conveying burdens and conflicts with precise and economical means.

❼ Of What One Cannot Speak: Doris Salcedo's Political Art
Mieke Bal296 pages
University Of Chicago Press (January 30, 2011). 296 pages


In Of What One Cannot Speak, Bal leads us into intimate encounters with Salcedo's art, encouraging us to consider each work as a “theoretical object” that invites—and demands—certain kinds of considerations about history, death, erasure, and grief. Bal ranges widely through Salcedo's work, from Salcedo's Atrabiliarios series—in which the artist uses worn shoes to retrace los desaparecidos (“the disappeared”) from nations like Argentina, Chile, and Colombia—to Shibboleth, Salcedo's once-in-a-lifetime commission by the Tate Modern, for which she created a rupture, as if by earthquake, that stretched the length of the museum hall’s concrete floor. In each instance, Salcedo’s installations speak for themselves, utilizing household items, human bones, and common domestic architecture to explore the silent spaces between violence, trauma, and identity. Yet Bal draws out even deeper responses to the work, questioning the nature of political art altogether and introducing concepts of metaphor, time, and space in order to contend with Salcedo’s powerful sculptures and installations.

❽ Doris Salcedo : NEITHER
Rod Mengham, Carlos Basualdo Doris Salcedo
Jay Jopling / White Cube (2004). 48 pages


For her exhibition at White Cube Hoxton Square Colombian artist Doris Salcedo presented Neither, a new large-scale work. The artist made a charged and discrete installation, a complete re-working of the building's interior walls. On closer inspection, it became clear that there were new ‘walls' inside the gallery, which had been marked and textured by wire fencing pressed at various levels into their dry surface. The physical effect was one of disturbing ambiguity between something welcoming (the safe haven of four walls) and something imposing, operating in the space between notions of architectural protection and spatial demarcation.

❾ Art in Latin America
Iria Candela
TATE PUBLISHING, United Kingdom, 2013, 144p.



This is the first book to provide a thorough exploration of Latin American art since 1990, a period during which the Latin American art scene has grown in importance and influence. Iria Candela explains the importance of contemporary art in this complex and diverse region, and provides a detailed study of new and unconventional art practices. Her original, in-depth interpretation of more than 100 works in a wide variety of media focuses on disruptive and politically committed works that challenge traditional forms and recognize the need to strengthen freedom of expression and democratization in Latin America. Among the Latin American–born or –based artists featured are Gabriel Orozco, Doris Salcedo, Ernesto Neto, Francis Alÿs, Jorge Macchi, Santiago Sierra, Carlos Garaicoa, and Allora & Calzadilla.  It also studies recent works by emerging artists including Rivane Neuenschwander, Javier Tellez, Donna Conlon, David Zink Yi, Hector Zamora and Regina Jose Galindo.

❿ Cantos Cuentos Colombianos Arte Contemporanea Colombiana
Hans-Michael Herzog.
Daros, 2013. 409pp



Majority of the text is in Spanish, with an English section of bios appearing later in the volume. Focuses on the work of 10 contemporary Colombiana artists: Doris Salcedo, Fernando Arias, Jose Alejandro Restrepo, Juna Manuel Echavarria, Maria Fernanda Cardoso, Miguel Angel Rojas, Nadin Ospina, Oscar Munoz, Oswaldo Macia, and Rosemberg Sandoval. With biographies and conversations with the artists.

⓫ Contraposiciones. Arte contemporáneo en Latinoamérica, 1990-2010
Iria Candela
Alianza Editorial, 2012



En los ultimos veinte años, las artes visuales en Latinoamérica han experimentado un boom similar al que vivió la literatura hispanoamericana en las décadas de 1960 y 1970. En el mundo globalizado del arte actual destacan, con brillo propio, un conjunto de artistas que, como aquella generación de escritores, desean ahora renovar sus disciplinas con imaginación y originalidad. En este libro, la comisaria e historiadora del arte Iria Candela ofrece un análisis profundo e interdisciplinar de algunas de las obras más relevantes que se han realizado en los ámbitos de la instalación, la performance, el videoarte y el arte público en América Latina desde 1990 hasta la actualidad. El estudio detallado de algunos trabajos de artistas como Doris Salcedo, Ernesto Neto, Gabriel Orozco, Rivane Neuenschwander, Francis Alÿs, Carlos Garaicoa o Regina José Galindo, entre otros, se combina aquí con un entendimiento del papel primordial que el arte contemporáneo ejerce hoy en la creación de discursos críticos y antihegemónicos.

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