A Doris Salcedo Reader

Posted February 26, 2015

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Doris Salcedo
Untitled, 2003
1,550 wooden chairs
Approx. 33 x 20 x 20 ft. (10.1 x 6.1 x 6.1 m)
Ephemeral public project, 8th International Istanbul Biennial, Istanbul, 2003
Photo: Sergio Clavijo

Many of our exhibitions are accompanied by a reading room, allowing visitors to sit, reflect, and learn more about the works on view. For Doris Salcedo, the exhibition’s reading room features books—chosen by the artist from her personal library—by poets, philosophers, and scholars who have informed her work.

Philosophy

Derrida, Jacques. Adieu to Emmanuel Levinas. Translated by Pascale-Anne Brault and Michael Naas. Stanford, CA: Stanford University Press, 1999.

———. Adiós a Emmanuel Levinas: Palabra de acogida. Translated by Julián Santos Guerrero. Madrid: Editorial Trotta, 1998.

———. Espectros de Marx: El Estado de la deuda, el trabajo del duelo, y la nueva internacional. Translated by José Miguel Alarcón and Cristina de Peretti. Madrid: Editorial Trotta, 1995.

———. Specters of Marx: The State of Debt, The Work of Mourning, and the New International. Translated by Peggy Kamuf. New York: Routledge, 1994.

Kelly, Michael. A Hunger for Aesthetics. New York: Columbia University Press, 2012.

Levinas, Emmanuel. Humanism of the Other. Translated by Nidra Poller. Urbana: University of Illinois Press, 2006.

———. Humanismo del otro hombre. Translated by Daniel Enrique Guillot. Romero de Terreros, Mexico: Siglo XXI Editores, 1974.

———. Totalidad e infinito: ensayo sobre la exterioridad. Translated by Miguel García-Baró. Salamanca, Spain: Ediciones Sígueme, 2012.

———. Totality and Infinity: An Essay on Exteriority. Translated by Alphonso Lingis. Pittsburgh: Duquesne University Press, 1969.

Nancy, Jean-Luc. Corpus. Translated by Richard A. Rand. New York: Fordham University Press, 2008.

———. The Ground of the Image. Translated by Jeff Fort. New York: Fordham University Press, 2005.

Poetry

Celan, Paul. Obras Completas. Translated by José Luis Reina Palazón. Madrid: Editorial Trotta, 1999.

———. Selected Poems and Prose of Paul Celan. Translated by John Felstiner. New York: W. W. Norton, 2001.

Gelman, Juan. Dark Times Filled with Light: The Selected Work of Juan Gelman. Translated by Hardie St. Martin. Rochester, NY: Open Letter, 2012.

———. Otromundo: Antología 1956–2007. Edited by Eduardo Hurtado. Alcalá de Henares, Spain: Universidad de Alcalá Servicios de Publicaciones, 2008.

———. Unthinkable Tenderness: Selected Poems. Translated by Joan Lindgren. Berkeley: University of California Press, 1997.

Sociology

Gordon, Avery F. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 2008.

Guerin, Frances, and Roger Hallas, eds. The Image and the Witness: Trauma, Memory, and Visual Culture. London: Wallflower Press, 2007.

Huyssen, Andreas. Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford, CA: Stanford University Press, 2003.

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Above and below:
Doris Salcedo
Acción de Duelo, July 3, 2007
Candles
Approx. 267 x 350 ft.
(81.4 x 106.7 m)
Ephemeral public project, Plaza de Bolívar, Bogotá, 2007
Photo: Sergio Clavijo

A major aspect of Doris Salcedo’s artistic output is her large-scale, public art installations, designed only to be on view for a limited amount of time. An unforgettable experience in person, they are now only available through documentation and memories. As part of the Doris Salcedo exhibition, which opened February 21, we’ve included all of Salcedo’s public works on our microsite as well as in our documentary video. We’re even more fortunate that Maria Carrasquilla, who works in our administration department, had participated in Acción de Duelo in 2007 and wanted to share her experience.

We all get used to certain habits, for better or worse. As we say in Colombia “We are animals of customs,” meaning that we all have our well-established, inherited, or willingly acquired habits. Over time, we eventually get used to the things that we’ve lived with by chance, or acquired by choice, and we can adjust sooner or later to nearly any given situation until it becomes a normal part of our routine.

Growing up in a country that has been afflicted by an armed conflict since before I was born, I became used to knowing and seeing people killed, kidnapped, or forced to leave their homes. The war on drugs has also proven to be ineffective in many ways for us and for our neighboring countries. Even though we as Colombians are fully aware that the violent events that take place in our country are horrifying and unacceptable, for the majority of us, it has become a part of our daily routine. We are the passive observers of a social and political crisis—an unfortunate habit we’ve acquired.

This violence has become a monster with many limbs, one that has managed to prevail for more than 60 years, feeding on illegal and terrorist activities and human lives; blocking our inherent natural and intellectual possibilities for national and economic growth. We have gotten used to that too. It is worth mentioning, though, that the Colombian government and the Colombian guerrillas are currently working on negotiating a peace treaty, and that violence today is not manifested in the same way or with the same intensity as it did 10 years ago. In a very positive sense this is the closest that Colombia has come to reaching certain agreements that could create a broader sense of safety and peace, and that gives us hope.

I was studying art at the Universidad de los Andes when I participated in Doris Salcedo’s intervention at the Plaza de Bolívar in Bogotá, the city that both Salcedo and I grew up in. I was familiar with some of her work and had attended one of her lectures at a local university, the Univeridad Jorge Tadeo Lozano. I recall her explaining that the word experience comes from the latin experiri which means “to cross over danger.” I will always remember that about her.

The Plaza de Bolívar is surrounded by four buildings: The Palace of Justice is on the north side. Straight across, on the south side of the Plaza, is the National Capitol, where the congress of the Colombian Republic meets, and just behind that is the Palace of Nariño, where the president lives. A Catholic cathedral is located on the east side, and on the west side is the Liévano Palace, where the mayor of the city works. Doris Salcedo was walking past the National Capitol when I saw her, easily recognizable due to her distinct, voluminous black hair.

Doris Salcedo  Acción de Duelo, July 3, 2007  Candles  Approx. 267 x 350 ft. (81.4 x 106.7 m)   Ephemeral public project, Plaza de Bolívar, Bogotá, 2007  Photo: Sergio Clavijo  Reproduced courtesy of the artist; Alexander and Bonin, New York; and White Cube

I can’t remember exactly how, or why, or with whom I went with to participate in Acción de Duelo, but I do remember knowing that this installation was an homage to the victims of violence in Colombia, and it felt that way. There was a respectful silence that was so loudly heard throughout the Plaza. The day was becoming night; one of the many beautiful sunsets in Bogotá was displaying its array of oranges, pinks, reds, and yellows. La Plaza de Bolívar is a very large area and it was full of thick, white candles, placed on the ground. I wouldn’t be able to say how many there were, maybe more than a thousand. Strangers were passing along matches and lighters to light the candles with. The flames were affected by the strong winds that blow in between the eastern and western mountains. We had to light the candles several times, sharing fire and silence. It was a very special opportunity—to be together and to feel as if we were doing something meaningful for our country.

The installation Acción de Duelo was a space created for thought and for remembrance. It was an invitation to shift our routine in a different direction outside of our own habits, heads, and comfort zones. It was an invitation to stop feeling powerless and busy and actually do something within our reach to manifest support, defiance, and sadness. All of us who were present there that evening had experienced violence in different ways and we all mourned accordingly.

Today I see photos of this installation, and Doris Salcedo’s work in general, as a silence that speaks louder than many words, perhaps a prelude to meaningful dialogues about art, our present realities, and social change. I see her artworks as actions that carry our story and make it more visible; a reminder of our sometimes regrettable human condition. It is important to listen and to learn from these silent voices, because they let us know that there are different ways, powerful ways, of representing the stories, and speaking up for the people who do not have the means, either by chance or by choice, to do so themselves.

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Short Films by Jennifer Reeder

By

Posted February 19, 2015

If you missed artist Jennifer Reeder’s MCA Screen program on Tuesday you can still view one of the films she screened here in full, and preview other shorts that were screened on her Vimeo channel. If watching online is not enough for you or if it’s on too small of a screen, follow Reeder on Twitter for updates about her screenings or check her website.

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Model Your Visit: Process

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Posted February 17, 2015

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Model Your Visit
All images courtesy the author

Tim Parsons and Jessica Charlesworth of Chicago-based design studio Parsons & Charlesworth were commissioned by the MCA’s Education Department to design their latest publication entitled Model Your Visit. The first in a series of three, Model Your Visit uses scale models of the museum as a backdrop to tell the stories of three fictional characters, each of whom have different ways of experiencing the museum. Tim Parsons explains a little of the process behind the project.

Having seen the first series of educational maps by our friends Lisa Smith and Caroline Linder of ODLCO, which used the idea of the cutaway drawing, we were very excited to get the commission to undertake the next series. When considering our approach, we were keen to acknowledge and build upon the success of ODLCO’s series by retaining the focus on the building as the means for prompting interactions within the museum, but we developed our own graphic treatment.

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Our proposal was based around the creation of a physical-scale model of the building that would provide an ongoing stage-set for the representation of activities inside the museum. In the end we created five different models to photograph for the piece.

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These were populated by figures similar to those used by model railway enthusiasts, most of which were made by the German company Preiser.

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The building models are made at 1:50 scale from white card and foam board. The process was quite time-consuming but enjoyable. The MCA has a very detailed CAD model of the museum that it allowed us to use. Once we had defined the scenes we wanted to create, we could isolate faces of the CAD model and print them to scale onto card. We then mounted these onto foam board, cut them out, and assembled them.

There were some tricky sections, like the curving stairs leading up from the fishpond, but it was a fun challenge!

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The models are like old Hollywood film sets—they look good from the front, but behind they are all glue and masking tape. We intentionally left them white so that the viewer’s eye would be drawn to the colored figures and the graphic elements that would be overlaid on top. Finally, we lit the scenes and photographed them to provide images for each page of the guide.

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For the inside of the guide, which opens out to show one large image of the front of the museum, we tried to set up as many figures as possible in natural-looking poses. There are couples, groups, families, children, someone in a wheelchair, a mother with a pram sitting on the steps, people walking their dogs, etc. We also created scale sculptures for the plinths on either side of the stairs and the plaza, and invented fictional exhibition posters with the help of Bryce Wilner from the MCA’s Design, Publishing, and New Media Department, who also designed the typographic treatment and graphic identity for the guide. It’s been a lot of fun to work on and we’re looking forward to creating more models and stories for the next installment.

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A Not-So-Temporary Tattoo

Posted February 12, 2015

Tats

Sailors fighting. Cari Vander Yacht. 2014.

It is said that imitation is the sincerest form of flattery and artist Cari Vander Yacht was paid quite the compliment when artist Taylor Kamees tattooed her temporary tattoo onto his leg, permanently. Cari’s work Sailor’s Fighting was inspired by David Bowie’s song “Life on Mars?” and was commissioned for a temporary tattoo set produced on the occasion of the MCA’s presentation of David Bowie Is.

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Interview with Sergio Clavijo

Posted February 10, 2015

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Sergio Clavijo
Photo: Abraham Ritchie, © MCA Chicago

A great deal of effort goes into the seamless presentation of Doris Salcedo’s works and behind those installations are highly trained professionals who watch every nuance of production and installation. Before Doris Salcedo opens on February 21, we sat down with Sergio Clavijo, one of Doris Salcedo’s studio partners, to discuss the process and challenges of installing her works, his time in Chicago, and more.

MCA: Where are you from?

Sergio Clavijo: I am Colombian, but I live in Montreal, Canada.

MCA: How did you end up in Canada?

SC: My family. I am married to a Canadian, and now I have two sons who were born there. Well, one is born, but the other will be here in April.

MCA: Oh congratulations! That’s wonderful!
How long have you been in Chicago?

SC: I’ve been here for three weeks now.

MCA: How long have you been working for Doris Salcedo?

SC: Since 2001. I worked with her for 10 years, then stopped to study, then I went back to [Doris’s] studio, and then I moved to Montreal less than five years ago. I’ve been involved with the works but not with the studio production in Bogotá.

MCA: What did you study during the break from the studio?

SC: I studied architecture; I earned a master’s degree in architecture. Even today my work is in architecture.

Doris Salcedo Untitled, 2003 1,150 wooden chairs Approx. 33 x 20 x 20 ft. (10.1 x 6.1 x 6.1 m) Ephemeral public project, 8th International Istanbul Biennial, Istanbul, 2003 Photo: Muammer Yanmaz

MCA: What did you work on today?

SC: I’ve been working on the installation of Atrabiliarios, and the overall setup of the room. We’ve been finalizing bringing the work into the walls, which is a big part of that installation. Putting them together with the actual wall itself is fairly complicated to set up so that it is flush with the existing wall. That’s the struggle for today.

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Doris Salcedo. Atrabiliarios, 1992–97. Shoes, drywall, paint, wood, animal fiber, and surgical thread. 43 niches and 40 boxes, overall dimensions variable. Installation view, Art Gallery of New South Wales, Sydney. Mervyn Horton Bequest Fund 1997, Art Gallery of NSW collection, © Doris Salcedo

MCA: That’s almost what we were going to ask you next. What is the most difficult piece you’ve worked on and what makes it difficult?

SC: That’s a hard question to answer because there is a challenge, an extreme challenge, in each of Doris’s works. Nonetheless, it’s a challenge that’s [overcome] through the talent of several people; there’s not one mastermind here. There’s Doris who directs and creates a concept, but then anything you see happening in terms of structure, installation, or design of crates or packages is [a product] of the many people who are involved. They are part of a studio and they are involved. They’re not consultants. All the guys from the studio that are here have experience in these challenges. I think every one of them would answer very differently about what is the most challenging, but most likely their answer would be “what is to become,” that is, what they’re working on installing right now is the most challenging. It’s very hard to think of a more complicated thing after installing the most complicated thing you’ve ever done!

MCA: On a related note, what’s the hardest thing to do in your job? Whether it’s physical, personal, or even the emotional weight of the artwork.

SC: The hardest thing is to get people involved, the other workers. Meaning that there are professionals attached to each exhibition venue, like drivers, electricians, lighting technicians, even security. When you have worked on a piece of art you have a certain sensibility towards certain aspects of the piece. Not in conservation, but in terms of the piece itself. There’s an extreme care and professionalism at a museum, and especially here at the MCA, but somehow you want more. That’s very difficult because people are doing their jobs properly and correctly but you say, “No, no, you can make that drywall more flat if you put a shim in there.” So we ask for a shim. It doesn’t follow the logic of a schedule, it doesn’t follow the logic of building codes, but it’s part of this difficulty to [make it perfect]. . . . The MCA crew has shown me their equipment and their process. They open up and tell me the way they do the work normally. By sharing this information we’re able to work together to get the best result, for instance, “if you do two coats of that we might be able to get a better result,” and that kind of collaboration is happening. There’s no planning for this kind of work, there are no instructions. It’s in the interaction.

MCA: Since you’ll be here for a while longer, is there anything you want to do while you’re in Chicago?

SC: I want to get the installation done on time! But I’m also very interested in the architecture of Chicago.

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The skyscrapers but also the Prairie-style residences, the Frank Lloyd Wright buildings, the [Louis] Sullivan’s, and also the Mies van der Rohe work that’s here. It’s all very valuable. If there’s a chance, some of the studio people here would like to try to go to the [Frank Lloyd Wright–designed] S. C. Johnson building in Racine, Wisconsin.

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Samantha Hill
10 Body Performances, 2015
Photo: Priyanka Fernando, © MCA Chicago

“One thing that I love about the MCA is its rich history of performing art,” Samantha Hill declared on Feb 3 as she introduced the first of three projects she will present at the MCA. Taking a cue from past performance art occupying the museum galleries, Hill invited visitors to reinsert performance back into the galleries for an evening through their own actions using Hill’s prompt, “How can you engage the art to create a new work of art?” As snow fell outside, museum guests, sometimes strangers, collaborated with each other throughout the evening to create new physical responses to the works on view.

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Installation view, Bodyworks, MCA Chicago
Mar 8–Apr 27, 1975
Photo © MCA Chicago

We asked Chicago artist Samantha Hill to reflect on her series of happenings occurring on three Tuesday evenings this winter/spring, the first of which begins tonight at 6 pm. Because she depends on the kindness of strangers for installation source materials (stories, photographs, group dancing at landmark locations), Samantha often uses the letter format as an artistic tool, allowing her to talk directly to her audience.

Dear Friend,

I hope this letter finds you well. I have exciting news to share about my latest project called The Happenings: a series of events inspired by the MCA Archive. For this series, I developed three performance events that bring art history alive through interactive music, dance, and play. I would love for you to join in on the fun!

You’re probably wondering . . . What is your inspiration for this performance series?

I found my muse for this project in an introduction statement from the MCA Chicago on our Fortieth Anniversary catalogue:

“No discussion of the past and future of the Museum of Contemporary Art can begin without the art. Loud or quiet, bold or subtle, it plays varied roles within our galleries: the innovator, the empiricist, the explorer, the storyteller, the soothsayer, the provocateur. Contemporary art is alive, enthralling, and at play.

Yet we have stood fast in our role as a guardian of cultural wealth. We have withstood booms and bursts in the art world and beyond, periods in which contemporary art has been celebrated or reviled. Through it all, we are committed to introducing new audiences to the art of our time, maintaining a broad and diverse marketplace of ideas, and cultivating future generations of art lovers. At the same time, we celebrate and encourage artistic pioneering and risk-taking. Since we first opened our doors in 1967, we have presented and helped immortalize living artists, bringing their forward thinking work into the hollowed halls of art history. We mine the terrain and dig for the innovative and substantive, pulling new gems to the surface.”

After I read this statement, my first thought was AWESOME! I felt completely inspired to develop interactive performances influenced by the MCA’s history but with a contemporary twist!

For me, play is the catalysis for the imagination, social bonding, and expression. I enjoy creating opportunities for social and playful experimentation in my performances. It would be amazing if you could join me in ‘rewriting history’ by participating in this series of performances:

  • 10 Body Performances (a tribute to the 1975 Bodyworks exhibition by connecting public performance to photography)
  • Uma Celebração da Cultura (a tribute to the history of the MCA’s music and dance performances though Samba music and social dancing)
  • Art & Soul Redux (a tribute to the history of MCA community engagement on Chicago’s Westside in 1969 through experimental music-making)

In the first “happening,” 10 Body Performances, you can create your own performance art in the galleries. I am leading MCA visitors in a series of workshop exercises to assist them with the creation of personal body performances.

I know live performance may not be your cup of tea (even though I think you’d be great at it!), so you can also join in by photographing the workshop performances using your smartphone. Tag #MCAStudio to your photos on Instagram or your tweets, and your images will be projected throughout the gallery during the program. So, whether you are an exhibitionist or a voyeur there is an opportunity to participate in the fun!

10 Body Performances takes place tonight from 6 to 7 pm, starting in the MCA Atrium. I hope to see you there!

Your friend in art,

Samantha Hill

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Doris Salcedo on ART21

Posted January 29, 2015

In this video produced by PBS’s ART21, Doris Salcedo speaks in powerful terms about her experiences as a citizen of a so-called “third world” country and how they inform her artworks.

We open the first retrospective of this major international artist on February 21 with an opportunity to hear from Doris Salcedo herself.

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Installation view, Kerry James Marshall: Painting and Other Stuff, Kunsthal Charlottenborg, Copenhagen, Feb 27–May 4, 2014
All images courtesy of the author

In the spring of 2016, the MCA is presenting the first major museum survey of Kerry James Marshall, one of America’s greatest living painters. For more than two years now, a curatorial team, consisting of Abigail Winograd, Dieter Roelstraete, Helen Molesworth, and Ian Alteveer, has been working on assembling an unmatched number of masterpieces for this ambitious exhibition project. This preparatory work has involved a fair share of travel, allowing the curators to see the paintings in person—Kerry’s work is of a kind, after all, that really has to be appreciated and experienced in the flesh. In this series of posts, the curatorial team reports back on the sights seen at museums and galleries around the world as they hunt down the artist’s greatest works—regularly bumping into the great man himself in the process.

The journey begins in Vienna back in September 2012 at the opening of Who’s Afraid of Red, Black and Green at the Secession, the city’s most prestigious contemporary arts venue.

I took this photo of Kerry and his wife Cheryl at the opening in Vienna. This was the first exhibition of Kerry’s I went to see in my capacity as a curator at the MCA; it also figured in my research for the Kerry James Marshall survey show I initiated during my last months as a curator at the museum of contemporary art M HKA in Antwerp. (It was with an eye on inviting Kerry to do that show in Antwerp that I first visited Chicago in April 2011.) VIE2 VIE3 As noted before, Kerry’s triptych is based on Barnett Newman’s large-scale color field expanses. Here is a Newman original, photographed at the Stedelijk Museum in Amsterdam during the same trip (the museum had just reopened after a 10-year restoration and expansion effort). This particular painting gained worldwide notoriety some years ago when it became the target of an attack of vandalism.

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The Antwerp museum of contemporary art M HKA is next; the site of the exhibition Kerry James Marshall: Painting and Other Stuff. Curated by my successor Nav Haq, the exhibition opened in October 2013, an occasion I certainly did not want to miss.

ANT1 The Antwerp show—which would go on to tour the European continent, with subsequent stops in Copenhagen, Barcelona, and Madrid—focused on the broad disciplinary range of Kerry’s work and the heterogeneity of artistic methods and practices. It included this photo installation, the tellingly titled The Art of Hanging Pictures, an earlier iteration of which was shown at a Kerry James Marshall exhibition organized at the MCA in 2003. The Garden Party, Kerry’s take on the pointillist aesthetic, hangs ready to be used as a backdrop for the opening remarks. This is one of the paintings I remember seeing in the studio when I first visited Kerry in the spring of 2011—it seemed fitting that, during that maiden voyage to Chicago, I also got to see Seurat’s La Grande Jatte (1884–86) at the Art Institute. A trompe-l’oeil, of sorts, taken at the exhibition in Antwerp, featuring my cyclopic reflection in the shining glass covering a painting that will also be included in the MCA exhibition. ANT6

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After closing in January 2014, the Antwerp show decamped to the Kunsthal Charlottenborg in Copenhagen, where it opened its doors in late February.

The entrance to the exhibition at the Kunsthal Charlottenborg—a central feature of the space was a sculpture consisting of black plastic flowers that Kerry first showed at the Contemporary Art Museum in St. Louis. The exhibition was very well received in Copenhagen: the day after the opening, David Walker appeared on the cover of Denmark’s leading daily newspaper. Here we see The Art of Hanging Pictures installed in the Kunsthal, where the exhibition was cared for by director Jacob Fabricius and curator Henriette Bretton-Meyer. A fine view of two Chicago treasures at the Kunsthal—the painting to the right, which depicts a street corner around the block from Kerry’s studio on the south side, is the MCA’s,  to the left is a painting owned by the Smart Museum at the University of Chicago, where it is on view for most of 2015. Both works will be included in the MCA exhibition. A view of another Kerry James Marshall painting owned by the MCA. This one is from the Souvenir series that debuted at the Renaissance Society in the late 1990s: the artist’s elegiac homage to the heroes of the Civil Rights struggle.

Next time, join us as we look for traces of Kerry’s interest in public art across Chicago, as well as stops in London and Spain.

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