我的疑問
1. 技術面上 他是怎麼辦到的
2. 能在 tate morden 展出的artist 到底在溝通過程上的 brief 是給予了artist多大的發揮空間
3. in what standard to pick the artist and their work to exhibit in tate
4. what's general public's reaction?
5. the relationship between artist/ artwork/exhibition space?
//1550 chairs by Doris Salcedo, Exhibited in the Istanbul biennale, 2003.about the artist:
Doris Salcedo
*born in 1958 in Bogotá, Colombia
*she is a sculptor
*Ed bg:
(BA)Fine Arts Universidad Nacional de Colombia
(MFA) New York University.
*influence or idea inspired from : her experiences of life in Colombia, and is generally composed of items of furniture.
designer/artist:Doris Salcedo
title:shibboleth
dimension: a 167 -meter long crach
content:
This 167-metre-long crack in the hall's floor that Salcedo says "represents borders, the experience of immigrants, the experience of segregation, the experience of racial hatred. It is the experience of a Third World person coming into the heart of Europe."
press release:
About Doris Salcedo’s Shibboleth is the first work to intervene directly in the fabric of the Turbine Hall. Rather than fill this iconic space with a conventional sculpture or installation, Salcedo has created a subterranean chasm that stretches the length of the Turbine Hall. The concrete walls of the crevice are ruptured by a steel mesh fence, creating a tension between these elements that resist yet depend on one another. By making the floor the principal focus of her project, Salcedo dramatically shifts our perception of the Turbine Hall’s architecture, subtly subverting its claims to monumentality and grandeur. Shibboleth asks questions about the interaction of sculpture and space, about architecture and the values it enshrines, and about the shaky ideological foundations on which Western notions of modernity are built.
In particular, Salcedo is addressing a long legacy of racism and colonialism that underlies the modern world. A ‘shibboleth’ is a custom, phrase or use of language that acts as a test of belonging to a particular social group or class. By definition, it is used to exclude those deemed unsuitable to join this group.
‘The history of racism’, Salcedo writes, ‘runs parallel to the history of modernity, and is its untold dark side’. For hundreds of years, Western ideas of progress and prosperity have been underpinned by colonial exploitation and the withdrawal of basic rights from others. Our own time, Salcedo is keen to remind us, remains defined by the existence of a huge socially excluded underclass, in Western as well as post-colonial societies.In breaking open the floor of the museum, Salcedo is exposing a fracture in modernity itself. Her work encourages us to confront uncomfortable truths about our history and about ourselves with absolute candidness, and without self-deception.
information from Tate Morden / wikipedia
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