Published by Silvana Edtoriale. Edited by Diego Sileo, Lutz Henke.
This catalog collects the most iconic and representative political works of Spanish conceptual artist Santiago Sierra (born 1966) from the 1990s to the present, with documents regarding his many performances enacted around the world.
Published by Reykjavik Art Museum. Text by Eleanor Heartney, Hans Ulrich Obrist, Uri Gordon, Hafthor Yngvason.
The Black Cone documents a 2012 performance by Spanish artist Santiago Sierra (born 1966), that resulted in a six-foot-high monolith in front of the Icelandic parliament, commemorating the third anniversary of the protests that followed the country’s economic crash.
PUBLISHER Reykjavik Art Museum
BOOK FORMAT Paperback, 6.5 x 8.5 in. / 145 pgs / 5 color / 45 bw.
PUBLISHING STATUS Pub Date 5/31/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 194
PRODUCT DETAILS ISBN 9789979769477FLAT40 List Price: $39.95 CDN $53.95
AVAILABILITY In stock
in stock $39.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
7 Works collects recent Sierra projects realized in a range of locales--India, Mexico and Venezuela--between 2005 and 2007. It includes the controversial 21 Anthropometric Modules Made from Human Faeces by the People of Sulabh International project, for which human feces were collected in New Delhi and Jaipur, dried for three years, mixed with an agglutinative plastic and dried in molds to produce the final sculptures.
Published by Kunsthaus Bregenz. Edited by Eckhard Schneider.
300 Tons and Previous Projects features more than 80 of Santiago Sierra's works from 1989 to 2004, several of which are published here for the first time. Sierra's performances and installations are minimalist, task-oriented and incorporate numerical aspects--Person Paid to Have 30 cm Line Tattooed on Them,, Ten People Paid to Masturbate, Eight Combinations for a Door with Two Leaves. The main focus of this book, with 220 black and white images throughout, is 300 Tons, the work Sierra created in 2004 for the Kunsthaus Bregenz Museum. Weights that added up to nearly 300 tons were used to tax the structural capacity of the Kunsthaus to its limit; only a restricted number of visitors were admitted at any given time. With this project, Sierra for the first time extends his artistic strategy to the entire structure of a building.
Published by Hatje Cantz. Edited by Veit Gàrner and Hilke Wagner. Essays by Lutz Hieber, Waldemar Ràhrbein and Gordon Uhlmann, et. al.
At the Venice Biennale of 2003, Santiago Sierra walled in the entrance to the Spanish Pavilion and hired security guards to keep viewers out. Only those who held valid Spanish passports were allowed the privilege of entering the building. Non-Spanish visitors were puzzled, insulted, irate, annoyed and more--though they should hardly have been surprised, given Sierra's history of aggressively toying with economic, political and social issues to the point of genuine discomfort on the part of the viewer. Sierra's most recent project, Haus im Schlamm (House in Mud) at the Kestnergesellschaft in Hanover, Germany, links the institution's history with the city's. Taking as his starting point the manmade origins of Lake Masch, which was created in the city center as part of a government unemployment-relief program in the mid-1930s, Sierra addresses the question of what work is really worth. Visitors to the museum, which is the city's oldest art venue, are confronted with two rooms full of 400 tons of mud, spread on the floor and walls. Wearing a pair of the provided rubber boots or just bare feet, viewers are invited to trudge through and leave their tracks all over the art establishment.
Published by Turner/Ministero de Asuntos Exteriores. Essays by Rosa Martinez and Cuauhtèmoc Medina. Introduction by Ana Palacio.
The interior of the Spanish Pavilion at the 50th Venice Biennale, held this past summer, was accessible only to the Spanish public, and then only upon presentation of an official national identification card. Persons lacking this national status were refused entry. No audience witnessed the performance held in the space on May 1st, in which an old woman wearing a black hood was paid to sit silently still on a stool for an hour. In this manner, Santiago Sierra, the artist chosen to represent Spain, did as he often does in his work: he used live human beings, both witting and unwitting, to highlight the problematic nature of our global capitalist economy. In this volume we find documentation and texts on this and other works made over the past decade, including such performances as “Line of 30 cm Tattooed on a Remunerated Person” (Mexico City, 1998), “8 People Paid to Remain Inside Cardboard Boxes” (Guatemala City, 1999) and “3 People Paid to Lay Still Inside 3 Boxes During a Party” (Havana, 2000).