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Coverbild Doris Salcedo
A long exposure photograph shows a motion-blurred person walking through a spacious, white art gallery. To the right is a large installation featuring a line of bare, dark trees with exposed roots on the floor, which blend into a dense, illuminated wall of thin vertical wooden strips.
A hardcover art book for Doris Salcedo, shown at an angle on a white surface. The cover features a textured, close-up image of tangled, straw-like reeds in shades of brown and tan. The title is printed in white on the cover and the spine.
A photograph of an open book displaying a two-page spread of a modern art exhibition in a minimalist gallery with white walls and a light floor, featuring several sparse, industrial-style metal sculptures.
An open book viewed from above. The left page is a full-bleed photograph of a stack of folded, off-white fabric stiffened with a chalky substance. The right page features the prose poem Immigrant Haibun by Ocean Vuong, with black text on a white background.
An open art book on a white surface shows a two-page spread. The left page has a high-angle photo of people looking down at a large, jagged crack in a concrete floor. The right page shows a wider photo of the same crack running through the vast, empty, industrial-style gallery hall.
A minimalist table of contents on a white page for a book about the artist Doris Salcedo. The sections listed in a serif font include essays, a section on works from 1986 to 2022, poems by Ocean Vuong, a biography, and a list of exhibited works, with page numbers aligned to the right.
An open book spread showing pages 14 and 15 with black text on a white background. The left page contains a foreword and acknowledgements for an exhibition. The right page is the beginning of an essay titled Doris Salcedo: Acts of Mourning by Mary Schneider Enriquez.
A two-page spread from an art book. The left page has text discussing the artist Doris Salcedo and her work, Untitled, 1989-2014. The right page shows a photograph of this installation in a spacious, white-walled gallery with a concrete floor. The artwork consists of multiple sculptures made from bare, metal bed frames. Several frames are laid flat in a row, while others stand upright, some holding stacks of folded, plaster-stiffened white shirts.
A two-panel image. The left panel shows an art installation in a white gallery space with a grey floor. Two metal bed frames with a grid pattern lie on the floor, and a third similar frame leans against the back wall. The right panel is a close-up, detailed view of a section of a frame, showing the mottled metal bars wrapped and bound with a thin, yellowish, semi-translucent fibrous material.
A horizontal series of six small, rectangular fabric patches with frayed edges is displayed on a white background. Each patch contains a faded, ghostly image of shoes. The images progress from close-ups of a single shoe to full pairs of ballet flats, varying in color and clarity, with the final image on the right being a dark, smudged abstract form.
A two-panel image of an art installation against a white background. On the left, a tall, weathered wooden door stands with a small stool in front of it. The stool is encased in a thick, textured, semi-translucent substance with white fabric embedded within. The right image provides a close-up view of the stool and the base of the door, highlighting the unique surface texture.
An outdoor art installation featuring a towering, chaotic mass of hundreds of wooden chairs packed tightly into the empty space between two city buildings. A person walks on the sidewalk in the foreground, dwarfed by the scale of the structure.
An open book spread shows text on the left page and a color photograph on the right. The photo is a close-up of two hands carefully using tweezers to stitch together overlapping, dried, reddish-brown rose petals with dark thread, creating a fragile, skin-like surface.
An open art book spread. The left page contains text under the title Disremembered 2013-21. The right page features a full-page photograph of a delicate, translucent, white textile piece hanging like a tunic against a plain white wall.
A two-panel, black-and-white photograph. The left panel is a close-up of the name SAMIA embossed on a grainy pavement, with the letters casting shadows. The right panel shows the lower legs of a person walking, casting a long shadow over more embossed text on the same pavement.
A two-page spread from a book. The left page contains text. The right page features a large photograph of two people, a man in a green uniform and a woman with curly hair, standing on top of a massive pile of decommissioned rifles inside a shipping container. The man is bent over, inspecting one of the guns.
A two-panel image showing an art installation in a large gallery. The left image is a wide shot of a long structure shaped like a house, made from woven branches, which morphs into two long rows of bare, dark trees with exposed roots. The right image is a close-up of the house, showing the intricate, nest-like texture of the woven wood.
Doris Salcedo
€ 58.00
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By (artist): Doris Salcedo
Designed by: Teo Schifferli
Edited by: Fiona Hesse und Sam Keller für die Fondation Beyeler
May 2023, 248 Pages, 160 Photos
Hardcover
218mm x 286mm
ISBN: 978-3-7757-5493-4

HATJE CANTZ VERLAG
Mommsenstr. 27
10629 Berlin
Germany
E-Mail: contact@hatjecantz.de


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Press download
| Finding a Form for the Traumas of Loss and Violence
Experiences of violence and loss take shape in the work of internationally acclaimed Colombian artist Doris Salcedo. Although her sculptures and installations are often based on concrete events, feelings of grief, alienation and loss of home take on a universally valid, heartfelt expression in her works. Different materials such as stone and concrete, wooden furniture, grass, petals, hair or pieces of clothing are transformed and charged with meaning. Rarely do individual pain and collective grief find such a touching form or has their social overcoming been formulated so forcefully. Created in close collaboration with the artist, the catalogue offers a comprehensive survey over Salcedo's work from 1986 to 2022.

DORIS SALCEDO (*1958, Bogotá) is internationally renowned for her sculptures, site-specific installations and public interventions that address the traumas of violence, racism and other forms of marginalization. In 2003, on the occasion of the Istanbul Biennial, she stacked 1,550 chairs between two buildings; in 2007, she drove a 167-meter-long crack into the Turbine Hall of the Tate Modern for her work Shibboleth. Her most recent work Uprooted (2020 - 22) has been presented at the Sharjah Biennial.
EXHIBITION
Fondation Beyeler, Riehen/Basel
May 21 - September 17, 2023
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