The work delivers a beauty and fragility that seems the very image of hope, as slender blades of grass poke through tiny holes in the wood. DS: It is more and more difficult to find the diffuse boundary between the intimate and the political. Art allows for encounter, for the creation of relations between individuals who never knew each other. At the Nasher Sculpture Center in Dallas, Texas, where Doris Salcedo (b. MF: Yet your installations are so powerfully articulate. This sense of grief is nearly palpable in the concrete furniture that fills a large gallery in the retrospective: wood tables, dressers, armoires and chairs rendered useless by the artist’s interventions. These all come together to form what I would call an ethical code. I work from a profound sense of my own limitations, and also from the limits imposed on the person who inhabits the center of the work. Does this intense immersion in reading—which you seem to do after your interviews and before you actually begin to construct—provide you with a kind of distancing device? But her artwork is more poetic than didactic, exemplified by her most famous commission: a 548-foot-long jagged crack created in the concrete floor of the Tate Modern in London in 2007 and presented — with the title “Shibboleth”— as an exploration of racism and the ostracism of immigrants. What is known: She grew up in Bogotá. Interview with Doris Salcedo. I search for an intimate proximity with the victims of violence that will permit me to stand in for them as I actually make the work, but in such a way that their experience takes precedence over my own. She earned her master’s of art at New York University before returning to Colombia. Courtesy Nasher Sculpture Center. Yet there is still this impossibility: I cannot speak for anyone I interview. Doris Salcedo makes sculptures and installations that function as political and mental archaeology, using domestic materials charged with significance and suffused with meanings accumulated over years of use in everyday life. Like a certain breed of old-school public intellectual, she rarely speaks publicly about her personal life. I’m fascinated that none of your interviewees has ever recognized him- or herself in your constructions. Though inevitable, the suspension of school visits this year is a great loss – and a reminder of how important children are to the future of museums, Photo: © Kevin Todora/Nasher Sculpture Center; © the artist, Courtesy Peréz Art Museum, Miami; © the artist. As Ms. Grynsztejn points out, many pieces are hard to transport, being heavy, fragile or often both at once. There is no closure on this level. She did mention at the museum that she has never lost a family member to gun violence. The Royal College of Physicians’ plan to sell its rare books would be a serious medical error, ‘Setting people against objects makes for a grim discussion’, The pyramids at Giza looked very different when they were first built, Token gestures – the jewellery of long-distance love, Escape artist – an interview with Rashid Johnson, Pup idols – pet memorials through history, Museums must rethink how they use their endowments – or they’ll struggle to rebuild after this crisis, The week in art news – museums and galleries in England close in new lockdown. Courtesy Pérez Art Museum; © the artist. ‘X discovered under X’ – the archaeologist’s dream? Her works commonly have themes and subjects related to historical incidences of mass violence, trauma, racism, and colonialism; she believes that her art represents a social conscience and sees her own role as that of a witness. When you reproduce a violent act […] violence is being exerted and re-enacted once again, and I don’t think we need that.’, Installation view of A Flor de Piel (2011–12), Doris Salcedo. What is happening everywhere, from US churches and elementary schools, to Brussels, to Pakistan, is what Salcedo (following Hannah Arendt’s early diagnosis of it in 1963), calls a state of undeclared civil war, in which ‘there are no longer soldiers and civilians, you can no longer locate a specific battlefront, but it could be anywhere.’ The political violence that has remained Salcedo’s subject throughout her career is defined in part by its borderlessness. No one speaks; the room resembles a woodland cemetery. ‘There are some things you cannot say. MF: Is there any difference in your perception of the violence on the left and the violence on the right? DS: Exactly. (The chairs, like the wooden tables, are by now a familiar part of Salcedo’s visual and political language: in her untitled piece for the 8th International Istanbul Biennial in 2003, a tangled wall of them filled a vacant lot between two buildings, forming what she has elsewhere called ‘a topography of war’.)
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