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245 m³, 2006

Stommeln Synagogue. Pulheim, German

The Pulheim City Council invited us to work in the Stommeln synagogue and with it to honor the memory of the Jews mass murdered to steal their property during the past 20th century. The result is a work called 245 m³ in allusion to the empty space of this disused temple. 245 m³ is a work against the trivialization of the memory of the Holocaust, about the chronic and instrumental feeling of guilt, about the wretched and the miserable. 245 m³ hopes to be, above all, a work about the industrialized and institutional Death that the European people of the world have lived and still live from. All this in the understanding that this project cannot generate empathy but only awareness of individual death. It is a tribute to each and every one of the victims of the State and the Capital.

Santiago Sierra, 245 m³, Stommeln Synagogue. Pulheim, Germany. March 2006, 2 channel video, 56:11 min, 21:08 min, videostill
Santiago Sierra, 245 m³, Stommeln Synagogue. Pulheim, Germany. March 2006, 2 channel video, 56:11 min, 21:08 min, videostill
Santiago Sierra, 245 m³, Stommeln Synagogue. Pulheim, Germany. March 2006, 2 channel video, 56:11 min, 21:08 min, videostill
Santiago Sierra, 245 m³, Stommeln Synagogue. Pulheim, Germany. March 2006, 2 channel video, 56:11 min, 21:08 min, videostill

2 channel video, 56:11 min, 21:08 min

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Santiago Sierra

National Coat of Arms of Spain Stamped with Blood, 2022
National Flag Of Spain Submerged In Blood, 2021
Pigs Devouring The Italic Peninsula, 2012
Destroyed Word, 2012
World’s Largest Graffiti, 2012
Franz Erhard Walther and Santiago Sierra Demonstrating No. 46 From Walthers First Workset, 2011
NO Projected Above The Pope, 2011
War Veterans Facing The Corner, 2011 - Ongoing
Person Obstructing a Line of Containers, 2009
Attempt to Build Four 100x100 cm Sand Cubes, 2009
Teeth of the Last Gipsies of Ponticelli, 2008
THE PENETRATED (box), 2008
Burned Buildings (Found Scene), 2008
89 Huichols, 2006
Doorplate, 2006
245 m³, 2006
House in Mud, 2005
Hooded Woman Seated Facing The Wall, 2003
Hiring and Arrangement of 30 Workers in Relation to Their Skin Color, 2002
Person Saying a Phrase, 2002
3 Cubes of 100 cm on Each Side Moved 700 cm, 2002
PERSON PAID TO REMAIN TIED DOWN TO A WOODEN BLOCK, 2001
20 WORKERS IN A SHIPS HOLD, 2001
Object measuring 600 x 57 x 52 cm Constructed to be Held Horizontally to a Wall, 2001
10 Inch Line Shaved on The Heads of Two Junkies Who Received a Shot of Heroin as Payment, 2000
Obstruction of a road with different objects, 2000
The Wall of a Gallery Pulled Out, Inclined 60 Degrees From the Ground and Sustained by 5 People, 2000
8 PEOPLE PAID TO REMAIN INSIDE CARDBOARD BOXES, 1999
Obstruction of a Freeway With a Truck‘s Trailer, 1998
Gallery Burned With Gasoline, 1997
Footbridge Obstructed with Wrapping Tape, 1996
50 liters of gasoline in an abandoned field, 1994
50 kg of Plaster in the Street, 1994
2 Cylinders Each Measuring 250 × 250 cm, Composed of Posters That Have Been Torn Down, 1994
20 Pieces of Road Measuring 100 × 100 cm Pulled Up From the Ground, 1992
Walks, 1990
Mountains, 1990
Prism, 1990

Santiago Sierra's oeuvre stands out from the art history of the past 30 years like a massive black monolith. The Spaniard, who was born in 1966 and also lived in Latin America, knows like no other how to use the established forms and rules of contemporary art to give the violence and injustice of Western modernity a face - a face that is our own. The formal language of minimalism, in its distanced, cool way, is particularly suited to being short-circuited with the abstract economic and institutional apparatuses that bind people into the dehumanized conditions of production, migration, (self-)exploitation, and stigmatization. Those conditions, in other words, that guarantee the privileges of most of the viewers to whom Sierra's work addresses itself in the art world. Not everyone likes that. Sierra is the living shadow in the repressed bad conscience of power and money, with which people rule over people. His work has been honored institutionally many times, and in 2003 he represented Spain at the Venice Biennale.



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