Obstruction of a Freeway With a Truck‘s Trailer, 1998

Anillo Periférico Sur, Mexico City, Mexico

We asked for permission to borrow a company’s truck without concealing the purpose for its use. The driver didn’t mind when he was asked to block the side lanes of one of the city’s busiest roads for five minutes. This piece consisted of positioning a white prism perpendicular to the road, generating a traffic jam.

video, 4:3, b&w, 5:38 min

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Santiago Sierra

**Pigs Devouring The Italic Peninsula, 2012**

**Franz Erhard Walther and Santiago Sierra Demonstrating No. 46 From Walthers First Workset, 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**

**Burned Buildings (Found Scene), 2008**

**Hooded Woman Seated Facing The Wall, 2003**

**Hiring and Arrangement of 30 Workers in Relation to Their Skin Color, 2002**

**3 Cubes of 100 cm on Each Side Moved 700 cm, 2002**

**PERSON PAID TO REMAIN TIED DOWN TO A WOODEN BLOCK, 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**

**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**

**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**

Biography

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.

Full Biography

Exhibitions at KOW