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Yours, KOW

The Wall of a Gallery Pulled Out, Inclined 60 Degrees From the Ground and Sustained by 5 People, 2000

Acceso A. Mexico City, Mexico


A tablaroca wall installed in the gallery was pulled out from its place, and for four hours a day, over a period of five days, five workers acted as a buttress to keep it at 60 degrees from the ground. Four of them held the wall while a fifth checked that the inclination was correct. For the five working days, each worker earned 700 pesos, about $65.

In einer Galerie wurde eine Gipskartonwand losgebrochen. Fünf Arbeiter stellten sich als Stützen zur Verfügung, um die Wand an fünf Tagen jeweils vier Stunden lang in einem Winkel von 60 Grad zum Boden zu halten. Vier stützten die Wand, während einer Acht gab, dass der Neigungswinkel stimmte. Jeder Arbeiter bekam für die fünf Tage 700 Pesos bezahlt, was etwa 65 US-Dollar entspricht.

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Santiago Sierra

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
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
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.

Full Biography