Doris Salcedo. Plegaria Muda

  • Photo by Patrizia Tocci

  • 15 March–24 June 2012 Gallery 2 Exhibition curated by Monia Trombetta - Lead Curator for the tour of Plegaria Muda, Isabel Carlos Doris Salcedo, an artist of vast expressive strength, a sculptor of memory and life, of poverty and of dignity,  is presenting at MAXXI her most recent work: Plegaria Muda, an installation composed of over one hundred pairs of wooden tables, in which each one is turned over another, from which thin blades of grass emerge. The artist has found inspiration by turning her gaze to the victims of massacres by the army in Colombia, her home country, as well as the violent deaths of the Los Angeles suburbs, where she conducted research and recognized the effects of the same gratuitous and meaningless violence found in every corner of the globe. Plegaria Muda is a prayer for those people who have no voice to speak of their existence and hence appear not to exist. However, Plegaria Muda is also, and above all, a tribute to life. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| “The process of investigation and reflection underlying this work was painstaking. It began in 2004 with a trip around the ghettos of Los Angeles and an official report which stated that over 10,000 young people had suffered violent deaths over a twenty-year period. … Plegaria Muda seeks to confront us with repressed, unfathomed grief, and with violent death when it is reduced to its total insignificance and forms part of a silenced reality as a strategy of war. It is also a response to a particular event that took place in Colombia between 2003 and 2009 in which approximately 1500 young people from deprived areas were murdered by the Colombian army for no apparent reason. It was clear, however, that the Colombian government had implemented a system of incentives and rewards for the army if they could prove that a greater number of guerrillas had been killed in combat. Faced with this system of rewards and incentives, the army began to hire young people from remote and deprived areas, offering them work and transporting them to other places where they were murdered and then presented as “unidentified guerrillas: discharged in combat”. For months I accompanied a group of mothers who were both searching for their disappeared sons and identifying them in the graves revealed by the murderers. Later, I joined them in the painful and arduous process of living out their mourning and engaging in the vain attempt to achieve justice in the face of the barbarism committed by the state. … Plegaria Muda is an attempt to live out this grief, a space demarcated by the radical limit imposed by death. A space that is outside of life, a place apart, that reminds us of our dead." |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

    To enhance your experience of the work we suggest you begin your visit from the Reading Room. Explanations by guides and group leaders should take place outside the gallery.

     

  • 15 March–24 June 2012 Gallery 2 Exhibition curated by Monia Trombetta - Lead Curator for the tour of Plegaria Muda, Isabel Carlos She has gouged the floor of the Tate Modern in London, walled up a room at the Castello di Rivoli near Turin and filled the human void left by a demolished building in Istanbul with piled chairs. With her latest work Doris Salcedo brings to MAXXI a universal and timeless story of people who have no voice to speak of their own existence. The interpreter and narrator of collective distress, for years Doris Salcedo has been working on the theme of the impossibility of change, searching through careful exploration for the traces of social and political violence in people living on the margins of society. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

    1. Doris Salcedo, Abyss, 2005. Castello di Rivoli, Torino. Fotografia Paolo Pellion. Courtesy Castello di Rivoli, Museo d’arte Contemporanea Rivoli, Torino 2. Doris Salcedo, Istanbul Project, 2003. VIII Biennale Internazionale di Istanbul. Fotografia Sergio Clavijo. Courtesy the artist and Alexander and Bonin, New York 3. Doris Salcedo, Shibboleth, 2007. Turbin Hall,Tate Modern, Londra. Fotografia di Sergio Clavijo. Courtesy the artist |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||