Salomé Cuesta

Galeria Antoni Estrany

Salomé Cuesta’s strategy is one of representational suspension. Her installations present us with mute, almost empty spaces, barely punctuated by a series of elements with so little material presence and objective character that it becomes difficult for us to categorize them as sculpture. In fact, the elements that make up the vocabulary of her research, and which we somehow recognize as the “works,” are really nothing but mechanisms that work with light—the true, although volatile, inapprehensible, material element of her work.

Somewhat in the tradition of James Turrell’s ’80s series, “Dark Pieces,” Cuesta constructs laboratories in order to experiment with light—to examine its incidence in the space of conscience and perception. Thus, her installations seek to confront the viewer with what could be termed the limits of naked vision. In some way, what the spectator is invited to see in

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the March 1993 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.