New York

Doris Salcedo

Alexander and Bonin

The relatively recent international success of Colombian artist Doris Salcedo, who has been exhibiting since the mid-1980s, seems to have led her in a reflexive direction: Increasingly embraced by institutions, she has gradually dedicated her work to exploring the repressed violence and power of institutions. The 167-meter-long fissure the artist produced in Tate Modern’s Turbine Hall in 2007 is exemplary of the antimonumental conceptual and physical aggressiveness she is capable of conveying. In her recent New York exhibition, though, Salcedo returned to the type of domestic objects that were the basis of her first known works—poignant readymades pierced by the violent narratives of her local context. Here, as in earlier works, she produced dislocations rendering pieces of furniture dysfunctional and impenetrable: mute witnesses unable to signify trauma faithfully.

Two large, similar works,

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