Doris Salcedo, a Colombian-born artist, addresses the politics of
memory and forgetting in work that embraces fraught situations in
dangerous places. Noted critic and theorist Mieke Bal narrates
between the disciplines of contemporary culture in order to boldly
reimagine the role of the visual arts. Both women are pathbreaking
figures, globally renowned and widely respected. Doris Salcedo,
meet Mieke Bal. In "Of What One Cannot Speak", Bal leads us into
intimate encounters with Salcedo's art, encouraging us to consider
each work as a 'theoretical object' that invites - and demands -
certain kinds of considerations about history, death, erasure, and
grief. Bal ranges widely through Salcedo's work, from "Salcedo's
Atrabiliarios" series - in which the artist uses worn shoes to
retrace los desaparecidos ('the disappeared') from nations like
Argentina, Chile, and Colombia - to Shibboleth, Salcedo's
once-in-a-lifetime commission by the Tate Modern, for which she
created a rupture, as if by earthquake, that stretched the length
of the museum hall's concrete floor. In each instance, Salcedo's
installations speak for themselves, utilizing household items,
human bones, and common domestic architecture to explore the silent
spaces between violence, trauma, and identity. Yet Bal draws out
even deeper responses to the work, questioning the nature of
political art altogether and introducing concepts of metaphor,
time, and space in order to contend with Salcedo's powerful
sculptures and installations. An unforgettable fusion of art and
essay, "Of What One Cannot Speak" takes us to the very core of
events we are capable of remembering - yet still uncomfortably
cannot speak aloud.
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