"When it passes by or stops in front of banks or government buildings, sports stadiums, museums, multinational headquarters, hospitals or churches, its semantic field seems to specifically frame these images like some dark shadow of civil disobedience that eclipses tha garish lighting of shop windows, where everything is for sale." F.J. San Martín
Santiago Sierra (…) has created a body of work that rescues and renews the expressive power of minimalism and conceptualism, with a political charge that that encourages reflection on the classical problems of Western art while denouncing our current situation. His most recent work, NO, GLOBAL TOUR, consist of the manufacture and transportation of two half-ton monumental sculptures in the form of word „NO”, travelling through different territories on a flatbed truck.
/ Pilar Villela Mascaró, Christian Domínguez
The NO, Global Tour is formulated in opposition to the insignificant artist, or the artist as obstacle, in favor of the artist as danger, as an insectile threat, as an infestation of cockroaches. (…) Sierra, who doubts that as an artist he has the capacity to transform himself into a threat, has arrived with his NO at an aesthetic of zero hope. From here, he is able to denounce all the little armies of dreams, of budding futures, which the State uses to intoxicate the populance, therby setting this piece within a framework of his own insulting lucidity, etched oit with the simplicity of a schoolchild: N+O=NO: NO to art, NO to anti-art; NO to cynicism.
/ Francisco Javier San Martín
A constant element in Santiago Sierra’s work is showing the negation, close to Beuys’ social sculpture. This come back of NO, retour-no, no return, when there’s no turning back, seems to know that the contradiction isn’t complete.
/ José Luis Corazon [NON OLET/ MONEY DOES NOT SMELL published in Cura Magazine]
About the author:
Santiago Sierra (born 1966) — one of the most interesting contemporary artists was born in Madrid, where he currently lives. He studied visual arts in Mexico City, Madrid and Hamburg. Since the mid 90's he realized many projects, in which he offensively adresses repression and expoitation as he meets them worldwide. Works by Sierra stems from a critical reconsideration of minimalism, with a performative sculptural practice, accompanied by films, video and photographs. Some of his most remarkable and controversial projects were made in a collaboration with institutions such as Magasin3 Stockholm Konsthall (2009), Kestnergesellschaft Hannover (2005) or Kunsthaus Bregenz (2004).
Details of the publication:
Photographs: Santiago Sierra
Texts: Francisco Javier San Martín, Pilar Villela Mascaró, Christian Domínguez
Translation: David Auerbach
Graphic design, lyout, typesetting: Zofia Oslislo
Publisher: Cultural Institution Ars Cameralis Silesiae Superioris
Year and place of publishing: Katowice 2002
Language: English + inserts: Polish and French or Spanish and Basque
Under the patronage of Adam Matusiewicz, Marshal of Silesian Voivodeship
The publication is a catalogue accompanying the exhibition „NO, Global tour”, which took place from 25th February till 1st May 2011 in ARTIUM, Centro-Museo Vasco de Arte Contemporaneo. Cultural Institution Ars Cameralis Silesiae Superioris was also the co-organizer of the exhibition.
More about the exhibition: Santiago Sierra No, Global Tour
More about the artist: Santiago Sierra