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Santiago Sierra

A middlA middle-aged man in casual clothing stands, hands clasped behind his back, facing the corner of a bare, white room. Three young people stand, watching the man.e-aged man in casual clothing stands, facing the corner of a bare, white room. Three young people stand, watching the man.
A middle-aged man in casual clothing stands, hands clasped behind his back, facing the corner of a bare, white room. Another middle-aged man, wearing cargo pants, stands behind the man, looking over his shoulder.
A middle-aged man in a green T-shirt stands, with his hands clasped behind his back, facing the corner of a bare, white room. On his arm is a tattoo featuring the words “Iraq” and “medic” and the image of a helmet.
A middle-aged man in casual clothing stands, facing the corner of a bare, white room. A diverse group of five people stand in the opposite corner, in conversation, looking at the man.
A middle-aged man in casual clothing stands, hands clasped behind his back, facing the corner of a bare, white room. Two young people stand, watching the man.
Santiago Sierra

Santiago Sierra, Veterans of the Wars of Afghanistan, Timor-Leste, Iraq and Vietnam Facing the Corner, 2013
Performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Santiago Sierra

born 1966 in Madrid, Spain
lives and works in Madrid, Spain

 

Veterans of the Wars of Afghanistan, Timor-Leste, Iraq and Vietnam Facing the Corner, 2013

The poetic and often confronting artworks of Santiago Sierra draw on the art historical tradition of using paid models as sculptures. Sierra commissions street workers, illegal immigrants, the unemployed and the dispossessed to test individual and social boundaries and expose social and cultural inequalities.

In 13 Rooms, Sierra presented Veterans of the Wars of Afghanistan, Timor-Leste, Iraq and Vietnam Facing the Corner, 2013, a durational work in which war veterans from varied past conflicts stand facing the corner within a five- by five-metre room. Silent and still, as if positioned in a military line, the performers only move from their post when replaced by another veteran, who solemnly steps in as if changing the guard. 

Sierra’s work has been exhibited in numerous solo and group exhibitions around the world. In 2003 he was selected to represent Spain at the 2003 Venice Biennale. In 2010 Sierra created Kaldor Public Art Project 22 at the Gallery of Modern Art, Brisbane.

The presentation of this artwork was supported by Mark and Louise Nelson.
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