Doris Salcedo

Her early sculptures and installations, such as La Casa Viuda (1992-1995), combined domestic furniture with textiles and clothing. Salcedo derived her materials from research into Colombia’s recent political history, so these belongings, suffused with the patina of use, were directly linked to personal and political tragedy…

Unland: irreversible witness’

Untitled work, MOMA collection

For Doris Salcedo art serves as a witness to crime, introducing the voice—or the silence—of victims into an aesthetic context. The distressed forms of these casts, alluding to chairs in which people are interrogated and tortured, embody the brutality that has become an everyday occurrence in the artist’s native Colombia…

Doris Salcedo’s Shibboleth is the first work to intervene directly in the fabric of the Turbine Hall. Rather than fill this iconic space with a conventional sculpture or installation, Salcedo has created a subterranean chasm that stretches the length of the Turbine Hall…