Santiago Sierra
Santiago Sierra and the Art World Politics of Rejection | Selby Drummond
It’s hard to imagine, given these parameters, a country from which Sierra would accept an award. And, with this in mind, even harder not to conclude that Spain virtually volunteered itself to go like a lamb to the slaughter. Conflating notions of artistic gesture and political protest, Sierra’s work has pretty much been sending Spain this same rejection letter since, like, 1999, in so many words. The artist has paid Chechen refugees minimum wage to remain hidden inside cardboard boxes in a gallery for long stretches (2000), Iraqi immigrants to stand docile while he sprays them with insulation foam (2004), prostitutes [whom he paid in heroin] for the privilege of publicly tattooing their backs (2000), and African immigrants to dye their hair blonde (2001). Sierra uses money to buy people and subject them to degradation and abuse at so low a price that the audience is forced to wonder if endemic government failure hasn’t flat-out subsidized the transaction, let alone created the conditions for its occurrence. Taking a page from the terrorist strategy book, Sierra makes a gratuitous show of ethical violence in order to mirror and expose its proliferation in what we might call “society.” And the show goes on because of, as Sierra says in his letter, “the freedom… art has given me… which I am not willing to resign.”