Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: ’s 55. S i e r r a , q u o t e d i n S a n t i a g o S i e r r a : Wo r k s 2 0 0 2 – 1 9 9 0 ( B i r m i n g h a m , E n g l a n d : I k o n G a l l e r y, 2002), p. 15. 72 OCTOBER work through the dual lenses of Relat ional Aesthet ics and Hegemony in order to tease out these differences further. It has already been noted t hat Sierr a document s his act ions and t hereby ensures that we know what he consider s their “structure” to be. Take, for example, The Wall of a Galler y Pulled Out, Inclined Sixt y Degrees from the Ground and Sust ained by Five People, Mexico Cit y (2000). Unlike Tiravanija and Gillick, who embrace an idea of open- endedness, Sierra delimit s from the out set his choice of invited part icipant s and the context in which the event t akes place. “Context” is a key word for Gillick and Tiravanija, yet their work does litt le to address the problem of what a context actually compr ises. (One has the impression that it exist s as undifferent iated infinit y, like cyber space.) Laclau and Mouffe argue that for a context to be const ituted and ident ified as such, it must demarcate cert ain limit s; it is from the exclusions engendered by this demarcat ion that ant agonism occur s. It is precisely this act of exclusion t hat is disavowed in relat ional art’s preference for “open- endedness.”56 Sierra’s act ions, by contrast , embed themselves into other “inst itut ions” (e.g., immigrat ion, the minimum wage, traffic congest ion, illegal street commerce, homelessness) in order to highlight the divisions enforced by these context s. Crucially, however, Sierra n e i t h e r p r e s e n t s t h e s e d i v i s i o n s a s r e c o n c i l e d ( i n t h e w a y Ti r a v a n i j a e l i d e s t h e museum with the café or apartment), nor as ent irely separate spheres: the fact that his works are realized moves them into the terrain of ant agonism (rather than the “car crash” model of collision bet ween full ident it ies) and hint s that their boundar ies are both unst able and open to change. 56. As Laclau argues, it is this “radical undecidabilit y,” and the decision that has to be t aken within this, that is const itut ive of a polit ical societ y. See Laclau, Emancipat ion(s) (London: Ver so, 1996), pp. 52– 53. Sierra. Per sons Paid to Have Their Hair Dyed Blond. Arsenale, Venice Biennale, 2001. Courtesy Lisson Galler y and the artist. Antagonism and Relational Aesthetics 73 In a work for t he 2001 Venice Biennale, Persons Paid to Have Their Hair Dyed Blond, Sierr a inv ited illegal st reet vendor s, most of whom came from sout hern It aly or were immigr ant s from Senegal, China, and Bangladesh, to have t heir hair dyed blond in return for 120,000 lire ($60). The only condit ion to t heir part icipat ion was t hat t heir hair be naturally dark. Sierra’s descr ipt ion of t he work does not document t he impact of his act ion on t he days t hat followed t he mass b l e a c h i n g , b u t t h i s a f t e r m a t h w a s a n i n t e g r a l a s p e c t o f t h e w o r k . 57 D u r i n g t h e Venice Biennale, t h...
View Full Document

This document was uploaded on 02/20/2014 for the course PHILOSOPHY 244 at University of Tennessee.

Ask a homework question - tutors are online