Doris Salcedo makes sculptures and installations that function as political and mental archaeology, using domestic materials charged with significance and suffused with meanings accumulated over years of use in everyday life. Salcedo often takes specific historical events as her point of departure, conveying burdens and conflicts with precise and economical means.
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. During the past few years, Salcedo’s work has become increasingly installation-based, using the gallery spaces or unusual locations to create vertiginous environments charged with politics and history.
In 2003, in Istanbul, she made an installation on an unremarkable street comprising 1,600 wooden chairs stacked precariously in the space between two buildings. This installation by Doris Salcedo was part of the 8th International Istanbul Biennial
A gap in the row of buildings is filled with 1600 chairs.
Yemeniciler Caddesi No. 66, Persembepazari, Karaköy
(Parallel street to Tersane Caddesi, toward the Golden Horn)
The quarter is characterized by hardware stores and small ironmongery businesses. After quitting time and on Sundays they are closed, and the streets are nearly empty.