Doris Salcedo – Fissures: Exploring the public art(s) of memorialization

Johannes Klabbers

Research output: Book chapter/Published conference paperConference paperpeer-review


German artists Renata Stih and Frieder Schnock came eleventh in the 1995 international competition for a Holocaust memorial in Berlin with their 'anti-proposal' Bus Stop. Rather than creating a static monolith the artists proposed that the site where the eventual 2700 concrete slabs ended up would be occupied by a bus stop and information centre and that red busses with the sign denkmal (memorial) would travel all over Berlin taking visitors to various sites around the city that relate to the holocaust. As Schnock said, "A giant monument has no effect and ultimately becomes invisible. Giving people a way to visit the authentic crime scenes would be far more effective." [1]What is the remit of public art? What are the responsibilities of artists and architects engaged in creating works which seek to memorialize genocidal events? My paper seeks to address these issues in the context of the work of Columbian artist Doris Salcedo whose work has variously addressed the trauma suffered by victims of violence both in her own country, and in her more recent works, internationally and historically.[1] accessed 7.9.09
Original languageEnglish
Title of host publicationProceedings of the 2009 Australian Council of University Art and Design Schools (ACUADS) Conference
Subtitle of host publicationInterventions in the Public Domain
EditorsRoss Woodrow
Place of PublicationAustralia
Number of pages12
ISBN (Electronic)9781921291906
Publication statusPublished - Dec 2014
EventAustralian Council of University Art and Design Schools (ACUADS) Conference 2009 - Queensland College of Art, Griffith University, Brisbane, Australia
Duration: 30 Sep 200902 Oct 2009


ConferenceAustralian Council of University Art and Design Schools (ACUADS) Conference 2009
Abbreviated titleInterventions in the Public Domain
Internet address

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