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Doris Salcedo’s Mourning Objects

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2024, 73(), pp.90-112
  • DOI : 10.17527/JASA.73.0.04
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 15, 2024
  • Accepted : September 10, 2024
  • Published : October 31, 2024

Hyesung Shin 1

1서울여자대학교

Accredited

ABSTRACT

This paper examines the inaccessibility of Doris Salcedo's handcrafted objects in terms of the internal limits of mourning. As a secondary witness to violence, the artist takes on the role of mediating between victims and viewers. The works discussed in this paper acknowledge the limits of empathy that inevitably arise in public mourning and do not neglect individual feelings of isolation. Salcedo does not represent specific events or the human body, but conveys a sense of pain and sadness that cannot be explained in words through anthropomorphic objects. Objects such as early works using furniture, Unland and Plegaria Muda, have a vulnerability that cannot be captured with a hasty attitude of appreciation. This object approaches because of its subtlety accompanied by haptic visuality, but at the same time moves away due to a discomfort reminiscent of death. The rupture between approaching and moving away from the intangible object prohibits easy empathy or generalization about the suffering of others. Salcedo’s mourning objects were made using a labor-intensive production method that requires craftsmanship, and show the impossibility of mourning a loss that cannot be spoken of or even touched.

Citation status

* References for papers published after 2023 are currently being built.

This paper was written with support from the National Research Foundation of Korea.