コロンビア出身アーティスト、ドリス・サルセド（Doris Salcedo）の作品集。アメリカ・ボストン州のハーバード美術館で開催された展覧会に伴い刊行された。作者は政治的暴力や抑圧をテーマにしながら、バラの花びら、草、土といった有機的な素材を用い、恒久的なものと儚いものとの境界線を曖昧にし、新たな極限を追求した彫刻作品群を制作している。1冊を通して2001年から現在までの作品に焦点を当てており、単純に暴力やトラウマ、記憶といった特定のレンズを通すのではなく、そのキャリアの中で彫刻というメディアの伝統にまで深く関わり、表現の可能性を拡張してきたことを振り返る。

A compelling look at Doris Salcedo’s works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself Colombian sculptor and installation artist Doris Salcedo (b. 1958) creates works that address political violence and oppression. This pioneering book, which focuses on Salcedo’s works from 2001 to the present, examines the development and evolution of her approach. These sculptures have pushed toward new extremes, incorporating organic materials—rose petals, grass, soil—in order to blur the line between the permanent and the ephemeral. This insightful text illuminates the artist’s practice: exhaustive personal interviews and deep research joined with painstaking acts of making that both challenge limits and set new directions in materiality. Mary Schneider Enriquez convincingly argues for viewing Salcedo’s oeuvre not just through a particular theoretical lens, such as violence studies or trauma and memory studies, but for the profound way the artist engages with and expands the traditions of sculpture as a medium.