"For us, the idea of having a work that has contradictions is very important—when, in affirming something, it includes itself and attacks itself. How can you put together all of these things that have nothing to do with each other? You use glue! Glue can be an idea, a word. You can use an ideological glue."
Doris Salcedo's art requires an immense collaborative effort that involves a number of different specialists and contributors. In Salcedo's Art in the Twenty-First Century segment, she explains how architects and engineers give her input as to how her pieces should be made and help her to construct the work. View Salcedo's segment and discuss the collective effort that goes into creating the work. How does the process relate to the subjects that she explores, and to her goal to reflect the experiences of others?
What are the opportunities and challenges involved in collaboration? How does context shape collaboration?
Salcedo describes her process and art as a collective effort. Describe the specialists and the skills that are needed to complete one of her works.
Salcedo says that the word that defines her work is impotence. Why do you think Salcedo chose that word, and how does it relate to her work? What word or words would you use to describe Salcedo's work?
How does Salcedo's description of herself as a Third World artist define her work? What does it mean for her to be a Third World artist?
Create a work of art—without using representations or images of human figures—that communicates something about an experience of another person or other people.