Santiago Sierra, The Trough, 2015. Centrale Fies, Dro (TN), Italy
Santiago Sierra, The Athenian Dogs, 2015
Santiago Sierra in collaboration with Jens Haaning, The Conpenhagen Declaration, 2014. Copenhagen, Denmark.
Santiago Sierra in collaboration with Jens Haaning, The Conpenhagen Declaration, 2014. Copenhagen, Denmark.
Santiago Sierra in collaboration with Jens Haaning, The Conpenhagen Declaration, 2014. Copenhagen, Denmark.
Santiago Sierra, Lucia and the prisoners, 2014. Justizanstalt Stein. Krems, Austria. Video still
Santiago Sierra, Lucia and the prisoners, 2014. Justizanstalt Stein. Krems, Austria. Video still
Santiago Sierra, Door Plate, 2014. Monte De Estépar. Burgos, Spain
Jannis Kounellis e Santiago Sierra, 2013. Milan, Italy. Installation view
Jannis Kounellis e Santiago Sierra, 2013. Milan, Italy. Installation view
Santiago Sierra, Destroyed Word, 2010 - 2012. Several locations
Santiago Sierra, Burned Word, 2012. El Cabanyal, Valencia, Spain. Video still
Santiago Sierra, Pigs devouring the Iberic peninsula, 2012
Santiago Sierra, Pigs devouring the Iberic peninsula, 2012
Santiago Sierra, The Italic peninsula devoured by pigs, 2012
Santiago Sierra, Pigs devouring the Italic peninsula, 2012
Santiago Sierra, The Helenic peninsula devoured by pigs, 2012
Santiago Sierra, The Helenic peninsula devoured by pigs, 2012
Franz Erhard Walther and Santiago Sierra Demonstrating No.46 from Walthers first workset (“Sehkanal, 1968“). Rhon high plain, Germany. December 2011
Franz Erhard Walther and Santiago Sierra Demonstrating No.46 from Walthers first workset (“Sehkanal, 1968“). Rhon high plain, Germany. December 2011
Santiago Sierra, Enterramiento de diez trabajadores, 2010. Calambrone, Italy
Santiago Sierra, No Pope, 2009-2011
Santiago Sierra, NO, Global Tour, 2009-2011
Santiago Sierra, NO, Global Tour, 2009-2011
Santiago Sierra, Teeth of the last gipsies of Ponticelli, 2008. Ponticelli, Naples, Italy
Santiago Sierra, Teeth of the last gipsies of Ponticelli, 2008. Ponticelli, Naples, Italy
Santiago Sierra, Los penetrados, 2008
Santiago Sierra, The Trap, 2007. Santiago de Chile, Chile
Santiago Sierra, The Trap, 2007. Santiago de Chile, Chile
Santiago Sierra, The purchase of a prize, 2007
Santiago Sierra, Los Anarquistas, 2006
Santiago Sierra, Sumision (Word of Fire), 2006-2007
Santiago Sierra, One Person, 2005. Galleria Civica di Arte Contemporanea. Trento, Italy
Santiago Sierra, The Corridor of Peoples House, 2005. Bucharest, Romania
Santiago Sierra, Piedras de Jerusalem, 2004
Sierra, Klassenkampf, 2004. Lucca, Italy
Santiago Sierra, Edificio Iluminado, 2003
Santiago Sierra, Cubo de pan de 90 x 90 cm, 2003. Plaza del Estudiante, Mexico D.F., Mexico
Santiago Sierra, Line of 160 cm tattooed on 4 people, 2000. El Gallo Arte Contemporaneo, Salamanca, Spain
Santiago Sierra, Linea de 250 cm tatuada sobre 6 personas remuneradas, 1999. La Habana, Cuba
Santiago Sierra, Obstruccion de una via con un contenedor de carga, 1998, Anillo periferico Sur, Mexico D.F., Mexico
Santiago Sierra, Line of 30 cm tattoed on a remunerated person, 1998. Mexico City, Mexico
Santiago Sierra, 50 kg de yeso sobra la calle, 1994. Madrid, Spain
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Santiago Sierra

Santiago Sierra was born in 1966 in Madrid, Spain where he lives and works.

 After graduating in Fine Arts at Madrid’s Complutense University, Santiago Sierra completed his artistic training in Hamburg, where he studied under professors F. E. Walter, S. Brown and B. J. Blume.His beginnings are linked to alternative art circuits in the capital of Spain—El Ojo Atómico, Espacio P—although he would go on to develop much of his career in Mexico (1995–2006) and Italy (2006–10), and his work has always exerted a great influence on artistic literatura and criticism.

Sierra’s oeuvre strives to reveal the perverse networks of power that inspire the alienation and exploitation of workers, the injustice of labour relations, the unequal distribution of wealth produced by capitalism, the deviance of work and money, and racial discrimination in a world scored with unidirectional (south-north) migratory flows.

Revisiting and updating certain strategies characterising the Minimalism, Conceptual and Performance Art of the seventies, Sierra interrupts flows of capital and godos (Obstruction of Freeway With a Truck’s Trailer, 1998; Person Obstructing a Line of Containers, 2009); he hires labourers to reveal their precarious circumstances (20 Workers in a Ship’s Hold, 2001); he explores the mechanisms of racial segregation derived from economic inequalities (Hiring and Arrangement of 30 Workers in Relation to Their Skin Color, 2002; Economical Study of The Skin of Caracans, 2006); and refutes the stories that legitimate a democracy based on state violence (Veterans of the Wars of Cambodia, Rwanda, Kosovo, Afghanistan and Irak Facing the Corner, 2010–2; Los encargados, 2012).

www.santiago-sierra.com