Tuesday, June 12, 2012
At a syntactic level, he had to devise a shape which kept its power in any given environment, while ensuring that it was able to point out and magnify specific surroundings. On the other hand, and at a semantic level, the work had to be understandable in as many contexts as possible.
Thus, and with a spirit more akin to Zeitgeist than to genius loci Santiago Sierra’s NO GLOBAL TOUR, carries out a synthesis between the sculpture—that stresses the relation to specific environments—, and the letter, which is able to address particular situations. By making the sculpture travel, the work itself changes constantly and is translated into an epic road movie.