the ten hired participants were Iraqis. The themes, then, are the Iraq war, chemical warfare and the torture of Iraqi prisoners.
Despite being toxic, polyurethane is commonly used for household insulation, so it has connotations of both safety and danger — a nice metaphor for the combination of defence and aggression that motivated the invasion of Iraq.
A video projection documents the entire process. Lined up in groups, jets of polyurethane spattering over their backs, the participants have to wear chemically resistant clothing — whole body suits that leave only the eyes visible behind goggles — and a thick sheet of plastic draped over their backs and heads. Given the context, it comes across as a kind of militarised, updated version of the veil, that most stereotypical of ciphers for Islam, emblematic of a range of Western anxieties about the Middle East. […]
The Iraqi workers are evoked only by their absence, where the plastic hardened flat against their backs. It’s a microcosm of how capitalism works: like any commodity, this sculpture is of greater worth than the labour involved in its manufacture.
In contrast to these impeccably aesthetic forms, the rest of the gallery floor is scattered with rubbish: empty canisters, sheets of black plastic, discarded spray-gun nozzles and bits of polyurethane shrapnel. It feels like a stage set. Or maybe something more sinister; the scene of a crime, perhaps, or a debris-littered battlefield. There is a sense of past violence, of something obscene — a hidden horror that remains unseen, off-stage.
What is hidden, as regards capitalism, is the issue of exploitable labour. A parallel can be drawn here with the hidden atrocities of warfare: war crimes and torture. The idea is that war, and certainly the Iraq war, is a continuation of capitalism’s inherent violence. Sierra also makes us aware that, as consumers of aesthetic objects, it is violence in which we are complicit.
Well yes, we are indeed complicit if we’re foolish enough to go along and pay to see Sierra’s work, thus enabling him to produce further pieces exploiting more vulnerable people. We are also complicit if we write fatuous articles recycling the usual artworld cliches about him.
The reviewer gets close to the mark with this:
By exploiting his participants’ poverty in order to make works of conceptual art, Sierra raises questions about an art business which, as part of a capitalist system, colludes in its exploitation of labour.
but fails to answer those questions. It would similarly raise questions about the art business if someone exhibited a large heap of manure entitled “This is a Worthless Pile of Shit”. Now that’s what I’d call a challenging work of art.