not

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Santiago Sierra, MX

– paid drug-addicted Brazil prostitutes to have their backs tattooed by a straight horizontal line for a drug of their choice.
– hired 200 immigrants of African, Asian and eastern European origin, all of whom had dark hair, for an ‘action’ in which their hair was bleached.
– hired a group of unemployed men to push concrete blocks from one end of a gallery to the other.
– In an exhibition at P.S.1, New York, Person Remunerated for a Period of 360 Consecutive Hours Sierra hired a person to live behind a brick wall 24 hours a day for 15 days (September 17 – October 1, 2000) without having any further instructions or duties. P.S.1 staff slid food under a narrow opening at the base of the wall. The individual behind the wall was generally invisible to the audience but was allowed to relate to the other side through the small opening in the wall.

– In South Korea, he paid sixty-eight people twice that nation’s minimum wage to block the main entrance to the inauguration of Pusan’s International Contemporary Art Festival.
– On the occasion of the 2003 Venice Biennale he built a wall blocking off the entrance to the Spanish Pavilion. Visitors needed a Spanish passport to gain entry to the building, through the back door. But even then the visitor was confronted with an empty gallery.
– on the occasion of an exhibition by Sierra to mark the opening of a £500,000 extension to the Lisson Gallery, London, he barred the entrance to the gallery with a sheet of corrugated steel. Sierra comments on the considerable frustration of the invited London glitterati who turned up for the opening: ‘It was as though they were saying: “Just get me inside and give me a drink. That’s what I’ve come for”
– During the economic crisis in Argentina (1999–2002) the banks closed and protected their facades with corrugated steel. People demonstrated using a form of protest known as cacerolazo which consisted of banging pots and pans against the corrugated metal. In 2002 Sierra taped these sounds and sent CDs of the recording out to galleries in London, New York, Vienna, Frankfurt and Geneva (Jeffries 2002). The CD sleeve instructed the owner to put speakers in the window and turn the stereo up full volume during certain specified local times.

http://www.installationart.net/Chapter3Interaction/interaction04.html
http://en.wikipedia.org/wiki/Santiago_Sierra

Thomas Hirschhorn, CH, 11 ben X
Bataille Monument, 2002, Documenta, Kassel
– He chose as his location the Friedrich-Wöhler Siedlung, a mixed Turkish-German social housing complex in a low socio-economic suburb of Kassel.
– ‘one thing has always been clear for me: I am an artist and not a social worker.’
– he assembled a team of people living in the Friedrich-Wöhler Siedlung who were willing to work on the monument for the eight euros an hour he paid them.
– to oversee the construction Hirschhorn moved into an apartment in the Siedlung
– He even convinced the people working for him to return his belongings when some of them broke into his apartment and stole his laptop, video, hi-fi and camera equipment.
– Like many artists of the 1990s and 2000s Hirschhorn acts as an entrepreneur, which is to say a boss, albeit a more or less enlightened boss

http://www.installationart.net/Chapter3Interaction/interaction03.html
http://en.wikipedia.org/wiki/Thomas_Hirschhorn

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