The twofold characterization of Sebastian Errazuriz as a designer and an artist has bedeviled his endeavors for over a decade now. This much is apparent in the dialectical introductory texts to his first monograph, The Journey of Sebastian Errazuriz (Gestalten 2012), to say nothing of the work itself, which resists characterization as a tightrope walker hovers between life and death. So too does the prolific ‘creator-of-things’ (for lack of a better term) walk a taut line of irony—navigating a narrow space between understatement and overstatement—and make it look easy.
A new generation of creatives is increasingly producing work at the nexus of art and design. A young trailblazer of this movement is Sebastián Errázuriz, who successfully melds elements of sculpture and performance with design. The graphic visual language of Errázuriz, a Chilean now living in New York, plays masterfully with elements of nature and pop culture. The lightness and sneaky irony of his oeuvre has often been compared with that of Erwin Wurm, while its morbid charm suggests a kinship with Tom Sachs and Gabriel Orozco.
Errázuriz’s work has already been shown at over 40 exhibits in cities including New York, Paris, Tokyo, and Barcelona. Sotheby’s sold one of his pieces at its legendary Important Twentieth Century Design Auction when he was only 28 years old.Sebastián Errázuriz is especially well known for his project Memorial of a Concentration Camp. For this artwork he had a 10-meter-tall magnolia tree planted in the middle of the soccer field at Santiago de Chile’s national soccer stadium–on the exact spot where in 1973 dictator Augusto Pinochet had thousands of political prisoners tortured and then executed.
For one week Errázuriz thus turned the arena into a public park that invited contemplation. On the last day, the artist had the two best Chilean soccer teams play a match around the tree for 20,000 spectators. This book is the first comprehensive collection of Sebastián Errázuriz’s work, which the New York Times calls “humorously avant-garde.” It includes texts by artist Tom Sachs and gallery owner Cristina Grajales.
This book is the first monograph of Sebastian Errazuriz’s work, which the New York Times calls “humorously avant-garde.” It includes conversations Errazuriz had with artist Tom Sachs and MoMA senior curator Paola Antonelli. The introduction texts were written by the art critic Christian Viveros-Fauné and gallery owner Cristina Grajales.