April 26, the day on which Fallujah is presented at ARTIUM of Alava, marks the 70th anniversary of the bombardment of the town of Guernica. It was the first time that civilians had been targeted with the massive use of force in a military conflict. The pain and shock suffered around the world was eloquently conveyed in Guernica, the best-known work by Picasso, a universal symbol of anti-war sentiment and peace.

From 2007 April 26 to June 3
North Gallery

Now, once more, the suffering and incomprehension which came as a result of the unwarranted death of thousands of civilians, has generated a response in the voice of art. The showing of the mutilated bodies of several American soldiers in the Iraqi city of Fallujah led to the destruction of the city in retaliation and the deaths of between 4000 and 6000 people. In the midst of the silence imposed by the US government, leader of the international coalition responsible for the attack on the city, many voices were raised in criticism lest the massacre should ever be forgotten. The work Fallujah bySiah Armajani (Teheran, 1939) is a denouncement of that event and draws our attention to war and the scorched earth policy that contemporary governments have not hesitated in using on civilian populations. Out of step with the prevailing opinion and at a time when the artist is accused in the United States of being unpatriotic and when anyone who questions policies based on the fears of the majority is shunned, Armajani appeals for an end of a war based on anxiety and economic interests.

The references to Picasso's masterpiece ? the saw-edged flames, the presence of a horse with its curly mane and, more than anything else, the light bulb placed at the centre of both compositions, underline the parallelism of the situations experienced in Guernica and Fallujah.

Fallujah represents the moment when, after the adrenalin rush produced at times of catastrophe and tragedy, time stops for an instant, sounds are muffled and the images become especially vivid. Several mattresses, a table and chair turned upside down, a Persian carpet, some shoes, a rocking horse, etc., are some of the few objects to be found in the house.

Armajani depicts the chaos based on straight, clean lines. However, larger forms are shown as being unstable, held by the insubstantial structure of a chair. The stairway, still in place, no longer provides access to any room and the transparency of the glass that defines the spaces conveys a strong sensation of fragility. High up, the cage appears to be empty through the flames. Finally, a major feature of the work is the lack of human beings, who, paradoxically and by their absence, become more present and more universal. Any one of us could inhabit that space which, due to its common and everyday ambience, we recognise as our own.

Siah Armajani has lived and worked in the United States since 1960. Known internationally as one of the maximum representatives of public art, his work is situated in an intermediate space between art, design and architecture. Critical of the image and structure of power, he conceives his works for use in a social context. Bridges, walkways and sheds are offered as places for meeting, reflecting or reading.

The work Fallujah is presented for the first time atARTIUM of Alava and later will be transferred to CDAN, Centro de Arte y Naturaleza in Huesca.

A production of: