Bruce Nauman. Inside Out

Nauman rejected the practice of photography which he understood to be narrative images in favour of documented records (Self-Portrait as a fountain, Feet of clay or Eating my words, all from 1966-1967/1970). Immediately afterwards, video becomes the primary means in all his productions, either as a supporting role - visible in Art makeup (1967) or Violin tuned D.E.A.D. (1969) - or as a key element in architectural installations and sound.

Research is present as part of the creative process and thus has a presence in the pieces. In his work, which shows influences from music, dance and literature, four names acquire special importance. Gestaltism is the first major influence that stands out in Nauman's work, which is derived from his interest in phenomenology and behaviourism and which he applies - in the words of Neal Benezra, curator of the exhibition along with Katy Halbreich - to his "indignation of human behaviour regarding unpleasant or distressing situations." Other influences evident in this artist’s work are found coming from the philosopher Ludwig Wittgenstein, because of his critique of the validity of language, its meaning and its representation (Violins Violence Silence, 1981-1982), the writer Elias Canetti, because of his study on the behaviour of the masses and also writer Samuel Beckett, because his bleak idea of man’s destiny.

From his sculptures that include hanging elements (chairs and animals) during the late Seventies, the metaphors that underpin his work have a political character and or concern racial and gender conflicts. In this way, in many pieces he refers to the current situation in South America, apartheid in South Africa or the death penalty: South American Triangle (1981), Good boy, bad boy (1985), Hanged man (1985). As noted by Benezra, Nauman "successfully integrates our consciousness with our feelings. In his works, we do what we see", showing public submission of the public faced with the messages and images imposed.