{"id":2628,"date":"2007-09-16T10:41:00","date_gmt":"2007-09-16T10:41:00","guid":{"rendered":"http:\/\/works.raqsmediacollective.net\/?p=2628"},"modified":"2025-07-24T14:12:23","modified_gmt":"2025-07-24T14:12:23","slug":"anonymous-steel-worker","status":"publish","type":"post","link":"https:\/\/works.raqsmediacollective.net\/index.php\/2007\/09\/16\/anonymous-steel-worker\/2628","title":{"rendered":"Anonymous Steel Worker"},"content":{"rendered":"
\n
\"\"<\/figure>\n<\/div>\n\n\n

Anonymous Steel Worker
Shown at: Mattress Factory, Pittsburgh (2007-08) | National Gallery of Modern Art, Delhi (2014)<\/strong><\/em><\/p>\n\n\n\n

Enamel screen print on stainless steel
96 inches x 58.5 inches<\/em><\/p>\n\n\n\n

In 2012-13, in Pittsburgh, foraging through an eccentric collection of objects to do with the history of the steel industry in this rust belt town, we found an awkward but affectionate sculpture of a \u2018dog\u2019 that a steel worker had made with odds and ends of machine parts while working in the factory. There were bits of cork (to make the head and the body), used pipe cleaners for the wire, fragments of wood and the assorted metal debris (nuts and bolts) gleaned from the factory floor.

The dog, an informal object made in the early twentieth century, has a time-traveling resemblance, in its silhouette, to the ‘robot-dog’ objects that began coming on to the market as ‘play-companions’ for children and the elderly, equipped with limited amounts of artificial intelligence that made them both obedient and cute, together or alternately, whenever necessary.

The worker’s \u2018dog\u2019 that we found also seemed to us to be both sentinel and transgressor of different orders of time. It was a reminder of an odd and passionate refusal to submit to the factory\u2019s occupation of the worker\u2019s bodily time. At the same time, it was a sentinel, a guard (guard-dog) of a worker\u2019s memory of stealing time from work and turning it into an occasion for play.

The worker’s dog, the distillation of the spirit of an ‘anonymous steel worker’ has had different exhibition lives. It is printed as a crimson screen-printed emblazonment on paper. This is the way it was first exhibited in a Raqs show titled \u2018Time Book\u2019 at an art venue called ‘The Mattress Factory\u2019 in Pittsburgh (2007). Here, it found itself within an assemblage of other objects and video signals that offered reflection on the historical legacy of the steel industry.

Later, in the Raqs exhibition ‘Untimely Calendar’ at the National Gallery of Modern Art in Delhi (2014-2015), the image of the dog, stayed as a print on a steel-sheet, suspended over an installation that invoked a citrus orchard inside a factory, surrounded and annotated by an array of the editions of actual prints of the front page of a workers\u2019 newspaper (\u2018Faridabad Majdoor Samachar\u2019 \/ \u2018Faridabad Workers\u2019 News\u2019) across three decades.

A spectre of the \u2018Robot-Dog\u2019 also spirited itself in the form of a spoken word monologue into our performance-installation \u2018The Last International\u2019 (at the Performa Festival, New York, 2013) as a time-travelling envoy and interlocutor from the future. It is as if with each instantiation, from exhibition to exhibition to performance, the worker\u2019s steel dog has taken on different lives, telling different but inter-lined stories about time and labour.

Working with traces like this \u2018workers\u2019 dog\u2019 helps us realize that objects such as these appear as object-sediments in a metaphorical geological stratigraphic profile. They settle, lurking into the seams of events and processes, disrupting temporal sequences. They make time feel volatile, and possibly, occasionally, volcanic.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Installation View: Mattress Factory, Pittsburgh (2007-08)<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The Robot-Dog Reads 1993 to 2014<\/strong><\/em><\/p>\n\n\n\n

264 framed copies of \u2018Faridabad Mazdoor Samachar\u2019 (1993-2014)<\/em>
With screen print on acrylic (\u2018Robot Redux\u2019\/\u2018Anonymous Steel Worker\u2019)<\/em><\/p>\n\n\n\n

For this work,\u00a0Anonymous Steel\u00a0<\/em>Worker\u00a0<\/em> has been reformulated and overlaid on editions of the newspaper, \u2018Faridabad Mazdoor Samachar\u2019, from 1993 to 2014. <\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n
Installation View: National Gallery of Modern Art, Delhi (2014)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Every factory has a time book. The time book is an index of the value of a worker\u2019s time. 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