Thomas Hirschhorn
From The Art and Popular Culture Encyclopedia
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| "I do not want to invite or oblige viewers to become interactive with what I do; I do not want to activate the public. I want to give of myself to such a degree that viewers confronted with the work can take part and become involved, but not as actors." | "I do not want to invite or oblige viewers to become interactive with what I do; I do not want to activate the public. I want to give of myself to such a degree that viewers confronted with the work can take part and become involved, but not as actors." | ||
| - | He received the (2000/2001) [[Marcel Duchamp]] Prize and the [[Joseph Beuys]] Prize in 2004.{{GFDL}} | + | He received the (2000/2001) [[Marcel Duchamp]] Prize and the [[Joseph Beuys]] Prize in 2004. |
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| + | == Perishable monuments == | ||
| + | "Thomas Hirschhorn plugs himself into the communicative potential of thought discontent with the enforced definitions and limitations of a hyper- capitalist, multinational rhetoric of globalization. Neglecting material worth, his work encompasses diverse sculptural models in an impoverished taste for the product wrappings of consumer industry – aluminum foil, plastic, cardboard and plywood – suspending capitalist desires in a state of constant creative anarchy. Following a logic of ephemerality, accumulation and a potential openendedness, Hirschhorn’s perishable monuments to [[Benedict de Spinoza]] (Amsterdam, 1999), [[Gilles Deleuze]] (Avignon, 2000), [[Georges Bataille]] (2002, Kassel) and [[Antonio Gramsci]] (not yet realized), reflect upon communal commitment and “the quality of internal beauty” (Hirschhorn). Personally and socially mapping the city of Kassel for more than a year, Hirschhorn integrates the Bataille Monument actively into the lives of a marginalized local community for the duration of the exhibition. Forgoing traditional terms of knowledge production, the work returns the museum’s ritualized function of displaying and collecting to the public realm."{{GFDL}} | ||
Revision as of 11:26, 28 December 2007
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Thomas Hirschhorn (Bern, 1957) is a Swiss artist. In the 1980's he worked in Paris as a graphic artist. He was part of the group of communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus.
Quotes:
"I'm interested in the 'too much,' doing too much, giving too much, putting too much of an effort into something. Wastefulness as a tool or weapon."
"I do not want to invite or oblige viewers to become interactive with what I do; I do not want to activate the public. I want to give of myself to such a degree that viewers confronted with the work can take part and become involved, but not as actors."
He received the (2000/2001) Marcel Duchamp Prize and the Joseph Beuys Prize in 2004.
Perishable monuments
"Thomas Hirschhorn plugs himself into the communicative potential of thought discontent with the enforced definitions and limitations of a hyper- capitalist, multinational rhetoric of globalization. Neglecting material worth, his work encompasses diverse sculptural models in an impoverished taste for the product wrappings of consumer industry – aluminum foil, plastic, cardboard and plywood – suspending capitalist desires in a state of constant creative anarchy. Following a logic of ephemerality, accumulation and a potential openendedness, Hirschhorn’s perishable monuments to Benedict de Spinoza (Amsterdam, 1999), Gilles Deleuze (Avignon, 2000), Georges Bataille (2002, Kassel) and Antonio Gramsci (not yet realized), reflect upon communal commitment and “the quality of internal beauty” (Hirschhorn). Personally and socially mapping the city of Kassel for more than a year, Hirschhorn integrates the Bataille Monument actively into the lives of a marginalized local community for the duration of the exhibition. Forgoing traditional terms of knowledge production, the work returns the museum’s ritualized function of displaying and collecting to the public realm."
