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Writings by Thomas Hirschhorn, collected for the first time, trace the development of the artist's ideas and artistic strategies.For the artist Thomas Hirschhorn, writing is a crucial tool at every stage of his artistic practice. From the first sketch of an idea to appeals to potential collaborators, from detailed documentation of projects to post-disassembly analysis, Hirschhorn's writings mark the trajectories of his work. This volume collects Hirschhorn's widely scattered texts, presenting many in English for the first time.In these writings, Hirschhorn discusses the full range of his art, from works on paper to the massive Presence and Production projects in public spaces. \"Statements and Letters\" address broad themes of aesthetic philosophy, politics, and art historical commitments. \"Projects\" consider specific artworks or exhibitions. \"Interviews\" capture the artist in dialogue with Benjamin Buchloh, Jacques Rancière, and others. Throughout, certain continuities emerge: Hirschhorn's commitment to quotidian materials; the centrality of political and economic thinking in his work; and his commitment to art in the public sphere. Taken together, the texts serve to trace the artist's ideas and artistic strategies over the past two decades. Critical Laboratory also reproduces, in color, 33 Ausstellungen im öffentlichen Raum 1998-1989, an out-of-print catalog of Hirschhorn's earliest works in public space.

Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn's often monumental but precarious works offer a commentary on the spectacle of late-capitalist consumerism and the global proliferation of commodities. Made from ephemeral materials -- cardboard, foil, plastic bags, and packing tape -- that the artist describes as \"universal, economic, inclusive, and [without] any plus-value,\" these works also engage issues of justice, power, and moral responsibility. Hirschhorn (born in Switzerland in 1957) often chooses to place his work in non-art settings, saying that he wants it to \"fight for its own existence.\" In this book, Anna Dezeuze offers a generously illustrated examination of Hirschhorn's Deleuze Monument (2000), the second in his series of four Monuments. Deleuze Monument -- a sculpture, an altar, and a library dedicated to Gilles Deleuze -- was conceived as a work open to visitors twenty-four hours a day, seven days a week. Part of the exhibition \"La Beauté\" in Avignon, Deleuze Monument was controversial from the start, and it was dismantled two months before the end of the exhibition after being vandalized. Dezeuze describes the chronology of the project, including negotiations with local residents; the dynamic between affirmation and vulnerability in Hirschhorn's work; failure and \"scatter art\" in the 1990s; participatory practices; and problems of presence, maintenance, and appearance, raised by Hirschhorn's acknowledgement of \"error\" in his discontinuous presence on site following the installation of Deleuze Monument.

During the summer of 2013, an unconventional one-story building sat in the courtyard of Forest Houses in the South Bronx. It was titled \"Gramsci Monument,\" and it was the fourth in a series of works by the Swiss artist Thomas Hirschhorn. Building on recent interpretations of Henri Lefebvre's theorization of space, time, and the urban, this essay argues that Hirschhorn challenged modern and postmodern expressions of monumentality. The sculptor critically engaged the \"Gramsci Monument\" with its context through the experiences shared by a \"non-exclusive audience\" (the residents of the public housing project and their neighbors) and the anticipation of its obsolescence. Ephemeral in nature--it lasted only for a summer--and contingent on the daily lives of its resident builders, workers, and visitors, the \"Gramsci Monument\" proposed a monumentality that built on the experience and memory of the site without usurping the potency of the everyday in negotiating public history.

Thomas Hirschhorn is a Swiss artist renowned for his series of ephemeral \"monuments\" dedicated to major writers and thinkers. After The Netherlands, France and Germany, he created the Gramsci Monument at Forest Houses, a housing in the tenuous suburb of Bronx. The Gramsci Monument building empowered local people and let them connect.

How do artists push beyond what they already know and readily see? Can acts of engagement and exploration be works of art in themselves? In this episode, artists use their practices as tools for personal and intellectual discovery, simultaneously documenting and producing new realities in the process. Featuring artists Thomas Hirschhorn, Leonardo Drew, and Graciela Iturbide.

What is the relationship of an artwork to the sociopolitical context in which that work was created? James Westcott discusses how Thomas Hirschhorn in Superficial Engagement reproduces the violence of war propaganda. Magda Romanska analyzes the trial in Poland of Dorota Nieznalska, accused of \"offending religious feelings\" with her work Passion. Ilka Saal reports on the 15th International Istanbul theater Festival where emerging artists break with both the state and aging Western notions of the avantgarde.

« Touching Reality » de Thomas Hirschhorn a été présenté à Paris, au Palais de Tokyo, dans le cadre de la troisième édition de la Triennale d’Art Contemporain : « Intense Proximité », en 2012. L’analyse de ce dispositif garde aujourd’hui toute sa pertinence, tant celui-ci révèle certaines confusions récurrentes, véhiculées par l’art contemporain : témoignage ou constatation ? Provocation ou subversion ? Emotion ou sensibilité ?Dans une salle noire et silencieuse sont projetées en couleur et en rafales, des photographies de corps détruits. Le défilé des corps est rythmé sur un écran numérique géant, d’une main qui les zoome et les zappe : mise en scène Smartphone. Ces images captées sur Internet, ne sont pas « sourcées », on peut donc tout supposer quant à leur provenance, comme sur l’intention de leur diffusion d’origine.Pour ce qui est du discours de l’artiste, nous disposons, dans le journal de la Triennale, d’un texte de l’auteur intitulé « Pourquoi est-il important – aujourd’hui – de montrer et de regarder des images de corps détruits ? ».

Art Review has launched The Annual, an original limited...

In Thomas Mann’s The Magic Mountain, high up in the Swiss Alps and sequestered with the invalids in a sanatorium there resides a device called a silent sister, used for detecting the deceptions (a measureless tool for measuring) of those that wish to remain in storage just a bit longer. This device consists simply of a thermometer for taking one’s temperature that has no lines of measurement, so that the patients cannot present themselves as still ill even when they are not (and thus remain). This happens sometimes, that an inhabitant becomes convinced that they might continue outside of life

Discusses the temporary displays of the artist Thomas Hirschhorn. The author notes how works such as World Airport (1999), Jumbo Cake and Big Spoons (2000), Pole Self (2001; col. illus.), and Double Garage (2002) have a wide variety of cultural, social and commercial reference points, considers the impact of Hirschhorn's temporary street altars (1998-99; col. illus.) to figures such as Raymond Carver, the Dutch artist Piet Mondrian, the Austrian artist Otto Freundlich, and the Austrian writer Ingeborg Bachman, and relates his work to Jane Flax's reading of Jacques Lacan and its exploration of authorial weakness. She concludes that his art is both subversive and discomforting.