By Thomas Hirschhorn
For the artist Thomas Hirschhorn, writing is an important device at each degree of his creative perform. From the 1st cartoon of an idea to appeals to power collaborators, from targeted documentation of tasks to post-disassembly research, Hirschhorn's writings mark the trajectories of his paintings. This quantity collects Hirschhorn's greatly scattered texts, offering many in English for the 1st time.
In those writings, Hirschhorn discusses the complete diversity of his artwork, from works on paper to the big Presence and Production tasks in public areas. "Statements and Letters" deal with huge issues of aesthetic philosophy, politics, and artwork old commitments. "Projects" reflect on particular works of art or exhibitions. "Interviews" seize the artist in discussion with Benjamin Buchloh, Jacques Rancière, and others. all through, sure continuities emerge: Hirschhorn's dedication to quotidian fabrics; the centrality of political and financial pondering in his paintings; and his dedication to paintings within the public sphere. Taken jointly, the texts serve to track the artist's rules and inventive ideas over the last twenty years. Critical Laboratory also reproduces, in colour, 33 Ausstellungen im öffentlichen Raum 1998--1989, an out-of-print catalog of Hirschhorn's earliest works in public space.
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Extra info for Critical Laboratory: The Writings of Thomas Hirschhorn (October Books)
Like checking out a pen, yet extra like checking out the realm. additionally, those works, which I name Série Nouvelle, are all wrapped in obvious plastic. to guard them, to mark their definiteness even more—I suggest, to claim their life. to bolster the various point of the codecs i exploit. and likewise to magnify, simply because to envelop a section of used cardboard is exaggerated and pointless except i would like to intensify its lifestyles. The wrapping in plastic additionally permits numerous works to be introduced jointly within the similar wrapping. So I made programs, now not all are multipacks, yet there are a couple of. The others have their very own wrapping. 172 Projects three. five Berliner Wasserfall mit Robert Walser Tränen, 1995. Künstlerhaus Bethanien, Berlin, Germany, 1995. 173 Projects With this “waterfall” i need to back intensify the matter of the horizontal and the vertical, as the works are placed both flat at the flooring or on most sensible of tables lined in aluminum foil. And the opposite works are positioned vertically at the ground, leaning opposed to the legs of the tables and on most sensible of the tables leaning opposed to the wall. i admire that you just can’t see the horizontal works at the tables subsequent to the wall (the peak is 2 meters) simply because they’re there, they occupy their position, yet you don’t need to see them. quite often, this “waterfall” presentation is a truly frontal presentation, which forces the viewer to stand it; he will be very with regards to the closest works at the flooring, yet he can’t catch up with. as a result, he has to improve a common view of items. yet I additionally wish you as a way to slide over to the aspect that you should observe that this isn’t actually a sculpture or a quantity. It’s flat opposed to the wall and follows the angles or gravity, right down to the floor. And this flatness folds 4 instances, two times inward, two times outward. And at the back of this skinny aluminum foil, like a provider or a drawback, there’s not anything, so regardless of its spatial point, it’s a piece that’s flat and two-dimensional. at the back of the room, at the brief wall, there'll be what I name the Robert Walser Tränen. it's a homage to Robert Walser who lived six years in Berlin, from 1906 to 1912. Evoking him within the name of the exhibition and contemplating him is only one chance. He wrote The Tanners, The Helper, and Jakob von Gunten right here, between different issues. So those Robert Walser Tränen are a reminder. Plastically i need this factor to be whatever impure, incoherent, a section foolish, a disgrace. For, in entrance of Berliner Wasserfall, which dominates the room, that's mild and fresh, and equipped, at the adjoining wall there’s an annex or a mobilephone, which has turn into independent and which doesn’t correspond to the rigor of the opposite wall, nor to its spatial confirmation. there's something that turns out to slide uncontrolled. And certainly, out of the 2 corners of the “waterfall,” becoming opposed to the adjoining wall are traces of tears, additionally made up of the aluminum foil fabric, that attach or 3 works each one. those works are works from a similar sequence Série Nouvelle, just like the ones which are a part of Berliner Wasserfall, yet they’re independent, the representatives, remoted at the adjoining wall, hooked up.