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Critical laboratory : the writings of Thomas Hirschhorn by Hirschhorn, Thomas; Lee, Lisa; Foster, Hal; Hirschhorn,

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By Hirschhorn, Thomas; Lee, Lisa; Foster, Hal; Hirschhorn, Thomas

For the artist Thomas Hirschhorn, writing is a vital instrument at each degree of his creative perform. From the 1st caricature of an concept to appeals to capability collaborators, from precise documentation of tasks to post-disassembly research, Hirschhorn's writings mark the trajectories of his paintings. This quantity collects Hirschhorn's extensively scattered texts, proposing many in English for the first time.

In those writings, Hirschhorn discusses the total diversity of his paintings, from works on paper to the big Presence and Production initiatives in public areas. "Statements and Letters" tackle large subject matters of aesthetic philosophy, politics, and artwork old commitments. "Projects" contemplate particular works of art or exhibitions. "Interviews" catch 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 considering 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 recommendations over the last many 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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I want to fight against hierarchy, demagogy, this source of power. Direct sculptures, in contrast to “altars,” “kiosks,” and “monuments,” are located in interiors, in exhibition spaces. Direct sculptures are in interiors because they are models. The direct sculpture is a physical result of a confrontation of two wills: the will that comes from below, the heart, and the will that comes from above, the power. One is the support, the other is the message. The two wills are condemned to exist together.

It had nothing to do with conviction. It was: me and the military. I recall my entire stint in the military as a very egoistic, egocentric, navel-gazing time. No questions or thoughts other than what concerned the tip of my own nose or the soles of my feet. It was a time of emptiness and isolation that was only intensified by external psychological and physical tests. With me these tests merely had the perverse consequence of further constricting the already constricted space in which I moved. All that mattered was to prove that one could do it!

23, October 2001, Paris, France. 44 Statements and Letters “Monuments” I try to make a new kind of monument. A precarious monument. A monument for a limited time. I make monuments for philosophers because they have something to say today. Philosophy can give us the courage to think, the pleasure of reflection. I like the strong meaning in philosophical writings and the questions about human existence. I like full-time thinking. I like philosophy, even when I don’t understand a third of its reflections.

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