Thomas Hirschhorn
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Witziger, Hintergründiger Zeichner
Mediendokumentation Ricco Wassmer 1915-1972 Biografie Ricco Wassmer Zum 100. Geburtstag 27.11.2015 – 13.03.2016 Biografie Ricco Wassmer 1915–1972 1915 Geboren als Erich Hans Wassmer am 13. Oktober in Allschwil bei Basel, als zweites von vier Kindern des Chemikers, Industriellen und Mäzens Max Wassmer und dessen erster Ehefrau Tilly, geborene Zurlinden. 1918 Die Familie zieht ins Schloss Bremgarten bei Bern, wo Künstler, Dichter und Musiker verkehren. Hermann Hesse verklärt die dortige Atmosphäre in der Erzählung Die Morgenlandfahrt (1932) zu einem «Zauberkreis». 1935 Matura in Bern, in München Besuch von Vorlesungen in Kunstgeschichte und Zeichenkurs bei Julius Hüther. Entscheid für die Malerei. 1936–39 Im Sommer Rekrutenschule als Sanitäter. In Paris während der Wintermonate Studien an der Académie Ranson bei Roger Bissière. 1937 Wahl des Künstlernamens Ricco, Einzelausstellung und erste Teilnahme an Weihnachtsausstellung in der Kunsthalle Bern. Scheidung der Eltern. 1939 Zu Beginn des Weltkriegs Rückkehr nach Bremgarten und Militärdienst. 1940–45 Im Winter wie auch in den folgenden Jahren Besuch der Malschule Max von Mühlenen in Bern. 1942 Im Mai Malkurs bei Cuno Amiet auf der Oschwand. In Oberramsern bei Solothurn Ausstattung der von Viktor Kleinert gekauften Mühle, wo Ricco in den Sommermonaten lebt und arbeitet. Spezialisierung auf Stillleben. 1945 Auf Einladung von Arnold Rüdlinger Teilnahme an der Ausstellung Junge Berner Künstler in der Kunsthalle Bern. Mitglied der GSMBA. Während einer tiefen Lebenskrise will er ins Kloster eintreten. 1946 Mit der neu gebauten Segeljacht Nave Nave Mahana in Morges auf dem Genfersee, wo er zwei Sommer lang lebt. Aktzeichnungen der Brüder Baschmakoff auf dem Schiff. Ergänzung der Signatur mit einem Anker. -
Schweizer Grand Prix Kunst Grand Prix Suisse D'art Gran Premio
Schweizer Grand Prix Kunst Prix Meret Oppenheim 2018 Grand Prix suisse d’art Gran Premio svizzero d’arte Grond premi svizzer d’art 4 Vorwort 5 Avant-propos 6 Prefazione 7 Foreword 8 Einleitung 10 Introduction 12 Introduzione 14 Introduction 16 Samuel Gross en conversation avec Sylvie Fleury 45 Samuel Gross in conversation with Sylvie Fleury 52 Yasmil Raymond in conversation with Thomas Hirschhorn 84 Yasmil Raymond im Gespräch mit Thomas Hirschhorn 94 Stefano Moor in conversazione con Luigi Snozzi 127 Stefano Moor in conversation with Luigi Snozzi 137 Anhang Annexe Appendice Appendix Vorwort Renommee und mit seinem intellektu- Avant-propos entre urbanisme et architecture dans ellen Format eine legendäre Figur der le village de Monte Carasso au Tessin Der Prix Meret Oppenheim wurde Architekturszene. Sein Projekt zwischen Le Prix Meret Oppenheim a été est toujours une fgure de référence, 2001 durch das Bundesamt für Städtebau und Architektur im Dorf créé en 2001 par l’Ofce fédéral de plusieurs décennies après sa mise en Kultur (BAK) in Zusammenarbeit Monte Carasso im Tessin dient auch la culture en collaboration avec la œuvre. La Commission a choisi de lui mit der Eidgenössischen Kunst- Jahrzehnte nach seiner Umsetzung noch Commission fédérale d’art. Il honore remettre le prix Meret Oppenheim pour kommission eingerichtet. Er würdigt als Referenz. Die Kommission zeichnet des artistes, architectes, commis- honorer son infuence sur les jeunes Kulturschafende aus den Bereichen ihn mit dem Prix Meret Oppenheim aus, saires, chercheurs et critiques qui font générations d’architectes. Kunst und Architektur, Kuratorinnen um seinen Einfuss auf die nachfolgen- rayonner la création suisse au-delà de Nous exprimons notre admiration et und Kuratoren sowie Kritikerinnen den Generationen von Architektinnen nos frontières et à travers les années. -
Ingrid Wildi Merino
INGRID WILDI MERINO! [email protected]! [email protected]" [email protected]" http://www.ingridwildimerino.net! http://www.dislocacion.cl! !http://www.arquitecturadelastransferencias.net! ! 1963 Born in Santiago, Chile, lives and works in Geneva, Switzerland! 1968 - 1981 Primary and secondary education in Santiago, Chile! 1981 Emigrates to Switzerland! 1985 - 1987 Studies at Zürcher Hochschule der Künste, ZHdK, Zürich, Switzerland! 1987 - 1995 Works at the Spinnerei collective studio in Wettingen, Aargau, Switzerland! 1990 - 1991 Residence in São Paulo, Brazil! 1994 - 1997 Studies visual arts at the Zürcher Hochschule der Künste, ZHdK, Zürich, Switzerland! 1997 Graduates in 1997, mentor Bernd Hoppner! 1998 - 2000 Post Graduate studies in mixed media at the HEAD, Geneva University of Art and Design, Geneva, !Switzerland(Instructors: Sylvie Defraoui, Ursula Biemann, Dominique Gonzalez-Foerster)! ! ! solo exhibitions! ! 2009! !De Gerardo, Video Installation, Video Tank, Zürich! 2008! !Processing the Invisible, Galerie Traversée, Munich, Germany! 2007! Historias breves, Museo de Arte Contemporáneo, Santiago, Chile! !Historias breves, Galeria Gabriela Mistral, Santiago, Chile! 2006! !Quelquepart ll, (in collaboration with Mauricio Gajardo) Kunsthaus Glarus, Switzerland! 2004! De palabra en palabra, Kunsthaus Aarau, Switzerland! !De palabra en palabra, Centre d’Art Contemporain, Geneva, Switzerland! 2001! !Ouvrir et fermer les yeux, Planet 22, Geneva, Switzerland! 1995! !Ohne Titel, Trudelhaus Gallery, Baden, -
Thomas Hirschhorn DE-PIXELATION 530 West 21St Street October 28, 2017 – January 13, 2018 Opening October 27, 6-8Pm
Thomas Hirschhorn DE-PIXELATION 530 West 21st Street October 28, 2017 – January 13, 2018 Opening October 27, 6-8pm Gladstone Gallery is pleased to present DE-PIXELATION, an exhibition of new work from Thomas Hirschhorn’s Pixel-Collage series. Over the last two years, Hirschhorn has embarked on this deeply personal, political and socially-engaged body of work that explores the limitations and deceitfulness of imagery found throughout popular culture and the media. Employing a mix of collaging techniques, Hirschhorn’s work from the Pixel-Collage series calls into question the legitimacy of imagery that has been altered to protect the viewer from unpleasant depictions of gruesome human suffering and violence. This exhibition marks the conclusion of the Pixel-Collage series. In a statement from the artist: “De-Pixelation” is the title of my exhibition at Gladstone Gallery. I will exclusively present new “Pixel-Collage”. The exhibition will mark the ending of the “Pixel-Collage”-series that I have been working on for two years. My engagement in the problematic of ‘pixelation’ and ‘de-pixelation’ comes from the decision to see and look at the world as it is, and to insist in doing so. I believe that ‘de-pixelation’, ‘pixelation’, blurring or masking and furthermore censorship or self- censorship, is a growing and insidious issue, also in the social media today. I don’t accept that, under the claim of ‘protecting’ - protecting me, protecting the other - the world is pixelated in my place. I want, I can, I need and I must use my own eyes to see everything in our world, as act of emancipation. -
Thomas Hirschhorn DE-PIXELATION 530 West 21St Street October 28 – December 22, 2017 Opening October 27, 6-8Pm
Thomas Hirschhorn DE-PIXELATION 530 West 21st Street October 28 – December 22, 2017 Opening October 27, 6-8pm Gladstone Gallery is pleased to present DE-PIXELATION, an exhibition of new work from Thomas Hirschhorn’s Pixel-Collage series. Over the last two years, Hirschhorn has embarked on this deeply personal, political and socially-engaged body of work that explores the limitations and deceitfulness of imagery found throughout popular culture and the media. Employing a mix of collaging techniques, Hirschhorn’s work from the Pixel-Collage series calls into question the legitimacy of imagery that has been altered to protect the viewer from unpleasant depictions of gruesome human suffering and violence. This exhibition marks the conclusion of the Pixel-Collage series. In a statement from the artist: “De-Pixelation” is the title of my exhibition at Gladstone Gallery. I will exclusively present new “Pixel-Collage”. The exhibition will mark the ending of the “Pixel-Collage”-series that I have been working on for two years. My engagement in the problematic of ‘pixelation’ and ‘de-pixelation’ comes from the decision to see and look at the world as it is, and to insist in doing so. I believe that ‘de-pixelation’, ‘pixelation’, blurring or masking and furthermore censorship or self- censorship, is a growing and insidious issue, also in the social media today. I don’t accept that, under the claim of ‘protecting’ - protecting me, protecting the other - the world is pixelated in my place. I want, I can, I need and I must use my own eyes to see everything in our world, as act of emancipation. -
Thomas Hirschhorn Biography
Thomas Hirschhorn Biography Born in 1957 in Bern, Switzerland. Lives and works in Paris, France, since 1984. FORMATION / EDUCATION 1978-1983 : Ecole de Design de Zurich, Suisse. 1978-1983: Zürich School of Design, Switzerland. AWARDS 2018 The Swiss Grand Award for Art / Prix Meret Oppenheim, The Federal Office of Culture, Basel, Switzerland. 2011 Kurt Schwitters Preis, décerné par Niedersächsische Sparkassenstiftung (Lower Saxony Savings Bank Foundation), Hannover, Germany. 2006 Dutch Aica prize for “Anschool“, best exhibition of the past three years. 2005 Lauréat du prix de la meilleure œuvre, Art Awards 2005, décerné par Beaux-Arts Magazine. 2004 Joseph Beuys-Preis, décerné par Joseph Beuys-Stiftung, Basel, Switzerland. 2003 Rolandpreis für Kunst im öffentlichen Raum, décerné par Stiftung Bremer Bildhauerpreis, Bremen, Germany. 2000 Prix Marcel Duchamp, décerné par l’Adiaf, Paris, France. 1999 Preis für Junge Schweizer Kunst, décerné par Zürcher Kunstgesellschaft Exposition « Wirtschaftslandschaft Davos », 2001 au Kunsthaus Zürich, Switzerland. 10 RUE CHARLOT, 75003 PARIS +33 1 42 77 38 87 | CROUSEL.COM [email protected] SOLO EXHIBITIONS (SELECTION) 2021 The Purple Line, MAAXI, Museo nazionale delle arti del XXI secolo, Rome, Italy. 21 ans ‘Deleuze Monument’, Espace culturel associatif de la Mairie de Saint-Chamand, Avignon, France. Community of Fragments, GL Strand Copenhagen, Copenhagen, Denmark. 2020 Eternal Ruins, Galerie Chantal Crousel, Paris, France. 2019 Robert Walser-Sculpture, Place la Gare, Biel/Bienne, Swiss. 2018 Never Give Up The Spot, Museum Villa Stuck, Munich, Germany. RE-SCULPT, Ming Contemporary Art Museum, Shanghai, China. La collection BIC, 104, Paris, France. Pixel Collage by Thomas Hirchhorn, National Gallery of Kosovo, Pristina, Kosovo. 2017 Pixel-Collage, Fotogalleriet, Oslo, Norway. -
Press Release Thomas Hirschho
Keys of the exhibition 1. After Miao Xiaochun and Michael Najjar, this summer Es Baluard again invites an international artist to present an individual themed exhibition in the Aljub, and in 2016, it is the turn of Swiss artist Thomas Hirschhorn. 2. “Equality Float” is an allegory of the community, a reflection on the idea of Equality and Inequality. It is a piece measuring 21 metres in length by 6 metres in width and standing 3.30 metres tall, updated to be shown in the Aljub, which curator Ignacio Cabrero has contextualised by including a display case with documentation on the concept of equality, texts and drawings by the artist; a copy of the work The Map of Friendship between Art and Philosophy, 2007; and books, among others. 3. The project is based on the text “Eternal Flame”, written by Thomas Hirschhorn in 2007 for the magazine Artforum, in which he alludes to the book by Jacques Rancière, The Ignorant Schoolmaster, to warn that the eternal flame to the cry of equality will never be extinguished. And essentially, in the words of the artist himself, “The game is not over”. 1. The relationship between Philosophy and Art is represented by means of the forms and texts created by the artist, based on concepts and words that question the elements of friendship between art and philosophy; concepts that Thomas Hirschhorn developed in his work The Map of Friendship between Art and Philosophy (2007), along with German philosopher Marcus Steinweg, whose text “Community of Unequals” also forms part of the sculpture. Es Baluard Press Office: Jesús Torné ([email protected]). -
Thomas Hirschhorn
Thomas Hirschhorn Best known for his sculptural constructions produced from disposable mass manufactured goods, Hirschhorn gathers together references and imagery culled from popular media with the work of radical theorists such as Gilles Deleuze and Georges Bataille. Thomas Hirschhorn was born in 1957 in Bern, Switzerland. He now lives and works in Paris, France. Hirschhorn is widely regarded as a leading artist of his generation. He uses everyday and found materials such as plastic sheeting, cardboard, aluminium, packing tape and magazine images to create a dystopian reality. The process of making remains visible and becomes a metaphor for the individual and collective struggle to establish democracy. Implicated in Hirschhorn's work, viewers are obliged to consume and reflect upon that which they may have hitherto been able to ignore in their daily lives. The disparity between the viewer and the bombardment of blown-up imagery reminds us of how distant and removed we can feel when confronted with such imagery. Hirschhorn will have a solo exhibition at MAAXI, Rome, Italy in October 2021. Hirschhorn transformed a gallery of the GL Strand, Copenhagen, Denmark in March 2021 with a labyrinthine site-specific work titled ‘Community of Fragments’. In February 2021 ‘Spinoza-Car’ was installed at Horta Hall, Brussels, Belgium. In September 2020 his vast ‘World Airport’ went on display as part of the newly presented permanent collection of Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg. In 2019 a major work titled ‘Robert Walser-Sculpture’ was unveiled at Place de la Gare, Biel/ Bienne. Other notable solo projects include ‘In-Between', South London Gallery, London in 2015 and ‘Gramsci Monument', a major public installation presented in 2013 by Dia Art Foundation at a New York City Housing Authority development in the Bronx, New York. -
ASSEMBLAGE-BASED INSTALLATION: AFFECTS and INTERPRETATIONS Marian Tubbs
ASSEMBLAGE-BASED INSTALLATION: AFFECTS AND INTERPRETATIONS Marian Tubbs AN EXEGESIS SUBMITTED FOR THE DEGREE OF MASTER OF FINE ARTS, IN THE SCHOOL OF ART, COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, AUGUST 2010 An M t ABSTRACT This exegesis aims to assess the communicative power of assemblage-based installation art. The body of research underlying this assessment provides tools for understanding experimental assemblage-based installation practices and their affective1 nature. The exegesis tracks discourses between contemporary assemblage- based practices and recent philosophy on aesthetics. It reviews mechanisms used by contemporary artists to engage the spectator that resist existing aesthetic structures and assert new communicative visual forms. Definitions of ‘the contemporary’ are employed to help situate the dialectic of forms. By way of applying some key concepts of philosopher Gilles Deleuze to methods of production, the assessment proposes a symbiotic relationship between Deleuzian philosophy and assemblage-based practices. Deleuze’s ‘affect’, ‘de- stratification’, ‘repetition’ and ‘assemblage’ are the main theories applied to this a posteriori relationship. This exegesis investigates artists’ methods of sign manipulation such as compositions of repetitions, rhythms and durations. The experience of the spectator is investigated from the key positions of three disciplines of thought. How the brain processes information when viewing art is examined by way of readings from commentator Jacques Ranciere, philosopher David Hume and neurologist Vilayanaur Ramachandran. This establishes a speculative foundation for the relationship between the spectator and ‘the sign’. In terms of linguistics and visual forms, a critical analysis is applied to ‘signs’ to analyse the practices of artists who challenge established form and narrative structures. -
Front Matter
Falling from the Grip of Grace The Exhibition as a Critical Form since 1968 Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in The Graduate School of The Ohio State University By James T. Voorhies, Jr. Graduate Program in History of Art The Ohio State University 2012 Dissertation Committee: Professor Aron Vinegar, Advisor Professor Lisa Florman Professor Ron Green Bill Horrigan ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James T. Voorhies, Jr. Summer 2012 ! Abstract Falling from the Grip of Grace is an analysis of the exhibition as a critical form of art with special consideration to the role of the spectator. It charts a history of exhibitions from 1968 to the present to explore how we arrived at a moment when critical art faces many challenges, not least of which is competing with the art institutions that give it voice. It is the first sustained study to critically analyze connections between late- Modernist artistic strategies engaged with the exhibition form and subsequent dispersal of those strategies into curatorial practices at major institutions and biennials. Artists such as Robert Smithson, Michael Asher and Group Material initially expanded the spectator’s involvement in art to encompass the spatial and temporal contexts of the exhibition. This change signaled a definitive fall from the modernist aesthetic regime of pure visuality, or state of “grace” to use Michael Fried’s term, by placing greater emphasis on integrating engagements between art, spectator and institution. This dissertation interweaves the legacy of work by these artists and that of curator Harald Szeemann to examine contemporary art, institutions and biennials that involve the spectator in exhibition-making processes. -
Ricco Wassmer 1915–1972 Zum 100
DE Ricco Wassmer 1915–1972 Zum 100. Geburtstag AUSSTELLUNGSFÜHRER Saalplan Inhalt Teil I (Untergeschoss Altbau) 1 Bremgarten – München – Paris 1929–1939 2 Rückkehr in die Enge 1940–1947 3 Stillleben 1943–1948 Untergeschoss 11 5 10 Altbau 9 4 Neue Horizonte 1946–1950 1 8 7 2 6 3 Untergeschoss Teil II (Untergeschoss Neubau) 4 Neubau 5 Die Wunderkammer 6 Bompré – ein Schloss für sich allein 1950–1963 7 Trauer über die Vergänglichkeit – François Mignon 1952–1954 Am Anfang war die Kamera 8 Der ewige Reiz der Jugend – Jean Baudet 1955–1958 9 Man wird es nie wissen 1958–1963 10 Ropraz – das erstarrte Paradies 1964–1966 11 Die letzten Träume 1966–1972 Biografie Ricco Wassmer 1915–1972 Ein vergessener Grenzgänger Anlässlich des hundertsten Geburtstags von Ricco Wassmer (eigent- flucht, Nähe und Distanz bilden in den gemalten Fantasien eine brü- lich Erich Hans Wassmer, 1915–1972) zeigt das Kunstmuseum Bern chige Einheit. eine umfassende Retrospektive des Schweizer Malers und Fotogra- Die über 200 Leihgaben vor allem aus Privatbesitz bieten einen brei- fen. Mit surreal wirkenden Arrangements schuf er ein einzigartiges ten Überblick über Riccos gesamtes Schaffen. Viele Werke, darunter Werk zwischen Naiver Malerei, Neuer Sachlichkeit und Magischem auch neu entdeckte, wurden noch nie öffentlich präsentiert. Weil die Realismus. Das verlorene Kinderparadies, schlanke Jungen, Matro- Kamera dem Maler nicht nur Ersatz für das Modellstudium war, son- sensujets, Segelschiffe, Stillleben und die Sehnsucht nach der Ferne dern ab den 1950er Jahren an Bedeutung gewann, wird ein spezieller sind die zentralen Themen seines Schaffens. Fokus auf die Wechselwirkung von Malerei und Fotografie gelegt. -
Thomas Hirschhorn
Thomas Hirschhorn Best known for his sculptural constructions produced from disposable mass manufactured goods, Hirschhorn gathers together references and imagery culled from popular media with the work of radical theorists such as Gilles Deleuze and Georges Bataille. Thomas Hirschhorn was born in 1957 in Bern, Switzerland. He now lives and works in Paris, France. Hirschhorn is widely regarded as a leading artist of his generation. He uses everyday and found materials such as plastic sheeting, cardboard, aluminium, packing tape and magazine images to create a dystopian reality. The process of making remains visible and becomes a metaphor for the individual and collective struggle to establish democracy. Implicated in Hirschhorn's work, viewers are obliged to consume and reflect upon that which they may have hitherto been able to ignore in their daily lives. The disparity between the viewer and the bombardment of blown-up imagery reminds us of how distant and removed we can feel when confronted with such imagery. In March 2021 Hirschhorn transformed a gallery of the GL Strand, Copenhagen with a labyrinthine site-specific work titled ‘Community of Fragments’. In September 2020 his vast ‘World Airport’ went on display as part of the newly presented permanent collection of Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg. In 2019 a major work titled ‘Robert Walser-Sculpture’ was unveiled at Place de la Gare, Biel/ Bienne. Other notable solo projects include ‘In-Between', South London Gallery, London in 2015 and ‘Gramsci Monument', a major public installation presented in 2013 by Dia Art Foundation at a New York City Housing Authority development in the Bronx, New York.