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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.

Hirschhorn, Thomas --- Hirschhorn, Thomas, --- Themes, motives --- Themes, motives. --- Matériau de récupération --- Matériau recyclé --- Ecrit d'artiste --- Hirschhorn, Thomas, - 1957- - Themes, motives --- Hirschhorn, Thomas, - 1957 --- -Hirschhorn, Thomas, 1957 --- -Hirschhorn, Thomas --- -Matériau de récupération --- Hirschhorn, Thomas, 1957 --- -Hirschhorn, Thomas, - 1957 --- -Hirschhorn, Thomas, - 1957-

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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. Thomas Hirschhorn passe son enfance à Davos, dans les Grisons. De 1978 à 1983, il suit les cours de la Schule für Gestaltung (école des arts décoratifs) de Zurich. Depuis 1984, il vit et travaille à Paris. Ses œuvres lui valent une réputation certaine, à partir des années 1990. Depuis la fin des années 1980, Thomas Hirschhorn se concentre sur la création de sculptures précaires faites main. Il les conçoit à partir de matériaux issus de la vie courante tels que des vieux papiers, des feuilles d'aluminium, des cartons. Ses sculptures sont souvent des « monuments » à des personnes qu'il admire. Elles requièrent parfois la participation de la population locale, Thomas Hirschhorn refusant d'être un artiste confiné aux salons mondains. L'œuvre de Thomas Hirschhorn est traversée par les questions, les contradictions et les scandales qui taraudent la société contemporaine, marquée par la mondialisation. L'artiste milite en faveur davantage de justice et d'égalité.

Hirschhorn, Thomas. --- sculpting --- public spaces --- outdoor sculpture --- Art --- monuments --- Hirschhorn, Thomas --- Installations (Art) --- Monuments --- Interactive art --- Hirschhorn, Thomas, --- Installation-art --- Rapport du spectateur à l'objet créé --- Deleuze, Gilles --- Deleuze, Gilles, --- Monument commémoratif --- Deleuze, Gilles, - 1925-1995 --- Hirschhorn, Thomas, - 1957 --- -Hirschhorn, Thomas, 1957 --- -Installations (Art) --- -Hirschhorn, Thomas. --- Hirschhorn, Thomas, 1957 --- -Deleuze, Gilles, - 1925-1995 --- -Installation-art --- Hirschhorn, Thomas, - 1957-

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In 2011, the Swiss artist Thomas Hirschhorn (born 1957) was awarded the Kurt Schwitters Prize, given annually to an artist whose work references that of Schwitters. The award enabled Hirschhorn to make two new installations in homage to Schwitters, the notes, plans and sketches for which are documented here.

Hirschhorn, Thomas --- Schwitters, Kurt --- Installation-art --- Installations (Art) --- Collage, Swiss --- Collage, Swiss. --- Installations (Art). --- Hirschhorn, Thomas. --- 2000-2099. --- Germany --- Hirschhorn, Thomas, --- Installations (Art) - Germany - Hannover - Exhibitions --- Collage, Swiss - 21st century - Exhibitions --- Hirschhorn, Thomas, - 1957- - Exhibitions --- Hirschhorn, Thomas, - 1957 --- -Collage, Swiss --- -Installation-art --- Hirschhorn, Thomas, - 1957-

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Publié à l'occasion de l'exposition éponyme à la Fondation Vincent Van Gogh Arles, d'avril à août 2014. "Van Gogh Live !" est le titre de l'exposition d'ouverture de la Fondation Vincent Van Gogh Arles, inaugurée le 4 avril 2014. On y présente " Couleurs du nord, couleurs du sud ", la première d'une série d'expositions prévues sur Vincent Van Gogh, ainsi que des contributions de Bertrand Lavier, Thomas Hirschhorn, Guillaume Bruère, Fritz Hauser, Raphael Hefti, Camille Henrot, Gary Hume, Bethan Huws et Elizabeth Peyton. La Fondation Vincent van Gogh Arles a pour but de se consacrer à la valorisation de son héritage artistique tout en questionnant la résonance de son oeuvre dans l'art actuel. Un dialogue avec les tendances de l'art d'aujourd'hui est engagé par Bice Curiger, directrice de l'institution depuis 2013, pour refléter et d'élargir le regard que nous posons sur le passé, mais aussi sur l'avenir

Van Gogh, Vincent, --- Exhibitions --- Fondation Vincent van Gogh--Arles --- Van Gogh, Vincent --- Lavier, Bertrand --- Hume, Gary --- Hirschhorn, Thomas --- Huws, Bethan --- Peyton, Elizabeth --- Gogh, Vincent van, --- Exhibitions. --- Hirschhorn, Thomas, --- Hirschhorn, Thomas, 1957 --- -Huws, Bethan

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En hommage au dieu antique, 'Dionysiac' désigne un rapport spécifique de l'art à la vie, qui passe aussi bien par la colère et le plaisir de la destruction que par l'exaltation de la vie, du flux et de la joie jusqu'à l'excès. Cette exposition réunit quatorze artistes qui ont fait forte impression sur la scène internationale. On retrouve par exemple Gelatin, Fabrice Hyber, Jason Rhoades, Paul McCarthy, Richar Jackson, Maurizio Cattelan ou Thomas Hirschhorn. Ils ont en commun une oeuvre puissante, que l'on retrouvera dans l'exposition à travers une grande majorité de pièces inédites spécialement produites par le Centre Pompidou. (Copie du site "http://www.evene.fr/livres/livre/centre-pompidou).

Art, Modern --- Bock, John --- BÜchel, Christoph --- Cattelan, Maurizio --- Farrell, Malachi --- Geers, Kendell --- Gelatin --- Hirschhorn, Thomas --- Hyber, Fabrice --- Jackson, Richard --- Kersels, Martin --- Mccarthy, Paul --- Meese, Jonathan --- Rhoades, Jason --- Tyson, Keith --- Hirschhorn, Thomas, --- Art, Modern - 21st century - Exhibitions --- Hirschhorn, Thomas, 1957 --- -Hyber, Fabrice