Thomas Hirschhorn: Deleuze Monument (One Work Series)


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A responsible, gay, assertive subject. RB: Why did you choose to do the Spinoza-festival in Bijlmer How familiar were the residents of Bijlmer with Spinoza prior to the festival? And were they aware of the potential affinity in terms of immigration? For example, many of the present residents of Bijlmer are immigrants from Suriname, a former Dutch colony and Spinoza arrived in Amsterdam as a foreigner, the son of Portuguese Jewish refugees from the Spanish Inquisition?

This work could have been built in another city, another country or another continent.

July 1, 2013–September 15, 2013, Forest Houses

Because Art can provoke a Dialogue or a Confrontation — from one to one — Art can do this everywhere, in the Bijlmer, but anywhere else as well. And because my work is mentally transplantable, it aims to experience its universality. Photo: Vittoria Martini. TH: As always I wanted to do a universal Artwork.

As the artist I was the stranger. Being the artist, I must always accept to be the foreigner. This is my starting-point for works done together with inhabitants and has always been. I cannot do it alone, I cannot do it without your help! Photo: Anna Kowalska. The self-demand that you be present throughout the two month long production seems to be more important to the concept of the work than simply to protect the work from vandalism as was experienced with the Deleuze Monument in Avingon and the Raymond Carver-Altar in Glasgow.

It means to make a physical statement here and now.

Thomas Hirschhorn in conversation with Anna Dezeuze

I believe that only with presence — my presence — and only with production — my production — can I provoke through my work, an impact on the field. I know what this means, I know what it demands and I know what I must do in order to achieve this.


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Has its direct use of actor-spectator relations been informed by experimental theatre directors such as Jerzy Growtowski, in terms of poor materials, or Augusto Boal, in terms of developing the inter-changeablility of the actor and audience developed from Brecht? I will develop this experience I had in Amsterdam, of directing the actors from the neighbourhood during two months.

I cannot respond precisely to your question as I am not familiar with the two names you mention. I want to integrate a theatrical component into my work, during which the work becomes stage and where people are acting in the work.

You must be aware that I really do not read a lot — my friends know this — as I have enough to struggle with and think about with my work I have not read half of the references you give in this interview. Furthermore I am not constructing my work on Philosophy, theory or thoughts from others but — because I am an artist today — perchance there are moments and spaces of similar dynamics. I am very, very happy about this.

I do not say that Art has no Function but Art does not have to function! Is it — then — a success or not? This is stupid and easy.


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  4. Art it is something which reaches us beyond such criteria. It is not that one may be a Spinozist without knowing it. Rather, there is a strange privilege that Spinoza enjoys something that seems to have been accomplished by him and no one else. TH: Again, I am not illustrating Philosophy with my work. I am not reading Philosophy to do my Artwork and I am not reading Philosophy to justify my work.

    Thomas Hirschhorn: Deleuze Monument (AFTERALL)

    For this, I need Philosophy — please believe it! I want to be touched by grace, without belief in any correlation to genius or obscureness or that it has something to do with artistic ignorance. Your quotation of Deleuze is truly an important citation to me, because it explains why I started, myself, to read Spinoza. As Deleuze with Spinoza, I — as an artist — admire how great Philosophers had interest and commitment in other thinkers and how these great Philosophers are the most able to explain the concepts of other Philosophers with their own words.

    Why is a commitment to self-determination in writing necessary for you as an artist? Is it an ethical obligation? TH: One thing I really understand is that in philosophy terms and notions are important. Philosophers use words with preciseness and exactitude.

    Thomas Hirschhorn in conversation with Anna Dezeuze • Events • Afterall

    Philosophers are sculpting concepts following their logic in the strongest way they can. Cavemanman , Installation: wood, cardboard, tape, aluminum foil, books, posters, videos of Lascaux 2, dolls, cans, shelves, fluorescent light fixtures Dimensions variable. Bataille Monument , Documenta 11, Kassel, Nail Family , Wood, board of agglomerate, models, cardboard, transparent adhesive tape, nails, screws, prints and African statuette 94 x 98 x 94 inches Part of the exhibition "La Beaute" 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 s; 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.

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    Product details Format Paperback pages Dimensions x x Other books in this series. Hanne Darboven Dan Adler. Add to basket. Martha Rosler Steve Edwards.


    1. The Strategic Application of Information Technology in Health Care Organizations (Jossey-Bass Health Series)?
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    4. Andy Warhol Peter Gidal. Fischli and Weiss Jeremy Millar. Marcel Duchamp Julian Jason Haladyn. Mary Heilmann Terry R. Dan Graham Kodwo Eshun. Sarah Lucas Amna Malik. Thomas Hirschhorn Anna Dezeuze. Dara Birnbaum Thomas J. Alighiero e Boetti Luca Cerizza. Michael Asher Anne Rorimer. Michael Snow Elizabeth Legge. Marc Camille Chaimowicz Tom Holert.

      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series) Thomas Hirschhorn: Deleuze Monument (One Work Series)
      Thomas Hirschhorn: Deleuze Monument (One Work Series)

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