Thomas Hirschhorn - Biography
Thomas Hirschhorn, who among the most provocative and innovative artists of contemporary art, prefers sophisticated assemblage, which grabs a room; chaotic, unclear framework employing ordinary, but powerfully symbolic materials. In the process references to fashion, art, politics and philosophy strike up a contrasting mixture.
Hirschhorn’s room assemblages are enactments of the unperfected; wild landscape associations, whose energy is supposed to stir one to think, just as Thomas Hirschhorn emphasizes: “I want to make active art, a work that activates the brain.” And even when excessive demand and chaos are apparently raised to design principles, with Hischhorn that doesn’t happen without a concept, because “chaos is the world in which I live in and chaos is in the time in which I live in”, says Hirschhorn.
Even the choice of materials presents a conscious political decision. In the cheap product packaging materials Hirschhorn finds an adequate means of expression for his societal critical art. His opposition against cultural nuisances also manifest themselves in these product packaging materials, as well as a revolt against the lusts of capitalism, which he converts into a state of creative anarchy. The materials, found in every household, prevents, through its everyday familiarity, any form of exclusiveness and underlines the involvement of the observer, which is exactly what Thomas Hirschhorn wants: “My works are made for a non-exclusive public and I want to involve without neutralising, I don’t want to exclude anyone.”
Thomas Hirschhorn - Exhibitions
Since the mid-1990s solo exhibitions have taken him round the world. Including: La Casa Encendida (2009), the Secession, Vienna (2008), the Museo Tamayo Arte Contemporáneo (2008), Mexico, the Musée d’art contemporain, Montreal (2007), the Kestnergesellschaft, Hannover (2006), the Institute of Contemporary Art, Boston (2005), das Museu Serralves, Porto (2005), the Bonnefantenmuseum, Maastricht (2005); the Pinakothek der Moderne, Munich (2005), the Centre Culturel Suisse, Pars (2004); the Schirn Kunsthalle, Frankfurt/Main (2003). He presented his ephemeral altars, monuments and kiosks in public spaces, such as the underground station Berlin Alexanderplatz (“Ingeborg Bachmann-Altar”, 2006) or at a high-rise estate in Glasgow (“Raymond Carver-Altar”, 2006). Thomas Hischhorn was at the 27th Biennale de São Paulo (2006), the 48th, 50th and 54th Venice Biennial (1999, 2003, 2011), as well as the Documenta 11, Kassel (2002), among others.
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