توماس هيرشهورن
托马斯·赫塞豪恩
תומס הירשהורן
トーマス·ヒルシュホルン

abschlag

source: swissinfoch

Monumental work ABLSCHLAG by Swiss artist Thomas Hirschhorn, which shows a partly-collapsed three-story Soviet apartment building, revealing works by revolutionary Russian constructivists including Malevich and Filonov.
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source: blouinartinfo

Thomas Hirschhorn’s “Abschlag” installation, which occupies the first room on the main floor, offers a lesson in how not to engage with the Russian milieu: the Swiss artist constructed part of a typical Petersburg apartment block out of cardboard inside the full-height space, ripped off its façade, and deposited the refuse at its base, revealing shabby interiors lined with original avant-garde masterpieces (on loan from the nearby Russian Museum) by the likes of Malevich and El Lissitky. The references allude to a politically radical Russian past; the construction debris acts as a metaphor for history. Though Hirschhorn suggests a recovery of the revolutionary communist spirit of the 1920s, he falls prey to a historically revisionist fetish: citing the Russian avant-garde as a generative point for vanguard culture in the West, and offering it as a source for renewed progressivism in Russia. Hirschhorn seems woefully unaware of the Putin government’s branding campaign, one that aims to sell the Russian avant-guard as a nationalist movement in line with the regime’s own values (perhaps he didn’t watch the Sochi opening ceremony). Hirschhorn ultimately proves Zhilayev right — with its political pretenses, “Abschlag” aspires to make a grand gesture against conservatism, but fails because its critique has already been co-opted..
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source: art21org

Thomas Hirschhorn was born in 1957 in Bern, Switzerland. Originally trained as a graphic designer, Thomas Hirschhorn shapes public discourse that relates to political discontent, and offers alternative models for thinking and being. Believing that every person has an innate understanding of art, Hirschhorn resists exclusionary and elitist aesthetic criteria—for example, quality—in favor of dynamic principles of energy and coexistence. He creates sprawling installations from mundane materials (packing tape, cardboard, foil) that engage the senses. Using collage as a form of interpretation and critique, Hirschhorn presents intellectual history and philosophical theory much as he does everyday objects and images, and poses questions about aesthetic value, moral responsibility, political agency, consumerism, and media spectacle. He has produced a series of monuments to great philosophers—Spinoza, Bataille, Deleuze, Gramsci—that while physically ephemeral are intended to live on in the collective memory of those who have experienced them. In the process of creating such work, Hirschhorn has enlisted individuals living near the monument sites, paying them to assist him (though not to collaborate, per se, in the artwork). “To me,” he says, “it seems much more honest to say coexistence than collaboration.”

Thomas Hirschhorn attended the Schule für Gestaltung in Zürich, Switzerland. His many honors include the Kurt Schwitters Prize (2011); Dutch Association Internationale des Critiques d’Art Award (2007); Joseph Beuys Preis für Forschung (2004); and the Marcel Duchamp Prize (2000). Major exhibitions have appeared at Dia Art Foundation (2013); ICP Triennial (2013); Istanbul Biennial (2013); Musée du Quai Branly (2012); Palais de Tokyo Triennial (2012); Venice Biennale (2011, 1999); Power Plant (2011); Secession, Vienna (2008); Museo Tamayo (2008); Carnegie International (2008); Musee d’Art contemporain de Montreal (2007); São Paulo Bienal (2006); ICA Boston (2005); CCA Wattis Institute for Contemporary Arts (2005); Palais de Tokyo (2004); Documenta (2002); Centre Georges Pompidou (2001); Kunsthaus Zürich (2001); the Renaissance Society (2000); Art Institute of Chicago (2000); and the Biennale de Lyon (2000). Thomas Hirschhorn lives and works in Paris, France.
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source:

Thomas Hirschhorn studied art in Zurich, Switzerland (1978–1983). He is known for large works that transform the conventional exhibition spaces of modern art into all-encompassing environments addressing issues of “justice and injustice, power and powerlessness, and moral responsibility.” His recent exhibitions include shows at the Institute of Modern Art Brisbane, Australia and Dia Art Foundation, New York (2013); the Power Plant, Toronto, Canada (2011); the Museo Tamayo, Mexico City, and the Vienna Secession (2008); and the Musée d’Art Contemporain, Montréal, Canada (2007). Additionally, he took part in the fifty-fifth Carnegie International, Pittsburgh, PA, USA (2008) and Documenta 11 (2002). Hirschhorn participated in the ninth Shanghai Biennale (2012) with Sophie Calle and represented Switzerland at the fifty-fourth Venice Biennale (2011). Hirschhorn has been awarded the Marcel Duchamp Prize (2000) and the Joseph Beuys Prize (2004).
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source: bnlmtl2014org

Thomas Hirschhorn est né à Berne (Suisse) en 1957. Il a étudié à la Schule für Gestaltung de Zürich entre 1978 et 1983, et s’est installé à Paris en 1984, où il vit depuis. Son travail a été exposé dans de nombreux musées, galeries et expositions collectives, parmi lesquelles: Documenta 11 à Kassel (2002), la 27ème Biennale de Sao Paolo (2006), 55ème Carnegie International de Pittsburgh (2008). ll a été l’artiste invité du Pavillon Suisse pour la 54ème Biennale de Venise (2011), et plus récemment a exposé au Palais de Tokyo (La Triennale, 2012), à la 9ème Biennale de Shanghaï (2012), Gladstone Gallery New York (2012). En 2013 il a réalisé le « Gramsci Monument » dans le Bronx, New York. Ses écrits ont été publiés par MIT Press (October Books): Critical Laboratory: The Writings of Thomas Hirschhorn.

Au travers de chacune de ses expositions – dans des musées, galeries ou lieux alternatifs – et de ses projets dans l’espace public, Hirschhorn affirme son engagement envers un public non-exclusif.

Il a reçu plusieurs prix, parmi lesquels: Preis für Junge Schweizer Kunst (1999), Prix Marcel Duchamp (2000), Rolandpreis für Kunst im öffentlichen Raum (2003), Joseph Beuys-Preis (2004) and the Kurt Schwitters-Preis (2011).
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source: proholzat

As instalações efêmeras do artista suíço Thomas Hirschhorn cair primeiro pela sua acumulação material denso, excessivo. A partir de materiais simples, como papelão, fitas adesivas, papel alumínio e madeira Hirschhorn cria estruturas temporárias para o futuro, que ele usa para fotografias a partir de materiais de impressão, citações filosóficas e objetos do cotidiano em relacionamento. Em confronto intransigente da Hirschhorn com o capitalismo, os meios de comunicação e os desafios sociais, mas ele está fazendo não é apresentar queixas socio-políticos, mas à relação comunicativa com o seu meio ambiente. Hirschhorn visa envolver o público quer confrontar o espectador, sem levar em conta sua origem social ou educação, com os sujeitos, os artistas são importantes para ele. “Eu nunca, arte política” feita … Eu sempre quis fazer arte política “, mas não um segundo eu acho que seria uma mais comprometida artista”, como a / s outro / r! Porque eu sei: cada R Artista / / in deve estar comprometido 100 por cento, e eu sei que é só a arte que tem o compromisso de 100 por cento “, Com a sua contribuição para a Documenta de 2002, o Monumento Bataille – um projeto de espaço ao ar livre multicultural em um. área residencial no norte da cidade de Kassel – Hirschhorn desenvolveu uma nova categoria dentro de sua prática artística.
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source: elmaxilab

Thomas Hirschhorn cresceu em Davos, nos Grisões. De 1978 a 1983, estudou na Schule für Gestaltung, em Zurique. Desde 1984, vive e trabalha em Paris. Suas instalações lhe renderam uma reputação na década de 1990: ele não leva muito tempo para ser exposto, tanto em França e no estrangeiro, incluindo a Suíça.

Figura contratado, Thomas Hirschhorn, disse em 2004 que ele se recusaria a expor na Suíça como Christoph Blocher sentar-se no Conselho Federal.

De 2002 a 2003, ele foi associado com o Laboratoires d’Aubervilliers.

Desde o final da década de 1980, Thomas Hirschhorn centra-se na criação de precária, esculpido à mão. Elabora a partir de materiais do cotidiano, tais como resíduos de papel, folha de alumínio, caixas de papelão. Suas esculturas são muitas vezes “monumentos” para as pessoas que ele admira. Eles podem exigir a participação da população local, como é verdade que Thomas Hirschhorn se recusa a ser confinado a artista mostra mundanos.

O trabalho de Thomas Hirschhorn é atravessado pelas dúvidas, contradições e escândalos que atormentam a sociedade contemporânea, marcada pela globalização. O artista defende uma maior justiça e igualdade.

“Energia sim, não qualidade”, diz o artista, criador de sistemas aparentemente desordenados, improvisados ​​e pobres, mas a realidade altamente estruturado.
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source: escolasaopauloorg

Nasceu em Lenzburg, Suíça, em 1957, vive e trabalha em Paris, França. Estudou desenho gráfico na Schule für Gestaltung em Zurich, Suíça. Participou do “Graphus”, um coletivo parisiense de designers comunistas.

Entre as inúmeras exposições de que participou, destacam-se as realizadas no Jeu de Paume, Paris (1994), Bienal de Veneza (1999), Museu de Arte Moderna de Nova York (2001), Documenta de Kassel (2002), Museu de Arte Moderna, Buenos Aires (2003), Centro Cultural Suíço em Paris (2004), Museu Serralves, Porto, e Bonnefantenmuseum, Maastrich (2005), Bienal de São Paulo e Centro Pompidou, Paris (2007), Fundação Calouste Gulbenkian, Lisboa (2008).

Premiado com o Joseph Beuys-Preis, pela Joseph Beuys-Stiftung, Basel (2004): o Rolandpreis für Kunst im öffentlichen Raum, pela Stiftung Bremer Bildhauerpreis, Bremen (2003), o Prêmio Marcel Duchamp, pela ADIAF, Paris (2000) e Preis für Junge Schweizer Kunst, pela Zürcher Kunstgesellschaft Exposition Wirtschaftslandschaft Davos, 2001 na Kunsthaus Zürich (1999).
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source: blogartinternnet
Thomas Hirschhorn是当今活跃的艺术家，1957年生于瑞士首都伯尔尼，现生活和工作在巴黎。2000/2001马塞尔杜尚奖，2004年杰夫波伊斯奖。作品藏于蓬皮杜美术馆，巴黎现代美术馆等。2011年代表瑞士参加威尼斯双年展。2012年卡塞尔文献展作品藏于柏林美术馆。12月5日6日两天在巴黎美术学院的会议室举行，参加者23人，为法国各美院的在校学生或毕业从事艺术创作的艺术家、评论人，各国都有，大家轮坐一团，对于每个人出示的作品给予“是”或“不”两种判断，随后阐述“为什么”。
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source: motsorgil
בעבודותיו הרבות של תומס הירשהורן, יליד שווייץ, בולטים בייחודם הקולאז’ים המורכבים מחומרים ממוחזרים ומחפצים מצויים (ready made). יצירותיו עוסקות בניכור שפושה בחברה המערבית, ובאובססיית הצריכה שמניעה את עולמנו וגורמת לייצור מוגבר ומופרז של מוצרים.
לדבריו של האמן, “בובות של חלון ראווה או חלקי בובות אלו אינם הנושא עצמו, אלא האופן אשר באמצעותו אני רואה את היצירה והאמצעי אשר בעזרתו היא באה לידי ביטוי. לפיכך זהו ביטוי חסר שם אך כאמן אני מעניק לו משמעות”.
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source:
1957年ベルン（スイス）生まれ。パリを拠点に活動。
ヒルシュホルンの芸術への関わりは、人間性に対する彼の取り組みの一部とみなすことができる。なかでも社会的正義、思考すること、美しさ、複雑さ、そして責任などへの関与である。彼は、大量生産またはリサイクルされた日常の雑多な素材を用いて、ありふれた生活経験にも通じる手法で作品を生み出す。しばしばその作品は、素材を執拗に集積することで成立する。特筆すべきは、その生理的感覚に訴える質、激しい感情表現、さまざまな考え方への言及だろう。