An illustrated examination of one of Hirschhorn's "precarious"
monuments, now dismantled. 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 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 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.
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