{"id":474,"date":"2021-10-25T02:20:05","date_gmt":"2021-10-25T07:20:05","guid":{"rendered":"https:\/\/dieresis.com\/thomas-hirschhorn-switzerland-1957\/"},"modified":"2021-10-25T02:20:05","modified_gmt":"2021-10-25T07:20:05","slug":"thomas-hirschhorn-switzerland-1957","status":"publish","type":"post","link":"https:\/\/dieresis.com\/en\/thomas-hirschhorn-switzerland-1957\/","title":{"rendered":"Thomas Hirschhorn (Switzerland, 1957)"},"content":{"rendered":"\n
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\n\t\t \n\t\t \t\t\"Coins,\t <\/a>\n\t\n\t\t<\/div>\n\t\n \n \t
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\n\t\t Coins<\/i>, 1989.<\/strong>\r\n
\r\n166 x 227 cm when installed.\r\n
\r\nPaper, marker, prints (42 elements, individually mounted on the wall, under acrylic glass).\t <\/div>\n\t \n\t \t<\/div>\n\t\n \t<\/div>\n\n
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Thomas Hirschhorn (Switzerland, 1957)<\/h4>

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\u2014for example, quality\u2014in 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\u2014Spinoza, Bataille, Deleuze, Gramsci\u2014that while physically ephemeral are intended to live on in the collective memory of those who have experienced them. Major exhibitions have appeared at Dia Art Foundation (2013); ICP Triennial (2013); Istanbul Biennial (2013); Mus\u00e9e 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\u2019Art contemporain de Montreal (2007); S\u00e3o Paulo Bienal (2006); ICA Boston (2005); CCA Wattis Institute for Contemporary Arts (2005); Palais de Tokyo (2004); Documenta (2002); Centre Georges Pompidou (2001); Kunsthaus Z\u00fcrich (2001); the Renaissance Society (2000); Art Institute of Chicago (2000); and the Biennale de Lyon (2000).<\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n

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