Artist: Thomas Hirschhorn
Venue: Museum Dhondt-Dhaenens, Deurle
Exhibition Title: Too Too – Much Much
Date: October 3 – December 5, 2010
Full gallery of images, press release and link available after the jump.
Images courtesy of Museum Dhondt-Dhaenens, Deurle
The Swiss artist Thomas Hirschhorn (°1957) is one of the leading artists in the international contemporary art world. He gained notoriety in the 1990s with his very labour intensive and space-filling collages made with cheap disposable material. Hirschhorn produces huge sculptures for both major art institutions and non-artistic sites in the periphery of the social domain. His actions primarily question the art world itself. Thomas Hirschhorn expresses his artistic intentions as follows: “I make poor art, but no Arte Povera (…), I don’t make installations, I make sculptures (…), energy yes, quality no (…) I don’t want to make political art, but I want to make my work political. ” Sensational were Hirschhorn’s contributions to the Venice Biennial (‘World Airport” 1999) and hi 2002 “Bataille Monument” at Documenta in Kassel, where he managed, together with the local residents of a poor immigrant neighbourhood, the monument and its coffee shop, radio station and library for a number of months. He also won the prestigious Prix Marcel Duchamp in 2001.
“Too Too – Much Much” is the first major project of Thomas Hirschhorn in a Belgian museum. The modernist architecture and the residential context of the Museum Dhondt-Dhaenens are the ideal fertile basis for the artist’s reflection on the meaning of ‘Quantity’.
Thomas Hirschhorn on his project TOO TOO – MUCH MUCH:
“Too Too – Much Much is a work that follows my directive “Energy: Yes! Quality: No!”. There are two ‘topics’ in this work. The first is linked to the motif: beverage cans, the consumption, the Excess while the second topic relates to the role of the artist who always wants to do too much, without coming to the essence, but who quite contrarily disregards the essence, who really does way too much. These two topics come together – nevertheless – in one form. The Form Too Too – Much Much. The form of this work is also a manifesto that confirms that the artist’s practice is neither pure theory nor pure practice. The work of the artist should definitely go beyond the theory and practice.”