'Il morso delle termiti' undertakes a re-reading of art history through the lens of graffiti. It poses graffiti as an experience, attitude and mode of nonconformity, rather than an aesthetic.
Group exhibition ‘Why can't we live together’ explores migration and cultural identityalongside the consequences of colonialism and environmental destruction. The presentation features ‘Arch (Growing Assertiveness)’, 2006 by Thomas Hirschhorn, 'a triumphal arch of journalism, topicality, opinions, comments and information'.
Thomas Hirschhorn and Jim Hodges are included in an informal group of international contemporary artists who have come together to support ’Artists at Risk’, a non-profit organisation who since 2013 have collaborated with arts non-profits and government funders to assist artists who are at risk politically and fleeing oppression and war.
'Crazy: Madness in Contemporary Art' is a group exhibition comprising 11 new site-specific installations across the historic, interior and exterior spaces of Chiostro del Bramante, Rome. Curated by Danilo Eccher and featuring over 21 international artists, the presentation explores divergent portrayals and perceptions of reality in contemporary art.
Group presentation ‘Résister, encore’ explores forms of resistance developed by artists. The exhibition includes ‘A Ruin is a Ruin (A Ruin is a Ruin)’, 2016 by Thomas Hirschhorn, a series of mixed-media works that combine imagery of ruins to investigate the charged meanings ascribed to these complex and politically charged sites.
Group exhibition 'Les grands Ensembles' brings together twenty artists as a collective whose works involve an exploration of public space, architecture and related societal themes.
In collaboration with Bombas Gens Centre d’Art and curator Sandra Guimarães, Thomas Hirschhorn presents 'Energy = Yes! Quality = No! (Critical Workshop)'. Attendees are required to contribute a single work or input such as a text, an original painting, a drawing, a song, a collage, a sculpture, a video, etc. and participate in ‘common work’ such as discussions, exchange, thinking or judging. All are welcome to attend and entry to the workshop is free.
In response to the isolating effects of the pandemic, ‘Art as Connection’ is designed as an experimental, socially focussed and accessible exhibition. Confronted with questions about isolation and exclusion, distrust, illness and death, the curatorial team at Aargauer Kunsthaus developed the exhibition in a consciously collective discourse with the invited artists.
The 54th edition of Steirischer Herbst features newly commissioned artworks that directly engage with public space, creating opportunities for audiences to reengage with their locality through chance encounters, local workshops and public gatherings. This year’s discursive program probes the common impasses of a post-pandemic reality and looks for ways of getting beyond them.
‘Swiss Sculpture since 1945’ is a comprehensive exhibition that offers an overview of an exciting chapter in Swiss art history.
Thomas Hirschhorn joins curator Sophie Lauwers, and philanthropist Vera Michalski-Hoffmann to discuss the challenges of keeping public art public. Moderated by Antony Hudek, the conversation will address the questions: "How to maintain the collaborative spirit of works conceived in and for public space?" and "What role do private art foundations play in ensuring their long-term agency?”
"For me, in all of my community projects, the aim is to assert, support and work to ensure that the material aspects be exceeded by the intensity, experience and moments of grace that typify my vision of precariousness art in the public arena. This is what makes celebrating the 20th anniversary of the ‘Deleuze Monument’ a meaningful breakthrough and corresponds fully to this assertion." – Thomas Hirschhorn
‘Sharity – Teilen, Tauschen, Verzichten’ is a group exhibition at Kunst(Zeug)Haus, Rapperswil-Jona, Switzerland. The presentation explores how sharing and swapping can contribute to social transformation and a post-materialistic lifestyle, whilst questioning the reasons why we share in an increasingly digital society.
Thomas Hirschhorn’s ‘Spinoza-Car’, 2012 is featured at BOZAR Centre for Fine Arts, Brussels, Belgium.
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