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Thomas Hirschhorn

 
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Thomas Hirschhorn, Suffers from showing the wrong way, 2008, paper, prints, plastic foil, adhesive tape, felt pen, ballpoint, 210 x 280 cm / 82.68 x 110.24 inch, HIRS0501

More images: www.artnews.org/thomashirschhorn

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Thomas Hirschhorn: Double Garage

On the integrated texts by Marcus Steinweg:

I will write at least ten texts each of which can be read on its own. At the same time there is a thematic cohesion to the texts consisting in the common presence of Nietzschean motifs. Each of these texts is closed within itself and intact. They are texts which have been made available to Thomas Hirschhorn as material for his Double Garage. The texts will be integrated into the work, either magnified or reduced in size, as required. Just as my contribution to the Bataille monument in Cassel represents the attempt to go beyond Bataille to the thinking of the present, these texts too are not supposed to be texts about Nietzsche. They are texts beyond Nietzsche. It is a matter of appropriating the problems of Nietzsche’s thinking – with Nietzsche and without him –, to demonstrate and to re-activate the continuity and pertinence of his motifs for today’s political philosophy.

The critique of Christianity and its anti-life doctrine will be examined with respect to the extent to which the birth of economic liberalism (capitalism) out of the spirit of resentment and revenge (that is, from that ideology which Nietzsche links to an essential unfreedom) opens up the question concerning the possibility of a second birth of freedom, a freedom which eludes the economy of rights and its politics of compensatory justice. From here a revision or revaluation of all the concepts and categories of moral philosophy results. An altered concept of action, politics and practical reason becomes necessary which with the re-erection of the philosophical category of the subject extends the subject’s responsibility into infinity in order to withdraw it from the (post-modern or late capitalist) protectorate of its constitutive impotence. Seen in this way, Nietzsche would be not so much the thinker of perspectival illusionism or relativism, but rather the philosopher of irreducible, unsharable and ungroundable responsibility, a responsibility which is also a name for freedom insofar as Nietzschean discourse, in struggling against Christianity, also struggles against the entanglement of the Christian subject in guilt, pangs of conscience and resentful cowardice. To declare war on Christianity means for Nietzsche at first (and that is the point where he touches on Spinoza and Deleuzian Spinozism) to vitalize the subject within the horizon of a responsibility which isolates it and to redefine it through the body and its sensuous capabilities. “To annihilate the passions and desires simply in order to prevent their stupidity seems to us today to be itself merely an acute form of stupidity. We no longer admire the dentists who extract teeth so that they can no longer cause pain…” (Götzen-Dämmerung, KSA 6, p. 82)

The subject of responsibility is a sensuous subject, not a sentimental one. It is sensible without being sensitive, narcissistic or whingeing. It does not avoid every act of cruelty in order to be responsible vis-à-vis the real which in itself is a kind of violence and cruelty, a kind of brutal asymmetry. And Nietzsche does not tire from evoking this cruelty with diverse names, citing and recapitulating it, so to speak, in order not to share with those whom he calls his enemies the displeasure, credulity, naivety and fearfulness which are supposed to protect against life and becoming as such. The praise of cruelty unfolds as a recognition of the multiplicities and irreducibility of the contradictions and differences and their conflict. “The decisive feature in a Dionysian philosophy, saying yes to contradictions and war, to becoming…” (Ecce Homo KSA 6, p. 313). The grand politics which nature expects of himself and Nietzscheanism is a politics of difference, of instability and permanent development, a politics of affirmation of the open and the undecided, i.e. of the undecidability of every difference. It is neither a politics of heteronomous, totalitarian, dictatorial and always negative, disempowering incapacitation, nor does it correspond to the anticipative, a priori weakened morality of the levelling of every form of difference and otherness (at present it is above all Slavoj Zizek who speaks up against this always insincere morality of capitalist multiculturalism and its repressive and, one must add, resentful tolerance, thoroughly in the sense in which Nietzsche appraises as an invention of Goethe, “the tolerant human, not out of weakness but out of strength,” Götzen-Dämmerung, KSA 5, p. 151).

The tasks which arise for reactivating and affirmatively taking up Nietzsche’s political ontology must first reject these two errors, the two figures of “false relatedness”, a relatedness which, as Deleuze says, “can be found in the train of every ‘cursed thinker’ (penseur maudit)”:

1. The assimilation of this thinking into Nazism and anti-Semitism promoted by Nietzsche’s sister, Elizabeth Nietzsche, whose obvious falseness and absurdity happily seems to be generally recognized today

and

2. The other also scarcely acceptable reduction of Nietzsche to his (undoubtedly imposing and affirmable) Europeanism and cosmopolitanism, etc., that is, the reduction of Nietzsche to the good Nietzsche which makes itself guilty of a further censorial defusing of his work. (One should take Nietzsche seriously even where it hurts!)

To open Nietzsche up to the present means perhaps first of all – and that would be an act of political and not just philological responsibility – to deal responsibly with his texts even there where they are not closed to the experience of a cruelty which is today almost taboo, but to mobilize this cruelty which by definition represents an excessive demand for any thinking, as an excessive demand on one’s own thinking instead of enclosing oneself in the phantasma of a future which is spared cruelty. Non-liberalist freedom therefore represents the condition of possibility of the most extreme responsibility (which is always also responsibility towards what is most extreme, towards cruelty and the absolute otherness of the other) as well as its highest degree of endangering. I will try to show that Nietzsche’s insight into the equiprimordiality of ethicity which is not morality and the violence which threatens it steers all his movements in thinking and that the denial and negation of this equiprimordiality is part of the conscious or unconscious hypothesis of all ideological systems, whether they be primarily political, economic, social, religious or ontological dispositives, whose concrete cruelties are witnessed by history in general.

If to think with Nietzsche means to think dangerously in a certain sense, then this also means that a strong and uncompromising concept of responsibility, of communication, ethicity, justice and decision is necessary, the redefinition of freedom as the responsibility to freedom and the freedom to responsibility in order to withdraw the subject from the control of morality, the imperative of conscience, history, society and its opinions (doxa) and its pathos of self-righteousness. Subjectivity can only be thought as this continual conflict.

Marcus Steinweg

Marcus Steinweg, born in 1971, author of philosophical and literary texts, lives in Berlin. His latest publications are: „Krieg der différance“ and „Autofahren mit Lacan“ (both Koblenz 2001) and „Der Ozeanomat. Ereignis und Immanenz“ (Cologne 2002).
Coming soon: „Bataille Maschine“ (Merve Verlag, Berlin 2003).
Translated from the German by Michael Eldred, artefact text & translation, Cologne
   

Thomas Hirschhorn

1957 born in Bern, Switzerland

Lives and works in Paris, France

Education

1978-83 Schule für Gestaltung, Zürich

Grants

2003 "Rolandpreis für Kunst im öffentlichen Raum", Stiftung Bremer Bildhauerpreis, Bremen
2000 Prix Marcel Duchamp, ADIAF, Paris
1999 "Preis für junge Schweizer Kunst", awarded by the Zürcher Kunstgesellschaft
Ausstellung "Wirtschaftslandschaft Davos", 2001 at Kunsthaus Zürich

Solo Exhibitions

2009 Poor-Racer, for the New Zealand One Day Sculpture series, The Physics Room and Christchurch Art Gallery, New Zealand
Universal Gym, Gallery Gladstone, New York

2008 Das Auge, Secession, Wien
Stand-alone, Museo Tamayo, Mexico
Poor Tuning, Galerie Kurimanzutto, Mexico

2007 Jumbo Spoons and Big Cake, Musée d’Art Contemporain, Montréal
Stand-alone, Arndt & Partner, Berlin
Concretion Re, Chantal Crousel, Paris
Substitution 2, Stephen Friedman, London

2006 Creux de l'Enfer, Thiers, France
Hospital de San Juan de Dios, Almagro, Spain
CCA Wattis Institute, San Francisco
Alfonso Artiaco, Napoli
Gladstone Gallery, New York
Kestnergesellschaft, Hannover

2005 Museum Serralves, Porto, Portugal
Institute of Contemporary Art, Boston
Bonnefantenmuseum, Maastricht
Pinakothek der Moderne, Munich

2004 Stephen Friedman Gallery, Londres
Musée Précaire Albinet, Cité Albinet, (en collaboration avec Les Laboratoires), Aubervilliers
24h Foucault, Palais de Tokyo, dans le cadre de la Nuit Blanche
Skulptur Sortier Station, Varsovie Centre Culturel Suisse, Paris

2003 Alfonso Artiaco, Pozzuoli (Naples)
CAC, Málaga
Schirn Kunsthalle, Francfort
Chantal Crousel, Paris

2002 Liubov Popova-Kiosk, n°7, Université de Zürich-Irchel, Zürich
Otto Freundlich-Kiosk, n°8, Université de Zürich-Irchel, Zürich
Barbara Gladstone Gallery, New York
Arndt & Partner, Berlin

2001 Liubov Popova-Kiosk, n°7, Université de Zürich-Irchel, Zürich
Otto Freundlich-Kiosk, n°8, Université de Zürich-Irchel, Zürich
Barbara Gladstone Gallery, New York
Arndt & Partner, Berlin
La Salle de bains, Lyon

2000 The Art Institute of Chicago, Chicago
The Renaissance Society, Chicago
The Galleries at Moore, Philadelphie
Emmanuel Bove-Kiosk, n°3, Université de Zürich-Irchel, Zurich
Meret Oppenheim-Kiosk, n°4, Université de Zürich-Irchel, Zurich

1999 Raymond Carver-Alta , intervention dans l'espace public, organisé par Fri-Art, Centre d’Art Contemporain, Fribourg
Galerie Arndt & Partner, Berlin
Project Room, Galerie Chantal Crousel, ARCO’ 99, Madrid
Robert Walser-Kiosk, n°1, Université de Zürich-Irchel, Zurich, (Kunst am Bau Projekt)
Galerie Chantal Crousel, Paris
Ingeborg Bachmann-Kiosk, n°2, Université de Zürich-Irchel, Zurich
Musée d’Art Moderne de Saint-Etienne
Exergue 2, Musée d’Art et d’Histoire, Genève, en exergue de l’exposition „Steilen et l’époque 1900“
Galerie Erna Hécey, Luxembourg
Exergue 2, Musée d'Art et d'Histoire, Genf Galerie Erna Hécey, Luxemburg

1998 Kunsthalle Bern
Museum Ludwig, Cologne
Gramercy Art Fair, New York
Herzliya Museum of Art, Herzliya, Israel
Portikus, Frankfurt am Main
Chisenhale Gallery, London

1997 Galerie Chantal Crousel, Paris
FRAC Aquitaine, Bordeaux
Galerie im Künstlerhaus, Bremen
Kunsthof Zürich

1996 Arndt & Partner, Berlin
Salle Rekalde 2, Bilbao
Galerie Susanna Kulli, St. Gallen
The Hal, Anvers
Merci-Bus II, Galerie Chantal Crousel, Paris
Thomas Hirschhorn, Günter Förg, Kunstmuseum Luzern
Vor Ort, Langenhagen

1995 Künstlerhaus Bethanien, Berlin
Strauss & Adamopoulos, Frankfurt am Main
Centre Genevois de Gravure Contemporaine, Geneva
Fri-Art, Centre d'Art Kunsthalle, Fribourg

1994 Filiale Basel, Basel
APP BXL, Brussels

1993 Galerie Francesca Pia, Bern
Raum für aktuelle Kunst, Luzern
Galerie Susanna Kulli, St. Gallen

1992 Hôpital Ephémère, Paris

1991 Galerie Francesca Pia, Bern

1987 Kaos-Galerie, Cologne

1986 Bar Floréal, Paris

Group Exhibitions

2009 7 + 1 project Rooms, MARCO, Museo de Arte Contemporanea de Vigo, Spain

2008 Lost Paradise, Zentrum Klee, Bern, Switzerland
Listen Darling… The World is Yours, Ellipse Foundation, Cascais, Protugal
Aurum, Gold in der zeitgenössischen Kunst, Centre PasquArt, Bel-Bienne, Switzerland
The Incommensurable Banner, Brighton Photo Biennal, Memory of Fire, Fabrica, Brighton
Opening of the new Museum, Museion, Bolzano
German Angst, neuer berliner Kunstverein (n.b.K.), Berlin
Schweiz über alles, Fondación/Collección Jumex, Mexico
The Artist’s Library, Centre International d’art & du paysage, île de Vassivière
Martian Museum of Terrestrial Art, Barbican Art Gallery, Londres
Locked in, Casino, Luxembourg
Life on Mars, 55th Carnegie International, Pittsburgh
Peripheral vision and collective Body, Museion, Bolzano
Lost Paradise, Zentrum Paul Klee, Bern
Carried Away - Procession in Art, Museum voor Moderne Kunst Arnhem, MMKA, Arnhem
L’argent, Le Plateau, Frac IDF, Paris
Programa Allgarve de Arte Contemporãnea, Portimão
Nient’altro che scultura. Nothing but sculpture, XIII Biennale internazionale di Scultura di Carrara, Centro Arti Plastiche Internazionali e Contemporanee, Carrare
Collage: The UnMonumental Picture, New Museum, New York


2007 "Biennale Göteborg", Göteborg
"Steirischer Herbst", Kunsthaus Graz
"Swiss-Made II" Kunstmuseum, Wolfsburg
"Into Me / Out of Me", MACRO – Museo d'Arte Contemporanea Roma
"Airs de Paris", Centre Pompidou, Musée national d'art moderne, Paris
"Swiss-Made I: Precision and Madness. Positions of Swiss Art from Holder to Hirschhorn", Kunstmuseum, Wolfsburg
"Art is an Idea: The Moquai Collection", Scottsdale Museum of Contemporary Art, Phoenix, Arizona

2006 "Surprise, Surprise", Institute of Contemporary Arts, London
"Into Me / Out of Me", P.S.1 Contemporary Art Center, Long Island City, NY
"The Grand Promenade", National Museum of Contemporary Art, Athens
27th Fundação Bienal de São Paulo, São Paulo, Brasil
"Hannah Arendt Denkraum", International art exhibition in Berlin, Berlin
"Heart of Darkness", Walkert Art Center, Minneapolis
"The Unhomely: Phantom scenes in global society, Second Edition of the International Biennial of Contemporary Art of Seville (BIACS 2)
"Transformation from our collection", Kunstmuseum, Liechtensein”, Vaduz, Liechtenstein
"Notations: Energy Yes!", Philadelphia Museum of Art, Philadelphia
"Breaking the Rules", Stedelijk Museum, Amsterdam
"Bahnhof Alexanderplatz U2", Projekt der Neuen Gesellschaft für Bildende Kunst (NGBK), Berlin
"Metropolitanscape", paesaggi urbani nell'arte contemporanea, Palazzo Cavour, Turino
"Infinite Painting", Contemporary Painting and Global Realism, Villa Manin, Codroipo, Italy
"La Force de l'art : Un nouveau rendez-vous avec la création en France", Grand Palais, Paris
Grand Palais 2006. Territoires de l’art, Grand Palais, Paris
"Draft Deceit", Kunstnernes Hus, Oslo
"Take Two: Worlds and Views", Contemporary Art from the Collection, MOMA, New York

2005 « Universal experience : Art, Life, and the Tourist’s Eye », MCA, Chicago
« Dionysiac », Centre Georges Pompidou, Paris
« Ten Year Anniversary Exhibition », Stephen Friedman Gallery, Londres
Emergencies », Museo de Arte Contemporáneo de Castilla y León, León
« Monuments for the USA », CCA Wattis Institute for Contemporary Arts, San Francisco
« Material Time / Work Time / Life Time / », Reykjavik Arts Festival, Living Art Museum, Reykjavik
« Paisaje. Humano . Hogares. Concepto y Sentimiento . Gente », CAC, Málaga
« The Black Byrne Collection », MOCA, Los Angeles
« De lo real y lo ficticio : Arte contemporaneo de Francia », Museo de Arte Moderno, Mexico D.C., Mexique
« Leçon Zéro », Galerie Chantal Crousel, Paris
« Drawing from the Modern, 1975 – 2005 », Moma, New York
« Take Two: Worlds and Views, Contemporary Art from the Collection », Moma, New York
“Romance”, Cristina Guerra Contemporary Art, Lisboa
« On Paper », Arndt & Partner, Berlin


2004 "La bellesa del fracàs / El fracàs de la bellesa (The Beauty of Failure / The Failure of Beauty)", Fundació Joan Miró, Barcelona
"Le Choix Français. Autour du Prix Marcel Duchamp, Les Œuvres des Artistes du Prix Marcel Duchamp dans les collections privées françaises ", Art Moscow 2004, 8th International Art Fair, Maison Centrale des Artistes, Moscow
"Los usos de la imagen, fotografía, film y video en La Colección Jumex ", Malba, Colección Costantini, Buenos Aires
"Arti & Architettura, 1900/2000 ", Palazzo Ducale, Gênes
« Central Station, Collection Harald Falckenberg », La Maison rouge, Fondation Antoine de Galbert, Paris
« Pick Up », Public, Paris


2003 "Urban Diaries, Young Swiss Art ", Sala de Exposiciones Alcala 31, Madrid
"Pantalla Suiza ", Museo Nacional, Centro de arte Reina Sofia, Madrid
"La cuidad radiante ", Centre Cultural Bancaixa, Biennale de Valence
"GNS", Palais de Tokyo, Paris
" Les 20 Ans des FRAC ", Château des Ducs de Bretagne, Nantes
" Par le chas d'une aiguille ", Galerie Chantal Crousel, Paris
" Accessoiremaximalismus ", Kunsthalle, Kiel
" Gesellschaftsbilder, Images of Society ", Kunstmuseum, Thun
" Réalités, Collections sans frontières II ", Zacheta Panstwowa Galerie Sztuki, Varsovie
" Common Wealth ", Tate Modern, London
" Après la fin de l'Art ", Musée d'art moderne, Saint-Etienne
" Buenos Dias Buenos Aires / art contemporain suisse ", Museo de Arte Moderno de Buenos Aires

2002 Documenta 11, Kassel
"Chronologie immédiate", Musée d'art moderne et contemporain, Strasbourg
"Walk Around Time: Selections from the Permanent Collectoin", Walker Art Center, Minneapolis

2001 "Mirror's Edge", Tramway, Glasgow
"Mirror's Edge", Charlottenborg, Copenhagen
"A Small Museum and a Large Library of Contemporary Art", Parkett Collaborations & Editions since 1984, MOMA, New York
"Economie de moyens", MAC, Marseille
"Jheronimus Bosch", Museum Boijmans Van Beuningen, Rotterdam

2000 "Mirror's Edge", Vancouver Art Gallery, Vancouver
"Regard sur le monde Regard sur soi", Le Channel, Calais
"Conserve", FRAC Aquitaine, Bordeaux
"La Beauté", Mission 2000 en France, Avignon
"Vision Machine", Museé des Beaux-Arts de Nantes, Nantes
"Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner", Arndt & Partner, Berlin
"Orbis Terrarum, Ways of Worldmaking", Antwerpen Open, Antwerpen
"Partage d'exotisme", Biennale Lyon
"La forma del mondo / La fine del mondo", Padiglione d'Arte Contemporaneo, Mailand
"Eiszeit", Kunstmuseum, Bern
"Protest & Survive", Whitechapel Art Gallery, London
"Mirror's Edge", Castello di Rivoli, Rivoli
"Ein/räumen, Arbeiten im Museum", Hamburger Kunsthalle, Hamburg
"Vivre sa vie", Tramway Glasgow
"La santé des restes", Musée Ziem, Martigues
"Bruit de fond", Centre National de la Photographie, Paris
"Rendez-Vous 2", Collection Lambert, Hôtel de Caumont, Avignon

1999 "Ma sorcière bien aimée", Galerie Yvon Lambert, Paris
"Unfinished history", Museum of Contemporary Art, Chicago
"Provisorium I", Bonnefanten Museum, Maastricht
"France, une nouvelle génération", Circulo de Bellas Artes, Madrid
"Hypothèses de Collection", Musée du Luxembourg, Paris
"Midnight Walker and City Sleeper", W 139 St. Annenstraat Project, Amsterdam
"Space Place", Kunsthalle Tirol, Hall in Tirol
"Editions", Centre Genevois de Gravure Contemporaine, Geneva
"Franca, uma nova geracao", Museum de Arte Moderna, Sinora
"dAPERTutto" zur 48. Biennale in Venedig
"Le repubbliche dell'Arte - Svizzera", Centro d'Arte Contemporanea, Pallazzo delle Papesse, Siena
"Mathilde ter Heijne, Thomas Hirschhorn, Susan Turcot, Via Lewandowsky",
Arndt & Partner, Berlin
"Weltuntergang & Prinzip Hoffnung", Kunsthaus Zürich, Zurich
"Steadyshot", Centre Culturel André Malraux, Vandoeuvre
"Another Swiss Panorama", 8. Biennale de l'Image en Mouvement, Centre pour l'image contemporaine, Saint-Gervais Geneva
"Mirror's Edge", Bildmuseet, Umea, Sweden
"Dach", Benger Park, Bregenz; Atelierhaus der Akademie der Künste, Vienna

1998 "Non Lieux", Kaskadenkondensator, Basel
"Early Forms", Galerie Chantal Crousel, Paris
"RESOLUTION", Arndt & Partner, Berlin
"ZUP", Hôtel Saint-Simon, Angoulême, FRAC Poitou Charante
"Ici et maintenant (encore), Caisse des dépôts et consignation, Paris
"Freie Sicht aufs Mittelmeer", Kunsthaus Zurich
"Nonchalance Revisited", Akademie der Künste, "Berlin Berlin Biennale", Berlin
Walker Art Center, Minneapolis

1997 "Fort! Da! Cooperations" 20 internationale Künstler/innen im Dialog, Villa Merkel, Esslingen
"Parisien(ne)s" , Camden Arts Centre, London
"Skulptur. Projekte in Münster", Münster
"Été 97", Centre genevois de Gravure contemporaine, Geneva
Musée d'Art Moderne de la Ville de Paris
"Nonchalance", Centre Pasqu«ART, Biel

1996 "96EV+A96", Limerick (Irland)
"How far is Switzerland-", BBI Fribourg
"Actions urbaines", F.R.A.C. de Lorraine, Metz
"Dites-le avec des fleurs", Galerie Chantal Crousel, Paris
"Stilleben - Nature morte - Natura morta - Still life", Helmhaus Zurich

1995 1st. Biennale, Johannesburg
"Shopping", Bordeaux

1994 "Invitations", Galerie nationale du Jeu de Paume, Paris
"Europa 94", Munich
"Drawings and Drawings", Galerie Van Gelder, Amsterdam

1993 "Rencontres dans un couloir 1", Paris
"Arrêt sur image 3", Zonmé, Montreuil sous Bois
"Hommage à Edouard Manet", Fondation Art et Société, Dijon

1992 Shedhalle Zürich, Zürich
École des Beaux-Arts de Rueil-Malmaison

1991 Salon d'Ephémère, Fontenay sous Bois, France

1990 Salon d'Ephémère, Fontenay sous Bois, France

1989 Arts Rencontres Internationales, Paris

1988 "Histoire d'hôtes", Ecole des Beaux-Arts, Poitiers

1987 Galerie Vincenz Sala, Berlin

Collections

2004 Public Collections

The Art Institute of Chicago, Chicago
Centre Pompidou, Musée national d'art moderne, Paris
Collection Albers-Honegger
Fondation Arco, Santiago de Compostelle
Fondation Lambert, Avignon
Fondazione Marino Golinelli, Bologna
Fonds Municipal d'Art Contemporain, Geneva
Fonds National d'Art Contemporain, Paris
Fonds Régional d'Art Contemporain, Aquitaine
Fonds Régional d'art Contemporain, Corse
Fonds Régional d'Art Contemporain, Provence-Alpes-Côte d'Azur
Fonds Régional d'Art Contemporain, Lorraine
K21, K20K21 Kunstsammlung Nordrhein-Westphalen
Kunsthaus Zürich
Kunstmuseum Basel
Kunstmuseum St.Gallen
Kunstmuseum Liechtenstein, Vaduz
Mission Mécénat, Caisse des dépôts et consignations, Paris
Musée d'Art Moderne Grand-Duc Jean, Luxembourg
Musée d'Art Moderne, Saint-Etienne
Museo de Arte Contemporaneo de Castilla y Léon, Léon
The Museum of Modern Art, New York
The Museum of Contemporary Art, Los Angeles,
Pinakothek der Moderne, Munich, (acqiosotion by PIN, Freunde der Pinakothek)
Stedelijk Museum Voor Actuele Kunst, Gent
Tate Modern , London
Universität Irchel, Bibliothéque, Zurich
Walker Art Center, Minneapolis


Private Collections

Collection Albers-Honegger, Mouans-Sartoux
Carol Greene, Greene Naftali Gallery, New York
Collection Elayne & Marvin Mordes, West Palm Beach, Florida
Collection G. Papadimitriou, Athens
Collection "Hot Cake", Zurich
Collection La Gaia-Busca, Naples
Collection La Serre, Trets (France)
Collection Steven Johnson and Walter Sudol, New York
Collecion Jumex, Mexico City
Collezione Sandretto Re Rebaudengo, Torino
Donald L. Bryant Jr. Art Trust, Saint Louis
Fondation Arco, Santiago de Compostelle
Fondation Lambert, Avignon
Fondazione Golinelli, Bologna
Linda Pace Collection, San Antonio
Privatsammlung Kasper König, Cologne
Rubell Family Collection, Miami
The Martin Z. Margulies Collection, Miami
The Sender Collection, New York
Sammlung Falckenberg, Hamburg
Sammlung Goetz, Munich
Sammlung Stiftung Kunst Heute, Bern
Sammlung Ringier, Zurich
Sammlung "R", Baden
Walter-Bechtler-Stiftung, Zurich
The Martin Z. Margulies Collection, Miami

   

Thomas Hirschhorn

Arndt & Partner
Zimmerstraße 90-91
D-10117 Berlin

+49 (30) 280 8123
+49 (30) 283 3738
arndt@arndt-partner.de
www.arndt-partner.de

   





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