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Thomas Hirschhorn

 
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Thomas Hirschhorn, Das Auge, 2008, Mixed media; integrated text, to take away, „Flat Red Flag“, by Manuel Joseph, circa 600m², Exhibition view: Thomas Hirschhorn, Isa Rosenberger, Miklós Erhardt, Secession, Vienna, 2008

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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

2011
54th Venice Biennial, Swiss Pavillion, Venice, Italy
Ecole régionale des Beaux-Arts de Besançon, France
Musée des Beaux-Arts de Aarau, Switzerland
Das Auge, The Power Plant, Toronto, Canada
It’s burning everywhere, Kunsthalle Mannheim, Germany

2010
Museum Dhondt-Dhaenens, Deurle, Belgium
Michael Stevenson, Capetown, South Africa.
CNEAI, Chatou, France
Deurle, Belgium
Casa Encendida, Madrid, Spain

2009
One Day Sculpture, New Zealand
DCA, Dundee, Scotland
The Bijlmer Spinoza-Festival, Amsterdam, Netherlands
Gladstone Gallery, New York, U.S.A.
Poor-Racer (One Day Sculpture), The Esplanade, Sumner, Christchurch, New Zealand
A La Limite, Galerie Michel Journiac, Paris, France

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

2011
Que admirez-vous?, La Box, Ecole Nationale Supérieure des Arts de Bourges, France
Tout ce que vous avez toujours voulu savoir sur le blanc, FRAC Aquitaine, Bordeaux
Aargauer Kunsthaus, Aarau, Switzerland
Of Bridges and Borders, Fundacion PROA, Buenos Aires, Argentina
Dislocation, Kunstmuseum Bern, Switzerland
French Window : Looking art the contemporary art through the Marcel Duchamp Prize
The Luminous Interval, Guggenheim Museum, Bilbao, Spain

2010
POURQUOI ATTENDRE? And exhibition regarding the Fonds Andre Iden, Cenre d’art de Geneve, Geneva, Switzerland
Contemplating the Void: Interventions in the Guggenheim Museum, Guggenheim Museum, New York, USA
Abstract Resistance, Walker Art Center, Minneapolis, USA
Ce qui vient (That which comes), Les Ateliers de Rennes, Rennes, France
Perpetual Battle, BAIBAKOV ART PROJECTS, RED OCTOBER CHOCOLATE FACTORY, Moscow, Russia
Dislocation, Galería Metropolitana + other place (museum), Santiago, Chile
Changing the world, Arndt Gallery, Berlin, Germany
Taster’s choice, Stephen Friedman Gallery, London
Intensif-Station, K21, Düsseldorf, Germany
The Last Newspaper, New Museum, New York, USA
Lille Métropole Musée d’art moderne d’art contemporain et d’art brut, Lille, France, Exposition de ré-ouverture
Gwangju Biennale, Gwangju, China

2009
Exploring the return of repression, Pavilion Unicredit, Bucharest, Romania.
La planète des signes (Erudition concrete 1), curated by Guillaume Désanges, Le Plateau, Paris, France.
T.I.C.A.B – Tirana International Contemporary Art Biennal, Tirana, Albania
Walking in my mind, Hayward Gallery, London, England.
A la limite, Galerie Michel Journiac, Paris, France.
Monument to transformation, Tranzit and City Gallery, Prague, Czech Republic.
A House is not a Home, La Calmeleterie, Nazelles Négron, France.
Universal Code: Art and Cosmology in the Information Age, The Power Plant, Toronto, Canada.
Parades and Processions: Here comes everybody, Parasol unit foundation for contemporary art, London, U.K.
Listen Darling… The World is Yours, Ellipse Foundation, Alcoitã, Cascais, Portugal.
Carnegie International, Pittsburgh, U.S.A., May 3 - January 11 2009
Bijoux de famille, Galerie Chantal Crousel, Paris, France.
Sphères, Le Moulin – Galleria Continua, Coulommiers, France.
Open Source, Stichting Straat van Sculpturen, Amsterdam, Netherlands.

2008
The Impossible Prison, The Police Station, Galleries of Justice, Nottingham, U.K.
Aurum, Gold in der zeitgenössischen Kunst, Centre PasquArt, Bel-Bienne, Switerland.
German Angst, Neuer Berliner Kunstverein, Berlin, Germany.
Peripheral vision and collective Body, Museion, Bolzano, Italy.
Nient’altro che scultura. Nothing but sculpture, XIII Biennale internazionale di Scultura di Carrara, Centro Arti Plastiche Internazionali e Contemporanee, Carrare, Italy.
Brighton Photo Biennal, Memory of Fire, Fabrica, Brighton, U.K.
Listen Darling...The World is Yours, Curator Lisa Phillips, Director of the New Museum of Contemporary Art, New York, U.S.A.
Ellipse Foundation, Cascais, Portugal.
7 + 1 project Rooms, MARCO, Museo de Arte Contemporanea de Vigo, Spain.
The Carceral (After Foucault), presented by Nottingham Contemporary, U.K.
Police Station at the Galleries of Justice, High Pavement, Nottingham, U.K.
Zones of conflict 1, Pratt Institute, New York, U.K.
Niet Normaal * Difference on Display, Beurs van Berlage, Amsterdam, Netherlands.
The Artist’s Library Centre International d’Art & du Paysage île de Vassivière, France.
Paul Thek, Werkschau im Kontext zeitgenössischer Kunst, ZKM, Karlsruhe, Germany.
Life On Mars, Carnegie International, Pittsburgh, U.S.A.
Unmomumental (second part), New Museum, New York, U.S.A.
La Bibliothèque de Babel, Centre International d’art et du paysage, Ile de Vassivière, France.
Martian Museum of Terrestrial Art, Barbican Art Gallery, London, U.K.
Locked-in, The Image Of Humanity in the Age of Intrusion, Casino, Luxembourg.
Opening of the new museum, Museion, Bolzano, Italy.
Lost Paradise, Zentrum Paul Klee, Bern, Switzerland.
Procession in Art, Museum of Modern Art Arnhem (MMKA), Arnhem Land, Netherlands.
L’Argent, Le Plateau, Paris, France

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

   

Thomas Hirschhorn

Arndt
Potsdamer Straße 96
10785 Berlin

+49.30.20 61 38 7 0
+49.30.20 61 38 7 20
info@arndtberlin.com
www.arndtberlin.com

   





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