By Anna Dezeuze
Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn's usually huge yet precarious works supply a remark at the spectacle of late-capitalist consumerism and the worldwide proliferation of commodities. made of ephemeral fabrics -- cardboard, foil, plastic baggage, and packing tape -- that the artist describes as "universal, monetary, inclusive, and [without] any plus-value," those works additionally have interaction problems with justice, strength, and ethical accountability. Hirschhorn (born in Switzerland in 1957) frequently chooses to put his paintings in non-art settings, asserting that he desires it to "fight for its personal existence." during this ebook, Anna Dezeuze bargains a generously illustrated exam of Hirschhorn's Deleuze Monument (2000), the second one in his sequence of 4 Monuments. Deleuze Monument -- a sculpture, an altar, and a library devoted to Gilles Deleuze -- was once conceived as a piece open to viewers twenty-four hours an afternoon, seven days per week. a part of the exhibition "La Beauté" in Avignon, Deleuze Monument used to be arguable from the beginning, and it used to be dismantled months prior to the top of the exhibition after being vandalized. Dezeuze describes the chronology of the undertaking, together with negotiations with neighborhood citizens; the dynamic among confirmation and vulnerability in Hirschhorn's paintings; failure and "scatter art" within the Nineties; participatory practices; and difficulties of presence, upkeep, and visual appeal, raised by way of Hirschhorn's acknowledgement of "error" in his discontinuous presence on web site following the deploy of Deleuze Monument.