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In 2004 Swiss artist Thomas Hirschhorn was invited to create a piece for the Walker Art Center ‘Walker Without Walls’ series.His idea: To build a 50 foot replica of the book A Thousand Plateaus: Capitalism and Schizophrenia by the French philosophers Gilles Deleuze and Felix Guattari.Inside the giant book there would be a library of philosophy books, room for all the things necessary to print a daily newspaper, and a meeting and exhibition space. Outside there would be a cafe.The installation was tentatively titled The Road-Side Giant Book Project and was scheduled to last 2 months. It was to be placed on Lake Street in a diverse mixed-income neighborhood in South Minneapolis.Max Andrews, who was a visual arts fellow at the Walker during this time, summed up the project best: [The] project will function not only as a mega-sculpture, but as an ambitious center for philosophy. Deleuze and Guattari’s book is a landmark of continental thought, one that explodes philosophy by exploring it in terms of a host of other disciplines: from popular film and music to genetics and ecology. Hirschhorn will create his provocatively large book-structure in this spirit of bringing philosophy to life, compelling the community to question what role philosophy plays on the street. The artist will be on site every day of the project to animate a series of challenging lectures, produce and distribute a daily newspaper, and invite the participation of the community. As a giant bookkeeper, he will create a library and a “Galazy of Philosophy” exhibition in a room inside the book, as well as host a community run café right outside. “It’s a project for the love of art in Minneapolis,” Hirschhorn says, and The Road-Side Giant Book Project, while far too large to be flying off the shelves and far too heavy to be “unputdownable,” promises to deliver a profound thud on the Lake Street doormat this summer.” Hirschhorn realized that by placing the work in such a neighborhood it would most likely be the subject of vandalism and graffitii – “all risks, he says, that are integral to a project he alternately called an experiment, an affirmation, and a confrontation.” all from here
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Bruce Nauman LEAVE THE LAND ALONE. 1969 (concept) 2009 (execution of concept)
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Santiago Sierra Palabra de Fuego (Word of Fire) 2007 Here Sierra carved the Spanish word for ‘submission’ into the ground in four-and-a-half metre trenches, which were then filled with concrete. The words were to be set on fire in May 2007, but this last step was interrupted by local authorities, who censored the action. Ciudad Juárez is a site of profound toxic pollution, infamous for its sweatshops and for the serial murders of women working in them. The bodies of some of these women were found in the hills near Sierra’s site, and those hills, now known as Black Christ Mountain, have become a site of grim pilgrimage. Sumisión is itself part of Proyecto JUAREZ, organized by Mariana David. David enlisted 17 male artists (including Joshua Okon and Miguel Calderón) to explore the dynamics of the various systems (nationalism, capitalism, patriarchy) that bear down on this border town. This is perhaps Sierra’s most open-ended and challenging work. Sumisión is fully over-determined. As the wall text rightfully reminds us, from the position of the radically disenfranchised, the word is unthinkable, even as it appears to describe their condition. Submission is suicidal. Submission is murderous. Unlike the words of Ed Ruscha’s paintings, which hang in empty landscapes, the ground here is filled with corpses, and among them Sierra’s letters become fighting words in spite of themselves. from here
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Paul McCarthy Complex Shit Flying piece of art causes museum chaos in Switzerland (AFP) – Aug 11, 2008 GENEVA (AFP) — A giant inflatable dog turd by American artist Paul McCarthy blew away from an exhibition in the garden of a Swiss museum, bringing down a power line and breaking a greenhouse window before it landed again, the museum said Monday. The art work, titled “Complex S(expletive..)”, is the size of a house. The wind carried it 200 metres (yards) from the Paul Klee Centre in Berne before it fell back to Earth in the grounds of a children’s home, said museum director Juri Steiner. The inflatable turd broke the window at the children’s home when it blew away on the night of July 31, Steiner said. The art work has a safety system which normally makes it deflate when there is a storm, but this did not work when it blew away. Steiner said McCarthy had not yet been contacted and the museum was not sure if the piece would be put back on display. from here What would Freud have thought of this “act of god”?
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Ron Mueck Untitled (Boy) 1999Mixed media490 x 490 x 250 cm
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