The capacity of an artist to cite theory in their practice without intellectually engaging in theoretical debate is at the centre of Craig Garrett’s interview with Swiss artist Thomas Hirschhorn.
Hirschhorn is known for his hyper saturated installations, which use Foucault’s philosophy “as just another materiel, like tape or cardboard.”(Hirschhorn 92) Thomas Hirschhorn is candid in the fact that he makes no attempt to understand all the philosophy that is articulated in his art; his desire is rather to “confront, fight, and be affected by” the thinkers that he references. (Garrett 92) By combining treasured texts of thinkers and philosophers with the mundane excess of reality, the result is irreverent. Hirschhorn describes this homage as lacking in respect, but not love or ambition.
His critics have described these works as “pedagogical failures” (Garrett 90) and his practice as ‘parasitic;’ relying on the reputation of historical thought without contributing to its better understanding. This reflects a well-established view that ideas need to be fully understood to be of value or meaning. In spite of this view, visual art has a history of being informed by other disciplines, such as philosophy, music and science. Artists have traditionally monitored contemporary discourse, be it psychoanalysis in the early 20th century or the French philosophers that inspire Thomas Hirschhorn.
The criticism of Hirschhorn is not just that he does not attempt to understand Foucault’s philosophy, he also “does not show his lofty subjects the respect they are due,” (Garrett 90) using cheap materials to create viewer accessibility. The irony in Garrett’s tone can be understood, as he speaks of philosophers as being “unamazed by what they see as forays into their territory.” (Garrett 90) Craig Garrett is managing director of Flash Art, and writes for artists – not philosophers and museum educators. The language he uses indicates how he feels about the issue – that he is in accord with Hirschhorn’s methods.
Not without contradiction, Hirschhorn’s defence of this use of philosophy in his practice relies on his enthusiasm and genuine fanaticism for the philosophy he uses. He describes the relationship he presents between philosophy and art as a “friendship,” and explains, “I do not need philosophy as an artist – I need philosophy as a human being!” (Garrett 92) Claiming that he does not seek to justify his use of philosophy, Hirschhorn occasionally seems to do just that, although he never looks “for authorisation or validation of his mania.” (Garrett 90)
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