THOMAS HIRSCHHORN

  • the best of 2016

    TO TAKE STOCK OF THE PAST YEAR, ARTFORUM ASKED AN INTERNATIONAL GROUP OF ARTISTS TO SELECT A SINGLE IMAGE, EXHIBITION, OR EVENT THAT MOST MEMORABLY CAPTURED THEIR EYE IN 2016.

    ALEX HUBBARD

    Rodin’s The Thinker, 1880–81, after a bomb planted by the Weather Underground exploded on March 24, 1970, at the Cleveland Museum of Art. Photo: C. D. Moore.

    ANNE COLLIER

    Portrait of Hilton Als by Catherine Opie, wrapped in bubble plastic, as it appeared in “James Baldwin/Jim Brown and the Children,” curated by Als for the Artist’s Institute, New York, June 14.

    SLAVS AND TATARS

    A disposable, self-administering

  • Thomas Hirschhorn

    I LOVE TO PRODUCE MY WORK!

    To not produce or to refuse to do something, or to not participate, can be as important as doing something. As an artist I have to confront this question every day. It is necessary to know what to produce and to decide to produce or not. It is not necessary to publicize not producing—to do so is defensive or selfish, and, for sure, narcissistic. Because to produce—to produce a work—requires commitment:

    To produce a work means giving form—and giving form is the essential in Art.

    To produce means establishing one’s own vocabulary, creating new language

  • ETERNAL FLAME

    THERE IS NO REASON for an artist to write about a philosopher, just as there is no reason for a philosopher to write about an artist. As an artist, I do not need philosophy, because I do not use philosophy to make my work—I need philosophy as a man, as a human being.

    When, not too long ago, the young inhabitants of the banlieues of Paris and of other large cities in France set cars on fire in front of their homes at night, they set off alarms, burning signals of distress. The young inhabitants of the banlieues in France relit the fires of equality—the fires of equality that had been

  • THEIR FAVORITE EXHIBITIONS OF THE YEAR

    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2006.

    AMY SILLMAN

    “Edvard Munch: The Modern Life of the Soul” (Museum of Modern Art, New York) In a rather cynical mode, I trudged uptown one day last spring to see the Munch show at MoMA for what I thought would be a cliché-ridden overview of Nordic gloom-goth. What I got instead was a hard punch to the gut: powerful color, radical ideas about the depiction of memory as space, paintings with emotional vanishing points rather than rational optical

  • Thomas Hirschhorn

    I LOVE ANDY WARHOL, AND I LOVE ANDY WARHOL’S WORK. I love Andy Warhol with a love that is exclusionist and egoistic. It is not respect or admiration that I have for Warhol and his work, it is love. Andy Warhol and Joseph Beuys were my professors, even if I didn’t take classes with them. It was thanks to Andy Warhol that I discovered the revolutionary work of Stuart Davis, with its early absorption of the world of advertising and packaging. Andy Warhol dared to say yes.

    I first saw a Warhol in 1978, in the Kunsthaus Zürich. It was the painting 129 Die in Jet, from 1962. I immediately felt included: