PRINT October 2019



Thomas Hirschhorn, Robert Walser—Sculpture: A “Presence and Production” Project in Public Space, 2019, Biel/Bienne, Switzerland. Photos: Enrique Muñoz García.

THIS SUMMER, on the placid waters of Switzerland’s Lake Neuchâtel, the artist Daniel Keller and I gave a talk on “deep adaptation,” an extreme yet increasingly mainstream response to impending climate catastrophe. Titled “New Models Module: Imagining Collapse,” the lecture looked to the far reaches of digital networks (guided by artist Joshua Citarella’s work on Gen Z culture) to convey the spectrum of disparate, radical ideations of post-collapse societies that have been gaining traction online.

Heading home the next day, we changed trains at Biel/Bienne, where just beyond the station’s entrance stood a sprawling structure covered in DIY banners and spray-painted text. At the center, and visible from the station, was a massive sign: ROBERT WALSER ♥ FOR EVER. We had happened upon Thomas Hirschhorn’s latest homage to European intellectuals, the interactive, eighty-six-day-long Robert

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