Thomas Hirschhorn

Fri Art

An inner room, sectioned off from the main exhibition hall by lengths of cheap fabric in a colorful ’50s pattern—this was Thomas Hirschhorn’s U-shaped Très grand buffet (Grand buffet), a nearly room-sized, stepped construction covered with a shimmering layer of tinfoil and laden with a vast number of cellophane-wrapped objects. Resembling delicacies from a gala dinner or raffle prizes, these objects were in fact small collages on cardboard, inevitably conjuring up the worn signs, clumsily handwritten, that beggars wield, telling their life stories or urging passersby to give them money. Here, with the same admonishing directness, Hirschhorn paired fragments of photos depicting dream cars and the faces of supermodels with images of torture and war, drawing arrows to suggest connections between cliches and images freighted with genuine emotion. Each photograph was altered by overdrawing in

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