书名：Thomas Hirschhorn: Deleuze Monument / 托马斯·赫希霍恩：德勒兹纪念碑
定价：150.0
ISBN：9781846381430
作者：Anna Dezeuze
版次：1
出版时间：2014-08

内容提要：

书名：Thomas Hirschhorn: Deleuze Monument / 托马斯·赫希洪：德勒兹纪念碑
作者：Anna Dezeuze
出版社：Afterall Books（One Work系列），2014年
装帧：平装，100页
语种：英文
尺寸：约 15.2*22.9 cm（6 x 9 英寸）
ISBN：978-1-8463-8143-0

简介

本书是Afterall出版社“One Work”系列中的一册，对托马斯·赫希洪（Thomas Hirschhorn）饱受争议的作品《德勒兹纪念碑》（Deleuze Monument, 2000）进行了图文并茂的深入考察。该作品是为2000年阿维尼翁“La Beauté”展览而创作，包含四个元素：刻有引文的岩石、一座祭坛、一件纪念性雕塑，以及一个收藏有德勒兹著作及相关书籍的图书馆。

作品被置于阿维尼翁历史城墙外的Cité Champfleury，体现了赫希洪将其作品置于“现实、政治与美学之间的困难境地”的创作理念。这座献给哲学家吉尔·德勒兹（Gilles Deleuze）的纪念碑——集雕塑、祭坛与图书馆于一体——最初构思为24小时全天候向公众开放的作品。然而，该作品从一开始就引发争议，在遭破坏后，于展览结束前两个月被拆除。

作者安娜·德泽兹（Anna Dezeuze）在书中详细描述了项目的来龙去脉，包括与当地居民的协商过程、赫希洪作品中肯定性与脆弱性之间的动态关系、1990年代的“散落艺术”（scatter art）与失败美学、参与式艺术实践，以及因赫希洪在作品安装后未能持续在场而引发的关于“错误”的讨论——这些问题涉及作品的存在、维护与呈现。

An illustrated examination of one of Hirschhorn's "precarious" monuments, now dismantled. Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn's often monumental but precarious works offer a commentary on the spectacle of late-capitalist consumerism and the global proliferation of commodities. Made from ephemeral materials—cardboard, foil, plastic bags, and packing tape—that the artist describes as "universal, economic, inclusive, and [without] any plus-value," these works also engage issues of justice, power, and moral responsibility. Hirschhorn (born in Switzerland in 1957) often chooses to place his work in non-art settings, saying that he wants it to "fight for its own existence." In this book, Anna Dezeuze offers a generously illustrated examination of Hirschhorn's Deleuze Monument (2000), the second in his series of four Monuments. Deleuze Monument—a sculpture, an altar, and a library dedicated to Gilles Deleuze—was conceived as a work open to visitors twenty-four hours a day, seven days a week. Part of the exhibition "La Beauté" in Avignon, Deleuze Monument was controversial from the start, and it was dismantled two months before the end of the exhibition after being vandalized. Dezeuze describes the chronology of the project, including negotiations with local residents; the dynamic between affirmation and vulnerability in Hirschhorn's work; failure and "scatter art" in the 1990s; participatory practices; and problems of presence, maintenance, and appearance, raised by Hirschhorn's acknowledgement of "error" in his discontinuous presence on site following the installation of Deleuze Monument.