Thomas Hirschhorn is known for a free use of masking tape, cardboard, wood, wire in the service of installations that often draw in the viewer, as the final "ingredient." His followers have marveled at sutures basted together with what seem like the flimsiest of materials. From his origins in graphic design to a full-fledged career as an artist, Hirschhorn has displayed an uncanny genius for turning the detritus of the drafting table into monumental sculpture. He himself says that this is the result of a personal politics, and has written and spoken of this extensively. But to those less familiar with the work, the sheer architectonic madness of some of his marvelous structures are what has endeared Hirschhorn to so many followers.
It is no coincidence that Hirschhorn is the recipient of art prizes ranging from the prestigious Marcel Duchamp Prize (2000/2001) to the Joseph Beuys Prize (2004). Like few other heirs to the modernist sculptural tradition, Hirschhorn commands space, in a transcendental way that references icons of the twentieth century, and at the same time, can be reduced to pure spectacle.
Born in 1957 in Bern, Switzerland
Lives and Works in Paris, France
In June 2011, Hirschhorn represented Switzerland at the Venice Biennale and mounted exhibitions at the Power Plant, Toronto, and Fondation Proa, Buenos Aires. Museum shows by Hirschhorn have taken place all over the world, from New Zealand to Mexico City to Dundee, Scotland.