Thomas Hirschhorn



Walker Art Center

“So they will see a lot of tape. Brown tape. Taped on the walls, on the floor, on the ceiling,” he says.

“we are in another space in our mind”

Cavemanman is a massive network of tunnels and caves made from cardboard, mailing tape, aluminum foil, and other everyday objects. He calls it a “collage in the third dimension”. It gives the hint that someone else has been in the cave, with stacks of books and writings on the wall. These hints invite the viewers to guess who it was. I was insired by his investigation of the deeper connotations of cardboard: consumer products, manmade, waste, trash, also being a container / possibly dwelling.

Concordia, Concordia at Gladstone

Think of the apocalyptic final scene in Zabriskie Point, where the blown-up remnants of an exploded home fill the optic field from edge to edge. Now picture it in 3-D. What you’d see is a little bit like Concordia, Concordia, Thomas Hirschhorn’s installation at Gladstone Gallery. (Not that he’d call it that: “I hate the word installation,” he’s said. “I use the term display.”) Whatever you label it, it’s meant to overload—what painter Kazimir Malevich described as the collision of “the world of meat and the world of iron.” Put that idea together with Francis Bacon’s flayed popes, and you’ve got a sense of Concordia, Concordia: a tour de force, intransigently denying and almost suicidal, a structured form of chaos and annihilation.


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