A response by Jane Scarth
“This is something essential to art: reception is never its goal. What counts for me is that my work provides material to reflect upon. Reflection is an activity.” – Thomas Hirschhorn
Having reflected on my notes from this lecture repeatedly, I am still not quite sure how to make sense of it all. This seems bizarre, because Thomas Hirschhorn’s purpose seemed to be to rationalise his art practise, and specifically his huge, immersive installation for the 2011 Venice Biennale, CRYSTAL OF RESISTANCE, (Fig. 1) which I had seen this summer.
What I understood was that in using a belief system to justify what art is and should be (“because in art it’s a matter of believing”), and so Hirschhorn presented us with the three questions he needed to answer to reach the conclusion of the work. These were set in a framework of ‘The Four Parts of the Form and Force Field: LOVE, PHILOSOPHY, POLITICS, AESTHETICS’, at least two of which, he tells us, must always be present in his work, and all four are found here. Within and from these constant elements, Hirschhorn finds an appropriate motif, which is then integrated to create the whole. Each element leading to more inherent questions and each has an answer specific to the artist (taking the form of motifs, materials, themes, etc.).
To over-simplify the logic, in CRYSTAL OF RESISTANCE they take these forms:
LOVE = the motif of crystal.
PHILOSOPHY = a desire for universality.
POLITICS = urgency and panic.
AESTHETIC = the crystal meth lab/B-movie set.
The result is an artwork that is explosive, an onslaught of ideas and references, fluctuating between being at times enlighteningly coherent and at others impenetrable. But such is the creative mind. It was explained that to enter the installation you go inside the head of the artist, and on leaving you will be taking home ‘a bit of my head in your head’.
The thing I found most inspirational about hearing Hirschhorn was his unrelenting questioning of himself and his position as an artist. He creates intricate mind-maps, which are works of art in themselves, (Fig. 2) to place himself in relation to his work and so he can always refer back and reassess where he is coming from. I think that this is similar to the experience of the visitor to the show in the sense of getting lost in an extreme train of thought and having to hold onto certain reference points to relocate yourself.
Therefore to my understanding, it is entirely appropriate that one of the four banners spray painted with Edouard Glissant quotes was “You have the right not to be understood”. At times in the installation I think I understood, and at times in the talk I certainly did. However now, with the two collected experiences, and retrospect, I am not really sure that I do. Yet I don’t think that it’s a bad or even an ignorant thing, but part of the nature of the work in its process of finding logical, universal conclusions to questions that are at times without answers.