tyre and climbing rope / neumático y cuerda de escalada
70 cm diameter / diámetro
edition 7 / 20 / edición 7 / 20
signed and numbered certificate / certificado firmado y numerado
On the occasion of the exhibition ‘Eternal Flame’ by Thomas Hirschhorn at the Palais de Tokyo (Paris), April 25th to June 23rd 2014, edition of the multiple String-Tyre (2014).
“[‘Eternal Flame’] is a space for dialogue, for ideas and thoughts confrontation, and a space in which to think. ‘Eternal Flame’ is an artwork, it is a space to work on theory and concept, a space for this work that is active and never ceases. This is where the work’s title ‘Eternal Flame’comes from the conviction that the ‘Flame’ of thought, thinking, of concepts and ideas will never cease of fire as long as we feed the ‘Flame’ to become ‘eternal’. ‘Eternal Flame’ is the form of friendship between art and philosophy, art and poetry, art and litterature. Only art, only philosophy, only litterature, only poetry can help us, today. They can help us because feeding the ‘Eternal Flame’ enables us to confront what escapes us, what we don’t understand. ‘Eternal Flame’ is the form of what is uncertain, of what is living, of what is not guaranteed, of what is precarious, and of what counts, of what truly counts: having an idea, having a thought, having a reflection plan, having a mission ”.
“Eternal Flame” is a free access exhibition spread over 2000 m2, open everyday from noon to midnight excepted on tuesday. For 53 days, around two fires maintained daily and within agoras realized with about 10 000 used tires, 200 philosophers, writers, poets and intellectuals will be daily invited in order to share their idea, their work, their vision, their thought. A writer (Manuel Joseph) and a philosopher (Marcus Steinweg) will attend daily. The artist will also be present everyday in order to embody his project “Eternal Flame”, with the courses of action he has chosen : “presence” and “production”. The audience will freely access to the presentations by authors, to meet and discuss with the guests. He will have at his disposal a library, a videolibrary, Internet posts, a workshop, a bar as well as a free daily publication produced on site.
Thomas Hirschhorn was born in 1957 in Bern (Switzerland). He studied at the Kunstgewerbeschule Zürich from 1978 to 1983, and moved to Paris in 1983 where he has been living since. His work is shown in numerous museums, galleries and exhibitions among which the Venice Biennale (1999 and 2015), Documenta11 (2002), the 27th Sao Paolo Biennale (2006), 55th Carnegie International, Pittsburg (2008), the Swiss Pavillion at the 54th Venice Biennale (2011), La Triennale at Palais de Tokyo, Paris (2012), 9th Shanghai Biennale (2012), Manifesta 10 at Saint-Petersburg (2014), Atopolis Mons (2015), South London Gallery (2015), Kunsthal Aarhus (2017), Fotogalleriet, Oslo (2017), The National Gallery of Kosovo (2018), MoMa PS1 (2019).
Thomas Hirschhorn’s ‘Presence and Production’ projects include “Robert Walser-Sculpture”, Biel, 2019, “What I can learn from you. What you can learn from me (Critical Workshop)”, Remai Modern, Saskatoon, 2018, the "Gramsci Monument" in the Bronx, New York, 2013, “Flamme éternelle” at Palais de Tokyo, Paris, 2014, “Sperr” at Wiesbaden Biennale 2016 and the “Bijlmer Spinoza Festival”, Amsterdam, 2009.
Selections of his writings are published in English: "Critical Laboratory: The Writings of Thomas Hirschhorn", MIT Press (October Books), 2013, and in French: “Une volonté de faire, Thomas Hirschhorn” Macula, collection Les in-disciplinés-e-s, 2015. The book “Gramsci Monument” was published in 2015 by Dia and Koenig Books.
With each exhibition in museums, galleries and alternative spaces, and in his 70 works in public space, Thomas Hirschhorn asserts his commitment toward a non-exclusive public.
Thomas Hirschhorn has received awards and prizes, among which: “Preis für Junge Schweizer Kunst” (1999), “Prix Marcel Duchamp” (2000), "Rolandpreis für Kunst im öffentlichen Raum" (2003), “Joseph Beuys-Preis” (2004), the “Kurt Schwitters-Preis” (2011) and the Prix Meret Oppenheim (2018).