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  • Provenance

    Arndt & Partner, Berlin

  • Catalogue Essay

    These are materials that don’t require any explanation of what they are. I wanted to make ‘poor’ art, but not Arte Povera. My work has nothing to do with Arte Povera. Because it’s poor art, the materials must be poor too: quite simply, materials that make you think of poverty. To make poor art means to work against a certain idea of richness. To make rich art means to work with established values; it means to work with a definition of quality that other people have made. I want to provide my own definition of quality, of value and richness. I refuse to deal with established definitions. I’m trying to destabilize them. I’m trying to contaminate them with a certain non-valuable aspect of reality. The value system is a security system. It’s a system for subjects without courage. You need values to ensure yourself, to enclose yourself in your passivity and anxiety. You need the idea of quality to neutralize your proper freedom: the fact that it’s you who decides what’s valuable or of worth. People need quality as a kind of ghost who helps you escape the real. To make poor art is a way to fight against this principle. Quality, no! Energy, yes! (A.M. Gingeras, “Interview with Thomas Hirschhorn,” Thomas Hirschhorn, Phaidon, New York, 2004).


Nail-Sculpture (gray)

Wood, packing tape, nails, screws, coins, plastic, metal hinges, metal door number plaques, stickers, wire, one wooden bowl, one metal bowl, Black and Decker screwdriver, power adapator, hammer, color photocopies.
115 1/2 x 33 1/2 x 35 in. (293.4 x 85.1 x 88.9 cm).
Signed, titled and dated “'Nail-Sculpture (gray)'Thomas Hirschhorn 2003” on the reverse. This work is accompanied by a certificate of authenticity and photograph signed by the artist.

£50,000 - 70,000 

The Marino Golinelli Collection

13 October 2007, 1pm