no place to flee

Art, exhibitions

Thomas Hirschhorn, Concordia, Concordia 2012

This Saturday was the first Saturday I have not spent in a library in over a month and despite my head cold, the venture was much needed. I headed to Chelsea with a close friend to see some exhibitions that have been getting a ton of buzz lately.  Thomas Hirschhorn’s Concordia, Concordia at the Gladstone Gallery on 21st st. was certainly a site to see. Inspired by the recent sunken cruise ship off the coast of Italy last January, Hirschhorn has re-intrepreted the inside of the ship creating a colorful, plastic replica.  These photographs truly don’t do the space justice. This is a huge installation with so many intricate details to take in. My favorite was The Raft of Medusa, that can be spotted hanging on the ceiling of the gallery (the side of the “ship”) and the televisions screens playing loops of media coverage of the disaster.

I want to do a Big work to show that the saying “Too Big to Fail” no longer makes any sense. On the contrary, when something is Too Big, it must Fail – this is what I want to give Form to. I want to understand this as a logic and this is the Form! This is what I want to explore, it is the grounding of my new work “Concordia, Concordia.” “Concordia, Concordia” brings back to mind the disastrous wreck of the cruise ship Costa Concordia and the images of the immersed ship in its confusing architecture. The flooded casino of consumption stands for evidence: the evidence of a coming disaster and the evidence of an announced failure. This is “Concordia, Concordia.”  – Thomas Hirschhorn

Find out more about Concordia, Concordia HERE. 

One thought on “no place to flee

  1. incredible.

    there’s a passage in Annie Dillard’s book “For the Time Being” where 10,000 people have drowned in a tsunami in, maybe India, that day… and at the dinner table Dillard says she can’t even conceive of 10,000 people drowning… and her young daughter says, “No, it’s easy: lots and lots of dots in blue water”

    I always think of that passage when I look at Yayoi Kusama’s Infinity Nets.

    And all those life jackets in your top photo are a little like that, such an ecstatic formal display of color and verve, at the same time that they suggest such a monumental human tragedy

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