hirschhorn in Stankievech 2016
ecessors for artists
working with the archive.52 Forster articulates the traditional
assumption that only artists were “allowed” to establish idiosyncratic approaches and think with objects outside of the
box. However, within the relatively new discourse of the
“curatorial,” contra the role of the “curator,” the curatorial
delineates its territory as that which is no longer defined exclusively by what the curator does (i.e. responsibilities of classification and care) but rather as a particular agency in terms of
epistemologically and spatially working with existing materials and collections. Consequently, figures such as Warburg
51
52
Kurt Forster, quoted in Benjamin H.D. Buchloh, “Gerhard Richter’s Atlas: Das anomische Archiv,” in Paradigma Fotografie: Fotokritik am Ende des fotografischen Zeitalters,
ed. Herta Wolf (Frankfurt/M.: Suhrkamp Verlag, 2002), 407, with further references.
One such example is the Atlas begun by Gerhard Richter in 1962; another is
Thomas Hirschhorn’s large-format, mixed-media collage series MAPS. Entitled
Foucault-Map (2008), The Map of Friendship Between Art and Philosophy (2007),
and Hannah-Arendt-Map (2003), these works are partly made in collaboration
with the philosopher Marcus Steinweg. They bring a diverse array of archival and
personal documents or small objects into associative proximities and reflect the
complex impact philosophy has had on Hirschhorn’s art and thinking.
103
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