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首页> 外文期刊>Buildings & landscapes >Object Lesson: Thomas Hirschhorn's Gramsci Monument
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Object Lesson: Thomas Hirschhorn's Gramsci Monument

机译：对象课程：托马斯·赫希霍恩的葛兰西纪念碑

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摘要

During the summer of 2013, an unconventional one-story building sat in the courtyard of Forest Houses, a low-income housing project in the South Bronx (Figures 1, 2). Its undefined structural type-two pavilions connected by a makeshift bridge-and utilitarian materials-plywood, blue tarp, and packing tape-gave the building a precarious and explicitly nonmonu-mental character. Yet it was titled Gramsci Monu- ment, and it was the fourth in a series of works by the Swiss artist Thomas Hirschhorn commemorating major Western writers and thinkers; the others celebrated were Baruch Spinoza, Gilles Deleuze, and George Bataille. The south building of the Gramsci Monument contained a newspaper office, a library of volumes by and about Gramsci, a radio station, a computer/Internet room, and a museum of letters, personal objects, and photographs of the Italian philosopher. A bar serving lunch and dinner, an artificial pond (called the pool/sculpture), a crafts workshop, and a lounge, where talks about philosophical topics were held each day, completed the monument on the north side of the bridge. As instructive as its program may sound, more important at the time was that the artist, Forest Houses residents, and visitors shared the production of its space. Building on recent interpretations of Henri Lefebvre's theorization of space, time, and the urban, which treat Lefebvre's work as a heterodox and open-ended Marxist proposal suitable for investigating the present, this essay argues that Hirschhorn challenged modern and postmodern expressions of monumentality. The sculptor critically engaged the Gramsci Monument with its context through the experiences shared by a "non-exclusive audience" (the residents of the public housing project and their neighbors) and the anticipation of its obsolescence. Ephemeral in nature-it lasted only for a summer-and contingent on the daily lives of its resident builders, workers, and visitors, the Gramsci Monument proposed a monumentality that built on the experience and memory of the site without usurping the potency of the everyday in negotiating public history.
机译：2013年夏季，一栋非常规的单层建筑坐落在南布朗克斯（South Bronx）的低收入住房项目森林房屋（Forest Houses）的庭院中（图1、2）。其不确定的结构类型-两个由临时桥梁和功利材料-胶合板，蓝色篷布和包装带连接的亭子-使该建筑物a可危且明确地不具有纪念意义。然而，它的名字叫做葛兰西纪念碑，是瑞士艺术家托马斯·赫斯霍恩（Thomas Hirschhorn）为纪念西方主要作家和思想家而创作的系列作品中的第四本。庆祝的其他人包括Baruch Spinoza，Gilles Deleuze和George Bataille。格拉姆西纪念碑的南侧建筑包括一个报纸办公室，格拉姆西及其周围的大量图书馆，一个广播电台，一台计算机/互联网室以及一个博物馆，信件，私人物品和意大利哲学家的照片。桥的北侧是一间提供午餐和晚餐的酒吧，一个人工池塘（称为游泳池/雕塑），一个手工艺作坊和一个休息室，每天都在这里举行有关哲学主题的讨论，纪念碑在此举行。尽管听起来听起来很有启发性，但在当时更重要的是，艺术家，森林房屋的居民和访客分享了其空间的生产。本文基于亨利·勒费弗尔对空间，时间和城市的理论化的最新解释，认为勒费弗尔的工作是适用于研究当前的一种怪异的，开放的马克思主义建议，这篇文章认为，赫希霍恩挑战了纪念性的现代和后现代表达。雕塑家通过“非排他的听众”（公共住房项目的居民和他们的邻居）分享的经验以及对它即将被淘汰的经验，将格拉姆西纪念碑与其周围环境进行批判性结合。本质上是短暂的-仅持续了一个夏天-并且取决于其居民建筑商，工人和访客的日常生活，葛兰西纪念碑（Gramsci Monument）提出了纪念意义，该纪念意义建立在该场地的经验和记忆的基础上，而又不损害日常的效能谈判公共历史。

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  • 来源
    《Buildings & landscapes》 |2015年第2期|18-35|共18页
  • 作者

    LUISA VALLE;

  • 作者单位

    Center of the City University of New York Hunter College;

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