Theme: Best Practices
Reflections on Thomas Hirschhorn’s Gramsci Monument and on the Institutional challenge of Harboring Criticality
All artistic practices are based on research, regardless of the pace in which they are executed or the degree of their intellectual implications and agency. Art institutions can draw on artistic research if they allow the practice an appropriate, open framework. In 2013, Thomas Hirschhorn presented the Gramsci Monument, an ephemeral monument in the form of a discursive platform in the Bronx, the most impoverished neighborhood in NYC. In its political and ethical complications, it engaged the local community on an intimate level, as the absoluteness of the monument was at once discursive and immersive – and neither. It created a unique relationship between exhibiting institution, artwork and audiences.
Margrethe Troensegaard is a London-based freelance curator whose work engages with the relation between institution, artwork and audience established by di erent forms of exhibitions and artistic practices. She is currently pursuing a DPhil in History and Theory of Contemporary Art at the Ruskin School of Art and St. Edmund Hall, University of Oxford. She holds an MA in Curating Contemporary Art from the Royal College of Art, London, and a BA in Art History from the University of Copenhagen.