Overview participating exhibitions
War Machines
2009
War Machines
Robert Hirsch
UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)
Our lives, Robert Hirsch says, are dominated by competing groups of fear-merchants, each with their own interests that are promoted by capitalising on our collective anxiety neurosis. In Unseen Terror Hirsch calls us to account about these fears. In an arrangement that does not yield the individual images to the eye just like that, Hirsch dishes up a four-course menu of terrorists, weapons of mass destruction, atomic tests and other icons of anxiety. Look closely, he says, because an aware citizen develops resistance and can cultivate a culture of alternative options.
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UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)
Our lives, Robert Hirsch says, are dominated by competing groups of fear-merchants, each with their own interests that are promoted by capitalising on our collective anxiety neurosis. In Unseen Terror Hirsch calls us to account about these fears. In an arrangement that does not yield the individual images to the eye just like that, Hirsch dishes up a four-course menu of terrorists, weapons of mass destruction, atomic tests and other icons of anxiety. Look closely, he says, because an aware citizen develops resistance and can cultivate a culture of alternative options.
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UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)
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UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)
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UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)
Act of Faith
2007
Act of Faith
Robert Hirsch
WAR IN A JAR: WAR AND TRAUMA (Worldwide, 2004-2007)
World in a Jar brings together important historical and contemporary images from the collective memory of mankind. The images span four centuries and show particularly the consequences of war, ethnic violence, genocide and religious intolerance. Robert Hirsch places the photos in transparent jars, and stacks these up to create a wall that winds through the exhibition space. The jars are in no particular order, so that the pictures enter into different dialogs with one another each time the installation is constructed. At the same time, this symbolizes the open-endedness of the historic lines presented, and the tangle of social forces that influenced each event depicted.
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WAR IN A JAR: WAR AND TRAUMA (Worldwide, 2004-2007)
World in a Jar brings together important historical and contemporary images from the collective memory of mankind. The images span four centuries and show particularly the consequences of war, ethnic violence, genocide and religious intolerance. Robert Hirsch places the photos in transparent jars, and stacks these up to create a wall that winds through the exhibition space. The jars are in no particular order, so that the pictures enter into different dialogs with one another each time the installation is constructed. At the same time, this symbolizes the open-endedness of the historic lines presented, and the tangle of social forces that influenced each event depicted.
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WAR IN A JAR: WAR AND TRAUMA (Worldwide, 2004-2007)
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WAR IN A JAR: WAR AND TRAUMA (Worldwide, 2004-2007)
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WAR IN A JAR: WAR AND TRAUMA (Worldwide, 2004-2007)
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WAR IN A JAR: WAR AND TRAUMA (Worldwide, 2004-2007)
Biography
Unseen Terror: The Bomb, other Bogeymen, and a Culture of Fear (2008)
Our lives, Robert Hirsch says, are dominated by competing groups of fear-merchants, each with their own interests that are promoted by capitalising on our collective anxiety neurosis. In Unseen Terror Hirsch calls us to account about these fears. In an arrangement that does not yield the individual images to the eye just like that, Hirsch dishes up a four-course menu of terrorists, weapons of mass destruction, atomic tests and other icons of anxiety. Look closely, he says, because an aware citizen develops resistance and can cultivate a culture of alternative options.
Robert Hirsch (United States, 1949) is an artist, curator, teacher, historian and author of three books on photographic techniques and of the social-historical photo book Seizing the Light: A History of Photography. He is director of Light Research, an advice bureau that focuses on the world of photo art and art education.
