Reading 10: What does it mean to read theoretical material as a creative practitioner?

Thomas Hirschhorn interview with Hans Ulrich Orbist, Thomas Boutoux ed., Hnas Ulrich Orbist: Interviews volume 1, Milan: Charta, 2003, pp.393-400.

Art works of value are informed by under-girding concerns relating to philosophical, metaphysical or theoretical issues. Works often set up a dialogue, create an argument, or comment on social or cultural phenomenon worthy of interrogation. Hirschhorn confronts issues relating to archeology in a project for the Museu d’Art Contemporani de Barcelona. He observes the indiscrepancy pertaining to historical attributions of value, whereby pre-historical ‘rubble and trash’ is verified over modern day graffiti slogans.

Hirschhorn claims, ‘art is able to break down walls; it has a potential for exchange and dialogue. It can liberate activity.’ In order for art to break down walls it must be informed, not only of its own contextual placement within the art historical canon, but within society at large. Art theory often reflects, or prophesies to the deeper ideological issues challenging human ontology. As such art theory is not always confined to the self-reflection of art per se, but investigates deeper surrounding sociological issues and histories.

A creative practitioner conversant with a diverse range of theoretical material is empowered to set up authoritative and convincing arguments capable of shaping, challenging, or informing past and existing social ideologies. Art works founded on diverse theoretical investigations are emancipated from purely self-referential parameters within the art world to comment on inexhaustible social phenomenon such as politics, religion, the environment, and cultural exchange. Informed art has the ability to serve as an altruistic instrument of change, or at least act as an ambassador of thought provocation.