Antonia Hirsch

Antonia Hirsch (born 1968, in Frankfurt on Main, West Germany) is an interdisciplinary artist who lives and works in Berlin.[1]

Life and work

Antonia Hirsch was educated at Central Saint Martins College of Art and Design in London, Great Britain. From 1994 to 2010, she lived and worked in Vancouver, Canada.[2]

Hirsch's work engages a variety of media, including installation, film, video, and photography.

In her preface to Negative Space: Orbiting Inner and Outer Experience curator and writer Melanie O'Brian states "Antonia Hirsch's practice testifies to a long-standing engagement with the quantitative, spatial, and syntactic systems that structure an understanding of our universe… Hirsch's work relates these ordering structures to embodied and visual experience, considering how the equivocal and often ideological nature of these representational systems is expressed through a level of abstraction."[3]

Exhibitions

Hirsch's work has been featured in exhibitions such as Art In The Age Of…Planetary Computation at Witte de With Center for Contemporary Art, Rotterdam (2015);[4] Komma (After Dalton Trumbo's Johnny Got His Gun), Tramway, Glasgow (2012);[5] The Global Contemporary: Art Worlds After 1989 at ZKM | Center for Art and Media Karlsruhe (2011–12);[6] and Universal Code at The Power Plant, Toronto.[7]

Collections

Hirsch's work can be found in the public collection of the Vancouver Art Gallery[8] and the National Gallery of Canada.[9]

Publications
  • Antonia Hirsch (ed.), Negative Space: Orbiting Inner and Outer Experience (with contributions by Theodor W. Adorno, Daniel Colucciello Barber, Lorna Brown, Elena Filipovic, Francois Laruelle, Olaf Nicolai, Ana Teixeira Pinto, Lisa Robertson, Wolfgang Winkler). Vancouver: SFU Galleries, 2015. ISBN 978-0-9868581-4-7
  • Antonia Hirsch (ed.), Intangible Economies (with contributions by Juan A. Gaitàn, Melanie Gilligan, Hadley + Maxwell, Candice Hopkins, Olaf Nicolai, Patricia Reed, Monika Szewczyk, and Jan Verwoert). Vancouver: Fillip, 2012. ISBN 978-1-927354-03-2
  • Antonia Hirsch, Komma (After Dalton Trumbo's Johnny Got His Gun), (with essays by Maria Muhle and Kristina Lee Podesva). Vancouver: Fillip, 2011. ISBN 978-0-9738133-9-5
gollark: - Excel is programming- Writing flowcharts on paper is programming- Telling employees to do something is programming- Training a dog is programming
gollark: Do so immediately.
gollark: We could make an alignment chart from this.
gollark: Thus, practicing things is programming.
gollark: If you do something manually and get better at it, you're training a neural network, which is a kind of program, to do it.

References
  1. Irvine, Karina. "Black Mirror: Image and Reality in the Work of Antonia Hirsch". Canadian Art Magazine. Retrieved 27 November 2016.
  2. Laurence, Robin. "Tulips are a charged metaphor in Antonia Hirsch's Light Tender". Georgia Straight. Retrieved 27 November 2016.
  3. O'Brian, Melanie (2015). Preface, Negative Space: Orbiting Inner and Outer Experience. Vancouver: SFU Galleries. p. 23. ISBN 978-0-9868581-4-7.
  4. "Art in the Age of... Planetary Computation". Witte de With Center for Contemporary Art. Retrieved 17 November 2016.
  5. "Antonia Hirsch: Komma (After Dalton Trumbo's Johnny Got His Gun)". Tramway, Glasgow. Retrieved 17 November 2016.
  6. "The Global Contemporary: Art Worlds After 1989". Global Contemporary. ZKM, Center for Art and Media Karlsruhe. Retrieved 17 November 2016.
  7. "Universal Code: Art and Cosmology in the Information Age". The Power Plant. Retrieved 17 November 2016.
  8. "Acquisitions 2005". Vancouver Art Gallery. Retrieved 27 November 2016.
  9. "Collections: Artists A-Z". National Gallery of Canada. Retrieved 17 November 2016.
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