{"id":13992,"date":"2024-11-22T12:47:24","date_gmt":"2024-11-22T11:47:24","guid":{"rendered":"https:\/\/www.schirn.de\/schirnmag\/non-human-living-sculptures-im-werk-von-hans-haacke-und-pierre-huyghe\/"},"modified":"2025-03-04T12:10:32","modified_gmt":"2025-03-04T11:10:32","slug":"non-human-living-sculptures-im-werk-von-hans-haacke-und-pierre-huyghe","status":"publish","type":"magazin-artikel","link":"https:\/\/www.schirn.de\/en\/schirnmag\/non-human-living-sculptures-im-werk-von-hans-haacke-und-pierre-huyghe\/","title":{"rendered":"Non-human living sculptures by Hans Haacke and Pierre Huyghe"},"content":{"rendered":"<section class='wp-block-ho-pattern ' data-pattern='ho\/header-magazin-landscape'>\n\n<div  class='div'>\n\n<div  class='container-fluid sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 margin-bottom-4 text-align-center'  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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\t\t<figcaption class=\"\" id=\"media_Q7Q1bn\">\n\t\t\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">Detail: Hans Haacke: Retrospective, exhibition view, 2024<\/div>\n\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Schirn Kunsthalle Frankfurt 2024, Photo: Norbert Miguletz <\/div>\n\t\t\t\t\t\t<\/div>\n\t\t<\/figcaption>\n\t\n<\/figure>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/flash-animation>\n\t\t\t\t<\/div>\n\t\t\t\t\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-4 col-md-offset-8 margin-bottom-5'><section class='wp-block-ho-pattern ' data-pattern='ho\/magazin-header-eigenschaften'>\n\n<div  class='magazine-header-props text-align-right'>\n\n<div  class='container-fluid cf-rem-max-width cf-side-1 cf-gutter-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'><div class=\"wp-block-ho-slot \"><p>11\/22\/2024<\/p><\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='margin-bottom-3'>\n\n<div  class='flex-align-center-right'>\n<div class=\"wp-block-ho-slot \"><p>8 min reading time<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-ho-slot \"><div class=\"container-fluid cf-rem-max-width cf-side-1 cf-gutter-1\"><div class=\"row\"><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><div class=\"components-image-text-person-image-small-group flex-align-top-right\"><div class=\"col col-xs-12\"><div class=\"components-image-text-persons-line\"><span class=\"ho-sd-body\">Writer:<\/span><a href=\"https:\/\/www.schirn.de\/en\/beteiligte\/ursula-stroebele-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Ursula Str\u00f6bele<\/div><div class=\"components-image-text-person-image-small-image\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d3fc2b6df55\"><script type=\"application\/json\">{\n\"id\" : 4223,\n\"sizes\" : 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/10\/Schirn_Presse_Haacke_Fuehrung_Ursula_Stroebele_credit_Helena_Heilig-1747x1920.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/10\/Schirn_Presse_Haacke_Fuehrung_Ursula_Stroebele_credit_Helena_Heilig-1747x1920.jpg 1747w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/10\/Schirn_Presse_Haacke_Fuehrung_Ursula_Stroebele_credit_Helena_Heilig-273x300.jpg 273w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/10\/Schirn_Presse_Haacke_Fuehrung_Ursula_Stroebele_credit_Helena_Heilig-932x1024.jpg 932w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/10\/Schirn_Presse_Haacke_Fuehrung_Ursula_Stroebele_credit_Helena_Heilig-768x844.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/10\/Schirn_Presse_Haacke_Fuehrung_Ursula_Stroebele_credit_Helena_Heilig-1397x1536.jpg 1397w, 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class=\"flex-align-top-right\"><a href=\"https:\/\/www.schirn.de\/en\/kuenstler\/hans-haacke-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Hans Haacke<\/div><div class=\"components-image-text-person-image-small-image\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d3fc2b6e8e1\"><script type=\"application\/json\">{\n\"id\" : 17772,\n\"sizes\" : 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-1280x1920.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-1280x1920.jpg 1280w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-200x300.jpg 200w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-683x1024.jpg 683w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-768x1152.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-1024x1536.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-1366x2048.jpg 1366w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-293x440.jpg 293w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-387x580.jpg 387w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-480x720.jpg 480w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images-853x1280.jpg 853w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/Schirn_Presse_Hans_Haacke_Portraet_credit_Justin_Tallis_AFP_via_Getty_Images.jpg 1875w\" sizes=\"(max-width: 763px) 100vw, (min-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><\/a><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-tertiary\"><a href=\"https:\/\/www.schirn.de\/en\/hauptkategorie\/context-en\/\" class=\"ho-tag-label\">Context<\/a><\/div><div class=\"ho-tag is-tertiary\" style=\"background-color:#7cbdef;\"><a href=\"https:\/\/www.schirn.de\/en\/ho_ausstellung\/hans-haacke-en\/\" class=\"ho-tag-label\">Hans Haacke<\/a><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/exhibition\/\" class=\"ho-tag-label\">Exhibition<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/society\/\" class=\"ho-tag-label\">Society<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/art-history\/\" class=\"ho-tag-label\">Art History<\/a><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>\n<\/div>\n<\/section><\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12 last-xs col-md-8'>\t<p class='ho-sd-h4'>In his early work, Hans Haacke already integrated animals and plants as co-actors into his art. In that way he not only laid the foundations for a redefinition of sculpture as a real-time system, but also paved the way for a contemporary artistic practice such as is championed by Pierre Huyghe.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-medien-bild-text-links-grosses-bild-rechts-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6  mobile-margin-bottom-4'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='mobile-margin-bottom-5'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">Lorem Ipsum<\/h2>\n<\/div>\n\n\n\t<p class='ho-sd-body'>Together with the ZERO group founders Heinz Mack, Otto Piene, and G\u00fcnther Uecker, in 1965 Hans Haacke designed an outdoor sculp\u00adtural ensemble for the pier in Scheveningen, Nether\u00adlands. It consisted of barrels of fire mounted on rafts, buoys as mobile sculp\u00adtures, bottles with ZERO messages in them, silver foil on the water, and objects made of smoke.  Haacke planned to gather seag\u00adulls by using a mobile feeding point, and he construed their flight infor\u00adma\u00adtion and \u2018mass\u2019 as a \u2018seagull sculp\u00adture\u2019. In partic\u00adular in his early oeuvre (approx. 1965\u201372), he increas\u00adingly used animals and plants as co-actors in his sculp\u00adtural concepts and humor\u00adously described them as his \u201cFran\u00adciscan works\u201d, alluding to St. Francis of Assisi who was, after all, consid\u00adered a friend of all animals and an ecol\u00ado\u00adgist. In this way, the \u2018flying sculp\u00adture\u2019 was one of the early works that used \u2018living\u2019 mate\u00adrial to estab\u00adlish a living sculp\u00adtural aesthetic, i.e., so-called \u201cnon-human living sculp\u00adtures\u201d.<br><br>By turning his back on a classic object-based aesthetics, with these non-human living sculp\u00adtures he called for a rede\u00adf\u00adi\u00adn\u00adi\u00adtion of the medium of sculp\u00adture in favor of \u201csculp\u00adture as a real-time system\u201d. In other words, the sculp\u00adture first evolves before the eyes of the audi\u00adence, is no longer static, and instead responds through its process to its surround\u00adings. A prime example of his approach is \u201cGoat Feeding in Woods\u201d: For this piece real\u00adized at Fonda\u00adtion Maeght in the south of France in 1970, Haacke confronted a goat with a new habitat and new food. This real-time and \u201cbiolog\u00adical system\u201d included choosing the section of the woods, the temper\u00ada\u00adture, the weather, the animal\u2019s biodi\u00adver\u00adsity and nutri\u00adtional pref\u00ader\u00adences, such that the goat\u2019s organism and metab\u00ado\u00adlism, which form a unique complex system, became the theme of the piece. The action was also a nod to insti\u00adtu\u00adtion critique: The young Haacke had this \u201cliving sculp\u00adture\u201d eat and model at will in the imme\u00addiate vicinity of the grand museum park in which stood sculp\u00adtures by renowned artists such as Joan Mir\u00f3 and Alberto Giacometti.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-5 col-md-offset-1 col-xs-offset-2 col-xs-10'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/www.burg-halle.de\/home\/344_pressehiwi\/BURG_PR_JourFixe_HansHaacke.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Hans Haacke, Life Airborne System, 30.11.1968, planned 1965, realized1968<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Hans Haacke, edited by Walter Grasskamp, London &amp; New York 2004, here p. 101, \u00a9 Hans Haacke\/ VG Bild-Kunst; Image via <a href=\"https:\/\/www.burg-halle.de\/en\/university\/news?tx_solr%5Bfilter%5D%5B0%5D=section%3AUniversity+culture\">burg-halle.de<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline' data-pattern='ho\/text-medien-bild-text-links-grosses-bild-rechts-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6  mobile-margin-bottom-4'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='mobile-margin-bottom-5'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">The lines dividing nature and culture<\/h2>\n<\/div>\n\n\n\t<p class='ho-sd-body'>In the form of the domes\u00adti\u00adcated and isolated goat, Haacke defended art\u2019s freedom against a foun\u00adda\u00adtion that was only char\u00adi\u00adtable at first sight and had been set up by gallery owner Aim\u00e9 Maeght. And Haacke went even further, as he crit\u00adi\u00adcized the role of artists as \u201cworking animals\u201d within art insti\u00adtu\u00adtions and the powerful art market system. On that same occa\u00adsion, during the exhi\u00adbi\u00adtion opening he let ten tortoises he had bought in a pet shop free. During this period in his oeuvre, he also proceeded to create several arti\u00adfi\u00adcial micro\u00adcli\u00admates with water, rain, snow, ice and water vapor \u2013 a \u201cdemon\u00adstra\u00adtion\u201d of insti\u00adtu\u00adtion critique by showing how art can generate its own, inde\u00adpen\u00addent climate. His \u201cFran\u00adciscan series\u201d thus ques\u00adtions not only the limits of a work of art in rela\u00adtion to its surround\u00adings, the pieces in ques\u00adtion also explore the lines dividing culture and nature, which is why the series has such a bearing on contem\u00adpo\u00adrary artistic prac\u00adtice.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-5 col-md-offset-1 col-xs-offset-2 col-xs-10'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/www.zikg.eu\/aktuelles\/veranstaltungen\/2019\/images\/ausstellungseroeffnung-hans-haacke\/image_preview\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Hans Haacke, Goat Feeding in Woods, 1970<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Hans Haacke \/ VG Bild-Kunst, Bonn 2019; Image via <a href=\"https:\/\/www.zikg.eu\/aktuelles\/veranstaltungen\/2019\/images\/ausstellungseroeffnung-hans-haacke\/view\">zikg.eu<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/live.staticflickr.com\/4038\/4405789156_28df7bd9b8_b.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Hans Haacke, Ten turtles set free, 1970<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via <a href=\"https:\/\/www.flickr.com\/photos\/47726303@N06\/4405789156\">flickr.com<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline toggle-optional-button' data-pattern='ho\/text-option-headline-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Pierre Huyghes devised his piece \u201cUntilled\u201d for the docu\u00admenta 13 (2012) exhi\u00adbi\u00adtion and it is long since consid\u00adered an iconic work as a prime example of such an art prac\u00adtice today. His walk-through biotope in the Karl\u00adsaue meadows in Kassel ques\u00adtioned the validity of construing a dichotomy between nature and culture. To this end, Huyghe did not choose the option of \u201ctaming\u201d nature such as is to be encoun\u00adtered for instance in Baroque land\u00adscaped gardens; instead, he favored a \u201cnon-place\u201d, namely the composting plant at the edge of the park. The title he chose high\u00adlights this, with its allu\u00adsions to an untreated, uncul\u00adti\u00advated space. However, this is precisely the concep\u00adtual paradox he creates: For the space is not, even if this is clearly inti\u00admated by the title, some \u201cterrain vague\u201d, meaning an aban\u00addoned inter\u00adstice in the urban fabric. Instead, Huyghe care\u00adfully planned and composed it.<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons '>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"https:\/\/www.google.de\/\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary mobile-full-width\">\n\t\t\t\t<span class=\"ho-button-label \">Lorem Ipsum<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/artlogic-res.cloudinary.com\/w_1500,h_1500,c_limit,f_auto,fl_lossy,q_auto:best\/ws-estherschipper2\/usr\/exhibitions\/images\/386\/untilled-new-version.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Pierre Huyghe, Untilled,\u00a02011\u201312 Living entities and inanimate things, made and not made Photo<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Pierre Huyghe; Image via <a href=\"https:\/\/www.estherschipper.com\/exhibitions\/386-untilled-pierre-huyghe\/\">estherschipper.com<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline' data-pattern='ho\/text-medien-bild-text-links-grosses-bild-rechts-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6  mobile-margin-bottom-4'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='mobile-margin-bottom-5'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">Planned down to the smallest details \u2013 and yet hard to control<\/h2>\n<\/div>\n\n\n\t<p class='ho-sd-body'>He struc\u00adtured the hilly area by heaping up piles of sand as well as humus, frag\u00adments of asphalt, cube-shaped cobble stones, and ground slabs he layered in stacks. More\u00adover, he then planted psychotropic and aphro\u00addisi\u00adacal species by way of new vege\u00adta\u00adtion. In a concrete pond filled with water, tadpoles thrived and grew into frogs. \u201cMarkers of history, and markers that I am marked, affected and influ\u00adenced by\u201d, as Huyghe himself said, were distrib\u00aduted throughout: There was a dead tree in remi\u00adnis\u00adcence of Robert Smithson\u2019s \u201cDead Tree\u201d (1969), a concrete bench with a pink seat tipped on its side and bringing to mind Dominique Gonzalez-Foer\u00adster\u2019s \u201cA Plan for Escape\u201d from docu\u00admenta 11 (2002), an uprooted oak with a piece of basalt recalling Joseph Beuys\u2019 \u201c7,000 oaks \u2013 urban forestry not urban plan\u00adning\u201d at Docu\u00admenta 7 (1982), not to mention a replica in concrete of a 1930s female nude by Max Weber, whose head shrouded in a beehive. Then there was \u2018Human\u2019, a white female grey\u00adhound with a pink leg, and a brown-and-white whelp with a simi\u00adlarly colored paw, who both roamed the grounds accom\u00adpa\u00adnied by a dog-keeper.<br><br>What Huyghe showed viewers eagerly wandering about trying to find the artwork was in fact nature in various stages of emer\u00adgence and decay so that one was inclined to ask what had been there before or rather where exactly Huyghe had inter\u00advened? Some of what was happening would have occurred in a similar way without the artist. Ants distrib\u00aduted seeds, put the remains of plants and dead crea\u00adtures to their own uses; compost waste rotted to form humus, decom\u00adposed by beetles and worms; bees polli\u00adnated blos\u00adsoms. The vege\u00adta\u00adtion changed over the 100 days during which the show ran; animal protag\u00ado\u00adnists entered the zone while others left the area, which was not enclosed by a fence. \u201cUntilled\u201d thus repre\u00adsented a \u201csculp\u00adtural situ\u00ada\u00adtion\u201d in which the artist created the precon\u00addi\u00adtions for the overall setting but largely left these actors to their own devices in their partic\u00adular spaces. As had been the case in Haacke\u2019s work, here sculp\u00adture evolves into a situ\u00ada\u00adtion in which it arises through inter\u00adac\u00adtion with hetero\u00adge\u00adneous objects and actors.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-5 col-md-offset-1 col-xs-offset-2 col-xs-10'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/artlogic-res.cloudinary.com\/w_1500,h_1500,c_limit,f_auto,fl_lossy,q_auto:best\/ws-estherschipper2\/usr\/exhibitions\/images\/386\/ph_untilled_6k.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Pierre Huyghe, Untilled<strong>,\u00a0<\/strong>2011\u201312 Living entities and inanimate things, made and not made Photo<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Pierre Huyghe; Image via <a href=\"https:\/\/www.estherschipper.com\/exhibitions\/386-untilled-pierre-huyghe\/\">estherschipper.com<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-medien-video-text-links-video-rechts-option-headline'>\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row'>\n\n<div  class='col col-xs-10 col-md-6'>\n\n<div  class='padding-bottom-4  ho-pattern-optional-headline'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">Lorem Ipsum<\/h2>\n<\/div>\n\n\n\n\n<div  class='mobile-padding-bottom-5'>\t<p class='ho-sd-body'>The juxta\u00adpo\u00adsi\u00adtion of the work of Hans Haacke to that of Pierre Huyghe creates new perspec\u00adtives on sculp\u00adture as a medium: The two artists ques\u00adtion the long-standing tradi\u00adtion of an object-based aesthetics and by creating matrices of rela\u00adtion\u00adships using all manner of different actors favor instead one founded on open\u00adness, process, and rela\u00adtion\u00adality. While Haacke\u2019s systems are meant to be revealed such that we can visu\u00adally compre\u00adhend them, in the case of Huyghe the inter\u00adlink\u00adages remain largely hidden from sight. For all the dynamism, both protag\u00ado\u00adnists conceive an \u2018image\u2019 in their minds before\u00adhand that in the course of the exhi\u00adbi\u00adtion for all its suggested open\u00adness (in the case of Huyghe) was subject to modi\u00adfi\u00adca\u00adtion and constant nurture. Both artists simu\u00adlate and domes\u00adti\u00adcate nature; with their \u201cnon-human living sculp\u00adtures\u201d they present nature as created by humankind, i.e., a \u201cthird nature\u201d, and thus make a substan\u00adtive contri\u00adbu\u00adtion to expanding our notion of sculp\u00adture.<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-8  col-xs-offset-4 col-md-5 col-md-offset-1'>\n\n<div  class='lazy-media-play-content-wrapper margin-bottom-7'><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_rl9N7W\">\n<script type=\"application\/json\">{\n\"id\" : 13990,\n\"sizes\" : {\"medium\":{\"file\":\"Screenshot-2024-11-25-125028-300x161.jpg\",\"width\":300,\"height\":161,\"mime-type\":\"image\\\/jpeg\",\"filesize\":14461},\"large\":{\"file\":\"Screenshot-2024-11-25-125028-1024x550.jpg\",\"width\":1024,\"height\":550,\"mime-type\":\"image\\\/jpeg\",\"filesize\":102795},\"medium_large\":{\"file\":\"Screenshot-2024-11-25-125028-768x412.jpg\",\"width\":768,\"height\":412,\"mime-type\":\"image\\\/jpeg\",\"filesize\":66875},\"1536x1536\":{\"file\":\"Screenshot-2024-11-25-125028-1536x825.jpg\",\"width\":1536,\"height\":825,\"mime-type\":\"image\\\/jpeg\",\"filesize\":181990},\"small\":{\"file\":\"Screenshot-2024-11-25-125028-440x236.jpg\",\"width\":440,\"height\":236,\"mime-type\":\"image\\\/jpeg\",\"filesize\":27416},\"semi\":{\"file\":\"Screenshot-2024-11-25-125028-580x312.jpg\",\"width\":580,\"height\":312,\"mime-type\":\"image\\\/jpeg\",\"filesize\":43133},\"mobile\":{\"file\":\"Screenshot-2024-11-25-125028-720x387.jpg\",\"width\":720,\"height\":387,\"mime-type\":\"image\\\/jpeg\",\"filesize\":60931},\"hd\":{\"file\":\"Screenshot-2024-11-25-125028-1280x687.jpg\",\"width\":1280,\"height\":687,\"mime-type\":\"image\\\/jpeg\",\"filesize\":140965},\"original\":{\"file\":\"Screenshot-2024-11-25-125028.jpg\",\"width\":1780,\"height\":956}},\n\"alt\" : \"\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2024\\\/11\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : \"https:\\\/\\\/www.youtube.com\\\/watch?v=xI9M5Juotnw&embeds_referring_euri=https%3A%2F%2Fwww.schirn.de%2F&source_ve_path=Mjg2NjY\",\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : {\"x\":0.5,\"y\":0.5},\n\"background\" : true,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:56.25%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n\n\n<div  class='video-audio-time hide-while-playing'>\t<p class='video-audio-time-label'>01:41<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>In his early work, Hans Haacke already integrated animals and plants as co-actors into his art. In that way he not only laid the foundations for a redefinition of sculpture as a real-time system, but also paved the way for a contemporary artistic practice such as is championed by Pierre Huyghe.<\/p>\n","protected":false},"featured_media":18515,"template":"","meta":{"_acf_changed":false,"ho_image_focal_point":"","footnotes":""},"ho_exhibition_taxonomy":[3764],"artist":[1351],"magazin_tag":[1376,1369,1375],"magazin_type":[884],"involved":[968],"class_list":["post-13992","magazin-artikel","type-magazin-artikel","status-publish","has-post-thumbnail","hentry","ho_exhibition_taxonomy-hans-haacke-en","artist-hans-haacke-en","magazin_tag-art-history","magazin_tag-exhibition","magazin_tag-society","magazin_type-context-en","involved-ursula-stroebele-en"],"acf":{"seo_titel":"Non-Human Living Sculptures: Haacke & Huyghe at SCHIRN","seo_description":"","keywords":"","noindex":false,"redirect":"","relevancy":false,"post_type_label":false,"autoplay":""},"_links":{"self":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/13992","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel"}],"about":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/types\/magazin-artikel"}],"version-history":[{"count":7,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/13992\/revisions"}],"predecessor-version":[{"id":34932,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/13992\/revisions\/34932"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/media\/18515"}],"wp:attachment":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/media?parent=13992"}],"wp:term":[{"taxonomy":"ho_exhibition_taxonomy","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/ho_exhibition_taxonomy?post=13992"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/artist?post=13992"},{"taxonomy":"magazin_tag","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin_tag?post=13992"},{"taxonomy":"magazin_type","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin_type?post=13992"},{"taxonomy":"involved","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/involved?post=13992"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}