“Too Too – Much Much” is the first major project of Thomas Hirschhorn in a Belgian museum. The modernist architecture and the residential context of the Museum Dhondt-Dhaenens are the ideal fertile basis for the artist’s reflection on the meaning of ‘Quantity’. Hirschhorn used the motif of the beverage can because of its universal form and the fact that it is used as a basic product of creativity in all cultures. It was the starting point for a spectacular total experience. The social reality of mass production and consumption is recuperated by the artist in a positive way through a creative act. Ultimately, the artist questions how we as individuals cope with the thousands of feelings, experiences and reflections that affect us every day. What elements do we suppress and how do we create energy to shape and control our own world. The experience he creates is in this respect both captivating, confrontational and an invitation for dialogue and discussion.
Thomas Hirschhorn on his project TOO TOO – MUCH MUCH:
Too Too – Much Much is a work that follows my directive “Energy: Yes! Quality: No!”. There are two ‘topics’ in this work. The first is linked to the motif: beverage cans, the consumption, the Excess while the second topic relates to the role of the artist who always wants to do too much, without coming to the essence, but who quite contrarily disregards the essence, who really does way too much. These two topics come together – nevertheless – in one form. The Form Too Too – Much Much. The form of this work is also a manifesto that confirms that the artist’s practice is neither pure theory nor pure practice. The work of the artist should definitely go beyond the theory and practice.