Thomas Hirschhorn at Chantal Crousel

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Hirschhorn provided fantasy. Conflated the constructions with construction work, of a philosophy being useful like plumbers, a pragmatic attitude that "fans" of philosophy armed with nothing but his packaging tape could assemble some good in the world. In hindsight much of it was tone deaf and not really useful. But it looked utilitarian. That was important.
This exhibitions "conversations" are a clever way to commodify another's thinking in a neat package AND provide a fantasy, of our communication being clever. Making your fandom pay through resale.

Thomas Hirschhorn at Chantal Crousel

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The Aesthetic bullying of Hirschorn is continually justified upon the premise that if the world is this violent so too may I be, which makes some sense, a world comprised of violent images justifies artists having some tendency/responsibility toward them, of which Hirschhorn, bundling himself in political declarative truisms, has no issue meeting or exceeding this violence under the auspice of political knowledge or at least rhetoric, serving as gross illustrations of the madness of culture. True grotesque violence can't, shouldn't, be consumed in the way artwork generally is, with its polite meanings and lineages and references exonerating genteel abstraction.  Hirschhorn instead aesthetically screaming. But as the provided documentation examples, no matter the madness involved we are just men standing around politely considering it.