<h1>Damien Hirst: Life, Death and Love</h1>
<h1>Damien Hirst: Life, Death and Love</h1>
<h1>Damien Hirst: Life, Death and Love</h1>

Hirst was born Bristol in 1965, and studied at Goldsmith’s College in London. He first attracted attention as a beginning author in the British art scene, and in 1993, he achieved his first international success at the Venice biennale. He acquired a firm position on the global map of the art world after he became the laureate of the Turner award in 1995 (for his work titled “Mother and Child, Divided”), and he became a protagonist for the phenomenon of the 1990’s known as the Young British Artists, and he maintains this position today.

Hirst’s work includes sculpture, installation and painting together. Objects of animals depicted in significantly modified circumstances and relations are typical and very well known (cuts of sheep or cows or sharks in formaldehyde). Other ready-made objects which Hirst often utilizes are medical instrumentations from a characteristically cold, clinical view. Hirst’s paintings, though seemingly more decorative in their perception, utilize various automatic procedures.

However, the creations of Damien Hirst exceed pure formalistic aims, and he involves himself in deeply symbolic and metaphysical questions. Fascinated with death, the artist seduces the viewer with his often grotesque reflexes of mortality in which is always depicted that final moment on no return – the moment of final truth. The art of Damien Hirst does not present the amortization of death, but it has almost certainly had an essential significance in terms of the renewal of esthetic perception. Hirst’s shocking spectacle transformed that which was once considered grotesque or rejected as an expression of “poor taste” into something sublime – a new type of beauty. Hirst’s works, which are displayed at this exhibition, follow this trend. All installations, statues and paintings offer a focused, carefully selected overview of the main formal and thematic aspects of work of Damien Hirst during the last decade. When viewing the catalogue, the public can acquaint themselves with Hirst’s way of thinking thanks to the Hans Ulrich Obrist’s interview with the artist and, together with Hanne Ueland, readers can further analyze the religious symbolism in Hirst’s creations, or become familiar with the problems of the passage from science to art in Hirst’s works in an essay by Greta Arba. Galerie Rudolfinum thus presents Damien Hirst to the Czech audience through a chamber, but very concise exhibition in the Small Gallery.

Exhibition is organised with The Astrup Fearnley Museum of Modern Art, Oslo, Norway.


Curators: Gunnar. B. Kvaran, Petr Nedoma

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