Salon 94

colour shift, 2012

Antonia Hirsch

Today, the trade with colourful cut flowers represents a business worth annually about 40bn dollars. Almost four centuries ago, the Dutch Golden Age saw the brief emergence of a phenomenon that is known as “tulipmania” (1633–37). During this period the tulip, an ephemeral object without use value, became the subject of intense economic speculation and its—at times astronomical—prices were determined to a large degree by its colour. colour shift shows the shipping and handling floor of the world’s largest flower auction house in Aalsmeer, Holland, during the tulip season. The goods—continually moving between auction floor and shipping facilities—create an ever-changing palette of colour. (Hirsch) 

Antonia Hirsch’s work has been exhibited at the Taipei Fine Arts Museum; Power Plant, Toronto; the Contemporary Art Gallery, Vancouver; ZKM Museum of Contemporary Art, Karlsruhe; Kunstverein Salzburg; Witte de With Center of Contemporary Art, Rotterdam; and Tramway, Glasgow, among others. Her work can be found in public collections such as that of the Vancouver Art Gallery, the National Gallery of Canada, and the Sackner Archive of Concrete & Visual Poetry, Miami Beach. Her artist projects and writing have been published in magazines and journals such as Fillip, The Happy Hypocrite, C-magazine, Westcoast Line, and artecontexto. She is the editor of the anthology Intangible Economies, published by Fillip in 2012 and Negative Space: Orbiting Inner and Outer Experience, published by SFU Galleries in 2015. For more information please visit antoniahirsch.com.

Curated by Josephine Shokrian, Haeler Echo 

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