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Roger Hiorns was born on 1975 in Birmingham, United Kingdom.

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Birthplace Birmingham, United Kingdom
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Timeline

2019

His approach is both layered and expansive, with the works’ individual elements emerging in a provocatively ambiguous manner. This ambiguity resists a reductionist interpretation, and is not easily described in a linear fashion, the first level of meaning or symbolism that presents itself is not the end point of the work, and the works complexity escapes a fully successful interpretation under the current conditions of understanding. Hiorns represents a generation that has been strongly influenced by conceptual approaches but that is also more engaged in taking a stand against the changing nature of authority and power structures in today’s Euro-American civilization, including the related societal schisms.

Hossein Amirsadeghi, “Sanctuary: Britain’s Artists and their Studios”, Thames and Hudson, London

Henry Werner, “Modern Art For Sale: Les Plus Grandes Foires et Salons d’Art Au Monde”, Feymedia, Düsseldorf, p. 169

“Passports. In Viaggio Con L’Arte”, Silvana Editoriale, Milano, pp. 106–107

2018

In his work, Hiorns proposes a positive mistrust of our surroundings, the traps inherent within the objects of the world. Hiorns proposes that a way of escaping into the real world, by revealing the true state of things and by breaking through the shell forced on us by society and convention can be enacted upon by the ‘Insulting’ of objects and applied authority.

2016

In the summer of 2016, Roger Hiorns Buried a military passenger aircraft into a hill in the East of England. The burial marked the first occasion in which a series of buried aircraft will occur across the globe in what the artist describes to be a global network of buried passenger aircraft. Aircraft are to be, or have been, buried on all continents across the globe.

2015

In 2015 Hiorns created a work for the Hayward gallery London. The work proposes an intensely researched timeline on the subject of the animal disease BSE and the human disease vCJD. The work was an intensive reflection on the ‘systemic violence’ within society and the appropriate aesthetic response to authority that a living person may now evoke. The work proposes a timeline originating from a central origin, that of the UK in the mid 1970s, and the subsequent spread to other global territories. This spread can be mapped and the timeline can continue to be exhibited in other infected territories in the future.

2013

Heather Pesanti, Ann Reynolds, Lawrence Weschler, Alva Noë, “Strange Pilgrims”, The Contemporary Austin, Texas, pp. 78–87

British Council, “Private Utopia: Contemporary Art From the British Council Collection”, The Asahi Shimbun, Japan, pp. 72–73

Hans Ulrich Obrist and Rem Koolhaas, “London Dialogues: Serpentine Gallery 24-Hour Interview Marathon”, Skira Editore, Milan, pp. 169 – 175

“Made in the UK; Contemporary Art from the Richard Brown Baker Collection”, Museum of Art, Rhode Island School of Design, pp. 40–41

Peter Eleey, “September 11”, MoMA PS1, pp. 134–134

“The Shape of Things To Come: New Sculpture”, Saatchi Gallery, London, pp. 48–53, 114

Lisa Le Feuvre and Tom Morton, “British Art Show 7: In the Days of the Comet”, Hayward Publishing, London, pp. 86–89

“Gerhard Richter and the disappearance of the image in contemporary art”, Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence, Alias, pp. 96–101

“The Quick and the Dead”, Walker Art Center, pp. 222–223

“British Council Collection: Passports”, British Council, Cover, pp. 100–101

Tom Morton, “Expenditure”, Contemporary Art Exhibition, Busan Biennale, pp. 146–147

“Semaines, Digestive System”, Analogues, Les Presses du Reel, pp. 37–48

“New Perspectives in Sculpture and Installation”, Vitamin 3-D, Phaidon, pp. 150–151

Judith Collins, “Sculpture Today”, Phaidon, pp. 202–203

“Destroy Athens”, 1st Athens Biennale, pp. 158–159

2008

In 2008 he created a sculpture and installation in South London where he materially claimed an entire ex-council flat, growing within it an industrialized scale of copper sulphate crystals. 75,000 litres of solution were pumped into the waterproofed council flat to create a crystalline growth on the walls, floor, ceiling and bath of this abandoned dwelling. Described as a ‘Cult hit’ and ‘destined to be remembered as one of the truly worthwhile and significant moments of modern British art’ by The Guardian, the project was called Seizure and was produced by Artangel.

“Roger Hiorns: Seizure 2008/2013”, Yorkshire Sculpture Park, Wakefield (cat)

1991

Hiorns was born in Birmingham. He attended the Bournville College of Art from 1991 to 1993, and Goldsmiths, University of London in London from 1993 to 1996. He lives in London.

1990

The artwork is called: The retrospective view of the pathway, (pathways), 1990-2016 Buried passenger aircraft.

1975

Roger Hiorns (born 1975) is a British Contemporary artist who works in London. His primary media is sculpture and installation, using a wide variety of materials, including metals, wood and plastics. He also works in the media of video and photography.