by Misha Lepetic
When all is finished, the people say, “We did it ourselves.”
~ Tao Te Ching, Verse 17
What does philosophy in action look like? Casual thoughts about the discipline may be united by the cliché of the philosopher as a loner. From Archimedes berating a Roman soldier to not “disturb my circles” (which subsequently cost him his head), to Kant's famous provinciality, to Wittgenstein's plunging into the Norwegian winter to work on the Logik, the term “armchair philosopher” might seem to be a tautology. But philosophy – or at least the parts that occupy the intersection of the interesting and the accessible – still concerns itself with the world at large, and our place in it.
New Yorkers got to see a particularly odd example of philosophy in action over the summer when artist Thomas Hirschhorn installed his Gramsci Monument in the central courtyard of a Bronx public housing complex known as Forest Houses. I won't dwell much on Antonio Gramsci himself (see here for a start), but suffice to say he was a man of the people, who died in prison after founding the Italian Communist Party. What is more interesting is how Hirschhorn used Gramsci as a jumping-off point, and where he chose to do it. Completed in 1956, Forest Houses is part and parcel of what anyone would recognize as “the projects” – a scattering of 15 buildings in a towers-in-the-park configuration, populated by nearly 3400 residents, most of whom are minorities and low-income. However, Hirschhorn didn't so much choose the site as it chose him – after visiting 47 public housing projects in the city, Forest Houses was the only one that expressed any interest in his proposal.
The arrival of Hirschhorn and his motley architectural assemblage, which seemed to be made mostly of plywood and duct tape, was met with perplexity by both residents and art critics. As far as the critics go – and hey, someone's got to play the straw man to kick things off, right? – at least one was mightily displeased. Writing in the New York Times, Ken Johnson pooh-poohed Hirschhorn as a “canny conceptualist operator” and opined that the installation would ultimately “be preserved in memory mainly by the high-end art world as just a work by Mr. Hirschhorn, another monument to his monumental ego.”
It's difficult for me to comprehend that Johnson and I visited the same place. The first thing to note is the inappropriateness of the term “installation.” The Gramsci Monument is much more of an intervention. Of course, architects and urbanists are not immune to the charms of this term, either – any bland pop-up café seems to constitute an “intervention” of the street, the urban fabric or what have you, with “dramatic” being the accompanying adjective of choice. But what made Hirschhorn's work really an intervention was its sheer physicality, its uncompromising presence in the courtyard. The towers-in-the-park paradigm, one of the baleful legacies of modernism, was introduced to the US in large measure by Le Corbusier, whose reputation is currently the subject of a risible attempt at rehabilitation by MoMA. The result is an environment of hard vertical and horizontal masonry lines, scrawny trees and threadbare lawns. As a pedestrian, you walk among 12-story brick sentinels, and the absence of any place that can provide a moment of semi-privacy, one of the key signifiers of successful public space, is palpable. The point – which was much in keeping with Le Corbusier's design ideals – was to get you to where you were going, and as efficiently as possible. “No Loitering,” as the signs say.
