16 although the mater ials of tiravanijas work have

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Unformatted text preview: Here, Tiravanija built a wooden reconstruct ion of his New York apartment , which was made open to the public t went y-four hour s a day. People could use t he kitchen to make food, wash t hemselves in his bat hroom, sleep in t he bedroom, or hang out and chat in t he liv ing room. The cat alog accompanying t he Kunstverein project quotes a select ion of newspaper art icles and reviews, all of which reiterate the curator’s assert ion that “this unique combinat ion of art and life offered an impressive exper ience of toget herness to ever ybody.”16 Although the mater ials of Tiravanija’s work have become more diver se, Tiravanija. Unt it led 1996 (Tomorrow Is Another Day). Kolnischer Kunstverein, Cologne, Germany, 1996. Courtesy Gavin Brown’s Enterprise, New York. t he emphasis remains on use over contemplat ion. For Pad Thai, a project at De Appel, Amsterdam, in 1996, he made available a room of amplified electr ic guit ar s and a drumset , allowing visitor s to t ake up the instrument s and generate their own music. Pad Thai init ially incorporated a project ion of Andy Warhol’s Sleep (1963) and subsequent incarnat ions included a film by Marcel Broodthaer s at Speaker’s Corner, Hyde Park, London (in which the art ist wr ites on a blackboard “you are all art ist s”). In a project in Glasgow, Cinema Liberté (1999), Tiravanija asked the local audience to nominate their favor ite films, which were then screened outdoor s at the inter sect ion of t wo st reet s in Glasgow. As Janet Kr aynak has wr itten, alt hough Tir av anija’s 16. Udo Kittelmann, “Preface,” in Rirkrit Tirav anija: Unt it led, 1996 (Tomorrow Is Anot her Day) ( C o l o g n e : S a l o n Ve r l a g a n d K ö l n i s c h e r K u n s t v e r e i n , 1 9 9 6 ), n . p . A s J a n e t K r a y n a k h a s n o t e d , Tiravanija’s work has occasioned some of the most idealized and euphor ic art cr it icism of recent t imes: his work is heralded not just as an emancipator y site, free of constraint s, but also as a cr it ique of commodificat ion and as a celebrat ion of cultural ident it y— to the point where these imperat ives ult imately collapse, in t he inst itut ional embr ace of Tir av anija’s per sona as commodit y. See Janet Kr aynak, “ Tiravanija’s Liabilit y,” Documents 13 (Fall 1998), pp. 26 – 40. It is worth quot ing Kraynak in full: “ While Tiravanija’s art compels or provokes a host of concerns relevant to the larger domain of contemporar y art 58 OCTOBER demater ialized project s revive strategies of cr it ique from the 1960s and ’70s, it is arguable that in the context of today’s dominant economic model of globalizat ion, Tiravanija’s it inerant ubiquit y does not self-reflexively quest ion this logic, but merely reproduces it .17 He is one of the most est ablished, influent ial, and omnipresent figures on the internat ional art circuit , and his work has been crucial to both the emergence of relat ional aesthet ics as a theor y, and to the curator ial desire for “openended,” “laborator y” exhibit ions. My second example is the Br it ish art ist Liam Gillick, born in 1964. Gillick’s output is interdisciplinar y: his heavily theor ized interest s are disseminated in sculpture, inst allat ion, graphic design, curat ing, art cr it icism...
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This document was uploaded on 02/20/2014 for the course PHILOSOPHY 244 at University of Tennessee.

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