In unt itled st ill 1992 at 303 galler y new york

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Unformatted text preview: is found in No Ghost Just a Shell, an ongoing project by Pierre Huyghe and Philippe Parreno, who have invited Liam Gillick, Dominique Gonzales -Foer ster, M/M, Francois Curlet , Rirkr it Tiravanija, Pierre Joseph, Joe Scanlan, and other s to collaborate with them in creat ing work around the defunct Japanese manga character AnnLee. 56 OCTOBER hybr id inst allat ion per formances, in which he cooks veget able curr y or pad thai for people attending the museum or galler y where he has been invited to work. In Unt itled (St ill) (1992) at 303 Galler y, New York, Tirav anija moved ever yt hing he found in the galler y office and storeroom into the main exhibit ion space, including the director, who was obliged to work in public, among cooking smells and diner s. In the storeroom he set up what was descr ibed by one cr it ic as a “makeshift refugee kitchen,” with paper plates, plast ic knives and forks, gas burner s, kitchen u t e n s i l s , t w o f o l d i n g t a b l e s , a n d s o m e f o l d i n g s t o o l s . 14 I n t h e g a l l e r y h e c o o k e d curr ies for v isitor s, and t he det r itus, utensils, and food packet s became t he art Rirkrit Tiravanija. Unt it led (Free). 303 Galler y, New York, 1992. Courtesy Gavin Brown’s Enterprise, New York. exhibit whenever t he art ist wasn’t t here. Several cr it ics, and Tirav anija himself, have obser ved t hat t his involvement of t he audience is t he main focus of his work: t he food is but a means to allow a conv iv ial relat ionship bet ween audience a n d a r t i s t t o d e v e l o p . 15 Underlying much of Tiravanija’s pract ice is a desire not just to erode the dist inct ion bet ween inst it itut ional and social space, but bet ween art ist and v iewer; the phrase “lot s of people” regularly appear s on his list s of mater ials. In the late 1990s, Tiravanija focused increasingly on creat ing situat ions where the audience could produce it s own work. A more elaborate ver sion of the 303 Galler y inst alla14. Jerr y Salt z, “A Short Histor y of Rirkr it Tiravanija,” Art in America (Februar y 1996), p. 106. 15. If one wanted to ident ify histor ical precur sor s for this t ype of art , there are ample names to cite: Michael Asher’s unt it led inst allat ion at the Clare Copley Galler y, Los Angeles, in 1974, in which he removed the part it ion bet ween exhibit ion space and galler y office, or Gordon Matt a-Clark’s rest aurant Food, opened with his art ist colleagues in the early 1970s. Food was a collect ive project that enabled art ist s to earn a small living and fund their art pract ice without succumbing to the ideologically compromising demands of the art market . Other art ist s who presented the consumpt ion of food and dr ink as art in the 1960s and early ’70s include Allan Rupper sberg, Tom Mar ioni, Daniel Spoerr i, and the Fluxus group. Antagonism and Relational Aesthetics 57 t ion/per formance was undert aken in Unt itled (Tomorrow Is Another Day) (1996) at the Kölnischer Kunstverein....
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