Unlike previous pair ings of avant garde utopianism

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: , and novellas. A prevailing theme throughout his work in all media is the product ion of relat ionships (part icularly social relat ionships) through our environment . His early work invest igated the space bet ween sculpture and funct ional design. Examples include his Pinboard Project (1992), a bullet in board cont aining instruct ions for use, potent ial items for inclusion on the board, and a recommendat ion to subscr ibe to a limited number of spet pract ices, it s unique st atus in the public imaginat ion der ives in part from a cert ain naturalizing of the cr it ical readings that have accompanied and, to an extent , constructed it . Unlike previous pair ings of avant- garde utopianism, in which art merges happily with life, and ant i-inst itut ional cr it icalit y, in which art object s are const ituted in, and as, social spaces, what put at ively guar antees t he product ion of uncont aminated social praxis in Tiravanija’s work is the unique impr int of the art ist , whose generosit y both animates the inst allat ions and unifies them st ylist ically. A host of art icles have focused on the familial atmosphere of the galler y where he is represented, and other biographical det ails of his life, render ing a covert equivalence bet ween Tiravanija’s work and self. This idealized project ion seems to der ive from the work it self, as the art ist has themat ized det ails of his ethnic background in his inst allat ions through references to Thai culture. . . . The art ist , reposit ioned as both the source and arbiter of meaning, is embraced as the pure embodiment of his/her sexual, cultural, or ethnic ident it y, guaranteeing both the authent icit y and polit ical efficacit y of his/her work” (pp. 28 –29). 17. Ibid., pp. 39– 40. Liam Gillick. Pinboard Project (Grey). 1992. Courtesy the artist and Cor vi-Mora, London. Antagonism and Relational Aesthetics 59 journals; and Protot ype Erasmus Table #2 (1994), a t able “designed to nearly fill a room” and conceived as “a working place where it might be possible to finish working on the book Erasmus Is Late ” (Gillick’s publicat ion of 1995), but which is also available for use by other people “for the storage and exhibit ion of work on, under or around it .”18 Since the mid-1990s, Gillick has become best known for his three- dimensional design work: screens and suspended platforms made of aluminum and colored Plexiglas, which are often displayed along side text s and geomet r ical designs painted direct ly onto a wall. Gillick’s descr ipt ions of these works emphasize their potent ial use v alue, but in a way t hat carefully denies t hem any specific agency: each object’s meaning is so overdetermined that it seems to parody both claims made for modernist design and t he language of management consult ing. His 120 x 120 cm open-topped Plexiglas cube Discussion Island: Projected Think Tank (1997) is descr ibed as “a work that may be used as an object that might signify an enclosed zone for the co...
View Full Document

Ask a homework question - tutors are online