Rirkrit Tiravanija

Born Buenos Aires, Argentina, 1961

Lives and works in New York, Berlin and Bangkok

 

 

EDUCATION

 

1985-1986       The Whitney Independent Studies Program, New York

1984-1986       The School of the Art Institute of Chicago

1984               The Banff Center School of Fine Arts, Banff, Canada

1980-1984       The Ontario College of Art, Toronto, Canada

 

 

SOLO EXHIBITIONS


2014   FOCUS, Modern Art Museum of Fort Worth, Fort Worth, TX


2013   Oktophonie: Karlheinz Stockhausen & Rirkrit Tiravanija, Park Avenue Armory, New York, NY

          James Angus / Rirkrit Tiravanija, Gavin Brown's Enterprise, New York, NY

Pop Up Kitchen, with Tobias Rehberger, Pilar Corrias, Venice Biennale, Italy


2012   Untitled 2001/2012, Gallery Side 2, Tokyo, Japan

neugerriemschneider, Berlin, Germany

John Baldessari/Rirkrit Tiravanija, 1301PE, Los Angeles, CA

 

2011   Murder and Mayhem, 1301PE, Los Angeles, CA

Fear eats the soul, Gavin Brown's enterprise, New York, NY

Untitles 2008-2011 (the map of the land of feeling), Carolina NItsch, New York, NY

Untitled 2011 (police police potato grease), Bonnierskonsthall, Stockholm, Sweden

 

2010   Rirkrit Tiravanija, Pilar Corrias, London, UK

Helga Maria Klosterfelde, Berlin, Germany

Asile Flottant, Chantal Crousel, Paris, France

Ne Travaillez Jamais, Tang Contemporary, Beijing, China

(who's afraid of red, yellow, and green), 100 Tonson Gallery, Bangkok, Thailand

Rirkrit Tiravanija Retrospective, Kunsthalle Bielefeld, Germany

 

2009   Rirkrit Tiravanija: Chew the Fat, Mildred Lane Kemper Art Museum, St. Louis, MO 

The House the Cat Built, Galeria Salvador Diaz, Madrid, Spain

A Long March, Centro de Arte Contemporaneo de Malaga, Spain

Reflection, Nyehaus, New York, NY

Less Oil More Courage, Kunsthalle Fridericianum, Kassel, Germany

 

2008   JG Reads, Gavin Brownʼs Enterprise, New York, NY

Palm Pavilion, Kurimanzutto, Mexico City, Mexico

Demonstration Drawings, Drawing Center, New York, NY

Magazine station no. 5, Artspace, Auckland, New Zealand

Foster, Youʼre Dead, with Neil Logan, Galleria Emi Fontana, Milan, Italy

 

2007   Rirkrit Tiravanija, with Gordon Matta-Clark, David Zwirner Gallery, New York, NY

Stories Are Propaganda, with Philippe Parreno, Friedrich Petzel Gallery, New York, NY

Brychcy Bar, Ontario College of Art and Design, Toronto, Canada

Untitled 2007 (An Untitled Concert), orchestral score for Luis Buuel, Theater Basel, Switzerland

Untitled 1992 (Free), with Gordon Matta-Clark, David Zwirner Gallery, New York, NY

Rirkrit Tiravanija, Helga Maria Klosterfelde, Berlin, Germany

 

2006   Brychcy Bar, Gavin Brown's enterprise, New York, NY

Demonstration Drawings, 1301PE, Los Angeles, CA

Philippe Parreno & Rirkrit Tiravanija, Freidrich Petzel Gallery, New York, NY

Rirkrit Tiravanija, Galerie Chantal Crousel, Paris, France

 

2005   Untitled 2005 (magazine station no. 4), Neugerriemschneider, Berlin, Germany

Retrospective, Serpentine Gallery, London, UK

Retrospective (Tomorrow is Another Fine Day), ARC, Musee d'Art moderne de la Ville de Paris, France

Hugo Boss 2004, Guggenheim Museum, New York, NY


2004   Retrospective, Museum Bojmans Van Beuningen, Rotterdam, The Netherlands

Nothing, CMU Art Museum, Chiang Mai, Thailand

Social Pudding: Ririkrit Tiravanija and Superflex, 1301PE, Los Angeles, CA

 

2003   Untitled (Demo Station no. 4), Ikon Gallery, Birmingham, UK

In the future everything will be chrome, Gavin Brown's enterprise, New York, NY

Social Pudding, with Superflex, Galerie fur Zeitgenossische Kunst, Leipzig, Germany

 

2002   Untitled 2002 (He Promised), Secession, Vienna, Austria (cat.)

Untitled (Demo Station no. 3), Sumida River Project, Asahi Beer, Tokyo, Japan

Untitled (The Raw & The Cooked), City Opera Gallery, Tokyo, Japan

Demonstartion, Sumida River Project, Asahi Beer, Tokyo, Japan

Untitled (oVer Station no. 2), Astrup Fearnley Museum of Modern Art, Oslo, Norway

 

2001   The Land, Galerie Chantal Crousel, Paris, France

Rirkrit Tiravanija: Over Magazine, Oslo Kunsthall, Norway

Rirkrit Tiravanija, Galleria d'Arte Moderna, Turin, Italy

Untitled 2001 (The two sons of Monchengladbach), Stadtisches Museum Abteiberg, Mnchengladbach, Germany

Untitled 2001 (No Fire No Ashes), Neugerriemschneider, Berlin, Germany

Untitled 2001 (Demo Station no.3), Portikus, Frankfurt, Germany

Rirkrit Tiravanija, Kunstverein, Wolfsburg, Germany

Passage Cosmo, Project Gallery, CCA Kitakyushu, Japan

 

2000   Untitled 2000 (oVer Station no. 2), Galleria Emi Fontana, Milan, Italy

Untitled 2000 (oVer Station no. 1), Gallery Side 2, Tokyo, Japan

Untitled 2000 (demonstrate), Galeria Salvador Diaz, Madrid, Spain

 

1999   Untitled 1999 (Community Cinema for a Quiet Intersection (After Oldenburg)), The Modern Institute, Glasgow, UK

A Trailer for a Film  (in progress for the past several years), 1301PE, Los Angeles, CA

Rirkrit Tiravanija, Helga Maria Klosterfelde, Hamburg, Germany

Dom-Ino Effect, with Lincoln Tobier, Los Angeles County Museum of Art, CA

Untitled 1999 (mobile home), Fundacio la Caixa, Barcelona, Spain

Untitled 1999 (can shut up and go away), Gavin Brown's enterprise, New York, NY

Untitled 1999 (reading from right to left), Wexner Center for the Arts, Columbus, OH

Rirkrit Tiravanija, Galerie Micheline Szwajcer, Antwerp, Belgium

 

1998   Untitled 1998 (Das Soziale Kapital), Museum fur Gegenwartskunst, Zurich, Switzerland

Untitled 1998 (On the Road with Jiew, Jeaw, Jieb, Sri and Moo), Philadelphia Museum of Art, PA

Dom-Ino (Une Demonstration D'automne), Galerie Chantal Crousel, Paris, France

Rirkrit Tiravanija, Galerie Micheline Szwajcer, Antwerp, Belgium

 

1997     Untitled 1997 (Playtime), Projects 58, MoMA, New York, USA; Williams College Museum of Art, Williamstown, MA

Untitled 1997 (A Demonstration by Faust as a Sausage and Franz Biberkopf as a Potato), Neugerriemschneider, Berlin, Germany

Rirkrit Tiravanija, Kunstverein Ludwigsburg - Villa Franck, Ludwigsburg, Germany (cat.)

Untitled 1997 (Schupfnudeln), Jan Winkelmann, Munich, Germany

Rirkrit Tiravanija, Helga Maria Klosterfelde, Hamburg, Germany

 

1996   Untitled 1996 (Loup, es-tu-la?), Galleria Emi Fontana, Milan, Italy

Untitled 1996 (Traffic), Navin Gallery Bangkok, Thailand

Untitled 1996 (Rehearsal Studio no. 6), Kunsthalle St. Gallen, Switzerland

Untitled 1996 (Tomorow's Another Day), Kolnischer Kunstverien, Cologne, Germany (cat.)

Untitled 1996 (one revolution per minute), Le Consortium, Centre d'Art Contemporain, Dijon, France

Douglas Gordon/Rirkrit Tiravanija, FRAC Languedoc-Rousillion, Montpellier, France

The Pool Room, Kunstverein in Hamburg, Germany

In/Out, a collaborative project with University of Illinois and The Resource Center, Gallery 400, University of Illinois, Chicago, IL

Untitled 1996 (Rehearsal studio no. 6), Spiral Garden, Tokyo, Japan

Stitching, DeAppel, Amsterdam, The Netherlands (cat.)

Stormer, Helga Maria Klosterfelde Editionen, Hamburg, Germany

 

1995   Untitled 1995 (Still), 303 Gallery, New York, NY

Untitled 1995 (Tent), Architektenbro Alsop & Strmer, Hamburg, Germany

Rirkrit Tiravanija, Helga Maria Klosterfelde Editionen, Hamburg, Germany

Untitled 1995 (Tent), Helga Maria Klosterfelde Editionen, Hamburg, Germany

 

1994   Andy Warhol Rirkrit Tiravanija, Gavin Brown's enterprise, New York, NY

Untitled 1994 (From Baragas...to Reina Sofia), Reina Sofia, Madrid, Spain

Untitled 1994 (meet tim & burkhard), Neugerriemschneider, Berlin, Germany

Untitled 1993 (Rucksack), Architektenbro Alsop & Strmer, Hamburg, Germany

Untitled 1994 (angst essen seele a uf), Friesenwall 116, Cologne, Germany

Untitled 1994 (Beauty), Jack Hanley Gallery, San Francisco, CA

 

1993   Untitled 1993 (Live and Eat, Eat and Die), Randolph Street Gallery, Chicago, IL

Untitled 1993 (Rucksack), Helga Maria Klosterfelde Editionen, Hamburg, Germany

 

1992   Untitled 1992 (Still), 303 Gallery, New York, NY

 

1991   Untitled 1990 (Blind), Randy Alexander Gallery, New York, NY

 

1990   Untitled 1990 (Pad Thai), Project Room, Paula Allen Gallery, New York, NY

 

 

GROUP EXHIBITIONS


2014   Take It or Leave It: Institution, Image, Ideology, Hammer Museum, Los Angeles, CA

          Grip frihenten! Take Liberty! Museum of Contemporary Art Oslo, Oslo, Norway

         Solaris Chronicles, Atelier de la Mecanique, Parc des Ateliers, Arles, France


2013   Island, Diary Art Centre, London UK

          News/Prints: Printmaking and the Newspaper,International Print Center, New York, NY

Interruption: The 30th Biennial of Graphic Arts, International Centre of Graphic Arts, Ljubljana, Slovenia

NYC 1993: Experimental Jet Set. Trash and No Star, New Musuem, New York, NY



2012   338 Oida Gallery, Bangkok, Thailand

Thai Transience, Singapore Art Museum, Singapore

Roundtable, 9th Gwangju Biennale, South Korea

Ruptures: Forms of Public Address, Cooper Gallery, The Cooper Union, New York, NY

Soup/No Soup, La Triennale, Palais de Tokyo, Paris, France

On Air, Centre Pompidou, Paris, France

Greetings from Los Angeles, Starkwhite, Auckland, New Zealand

Contra La Pared, Centro Colombo Americano, Bogota, Colombia

We the People, Robert Rauschenberg Foundation Project Space, New York, NY

Contemporary Asian Art: Texas Connections, Asia Society: Texas, Houston, TX

Print/Out, MoMA, New York, NY

Civic Action: A Vision for Long Island City, Socrates Sculpture Park, Long Island City, NY

Fuori Uso in Opera, Cantiere Caldora, Pescara, Italy

Ecstatic Alphabets/Heaps of Language, MoMA, New York, NY

ARTandPRESS, Martin-Gropius-Bau, Berlin, Germany

Feast: Radical Hospitality in Contemporary Art, Smart Museum of Art, Chicago, IL

 

2011   The Spiral and the Square: Exercises in translatability, Bonniers Konsthall, Stockholm, Sweden

Between Utopia and Dystopia, Museo Universitario Arte Contemporneo, Mexico City, Mexico

Art Unlimited, Art Basel 2011, Switzerland

Commercial Break, Garage Projects, 54th Venice Biennale, Italy

Politics is Personal, Stonescape, Calistoga, CA

Art and Press, Martin Gropius Bau, Berlin, Germany

 

2010    Art of the 21st Century, Queensland Art Gallery, Brisbane, Australia

Sanctuary, LA Art Core, Los Angeles, CA

The Last Newspaper, New Museum, New York, NY

And So On, And So On, and So On..., Harris Lieberman Gallery, New York, NY

Open Score Variations, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY

One Room, One Work, 1301PE, Los Angeles, CA

 

2009   Moral Imagination: Current positions in Contemporary Art in the face of Global Warming, Museum Morsbroich, Leverkusen, Germany

The House the Cat Built, Galera Salvador Diaz, Madrid, Spain

Desenhos: A-Z, Museu da Cidade, Lisbon, Portugal

Itʼs fine as long as you draw but donʼt film, Pilar Corrias Gallery, London, UK

Brdno Sculpture Park, Museum of Modern Art in Warsaw, Poland

Tempo del postino II, Art Basel 2009, Switzerland

Compass In Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection, Museum of Modern Art, New York, NY

1992009, DʼAmelio Terras, New York, NY

 

2008   The Greenroom: Reconsidering the Documentary and Contemporary Art, CCS Bard Hessel Museum, Annandale-on-Hudson, NY

Out Now!, E-Flux, New York, NY

theanyspacewhatever, Solomon R. Guggenheim Museum, New York, NY

Yokohama Triennale 2008, Japan

The New York Conversations, a project by Nico Dockx, Anton Vidokle, and Rirkrit Tiravanija, E-flux, New York, NY

Whoʼs Afraid of Jasper Johns?, conceived by Urs Fischer and Gavin Brown, Tony Shafrazi Gallery, New York, NY

The Puppet Show, Santa Monica Museum of Art, CA

Installations: Selection from the Guggenheim Collections, Guggenheim Museum Bilbao, Spain

Vertrautes Terrain: Aktuelle Kunst in und ber Deutschland, ZKM Center for Art and Media, Karlsruhe, Germany (cat.)

From Gerhard Richter to Rebecca Horn: Works from the Contemporary Art Collection of the Federal Republic of Germany, Art and Exhibition Hall of the Federal Republic of Germany, Bonn, Germany

The Freak Show, Muse d'Art Contemporain de Lyon, France

Experiment Marathon Reykjavik, Reykjavik Art Museum, Iceland

Glasgow International Festival of Visual Art, Glasgow, UK

Inaugural Exhibition New Space, Kurimanzutto, Mexico City, Mexico

An Unruly History of the Readymade, Coleccin Jumez, Mexico City, Mexico

Pivot Points: Defining MOCA's Collection, MoCA Miami, FL

Servitude and Simulacre, Ce Soir, curated by Jordi Vidal, Paris, France

 

2007   Art Beijing 2007, Tang Gallery, Beijing, China

Show Me Thai, Museum of Contemporary Art, Tokyo, Japan

Tomorrow, Artsonje Center, Seoul, South Korea

Anyang Public Art Project, Anyang, South Korea

Copenhagen Bar Project, Karriere Contemporary Art and Social Life, Copenhagen, Denmark

The Place and the Plate, The Jim Thompson Art Center, Bangkok, Thailand

The Lath Picture Show, Petzel Gallery, New York, NY

Sympathy for the Devil: Art and Rock and Roll Since 1967, MCA, Chicago, IL

Just use it, Nordjyllands Kunstmuseum, Aalborg, Denmark

Soctiabank Nuit Blanche, Ontario College of Art and Design, Ontario, Canada

Lucelia Artist Award 2001-2006, Smithsonian American Art Museum, Washington DC

Lyon Biennale, France

Words Fail Me, curated by Matthew Higgs, Museum of Contemporary Art, Detroit, MI

SH Contemporary Art Fair, Shanghai, China

Il Tempo del Postino, Manchester International Festival, Manchester, UK

Get Lost: Artists Map Downtown New York, New Museum Project, New York, NY

New Economy, Artists Space, New York, NY

Someone Else With My Fingerprints, Galerie Chantal Crousel, Paris, France

Generation 1.5, Queens Museum of Art, New York, NY

The Shapes of Space, Guggenheim Museum, New York, NY

Words Fail Me, curated by Matthew Higgs, Museum of Contemporary Art Detroit, MI

 

2006   25 x 25, Cereal Art Gallery, Philadelphia, PA

Open Ended (the art of engagement), Walker Art Center, Minneapolis, MN

All Hawaii Entres/Lunar Reggae, Irish Museum of Modern Art, Dublin, Ireland

The Exotic Journey Ends, Foksal Gallery Foundation, Warsaw, Poland; Kurimanzutto, Mexico City, Mexico

Emergency Biennale in Chechnya, Atklasanas Forums, Riga, Latvia 

Sao Paulo Biennial, Brazil

Surprise, Surprise, Institute of Contemporary Art, London, UK

Sculptures in the Park, Villa Manin Centro d'Arte Contemporanea, Codroipo, Italy

Yes Bruce Nauman, Zwirner & Wirth, New York, NY

Satellite of Love, Witte de With, Rotterdam, The Netherlands

Anstoss Berlin: Kunst macht Welt, Haus am Waldsee, Berlin, Germany

Not All Is Visible..., Astrup Fearnley Museum, Oslo, Norway

Into Me/Out of Me, PS1 Contemporary Art Center, New York, NY

The Large Piece of Turf: Contemporary Art in the Public Domain, curated by Raimer Stange and Florian Waldvogel for the City of Nuremberg and the German Football Assoc., Germany

Again for Tomorrow, Royal College of Art Galleries, London, UK

Infinite Painting, Villa Manin Centro d'Arte Contemporanea, Codroipo, Italy

Peace Tower, Whitney Biennial, Whitney Museum of American Art, New York, NY

 

2005   Thank You For the Music, Sprth Magers Projekte, Munich, Germany

Looking at Words, Andrea Rosen Gallery, New York, NY

 36 x 27 x 10, White Cube Berlin im ehemaligen Palast der Republik, Berlin, Germany

Fusion: Aspects of Asian Culture in the MUSAC Collection, MUSAC, Leon, Spain

Early Work, White Columns, New York, NY

Lichtkunst aus Kunstlicht, ZKM, Museum fr Neue Kunst, Karlsruhe, Germany

Fantasia, The Second Guangzhou Triennial, Guangdong Museum of Art, Er-sha Island, Guangzhou, China

Nach Rokytnik: The EVN Collection, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria

In the Middle of the Night: New Acquisitions since 1996, Kunsthalle Bielefeld, Germany

Rume und Schatten, Haus der Kulturen der Welt, Berlin, Germany

Post No Bills, White Columns, New York, NY

Universal Experience: Art, Life and the Tourist's Eye, Hayward Gallery, London, UK

Nur hier? (3), Hochschule fr Grafik und Buchkunst, Leipzig, Germany

Drive: Cars in Contemporary Art, Galleria D'Arte Moderna, Bologna, Italy

La Biennale de Lyon, France (cat.)

Luna Park: Arte Fantastica, Villa Manin Centro d'Arte Contemporanea, Codroipo, Italy (cat.)

Universal Experience, MCA, Chicago, IL (cat.)

 

2004   Small: The Object in Film, Video and Slide Installation, Whitney Museum of American Art, New York, NY

70/90 Engagierte Kunst, Staatliches Museum fr Kunst und Design in Nrnberg, Germany

The Encounters in the 21st Century: Polyphony Emerging Resonances, 21st Century Museum of Modern Art, Kanazawa, Japan

Kltterkammer, ICA, London, UK

International 04, Liverpool Biennial, UK

e-flux video rental, e-flux, New York, NY

Dakar Biennial 2004, Dakar, Senegal

Qualsiasi (TV), Base, Firenze, Italy

Artists' Favourites, ICA Galleries, London, UK

In the Belly of Anachitect, with Gordon Matta-Clark, Pierre Huyghe and Pamela M. Lee, Portikus, Frankfurt am Main, Germany (cat.)

 

2003   Big Nothing, Institute of Contemporary Art, Philadelphia, PA

Social Capital, Whitney Museum Of American Art Independent Study Program Exhibition, New York, NY (cat.)

The Fifth System: Public Art In The Age Of  "Post-Planning", The 5th Shenzhen International Public Art Exhibition, Shenzhen, China 

Installation Art 1969-2002, Museum for Contemporary Art, Los Angeles, CA

Utopia Station: Poster Project, Haus der Kunst, Munich, Germany

Hands up, baby, hands up, Oldenburger Kunstverein, Oldenburg, Germany

Everyday, Kunstforeningen, Copenhagen, Denmark (cat.)

Identitt schreiben: Autobiographie in der Kunst, Galerie fr zeitgenssische Kunst, Leipzig, Germany

Utopia Station, co-curated by Molly Nesbit and Hans-Ulrich Obrist, 50th Biennale di Venezia, Italy

Actionbutton, Hamburger Bahnhof, Berlin, Germany

Lichtkunst aus Kunstlicht, ZKM, Museum fr neue Kunst, Karlsruhe, Germany

Elephant Juice (sexo entro amigos), Kurimanzutto, Mexico City, Mexico

Inaugural Group Exhibition, Gavin Brown's enterprise, New York, NY

Perfect Timeless Repetition, Alte Gerhardsen, Berlin, Germany

El aire es azul, Casa Museo Luis Barragan, Mexico City, Mexico

Imperfect Marriages, Emi Fontana, Milan, Italy

Love Planet, Benesse, Okayama, Japan

 

2002   En Route, Serpentine Gallery, London

40 Jahre Fluxus nd die Folgen, Nassauischer Kunstverein und Projektbro des Stadtmuseums, Wiesbaden, Germany

No Ghost Just a Shell, Kunsthalle Zurich, Switzerland

To Eat or Not to Eat, Centro de Arte de Salamanca, Spain (cat.)

Public Affairs, Kunsthaus Zurich, Switzerland (cat.)

Liverpool Biennial, Liverpool, UK

The Object Sculpture, Henry Moore Institute, Leeds, UK (cat)

Void, Rice Gallery G2, Tokyo, Japan

Comfort Zone, Fabric Work Shop, Philadelphia, PA

 

2001   4Free, Buro Friedrich, Berlin, Germany

Fig-1: 50 projects in 50 weeks, conceived and developed by Mark Francis and Jay Jopling, London, UK (cat.)

Yokohama Triennale 2001, Yokohama, Japan

Orientale 1, ACC Weimar, Germany

Kleine Paradiese, Gutspark Bockel, Ostewestfalen, Lippe, Germany

GAM, Turin, Italy

Heimaten, Galerie fur Zeitgenossische Kunst, Leipzig, Germany

Cushy Job, Swiss Institute-Contemporary Art, New York, NY

Public Offerings, curated by Paul Schimmel, MOCA, Los Angeles, CA (cat.)

Stuffed, 1301PE, Los Angeles, CA

Beautiful Productions Parkett, Whitechapel Art Gallery, London, UK

Il dono: offerta, ospitalit, insidia, Palazzo Delle Papesse, Centro Arte Contempoanea, Sienna, Italy

Plug-in: Einheit and Mobilitat, Westfalisches Landesmuseum, Munster, Germany

Germania, Palazzo delle Papesse, Centro Arte Contemporanea, Sienna, Italy

The Beauty of Intimacy, Gemeentemuseum, Den Haag, The Netherlands; Staatliche Kunsthalle, Baden-Baden, Germany

The Beauty of Intimacy, Kunstraum Innsbruck, Austria

Freestyle: Werke aus der Sammlung Boros, Museum Morsbroich, Leverkusen, Germany

Egofugal, 7th International Istanbul Biennial, Turkey (cat.)

 

2000   Finale di Partita, Chiostro di Ognissanti, Firenze, Italy

More Works about Buildings and Food, Hangar K7, Fundiao de Oeiras, Portugal

Editions and Multiples 1990-2000, Helga Maria Klosterfelde, Hamburg, Germany

AutoWerke, Deichhtorhallen Hamburg, Germany

Vicinato 2, Friedrich Petzel, New York, NY

Taxa, Navin Gallery Bangkok, Thailand; Artspace 1%, Copenhagen, Denmark

Re_public, Grazer Kunstverein, Graz, Austria

Loneliness in the City, with Franz Ackermann, Migros Museum, Zurich, Switzerland

M Art in (n), M Art in (n) c/o Martin Schibli, Helsingborg, Sweden

LKW Lebenskunstwerke: Kunst in der Stadt 4, Kunsthaus Bregenz, Austria (cat.)

Ein/rumen: Arbeiten im Museum, Hamburger Kunsthalle, Hamburg, Germany

Berhmte Knstler Helfen Koch und Kesslau, Koch und Kesslau, Berlin, Germany

M(odel)4∞, BroFriedrich, Berlin, Germany

Das Unheimliche Heim, Kunstverein, Wolfsburg, Germany

Continental Shift, Ludwig Forum Aachen, Germany; Bonnefantenmuseum, Maastricht, The Netherlands; Stadsgalerij Heerlen, The Netherlands; Musee d'Art Moderne, Liege, Belgium (cat.)

Artworkers, curated by Melissa Feldman, Oriel Mostyn Gallery, Llandudno, Wales, UK

 

1999   Project Row Houses: Street Life (Round 11), curated by Jerme Sans, Houston, TX

Embedded Metaphor, curated by Nina Felshin, organized by ICI, New York, NY (traveling exhibition 1996-99)

Une histoire parmi d'autres, FRAC Nord-Pas de Calais, Dunkerque, France (cat.)

Peace, Migros Museum fur Gegenwartskunst, Zurich, Switzerland (cat.)

Moving Images: Film Reflexion in der kunst, Galerie fur Zeitgenossische Kunst Leipzig, Germany (cat.)

Locally Interested, ICA and the National Gallery for Foreign Art, Sofia, Bulgaria

dAPPERTutto, 48, Esposizione Internazionale d'Arte, La Biennale di Venezia, Italy (cat.)

Go Away: Artists and Travel, Royal College of Art, London, UK (cat.)

A Piece of Furniture..., Galerie Anselm Dreher, Berlin, Germany

1st Fukuoka Triennale, Fukuoka Asian Art Musem, Fukuoka, Japan

Talk Show: Die Kunst der Kommunikation in den 90er Jahen, Von der Heydt-Museum Wuppertal, Wuppertal, Germany (cat.)

Photography Salon, Elizabeth Cherry Contemporary Art, Tucson, AZ

FROM/TO, International Film Festival Rotterdam and Witte de With, Rotterdam, The Netherlands

Cities on the Move, Artspace 1% and Louisiana Museum of Madern Art, Copenhagen, Denmark

Konstruktionszeichnungen, Kunst-Werke, Berlin, Germany

Places to stay #5 M(usic), Bro Friedrich, Berlin, Germany

Kunst-Welten im Dialog, Museum Ludwig Koln, Cologne, Germany (cat.)

Blown Away, 6th International Caribbean Biennal, St. Kitts, Caribbean Islands

 

1998   Berlin Biennale, Germany

Sydney Biennale, Australia

Leisure and Travel, Paula Cooper Gallery, New York, NY

Crossings, National Gallery of Canada, Ottawa, Canada

Not Today, Gavin Brown's enterprise, New York, NY

Wounds: Between Democracy and Redemption in Contemporary Art, Moderna Museet, Stockholm, Sweden

Dad's Art, Neugerriemschneider, Berlin, Germany

"__, 1994Untitled 1994 (meettim&burkhard)brancsi, 1997", Grazer Kunstverein, Austria

Le Proces de Pol Pot, Magasin Centre National d'Art Contemporain de Grenoble, France

Cities on the Move, Wiener Secession, Vienna, Austria (cat.)

Mostrato, Fuori Uso '98, Mercati Ortofrutticoli, Pescare, Italy (cat.)

National Gallery of Canada, Ottawa, Canada

Inside..Outside, Museum Morsbroich, Leverkusen, Germany

ONTOM, Galerie fur Zeitgenossische Kunst, Leipzig, Germany (cat,)

Kunst und papier auf dem Laufsteg, Deutsche Guggenheim Museum, Berlin, Germany

Deserted and Embraced, Goethe Institut Bangkok, Thailand (cat.)

 

1997   Knstlerinnen: 50 Positions on International Contemporary Art Video-Portratis and Works, Kunsthaus Bregenz, Austria

Cities on the Move, CAPC Bordeaux, France (cat.)

Enterprise, The Institute of Contemporary Art, Boston, MA

Kunst...Arbeit, Sudwest LB, Stuttgart, Germany (cat.)

Deserted and Embraced, Railway Hotel, Chiang Mai, Thailand (cat.)

Helga Maria Klosterfelde, Hamburg, Germany

Truce: Echoes of Art in an Age of Endless Conclusions, Site Santa Fe, NM

Medium of Exchange, Confinea 1997, Congress Centrum Hamburg, Germany

Letter and Event, Apex Art C.P. New York, NY

Performance Anxiety, MCA Chicago, IL; MCA San Diego, CA

Skulptur Projekte, Munster 97, Germany

A Summer Group Show, Neugerriemschneider, Berlin, Germany

Wandstucke IV, Gallerie Bob Van Orsouw, Zurich, Switzerland

Thinking Print, Museum of Modern Art, New York, NY

Campo 6: the Spiral Village, Bonnefantenmuseum, Maastricht, The Netherlands

a/drift, curated by Joshua Decter, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY

Oporto Festival, Portugal

 

1996   Manifesta 1, Rotterdam, The Netherlands

Gary Hume, Udomsak Krisanamis, Rirkrit Tiravanija, Gavin Brown's enterprise, New York, NY

Vicinato, Air de Paris, Paris, France

Vicinato, Schipper & Krome, Cologne, Germany

Campo 6: the Spiral Village, Fondazione Sandretto Rebaudengo per L'Arte, Galleria Civica d'Arte Moderna di Torino, Italy

Kunst in der neuen Messe Leipzig, Leipzig, Germany

Traffic, CAPC Musee d'Art Contemporain, Bordeaux, France

Thinking Print, Henry Art Gallery, Seattle, WA

Fiat, Stuttgart/Umbauraum, Stuttgart, Germany

Supastore De Luxe, Up & Co, New York, NY

Thinking Print, MoMA, New York, NY

Kofferkunst, Lagerraum, Frankfurt am Main, Germany

fast nichts/almost invisible, curated by Jan Winkelmann, Umspannwerk Singen, Germany

Alle Neune!, ACC Galerie, Weimar, Germany

 

1995   Kwangju Biennale, South Korea (cat.)

Biennale D'Art Contemporain De Lyon, France (cat.)

The Carnegie International, The Carnegie Museum of Art, Pittsburgh, PA  (cat.)

Carsten Holler, Philippe Parreno, Rirkrit Tiravanija, Studio Guenzani, Milan, Italy

Das Ende der Avantgarde: Kunst als Dienstleistung, Sammlung Schrmann, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany

The Moral Maze, Le Consortium, Dijon, France (cat.)

Configura II: Dialog der Kulturen, Erfurt, Germany (cat.)

Nutopi, Rooseum, Malm, Sweden (cat.)

Shift, De Appel, Amsterdam, The Netherlands (cat.)

House in Time, Moderna Galerija Ljublijana, Slovenia (cat.)

The Whitney Biennial, Whitney Museum, NY (cat.)

Economies, with Hans Accola, Walker Art Center, Minneapolis, MN

Africus, Johannesburg Biennale, South Africa

Rewind, curated by Eric Troncy, City Racing, London, UK

 

1994   Untitled 1994 (Fear Eats the Soul), Galerie Esther Schipper, Cologne, Germany

Cocido y Crudo, curated by D. Cameron, Reina Sofia, Madrid, Spain (cat.)

Der Stand der Dinge, Klnischer Kunstverein, Cologne, Germany (cat.)

Lost Paradise, curated by Barbara Steiner, Kunstraum, Vienna, Austria (cat.)

Esprit d 'Amusement, Kunstverein Graz, Austria

New reality mix, Hgbergsgatan 18, Stockholm, Sweden

Multiple, Deichtorhallen Hamburg, Germany (cat.)

Out Side the Frame, Contemporary Art Center, Cleveland, OH (cat.)

SPNY, Galerie Camargo Vilaca, Sao Paulo, Brazil (cat.)

Drawing on Sculpture, Cohen Gallery, New York, NY

Residence Secondaire, Paris, France

Group Show, organized by Friedrich Petzel, Metro Pictures, New York, NY

Surface de Reparations, organized by Eric Troncy, Le Consortium, Dijon, France (cat.)

Camping, Galerie Jennifer Flay, Paris, France

Don't Look Now, organized by Joshua Decter, Threadwaxing  Space, New York, NY(cat.)

Art after collecting, curated by Rainer Ganahl, Philomene Magers, Cologne, Germany

L'Hiver de l'Amour, Muse d'Art Moderne de la Ville de Paris, France; P.S.1, Long Island City, NY (cat.)

 

1993   Viennese Stories, curated by Jerome Sans, Wiener Secession, Vienna, Austria (cat.)

Real, Real, Wiener Secession, Vienna, Austria (cat.)

Holly Solomon Gallery, New York, NY

Backstage, Hamburger Kunstverein, Germany; and Kunstmuseum, Luzern, Switzerland, (cat.)

Migrateurs, curated by Hans-Ulrich Obrist, Muse d'Art Moderne de la Ville de Paris, France (cat.)

Real Time, curated by Gavin Brown, Institute of Contemporary Art, London, UK (cat)

Jorge Pardo, Sarah Seager, Rirkrit Tiravanija, Lincoln Tobier, 1301, Santa Monica, CA

Group Show, organized by Tim Neuger, Knstlerhaus Bethanien, Berlin, Germany

Spielhlle, organized by Kaspar Knig and Robert Fleck, Grazer Kunstverein, Graz, Austria; Galerie Sylvana Lorenz, Paris, France (cat.)

Aperto, Biennale Venice, Venice, Italy (cat.)

Sleepless Nights, curated by Zdenka Gabalova, PS1 Museum, Queens, NY

Group Show, organized by Tim Neuger, Galerie Max Hetzler, Cologne, Germany

Simply Made in America, Aldrich Museum of Contemporary Art, Ridgefield, CT (cat.)

Fever, Exit Art, New York, NY

Kunstmuseum Luzern, Switzerland

 

1992   Transgressions in the White Cube: Territorial Mapping, organized by Joshua Decter, Usdan Gallery, Bennington College, Bennington, VT (cat.)

Writings on the Wall, 303 Gallery, New York, NY

Home Improvements, curated by Gavin Brown, 209 W 97th St, Apt. 7B, New York, NY

Consumed, Goethe Haus, New York, NY

Insignificant, curated by Gavin Brown, 10 E 39th St., Suite 525, New York, NY

 

1991   One Leading to Another, 303 Gallery, New York, NY

The Big Nothing or Le Presque Rien, The New Museum of Contemporary Art, New York, NY (cat.)

Brooklyn, Jack Tilton Gallery, New York, NY

Wealth of Nations, Center for Contemporary Arts, Ujazdowski Castle, Warsaw, Poland

Dismantling Invisibility: Asian & Pacific Islander Artists Response to the AIDS Crisis, Art in General, New York, NY

Shooters Hill, AC Project Room, New York, NY

Arriving, Leonor Datil Perez Gallery, New York, NY

Home?, Home for Contemporary Theater & Art, New York, NY

True to Life, curated by Gavin Brown, 303 Gallery, New York, NY

Fluxattitude, Hallwalls, Buffalo, NY; The New Museum for Contemporary Art, New York, NY (cat.)

Marginal Majority (Artists Against Racial Prejudice), Arron Davis Hall, New York, NY (cat.)

The New Museum for Contemporary Art, New York, NY

 

1990   Post-Consumerism, The Storefront for Art & Architecture, New York, NY

Work on Paper, Paula Allen Gallery, New York, NY

4th Annual Invitational, Cold City Gallery, Toronto, Canada

 

1989   Caught in a Revolving Door, The Alumni Association of the School of the Art Institute of Chicago, IL (cat.)

Outside the Clock: Beyond Good & Elvis, Scott Hanson Gallery, New York, NY

Lotto as Metaphor, Hallwalls, Buffalo, New York, NY (cat.)

 

 

FILM WORK

 

1996    Vicinato 2, with Philippe Parreno, Douglas Gordon, Liam Gillick, Carsten Holler, Pierre Huyghe, Friedrich Petzel Gallery, New

           York; Neugerriemschneider, Berlin, Germany

1991    Video Event, Tom Cugliani Gallery, New York, NY

1985    New Film Maker, The Collective for Living Cinema, New York, NY

 Super super 8, The Museum of Moving Image, LIC , New York, NY

 Super 8 NY, San Francisco Cinemateque, San Francisco, CA

 

 

BIBLIOGRAPHY 


2013   "New York Artists Now." GalleristNY February 2013.

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Santanachote, Perry. "Karlheinz Stockhausen's Oktophonie..." Huffington Post blog March 2013

Simonini, Ross. "Rirkrit Tiravanija Lights Stockhausen at the Armory." Art in America April 2013.

Tiravanija, Rirkrit. "Thing Theories." Artforum Summer 2013: 111-112.


2012   Andress, Sarah. "Rirkrit Tiravanija." Art in Print January/February 2012.

Atkinson, Michael. "Review." The Village Voice 11 July 2012.

Birnbaum, Daniel. "Rirkrit Triavanija's Astronaut." Artforum December 2012: 235.

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Henely, Kalvin. "Review." Slant 16 July 2012.

Holden, Stephen. "Rural Life Seen Through a Man Who Has Lived Many Seasons." The New York Times 16 July 2012.

"Hulk takes Frieze island." New York Post 5 May 2012.

Joo, Eungie. "Rirkrit Tiravanija, Lung Neaw Visits His Neighbors." Art Forum December 2012: 221.

Jovanovic, Rozalia. "Let's Make a Deal." The New York Observer 28 May 2012.

Kim, I. "AO On Site with Photoset New York Frieze Art Fair on Randall's Island May 4-7 2012." Art Observed 4 May 2012.

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"Saltz: Why The Frieze Art Fair Could Solve the New York Art Fair Problem." New York Magazine 5 May 2012.

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2011   Carrion-Murayari, Gary and Massimiliano Gioni, eds. Apichatpong Weerasethakul: Primitive. New York: New Museum, 2011.

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Knowles, Alison and Rirkrit Tiravanija. Men and Women Commonly Dress Alike. Paris: Three Star Books, 2011.

Pollack, Maika. "Occupy Morgan Library: Delacroix and Revolutionary France Drawings from the Louvre." New York Observer 18 October 2011.

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Tiravanija, Rirkrit. "Pierre Huyghe." Interview January 2011.

Vogel, Carol. "Meals as Art at MoMA; David Altmejd at Peter Brant's Gallery." The New York Times  27 October 2011.

 

2010   Cotter, Holland. "Intersecting in the Digital Age." The New York Times  8 October 2010.

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2009   Buck, Louise. "The group show that takes to the stage." The Art Newspaper 10 Jun 2009.

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2008   Browne, Alix. "Asian Fusion." The New York Times T Magazine March 2008.

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Coulson, Amanda. "Consulting the Atlas." Art on Paper January/February 2008: 33-34.

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2007   Andrews, Max, ed. "Land Art: A Cultural Ecology Handbook." Manchester: Cornerhouse, 2007.

Blind Date. Frankfurt: Deutsche Bank, 2007.

Drobnick, Jim. "Sometimes It's Good to Put Up a Couple of Walls." OCAD Sketch Spring 2007: 8-11.

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Ltticken, Sven. "Black Bloc, White Penguin: Reconsidering Representation Critique." Artforum March 2007: 298-303, 331.

Mertens, Brian. "Rirkrit Tiravanija launches new Bangkok venture." Art Asia Pacific no. 51 Winter 2007.

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Parreno, Philippe, Rachel Thomas, et al. All Hawaii  Entres / Lunar Reggae. Dublin: Irish Museum of Modern Art, and Milan: Charta, 2007.

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Smith, Roberta. "Space Redefined in Chelsea." The New York Times 13 April 2007.

"Spirituality." Art Asia Pacific no. 51 Winter 2007: 82-91.

Tiravanija, Rirkrit. "Influence Today and Tomorrow." Art Asia Pacific Almanac 2007: 225.

 

2006   "The Artists Talk: A Cross Section of the Art Life in Berlin." Flash Art March/April 2006: 82-87.

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Griffin, Tim, Chrissie Iles and Philippe Vergne. "Cabaret License." Artforum January 2006: 94-96.

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Mooney, Christopher. "Review." Modern Painters April 2006: 117.

Morton, Tom and Nancy Spector. "Retrospectives." Frieze January/February 2006: 115-16.

Petlin, Irving, Mark di Suvero and Rirkrit Tiravanija. "Peace Tower." Artforum March 2006: 252-57.

Tiravanija, Rirkrit. "Work in Progress." V magazine Spring 2006: 122.

 

 

2005   Ardenne, Paul. "Review." Artpress March 2005.

Baal, Iphigenia. "Home Base: Rirkrit Tiravanija." Dazed & Confused July 2005: 154.

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2004   Bajo, Delia and Brainard Carey. "In Conversation." The Brooklyn Rail February 2004: 21-22.

Parreno, Philippe, Bruce Sterling and Rirkrit Tiravanija. A Retrospective (Tomorrow is another fine day). Rotterdam: Museum Boijmans Van Beuningen, 2004.

Social Capital: Forms of Interaction. New York: Whitney Museum of American Art, 2004.

 

2003   Bollen, Christopher. "Critics Picks." Artforum October 2003.

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Culpan, Laura Jane. Work.Art in Progress April-June 2003: 22.

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2002   Boers, Waling. "Interview." Public Affairs published by Kunsthaus Zurich 2002: 96-97.

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2001   Baldon, Diana. "Ein/ramen in Hamburg." Tema Celeste January/February 2001: 116.

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2000   Ackerman, Franz and Rirkrit Tiravanija. RE public. Graz: Grazer Kunstverein, October 2000. 63-65.

"The Art of Eating Curry." Composite Tokyo no. 16 June 2000.

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Tiravanija, Rirkrit. "Arte publico." Antiquaria 2000.

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1999   Berg, Ronald. "Jeder Mensch ein Pop-Star." Zitty  no. 2 1999: 50.

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Elms, Anthony. "Rirkrit Tiravanija." The New Art Examiner October 1999: 47-48.

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Gellatly, Andrew. "Cities on the Move." Frieze issue 48 September-October 1999.

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Hunt, David. "Faraway and Nearby, The Province of Telepresence." Camerawork Spring/Summer 1999: 26-29.

Joyce, Julie. "Rirkrit Tiravanija and Licoln Tobier." Art/Text no. 67 1999: 90.

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1998   Ammann Rene. "Review." Artforum November 1998: 110.

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1997   Berger, Laurel. ARTnews March 1997: 94.

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Detterer, Gabriele, ed. "Rirkrit Tiravanija in an Interview with Rochelle Steiner (1995)." Art Recollection: Artist's Interviews and Statements in the Nineties. Ravenna: Danilo Montanari, 1997. 217-222.

Dobrynski, Judith. "A Popular Couple Charge into the Future of Art, but in Opposite Directions." The New York Times 2 September 1997: C11, C13.

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Ekeberg, Jonas. "Rirkrit Tiravanija." Hyperfoto no. 3-4 1997: 25.

Fechner-Smarsly, Thomas. "Einbaukunst." Frankfurter Rundschau 7 July 1997.

Gumpert, Lynn and Carol Lufty. "A lot to Digest." ARTnews May 1997: 150-153.

Hainley, Bruce. "Where Are We Going? And What Are We Doing? Rirkrit Tiravanija's Art of Living." Artforum February 1997: 54-59.

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Kisters, Jurgen. "Zum Feiern und Schlafen in den Kolner Kunstverei." Kolner Stadtanzeiger no. 2 3 Januarary 1997: 1.

Kisters, Jurgen and Rirkrit Tiravanija. "Asthetik des Reisens." Kunstforum vol. 136 February-Maay 1997: 412-414.

Kittelmann, Udo. Rirkrit Tiravanija  Untitled 1996 (tommorrow is another day). Cologne: Kolnischer Kunstverien, 1997.

Marcori, Roxana, Diana Murphy and Eve Sinaiko, eds. New Art. New York: Abrams, 1997.

N.N. (ze) "Kommunikatives Maltaschen-Mahl statt einer steifen Vernissage." Ludwigsburger Kreiszeitung 28 April 1997.

N.N. "Rirkrit Tiravanija in der Villa Franck." Ludwigsburger Wochenblatt 30 April 1997.

N.N. "Spezifische Situationen." Lift 1997: 6.

Performance Anxiety. Chicago: MCA, 1997.

"Review." Time Out New York 24 April-1 May 1997: 47.

Rimanelli, David. "A/Drift." Artforum February 1997: 83.

Saltz, Jerry. "A Short history of Rirkrit Tiravanija." Art in America February 1997: 82-85.

Schaecher, Marko. "Radieschen fur die Statisten. Stuttgarter Nachrichten." 26 Magazine June 1997.

Schaechterle, Beatrice. "Die Kunst Des Handelns." Noema December 1996/January 1997: 48.

Schroter, Lorenz. "Maultasche goes Art. Alles ist Kunst." Time Out New York 24 April-1 May 1997: 47.

Smith, Roberta. "Finding Art in the Artifacts of the Masses." The New York Times 1 December 1997: 43.

Smith, Roberta. "Savoring a Medium Whose Bite Has Grown With Age." The New York Times 21 June 1997.

Steiner, Barbara. "Rirkrit Tiravanija: Kochbuch." Ludwigsburg: Kunstverein Ludwigsburg, 1997.

Thinking Print. New York: MOMA, 1997.

Stellwaag, Karin. "Kunsttest-die interessantesten Ausstellungen in April, Prinz." Kunst 1997: 60-61, 146-149.

Tiravanija, Rirkrit, "Rirkrit Tiravanija Talks with Peter Fischli and David Weiss." Artforum October 1997: 78.

Von Hantelmann, Dorothea. "Faust und Biberkopf." Zitty no. 23 1997: 86.

W., S. "A Cue from Kids" Art December 1997.

Winkelmann, Jan. "...und noch ein Essen." Blitz Review 1997.

 

1996   Aukeman, Anastasia. "Small Budgets, Large Ambitions." ARTnews special 1996: 48-54.

Badrutt, Schoch Ursula. "Mobel schleppen und reden." St. Galler Tagblatt 28 November 1996.

Biehler, Matthias. "'Fast nichts' im Umspannwerk." Sudkurier 27 June 1996.

Blase, Christoph. "Die Beobachtung einer Teestube." FAZ no. 296 19. December 1996: 34.

Bloomberg, Katja. "Hauptsache, es schmeckt." FAZ 21 February 1996.

Brown, Gavin and Emma Dexter. Real Time. London: Institute of Contemporary Art, 1996.

Dziewor, Yilmaz. "Rirkrit Tiravanija." Artforum International September 1996: 14.

Hedinger, Johannes M. "Rirkrit Tiravanija." Saiten December 1996.

Kawai, Sumi. "Rirkrit Tiravanija." BT June 1996: 41-44.

"Kunsthalle als interaktives Studio." Voralberger Nachrichten 24 December 1996.

Marger, Mary Ann. "Not-so-sweet dreams." The New York Times 11 October 1996.

Maurer, Simon. "Jam un Minestrone, buddhistisch." Tagesanzeiger 27 November 1996: 81.

Mettler, Louis. "Tiravanija und Altenburgera 'Sozialskulpturen' in der Kunsthalle: Dinge ver-rucken, Raume schafen, begegnen." Die Ostschweiz 23 November 1996.

Mettler, Louis. "Ver-rucktes, Raume, Begegnungen." Appenzeller Zeitung 23 November 1996: 17.

N.N. Art no. 11 November 1996: 14.

N.N. "Von Krusi bis Techno." Anzeiger 26 November 1996.

Pesch, Martin. "Kleine winzige und unauffallige Kunst." Die Tageszeitung 20 August 1996.

Rohr-Bongard, Linde. "Kunstkompass." Capital November 1996: 282-283.

Saltz, Jerry. "A Short History of Rirkrit Tiravanija." Art in America February 1996: 82-85.

Schwitzler, Joachim. "Viel mehr als nichts." Thurgauer Volksfreund 16 July 1996.

Slotover, Matthew. Aperto. Venice: Biennale di Venezia, 1996.

Stellwaag, Karin. "Beinahe unsichtbar." Stuttgarter Zeitung 7 August 1996.

Steiner, Juri. "Rehearsal Studio No. 6." Neue Zuricher Zeitung 13 Dcember 1996.

Strauss, Dorothea. "Let's play together." Fon no. 2 1996.

Thiele, Carmela. "Des Kunstlers New Yorker Studio fur Koln kopiert." Art no. 11 November 1996: 148.

Tiravanija, Rirkrit. "Rirkrit Tiravanija Talks with Peter Fischli and David Weiss." Artforum October 1996: 78.

Volkart, Yvonne. "Kommunikation." Annabelle no. 22 1996: 15.

Weh, Vitus. "Fast nichts/almost invisible." Kunstforum International October 1996-January 1997.

Wiensowski, Ingeborg. "Rirkrit Tiravanija." Spiegels Extra 1996: 22.

 

1995   Bertilsson, Sofia and Mans Host-Ekstrom. "The Small World." Paletten August 1995: 56-58.

Cameron, Dan. Cocido y crudo. Madrid: Reina Sofia, 1995. 44.

Cotter, Holand. "A critic's Dozen to catch at the Biennial." The New York Times 12 March 1995.

Cubarrubia, Eydie. "Embedded exhibit foes under the covers." Herald Features 20 September 1995.

Flood, Richard and Rochelle Steiner. "En Route." Parkett vol. 44 1995: 96-129.

Gillick, Liam. "Forget about the Ball and Get on with the Game." Parkett vol. 44 1995: 96-129.

Hainley, Bruce. "Rirkrit Tiravanija." Artforum January 1995.

Harcher, Eva. "Die Stadt lockt..." ART December 1995: 130.

Herbstreuth, Peter. "Meet Tim & Burkhard." Der Tagesspiegel 29 October 1995: 21, Sommer, S. 102

Jones, Ronald. "Rirkrit Tiravanija and Andy Warhol." Frieze January-February 1995: 60.

Karcher, Eva. "Die Stadt lockt..." ART December 1995: 130.

Lind, Maria. "Letter and Event, Parallel and Palindrome." Paletten vol. 56 no. 223 April 1995: 46.

Martinson, Suzanne. "Edible Art." Pittsburgh Post Gazette 26 November 1995: H6-7.

Melo, Alexandre. "Guess Who's Coming to Dinner." Parkett vol. 44 1995: 96-129.

N.N. "Whitney Biennial." Frieze no. 23 Summer 1995.

Neue Bildende Kunst January 1995: 18.

Rohr-Bongard, Linde. "Kunstkompass 95." Capital vol. 11 1995: 362.

Saltz, Jerry. "Live through this." The New Art Examiner May 1995: 19-22.

Smith, Roberta. "Art in Review." The New York Times 23 June 1995.

Steiner, Barbara. "Spiegel, Andreas, Rirkrit..." Paletten April 1995: 4.

Tiravanija, Rirkrit. "Edition." Parkett vol. 44 1995: 106-108.

Weinstein, Jeff. "Eating Around." The Village Voice 18 July 1995.

 

1994   Besson, Christian. "Surface de Reparation." Flash Art May/June 1994: 122.

Brown, Gavin. "Otherthings Elsewhere." Flash Art Summer 1994: 102.

Cameron, Dan. "Food for Thought." Frieze issue 17 1994: 50.

Decter, Joshua. Don't Look Now. New York: Threadwaxing Space, 1994.

Fll, Heike. "Ich brauche kein Atelier." Zitty no. 22 1994: 40.

Foster, Hal. "Feed." Work no. 1 1994: 22-27.

Herbstreuth, Peter. "Meet Tim & Burkhard." Der Tagesspiegel 29 October 1994: 21.

Levin, Kim. "Rirkrit Tiravanija." Kunstforum January/February 1994: 170-173.

L'Hiver de L'Amour. Paris: Muse d'Art de la Ville de Paris, 1994.

Metzger, Rainer. "Der Angriff der Kunst auf das ubrige Leben." Der Standard 22-23 October 1994: 32.

Relyea, Lane. "Fear and loathing at the Whitney." Frieze Summer 1994: 39-41.

"Rirkrit Tiravanija." Documents no. 5 February 1994: 33.

Schumacher, Rainald. "Kln Kritik." Flash Art Summer 1994: 51.

Troncy Eric. "It' Alive!" Flash Art Summer 1994: 105.

Troncy, Eric. Surface de Reparations. Dijon: Le Consortium, 1994.

 

1993   Backstage. Hamburg: Hamburg Kunstverein, 1993.

Bonami, Francesco. "The Real Stuff." Flash Art May/June 1993: 80, 82-93.

Brown, Gavin and Emma Dexter. Real Time. London: Institute of Contemporary Art, 1993.

"Eating with Publicsfear." Publicsfear vol. 1 no. 2 1993: 38.

Fleck, Robert. "Spielhlle-sthetik und Gewalt." Rogue no. 17 1993: 17-37.

Hixon, Kathrin. "Trouble in Paradise." New Art Examiner October 1993: 31.

Holmquist, Karl. "Hole in the Wall." Siksi: The Nordic Art Review issue 4 1993.

Myers, Terry. "Review." Tema Celeste Winter 1993: 83.

Myoda, Paul. "Amateure der Genealogie." Neue Bildende Kunst February 1993: 11-14.

Sans, Jerome. Viennese Story. Vienna: Wiener Secession, 1993.

Schiff, Hajo. "Kunst und Schutt." Kultur 10 September 1993.

Simply Made in America. Ridgefield: Aldrich Museum of Contemporary Art, 1993.

Sleepless Nights. New York: PS1 Museum, 1993.

Slotover, Matthew. Aperto. Venice: Biennale di Venezia, 1993.

Wealth of Nations. Warsaw: Center for Contemporary Arts, Ujazdowski Castle, 1993.

Weil, Benjamin. "Ouverture." Flash Art January/February 1993: 79.

Weitzer, Ludo. "The Accidental Tourist." Flash Art October 1993: 44-45.

"When the Music's Over." New Art Examiner January 1993.

 

1992    Decter, Joshua. Transgression in the White Cube: Territorial Mapping. Bennington: Usdan Gallery, 1992.

Nesbitt, Lois. "Review." Artforum December 1992: 95.

"Rirkrit Tiravanija." The New Yorker 5 October 1992.

Smith, Roberta. "The Gallery is the Message." The New York Times 4 October 1992: 35.

 

1991   Faust, Gretchen. "Review." Arts April 1991.

Heartney, Eleanor. "Review." Art in America June 1991.

Hess, Elizabeth. "The White Rabbit (Among Other Alternatives)." The Village Voice 17 December 1991.

 

1990   Faust, Gretchen. "Review." Arts May 1990.

Hodgkin, Carter. "Review." Nike Magazine January 1990.

Hume, Christopher. "Freeze Out." Toronto Star 10 August 1990.

Joseph, Regina. "Being in Nothingness." The West Side Spirit 4 February 1990.

Kelly, Deidre. "Works Strange but True." The Globe & Mail 17 August 1990.

Nesbitt, Lois E. "New York." Art Issues September/October 1990.

Phora, Pia. "Review." Contemporanea vol. 3 no. 2 February 1990.

 

1989   Hodgkin, Carter. "Review." Nike vol. 30 October/November 1989: 53.

Kramer, Hilton. "Soho Show; Prestigious, maybe, but just more shopworn farce." The New York Observer 31 July 1989.

Smith, Roberta. "Review." The New York Times 21 July 1989.

Wallach, Amei. "The Young Turks' Old Master." New York Newsday 16 July 1989.

 

 

VISITING ARTIST LECTURES (selected)

 

2004    Cal Arts, USA

2004    Power Plant, Toronto, Canada

2003    Asia Society, NY, USA

2003    Public Art Fund, NY, USA

2003    Hochschule fuer Grafik und Vuschkunst, Liepzig, Germany

2002    San Francisco Art Institute, USA

1998    Yale University, USA

 

 

TEACHING

 

Columbia University, Associate Professor of Professional Practice, Faculty of the Arts, 2001-present.

IUAV University of Venice, Associate Professor, Graduate Course in Visual Arts, Faculty of Arts and Design, 2003-2004

Royal Art School, Stockholm, Visiting Artists, 2003

Escuelas de Artes Plasticas de Puerto Rico, Puerto Rico, Guest Professor/Visiting Artist, 2002

Columbia University, Adjunct Assistant Professor, Faculty of the Arts, 1999-2000

Royal Danish Art Academy, Guest Professor, Dept. Walls and Space, 2001-2002

National University, Staedelschule, Frankfurt, Guest Professor, 2001

National Academy of Fine Arts, Oslo, Norway, Guest Professor/Visiting Artist, 2001

 

 

RESIDENCIES

 

Ontario College of Art and Design, Nomadic Residents: International Artist Residency Project,April 2-5, 2007

 

 

GRANTS AND AWARDS

 

Hugo Boss Prize, 2004

Benesse Prize, Naoshima Contemporary Art Museum, Japan, 2003

Smithsonian American Art Museum's Lucelia Artist Award, 2003

Gordon Matta Clark Grant, 1991

Louis Comfort Tiffany Award

National Endowment for the Arts

Central Kunst Prize

 

 

SOCIETY MEMBERSHIPS AND APPOINTMENTS

 

President, The Land Foundation

Advisory Board Member, New Media Institute, University of Chiang Mai, Thailand, 2003

Advisory Board Member, CCA, Kytakyshu, Japan, 2003

Advisory Board Member, Tokyo Wondersite Cultural Arts Center Tokyo, 2003

Advisory Board Member, Carnegie International, 2002-2004

 

 

PUBLIC COLLECTIONS

 

Museum of Contemporary Art, Los Angeles

Museum of Modern Art, New York

Migros Museum, Zurich, Switzerland

The Walker Art Center, Minneapolis, MN

Saint Louis Art Museum, Saint Louis, MO

Collection FNAC, France

FRAC Languedoc-Roussillon, Montpellier, France

Fondazione Sandretto Re Rebaudengo, Turin, Italy

Astrup Fearnley Museum of Modern Art, Oslo, Norway

Louisiana, Humlebk, Denmark

MUSAC, Madrid, Spain

Sammlung der BRD, Berlin, Germany

Tantica, Buenos Aires, Argentina

West LB, Stuttgart, Germany

Le Consortium, Dijon, France

The Carnegie Museum of Art, Pittsburgh, PA

Bangkok Museum of Contemporary Art, Bangkok, Thailand

Baltimore Museum of Art, Baltimore, MD

 

 

PUBLIC PROJECTS

 

1990The Arrival, Message to the Public, Spectracolor Board at Times Square, New York, NY

 

by Paul Schmelzer at 3:36 pm 2006-08-04

Duchamp and Joseph Beuys and Marcel Broodthaers, all these figures are not like statues of Lenin or Saddam that need to be toppled, but are instead more like living spirits that [Rirkrit Tiravanija] communes with.

- Doryun Chong, curator

In the recent Walker exhibition OPEN-ENDED (the art of engagement), curator Doryun Chong faced a challenge: how to present the Walker's history of artist residencies and do it while engaging community in new ways. With a panel of Walker staff members from all departments, he set out to open up the gallery "literally and metaphorically" and who better to help than Thai artist Rirkrit Tiravanija, who was a resident artist here in the mid-90s? Tiravanija recreated and modified Viennese architect Friedrich Kiesler's Raumbhne, a spiral stage - or space stage - that illustrated his idea of correalism, a "theory of the endless and multidimensional correlation between the human being, the arts and the space." Tiravanija's "demo station" was a launchpad for a variety of activities during the run of the exhibition, from karaoke battles and a teen fashion show to performances and music events. Chong recently discussed Tiravanija's art and the stage that became the locus of activity in this unusual and free-form show.

ex2006oe_ins_041.jpg

Tiravanija's untitled (demo station no. 5), during "a moment of stasis, in between moments of complete chaos."

PS: Rirkrit once told me, "I often work against ways of being museologized, or being dead in a sense." That's a good starting point for discussing the installation in OPEN-ENDED. For a guy who doesn't want to be museologized, going to an art museum is an interesting choice. The premise of this show seems to resonate with his work, which is to have work activated or "completed" by its users. How did this work?

DC: When I expressed the objectives of this show to Rirkrit, it was natural to him. After my long spiel [about residencies and audience engagement], he simply said, "So what you're trying to do is create a community in your gallery?" The way the Walker has been interpreting civic engagement is: we need to go out and meet with all kinds of neighborhoods and work with people. Rirkrit simply inverted that idea and said that, well, what you want is communities to form inside the gallery and you want to create some kind of catalyst in the space.

He didn't pull something completely new out of the hat to provide that catalyst. He immediately saw that what he was interested in at the moment could also serve the function we wanted, and that was Friedrich Kiesler's Raumbhne. He wanted to re-embody it or re-enact it. He started with this very particular historical architecture, an icon of both modernist architecture and modernist theater, but he wasn't fixated on the idea of recreation. Obviously, it's been scaled down, and the materials are different. And when I proposed to him that another project within the exhibition - Spencer Nakasako's video booth - be incorporated into the space, he had no qualms about it whatsoever. He was actually intrigued by it. He has a very loose - in a very positive sense- interpretation of it, and maybe that's one way he skirts being museologized. That work isn't meant to be a precious piece of art.

PS: The materials seem to play into that: it's plywood 2 x 4's, not marble.

DC: Or steel. The original Kiesler stage, its main scaffolding and trusses were made out of steel. We made changes to fit the space and the budget and to build in Spencer's project. He was completely open to all those suggestions, and he was perfectly happy with it.

ecp2006ftn0525_065.jpg

A scene from the un-Prom fashion show

PS: That openness matches Rirkrit's definition of art as simply a "space for possibilities." When I spoke to him about The Land (the sustainability community/art experiment he co-founded in 1998 outside of Chiang Mai), he used the metaphor of a table: that the land is an empty table top that people bring various projects to. They bring things to it, use the top, leave things there or take them away, but it's basically an empty table. It seems like a fitting way to talk about his work in general, because even though this particular piece looks like a table, he creates structures, literal and metaphorical, for people to operate on.

DC: Another metaphor that lends itself is not just an empty table, but a messy table! That's the sense you get at the land. Of course, it's a "utopian" community and whatnot, but when you go there, things are now pretty decrepit in this subtropical climate. And some of the projects are specifically about that. Structures like Francois Roche's Hybrid Muscle, which is on one hand architecture that generates power using water buffaloes that live on the premise, but on the other hand, the materials are now rotting and falling apart, just like organic beings. I think that's an important notion in Roche's theory of architecture, architecture that is not about permanence and monumentality, but growth and degeneration.

PS: It also fits Rirkrit's idea of utopia as "being able to exist in chaos, to live within a chaotic structure." He says, "Chaos is, for me, is life, is change, is moving. We're always living within it." In that way, this stage, with its fashion shows and activist displays, was pretty chaotic.

DC: Right. Some events were very quiet and orderly: one artist, Abinadi Meza, did a sound performance on top of the stage, and his response to the architecture's circular structure. And Matt Bakkom's project of teaching people how to play Anagram was a very simple and elegant response to the space and how people can experience it. Some of them were obviously much more dynamic and really challenged the space: Gulgun Kayim's Skewed Visions project, and the fashion show where models ran up and down the round ramp with the band on top of the stage.

His stage, when there's nothing happening in it, looks impressive and beautiful and structured and ordered. But that's a moment of stasis, in between moments of complete chaos. And I was really nervous each time as these large events were happening or about to happen. I kept trying to have control over the crowd and people's behavior, but then realized I can't really control them. When people get together, somehow they create a structure within that. Structure is always built into chaos and vice versa. Through the realization of this project as part of the larger exhibition, it taught me something about curatorial practice. It's not about complete control, but sometimes it's about letting go of the control and impart your faith and confidence in people, your audience. Still, because of habit and inertia, every time we held an event I would think, "What would Rirkrit think about the craziness happening on stage?" In the end I realized he doesn't really mind.

ecp2006ftn0420_03.jpg

Karaoke battle, with replica amp and inflatable guitars

PS: I'm never sure what Rirkrit's intent is, but I think the result is that he subverts some of our sacred cows of the art world. When I spoke to him about this idea, he said: in a culture where everyone rigidly holds onto everything so much, letting go is subversive.

DC: For me, subversiveness is a problematic term because it's one of those kinds of words we use habitually. I think that's just the legacy of modernism. Impressionists were the first generation of modernists. Before them, the Realists, like Courbet, were completely subversive. In a sense, Modernism is a history of successive subversions: Impressionists followed by Fauvists and then Dada and Fluxus. It's also a kind of a patricidal, Oedipal kind of struggle, that you always have to subvert what comes before you. As this history of subversion accumulates like geological strata, at which point can you not subvert any more? At which point do you come back to the original point? I like to think that Rirkrit's work is completely aware of all the subversions that have happened and tries, perhaps, to swim in it. There's an incredible amount of respect and admiration in it, but it's on a very personal and intimate level. Duchamp and Joseph Beuys and Marcel Broodthaers, all these figures are, in a sense for him, not like statues of Lenin or Saddam that need to be toppled, but are instead more like living spirits that he communes with.

PS: So, maybe subversion isn't the word, but his work does seem to have the effect of giving us a little pinch - "Well, why can't we cook in the galleries? Why can't we have plywood in the gallery? Yeah we can!" It's a tweak rather than a toppling.

DC: On the one hand it really kind of awakens you, but on the other, it's a gentle reminder that all these actions have already happened. It's a reminder of history, of our shared heritage and tradition.

ecp2006ftn0504_23.jpg

Gulgun Kayim's Skewed Visions project

PS: There's that Buddhist idea that you can never step in the same stream twice, that it's a flow. He said that about his work; he could revisit his earlier projects today and they'd be totally different. In one interview, he touched on this idea that there are a lot of great ideas out there that need to be explored. Maybe we don't need new ideas all the time. Maybe we need to bring back Kiesler's stage. With the land, maybe we need to see which ideas are good ideas, and rather than just coming up with new ideas, perhaps we need to test and develop.

DC: Just as the history of the avant-garde is a succession of subversions, we can't forget that what drove that history was originality and authorship. We're still so caught up in that idea. "Where's the originality? Oh, that's been done!" That's the most dismissive comment you can make, right? But just to calmly realize that there are no more new ideas, but not in a pessimistic or self-defeatist kind of way, but that all the good ideas are already there, just as the bad ideas are all there.

PS: As a culture, how did we get so entranced with "the new"? Is it just a product of a consumerist mindset ? We don't seem to ask what "new" means to me, but it's marketed as inherently better.

DC: That's what capitalism does, but in a larger sense, that's what modernity does. By definition, modernity is the new. It's always relational. I don't want romanticize Rirkrit's Buddhist background, but there is a different understanding of time as nonlinear. It's circular, it's karmic, and nothing is new in a sense. It regenerates itself, but it's already been there.

PS: Critics often speak of Rirkrit's work in terms of the concept of "relational aesthetics" (the relationships that are sparked by the art) or the work's of "use-value" - both ideas that predate Rirkrit's work.

DC: Perhaps that idea of art for use, art that has functional purposes, needs reinforcement and needs to be returned to periodically. From Duchamp's readymades to Beuys' conception of art as conversations and teaching, there have been various iterations of the idea of art forming relations throughout history. But maybe it disintegrates a bit or becomes precious. It turns into objects and becomes "museumized." Each generation of artists needs to reinvent that idea with a slightly different terminology. And, in a sense, the museum's role is to preserve those lessons. We're still an object- and image-based society, and that's what a museum is, ultimately. All of these radical notions and practices become objectified and archived and collected. So each generation has to reinvent that a bit. It's not an antagonistic relationship. It's a complementary relationship that the museum and artists have. In a sense, again, there are no new ideas. There's one idea and multiple iterations of it. And in the process, museums evolve and artists' practice evolves. But when I say evolution, I don't really like to think of it like we continue to reach higher and higher to this final utopian point. It's a more circular process.



Ami Barak

Conversation with Rirkrit Tiravanija

 

Ami Barak: Rikrit, when your name crops up in the contemporary art world, it's in connection with food. You've made yourself known by preparing food for other people, the visitors to the ARC Gallery in New York for instance, or the Biennale in Venice or in a museum like the Whitney Museum and by allowing these to share the special privilege of being at a banquet, a feast. What are the limits of the work of art for you? Where does it begin and where does it end - if there are such things as a beginning and an end?

 

Rikrit Tiravanija: Well, I never really think about that kind of relationship or privilege in terms of a confined narrative. I like to see it more as a kind of ongoing process. So, people recognize or define me through certain things that I have done involving the use of food, or certain events that featured food. But I think that that's just one small example of where my actual interests lie. And I always think that the work itself is really a lot more important than the food or even my own person within the framework of the work. I think that it's important that it involves other people and that it can foster relationships. I mean, the situation can be defined through the context of art. But it's all very open and fluid for me. I mean, I don't define the relationship in terms of art and life, us and them. I don't see it in this kind of black and white way. I would like to redefine how one looks at the way art and the way life could be - and I could introduce other things into that relationship... you know, let's say from other social and political situations that I am involved in. I would say I definitively am interested in blurring the line, in terms of how art is perceived, you know, in terms of how one approaches what is deemed to be art and the possibility of treating it in another way.

 

AB: Godard used to say that a film is not merely what can be seen on the screen but also - what is perhaps more important - what actually went on during the shooting - the sum total of the relationships and dynamics that were channelled into the film.

When I consider your way of working, I have the feeling that you wouldn't reject this principle outright.

 

RT: No, I wouldn't reject it. I mean - as I was saying - the whole is an open relationship between the viewer and the work of art. So the whole process that takes place between the moment when I open my eyes and when something actually takes shape - well, whatever I do is also part of the narrative. I mean, whether it's internalised or whether it's happening or not, whether it's ... it always relates to something I'm interested in - perhaps even in representing that kind of relationship within the context of art. I think that you are involved or at least I think that what I do involves both sides of the camera simultaneously. You are looking at a scene which has already been played out, but in this case you are also playing a role in the scene. It is as if everything were totally involved. I think it's an ambivalent kind of relationship and I have to guide the process of creating art, or one's relationship to what art could be. This is an ambiguous area. You are a part of it and you're in it or you're trying to distance yourself from it. So, I'd like all this to happen spontaneously and I think that I'm creating a number of fixed objects in space. But that stimulates a certain kind of correlation between usage and time, in other words, conditions that go to create a narrative. This narrative can be conscious for the person involved, or it can be entirely unconscious. I think that there are people who look and there are people who are looked at. And this can fluctuate. I also like my position to be rather ambiguous as far as the idea of authorship is concerned, so that the idea of a maker, of someone who made the situation is undermined. I think that we have arrived at a new stage when it comes to what it means to produce art. I don't actually go around thinking about that all of the time. Of course, I am confined by the individual context or situation - for instance, my relationship to the galleries, museums and institutions I work with. But I think it's a kind of open picture, you know. I don't see it as a way of defining my interests and establishing why I do the things I do. I mean, there's a time for personal matters and a time for external things. And this all depends on where you think you are.

 

AB: Another aspect of your work is the idea of travel, or a certain predilection for nomadism. Why is geography so important to you and how do cultural references surface in your work? How do you manage to present these voyages without them being transformed into relics?

 

RT: Well, I think the way of avoiding letting things become transfixed as relics is to keep moving, isn't it? So, I keep moving. And I think that's part of this idea of nomadism. I mean, at this point in time we are finding ourselves in a situation where we just have to keep moving... We are able to move in many ways, not just physically, but in other ways. I find myself in a position where my relationship to the things I do is defined by this kind of movement or this kind of ambiguity - perhaps a place without a centre, not a position that is fixed but that is defined by a certain cultural relationship, right? I am still defined by myself, which goes to say that I am not really defined. This is part of how it came about. I mean this kind of ambiguity. I was never really in a position to have anything defined for me, from childhood onwards. I mean it in that sense. So, it's more than just work, it's a fact of life. I think that's how it worked out. But, of course, I am still trying to define myself within this mobility and movement on the basis of certain relationships I have to what's around me and based on what I think is, perhaps, a sort of spiritual connection to the world. Now is a time where we are able to move and find different places and assume different positions and this opens up possibilities for other things, you know. I am not actually interested in working on anything that has to be defined in terms of its place of origin, where it was made or where the idea arose. I'm more interested in the flexibility of being able to look at the predicament and situation you're in and then redefine yourself within that context and to go on to communicate that to other people in these places.

 

AB: So, do you think that artists should devote themselves nowadays to areas that were ignored by art in the past? Wouldn't that make art even more complex than it already is? Isn't there an obvious need to widen the circle of the "happy few"?

 

RT: Ha, ha!

 

AB: So doesn't it make sense to devote oneself to areas that were ignored in the past? Would it make art even more complex than it already is?

 

RT: I think it should be complex. It should be invested with more and more levels of meaning and opened up. I think there's a lot of things being done with respect to the idea of producing art, making art. I mean, it's... a wide field. And sometimes I realise that I'm just in one little corner after doing whatever I had to do and realising I am just a little part of the whole. But I think it's more interesting to open things up and redefine the situations one's in. I mean, I think that's where art could keep on going in terms of... that is if there is a need of some way of carrying on. Again, I'm not interested in devoting my time to making fixed things. So, I'm defined by what I do. But these things just happen and you try to hopefully redefine the situation you find yourself in and, you know, even enjoy doing it.

 

AB: So your work is characterised by listening, perceiving, conviviality, sharing social relationships and less specialised communication, or is this being a little too generous? Doesn't it deprive the spectator of any effort in approaching your art?

 

RT: Well, I am trying to deprive them of the usual approach by setting up a different situation. I don't think that I'm interested in everything just because it's new. I mean, I don't think what I'm interested in is actually all that new. If that's the way art functions, then it tries to redefine the way we approach our surroundings and the social situation we find ourselves in. I want people to leave thinking that they must reposition themselves in relation to what is being dealt with. There's a motive to do something or they go away not realising anything. And that's their relationship to it, you know. So, you hope for the best, for something to happen. Not that I'm trying to define what actually should happen - that would be rather difficult. But I think it's the situation we're in. We have to open things up and not keep them locked up. I'm not interested in creating some sort of didactic approach to viewing - after all, viewing should also bring pleasure.

 

AB: All your installations look like improvisations. But when one views your work, it is easy to realise that the whole process requires incredible precision so that everything falls perfectly into place and functions correctly. Does disorder in art really need such elaborate planning?

 

RT: What was the last part, please?

 

AB: Does disorder - well, disorder is perhaps not the best word... Does what looks like improvisation need such elaborate planning?

 

R.T.:

Well, I am susceptible to disorder. But my relationship to it is, in a sense, always kind of precise, no matter how right or wrong, it's always right, you know. I approach it with an open mind. So, things just fall where they want to and happen the way they do. You establish a frame of reference, or make some relationship within a certain frame of reference, but it's open and not closed... Perhaps precision is necessary to establish that open framework. And once you can get to the point that things fall into place, it's always working. I think one is always speculating on whether certain things will work or not. But, of course, you learn as you go on and you realise that certain things will happen if you put others in their right places. Naturally, there are surprises, but that's part of the enjoyment and you eventually even begin to surprise yourself. I mean, I am interested in being precise in conceptual terms. But I'm not really interested in achieving some kind of formalistic perfection. And although things sometimes look as if they are, from a formal point of view, hard and precise, I think that this is the outcome of a certain kind of spontaneity and openness.

 

AB: And one last question: How do you picture the near future, the turn of the century, indeed, of the millennium?

 

RT: Ha, ha! Well, I'm kind of interested in not really defining time and space. What I mean is, things have to be able to change, so you can't define them in terms of when, where and how. That struck me coming here from New York and thinking about what is going on within the art scene and how art is received, or how it is perceived, or produced. You know, I think something has to change and I hope it changes before the end of the millennium. Or at least, they should start thinking about what has to change, because I for one don't see how they can go on as they are at the moment. There are, after all, different kinds of relationships involved and different reasons why these things are being dealt with in the way they are. In the final analysis, I don't think it really has anything to do with art, right? So, that, I think, should be reconsidered. I think that we really can't define ourselves now because we're going to be too old by the year 2000. I mean, for a while we were defined by the idea that we wouldn't live until that time. You know, we were certain that something big, bigger, was going to happen. And now we're not being defined at all, because it's all quite open in fact. Actually, I think that we have to realize that that's a good position to be in and to keep on going, rather than fall into a sort of apathy. It's just another day.

 

AB: Thank you very much, Rikrit.

 

RT: Thank you.

 

Montpellier, March 1996