Rirkrit Tiravanija Introduces Precious Okoyomon To His Chaos Menu

Rirkrit Tiravanija | Interview Magazine

By Precious Okoyomon

This past summer, at a former car dealership in Hancock, New York, the artist Rirkrit Tiravanija spent the weekend cooking up curry for crowds of hungry art-goers and country neighbors. It’s all part of the upstate art gallery and canteen called Unclebrother, which the artist founded with the gallerist Gavin Brown a decade ago. But it’s also in keeping with the spirit of the Thai artist’s radical, interaction-focused, and food-centric artistic universe, which Tiravanija has explored and expanded ever since he served pad thai and curry to audiences in the early 1990s.

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Rirkrit Tiravanija's largest exhibition to date is now open at MoMA PS1

Rirkrit Tiravanija | ArtDaily

Rirkrit Tiravanija, Untitled 2014 (the days of this society is numbered / December 7, 2012). Photo: Thomas Griesel.

From the start of his practice, a critical material for Rirkrit Tiravanija (Thai, b. 1961) has been the presence of “a lot of people”—a purposefully broad and expansive term that stands as an open invitation to everyone and anyone, present and future. His largest exhibition to date, Rirkrit Tiravanija: A LOT OF PEOPLE traces four decades of the artist’s career and features over 100 works, from early experimentations with installation and film, to works on paper, photographs, ephemera, sculptures, and newly produced “plays” of key participatory pieces.

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Rirkrit Tiravanija Is Cooking Up a Storm at MoMA PS1.

Rirkrit Tiravanija | Cultured Magazine

All photography of Rirkrit Tiravanija by Daniel Dorsa. All images courtesy of the artist and David Zwirner.

By Kat Herriman

Digestion is never instantaneous. Its nature is process. It spans hours, sometimes centuries. For example, a meal of rice noodles dressed with tamarind sauce and peanut crumbs—served in February 1990 as one of artist Rirkrit Tiravanija’s early food works, untitled 1990 (pad thai)—was probably extruded through the intestines of participating New Yorkers overnight.

But the radicality of the gesture remains deep in the guts of the art world, pervading our cultural biome and the way we see ourselves as artists and viewers. It is into these roiling bowels that curators Ruba Katrib and Yasmil Raymond dared to venture, bringing us “A LOT OF PEOPLE.” The MoMA PS1 show, opening tomorrow, will be the inaugural U.S. survey of an artist who, for four decades, has actively worked against the shelf life of facts, objects, and identity by destabilizing (and simultaneously elucidating) the fungible borders between author and audience, material and idea, biography and lived experience.

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RE/SISTERS: A Lens on Gender and Ecology at the Barbican review: hits hard right from the start

Simryn Gill & Diana Thater | the Evening Standard

Fern Shaffer, Nine Year Ritual of Healing - 9 April, 1998, 1998

By Ben Luke

This important and timely exhibition about ecofeminism and art across several decades, gathers 50 international women and gender-nonconforming artists who explore the links between the oppression of women and environmental collapse. An exhibition titled RE/SISTERS: A Lens on Gender and Ecology undoubtedly risks preaching only to the choir, but that would be a shame. It is both ambitious and admirable, if uneven in places.

Mostly through film and photography, it treats the climate emergency as systemic and intersectional; connected to widespread abuses of power relating to the extractive impulses of colonialism and capitalism, to racism and the exploitation of indigenous communities. Organised thematically, it has distinctive focuses within this vast subject, from the effects of industrial extractivism, to histories of protest and artists’ reimaginings of the connection beneath the Earth and womanhood.

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What I Buy and Why: Print Expert Judy Hecker Once Hunted Down a Work Written With Every Word of Dialogue From ‘Top Gun’

Fiona Banner and Rirkrit Tiravanija | ArtNet

Judy Hecker in front of Joan Mitchell, Trees IV (1992), a lithograph on two sheets. Photo: Argenis Apolinario. Courtesy of Judy Hecker.

By Lee Carter

You’d be hard-pressed to find a more dedicated and knowledgeable expert in the field of printmaking than Judy Hecker. Since 2016, she’s served as the director of Print Center New York, the city’s leading nonprofit exhibition space for the paper-based medium. As such, she brings her passion for printmaking to bear on the institution’s programming, broadening the public’s understanding of prints and multiples as a discrete art form that offers real experimentation.

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This Week in Culture: Rirkrit Tiravanija

Rirkrit Tiravanija | Cultured Magazine

The newspapers in this collection vary in geographical origin, ideas, politics, and beliefs, emphasizing the impact of personal perspective in locally reported news. “Everywhere, we feel the shift of power under our feet; how can we not address it, even with our tongues in our cheeks!” said the artist in a statement. 

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Pick of the Week: Jorge Méndez Blake

Jorge Méndez Blake | Whats On LA

By Jody Zellen

Jorge Méndez Blake is an artist based in Guadalajara, Mexico whose art takes apart and re-construct literary texts and re-present them as concrete poetry. Méndez Blake works on paper and canvas in addition to creating wall and ceiling based installations. In his exhibition I remember it was raining..., Méndez Blake uses the writings of the American poet Elizabeth Bishop (1911-1971) as a point of departure rather than universally recognized authors such as Kafka, Joyce, Borges or Dickinson. Bishop was known for her highly detailed, objective and distanced point of view with an avoidance of personal subject matter and Méndez Blake tries to turn that distance into something more personal and familiar. For example, the silkscreen print I remember it was raining (Bishop), (all works 2023) simply states, "I remember it was raining and I was reading Elizabeth Bishop."

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SUPERFLEX - One Two Three Swing! now on view at the Korean DMZ

SUPERFLEX

The swings act as a human-powered pendulum, converting potential energy into shared movement. Swings are ordinarily meant for individual use, but in this work each swing can seat three people. Those on the swing must together utilise the force of gravity, building up to the instant where falling becomes flying and everyone moves together. In this playful moment, the energy of collective movement is released.

One Two Three Swing! invites the audience to explore the power of play and the possibilities of collaboration – possibilities that are realised when we swing into motion together. The shared experience offered by the work may trigger reflections on broader issues such as democracy, collective action and social connectivity. In this sense, SUPERFLEX’s swings are more than just an opportunity for play, they are an experiment in activating collective energy – energy that can perhaps be channeled to change the course of the planet and our path as a society.

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FEMMEBIT and the New California

Petra Cortright | Right Click Save

Petra Cortright, (Still from) New Landscapes 2023, 2023. Courtesy of the artist

FEMMEBIT’s exhibition, “In Medias Res,” is our devoted missive to Los Angeles and its Southern California landscape. This exhibition negotiates the City of Angels through artistic praxes, offering an imaginative counter-dialogue to the mainstream media and iconic Hollywood culture. “In Medias Res” reflects today’s digital uprootedness from time-based narratives of Hollywood’s silver screen to invoke liminal spaces of belonging.

The artists showcased on Feral File, four of whom are interviewed here, have rigorous art practices in film, digital art, and internet culture. Among them, Petra Cortright employs consumer and corporate software to create intricate digital landscapes. Her New Landscapes 2023 explore a simulated environment with enigmatic desert vistas.

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Pae White's Qwalala at Claremont McKenna College

Pae White | Claremont McKenna College

A 250-foot-long glass sculpture known as Qwalala and created by American artist Pae White, will be unveiled on Claremont McKenna College’s campus on Sept. 20th as the latest installment in the campus’ public art program.

 

“Qwalala is a stunning new addition to Claremont McKenna’s campus and our Public Arts Program which seeks to integrate arts into all aspects of campus life and augment and enhance our core institutional values as a residential liberal arts college,” said Kimberly Shiring, director of the program.

“For an artist, it is a unique opportunity to create for a college campus,” said White, a 1985 graduate of Scripps College. “Not only are colleges active at night, but they also are home to minds that are inquisitive and open.”

The artwork’s name is derived from the Pomo tribe describing the meandering path of the Gualala River on the northern coast of California. Comprised of more than 1,500 glass bricks, each weighing nearly 40 pounds and hand-forged by Italian artisans in a palette of 26 colors, the sculpture reaches nearly 8-feet-tall at its highest point and features two archways. Qwalala changes visually throughout the day as light and shadows cast upon clear and colored glass bricks, creating a “storm”-like effect of swirling color, while remaining transparent.

“The piece began as an exploration of dematerializing the massive, finding a way to complicate the solidity of a brick by merging it with something more ephemeral, like a scent or cloud or a passing storm,” White said. "My work has often involved capturing the fleeting, immaterial—things easily overlooked, neglected, or forgotten—and exposing them, elevating them, even monumentalizing them. In this piece, the neutral anonymity of a masonry wall disappears, replaced by a spectrum of individual, and somewhat uncertain elements of storm bricks.”

The seventh addition to the College’s Public Art Program, Qwalala was supported by several members of the CMC Board of Trustees and representatives of the College’s Public Art Subcommittee. Since 2015, the Public Art Program has enriched CMC’s campus, with works by Chris Burden, Carol Bove, Ellsworth Kelly, Jeppe Hein, and Mary Weatherford.

The sculpture’s dedication is open to the public and will take place on Wednesday, Sept. 20th, at 5:30 p.m. at Claremont McKenna College, Mid Quad, 888 N Columbia Ave, Claremont, CA 91711.

Meet the Couple Spending Millions to Save California’s Architectural Gems

Kirsten Everberg | The Wall Street Journal

By Katherine Clarke

As a Capricorn, John McIlwee considers himself a spiritual person. But when his psychic told him in late 2021 that he was going to buy another house, he didn’t believe it. McIlwee and his husband, entertainment executive Bill Damaschke, already owned a portfolio of three architecturally significant California homes, and they’d decided not to take on any more projects.

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Petra Cortright Interview -- From "VVWEBCAM" posted on YouTube to digital painting

Petra Cortright | Agency for Cultural Affairs JAPAN

By Miki Kleinstein

In 2007, contemporary artist Petra Cortright posted on YouTube in a column by Mr. Koishimiki, "Interview with Dragan Espencido of New York 'Rhizome' Internet Art Conservation Activities (Part 2)", which attracted attention. The video "VVEBCAM" became a hot topic. "VVEBCAM" is still a suggestive and important work when considering the preservation of Internet art. So she interviewed Cortright, an up-and-coming artist who creates her work and receives endless offers from museums and galleries around the world. In her first part, we will hear about her personal aspects, such as how she became an artist, her activities so far, and her experiences in Japan.

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Anonymous Was a Woman and New York Foundation for the Arts (NYFA) Announce 2023 Environmental Art Grants Recipients

Diana Thater | NYFA Awards

Anonymous Was A Woman (AWAW) and The New York Foundation for the Arts (NYFA) have announced the recipients of the Anonymous Was A Woman Environmental Art Grants (AWAW EAG) program, which provides one-time grants of up to $20,000 to support environmental art projects led by women-identifying artists from the United States and U.S. territories. In the 2023 cycle, the second year of the program, a total of $309,000 in grant funding was awarded to 20 projects that will focus on environmental issues and advocacy in locations including Belize, Southern Iraq, Mongolia, New York, Pennsylvania, Tierra del Fuego, West Virginia, and Washington. The 20 projects were selected from 884 applications from artists who reside in the United States and U.S. Territories.

Petra Cortright, haunted lemon hunted spirit

Petra Cortright | Memo Review

Petra Cortright, CONNECTICUT LIGHT AND POWER cool win 98 themes +country +home +magazine, 2021, digital painting on anodised aluminium, 74.30 x 121.92cm, 1301SW. Image courtesy of the artist and 1301SW, Melbourne.

By Gemma Topliss

American Apparel tennis skirts, Lana Del Rey, washed-out digital images à la Terry Richardson, and blogging. The aesthetic markers of the first generation to grow up online are having a renaissance. As younger millennials and older zoomers lean in further to their puer aeternus tendencies and relive their teenage years, the web is awash with nostalgia for the 2010s. In 2006, around the same era, the term “post-internet” was coined by artist Maria Olsson. Post-internet described the internet slipping away from its status as a futuristic and foreign invention, instead becoming both a ubiquitous banality and ever-present spectral force.

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Ann Veronica Janssens: Grand Bal

Ann Veronica Janssens | Pirelli HangarBicocca

Ann Veronica Janssens - Grand Bal book design.

Ann Veronica Janssens.

Grand Bal

2023
English/Italian
23 x 30,50 cm, 304 pages
ISBN 979-12-5463-088-4
Curated by Roberta Tenconi

Texts by Philippe Bertels, Robin Clark, Kersten Geers, Maud Hagelstein, Stéphane Ibars, Ann Veronica Janssens, Jelena Pančevac, Roberta Tenconi, Ernst van Alphen

The monograph “Grand Bal” accompanies Ann Veronica Janssens’ retrospective exhibition at Pirelli HangarBicocca. The editorial project, realized in close collaboration with the artist and designed by Studio Otamendi, traces her 40-year career by presenting a wide selection of historical works and new productions documented by a detailed iconographic archive. By analyzing the conceptual development and formal variations, the volume provides a plurality of perspectives on this body of work through a text by writer Philippe Bertels, essays by art historians Robin Clark, Ernst van Alphen and Stéphane Ibars, a contribution by architects Kersten Geers and Jelena Pančevac, and one by philosopher Maud Hagelstein. The book is enriched by an extensive documentation of the exhibition at Pirelli HangarBicocca that presents for the first time the most comprehensive selection of her works, also narrated through a conversation between Ann Veronica Janssens and exhibition curator Roberta Tenconi.

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Rirkrit Tiravanija’s “We Don’t Recognise What We Don’t See”

Rirkrit Tiravanija | e-flux

Rirkrit Tiravanija, untitled 2020 (we are not your pet), 2023, Diptych: (Left) Solar dust screenprint and archival digital pigment print on paper, (right) thermocromic screenprint and archival digital print on paper, each 70.8 x 58.5 cm x 4 cm.

By Christine Han

The formally diverse series of works that anchor Rirkrit Tiravanija’s new solo exhibition each highlight the accelerating inequity among living beings and propose tentative frameworks for their reconciliation. On entering the exhibition, the visitor is greeted by framed prints of five Old Master paintings which have been appropriated and adapted by Tiravanija. In twinned reproductions of Pietro Longhi’s Il rinoceronte (1751), for instance, Tiravanija has altered or partly obscured the original image of Clara—the first rhinoceros brought into Europe from Asia—as depicted in a Venetian carnival. The implication of the title (untitled, 2020 [we are not your pet], 2023) seems clear: to disrupt the idea that nature as distinct from humanity is something to be tamed and subordinated.

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Rirkrit Tiravanija and Hans Ulrich Obrist In Conversation

Rirkrit Tiravanija | OCULA

Hans Ulrich Obrist (left) and Rirkrit Tiravanija (right)

Edited by Susan Acret

Tiravanija's first residency in 2013 took Charles Darwin's Tree of Life, which maps and names all biological life, as a starting point, while a residency in 2015 with Anri Sala, Tobias Rehberger, and Carsten Höller saw the four artists work collaboratively on collective works, using the premise of the exquisite corpse game as their impetus. The game was originally adopted by the Surrealists to collaboratively produce work and involves each participant taking turns writing or drawing on a sheet of paper, folding it to conceal his or her contribution, and then passing it to the next player for a further contribution.

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Uta Barth

Uta Barth | ArtForum

View of “Uta Barth,” 2023. Foreground, left wall: . . . and of time (AOT 2), 2000. Foreground, right wall: Untitled (and of time . . . 5), 2000.

By Kathryn Scanlan


“Peripheral Vision,” a forty-year retrospective of photographer Uta Barth’s work at the Getty Center, included selections from thirteen phases of the artist’s career, beginning with her early experimentations as a graduate student at the University of California, Los Angeles, and concluding with “. . . from dawn to dusk,” 2022, a yearlong study of the Getty’s facade, commissioned by the museum, to commemorate its twentieth anniversary. The exhibition’s title underlines Barth’s enduring interest in the act of looking and refers us to the mechanics of human vision: We have a relatively small focal area—the point of fixation—surrounded by a large, blurred peripheral field. (Objects and surroundings in this nebulous zone tend to be familiar, nonthreatening—no need to examine them too closely.) Barth’s lifelong project seems to be all about the point of fixation: what we choose to focus on, what we don’t, and why. The intensity of gaze in some of her self-portraits from the 1980s operates like an interrogator’s spotlight: a violent force by which Barth, who has described herself as “incredibly photo-phobic,” is trapped, pinned, or blinded.

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Ana Prvački: Flowering Under Stress

Ana Prvački | Sternberg Press

Ana Prvački - Flowering Under Stress bookcover.

Ana Prvački

Flowering Under Stress

Essay by Zadie Smith

Flowering Under Stress presents a wide selection of works from Ana Prvački’s daily watercolor practice that began during the COVID-19 pandemic. It guides us through the inner and outer landscapes of our recent years, as we grappled the complex emotions of a world turned upside down.

A therapeutic visual journey that reveals Prvački's signature playful wit, the watercolors address current conversations on history, ecology, sexuality, technology, self care and mental health. Offering an imaginative and improvisational approach to the world, Flowering Under Stress encourages us to recognize our shared humanity and to look for hope and possibility in unlikely places.

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