Rirkrit Tiravanija Selected Press Selected Press

Galerie Chantal Crousel Rirkrit Tiravanija Selected Press Selected Press

Galerie Chantal Crousel «Power, Volume 100»,ArtReview 68,N°8 , November 2016,p. 117. Galerie Chantal Crousel «Power, Volume 100»,ArtReview 68,N°8 , November 2016,p. 117. Galerie Chantal Crousel «Power, Volume 100»,ArtReview 68,N°8 , November 2016,p. 117. Galerie Chantal Crousel Lange, Christy. «1992.Rirkrit Tiravanija. untitled (free)», Frieze, 25th anniversary issue, NO.181, September 2016,p.118. Galerie Chantal Crousel http://www.mak.at/jart/prj3/mak-resp/main.jart?rel=de&content-id=1461203004311&article_id=1470964304040&event_ «Performance von Rirkrit Tiravanija», MAK,September 22,2016. id=1470964304044&reserve-mode=active Galerie Chantal Crousel Anaël Pigeat,«Rirkrit Tiravanija, GalerieChantalCrousel/6juin -18juillet2015»,artpress, September, 2015,N°425,p. 30. Galerie Chantal Crousel La galerieest ouvertedumardiausamedi de11h à 13hetde14h19h. Du 6juinau18juillet, 01 42773887 75003 Paris 10 RueCharlot Infos pratiques: l’art commeunespacedelibertépermettants’affranchir descodes. Cette expositionestrichedesenspourquiconque souhaite,àl’instardeRirkrit œuvres àladispositionduspectateur. Dans lesdeuxcas,Rirkrit Tiravanija, pourquilepartageavecsonpublicestprimordial,laisseses des instrumentstypiquesdelaculturerock:unebatterie,guitare,basse. breuses légendesdurockdesannées1970.Laseconde,estunescèneenmarbresurlaquellesetrouvent première, estunereproductiondestoilettesd’unbarnewyorkaismythiquequiaaccueillidenom La galerieChantalCrousselexposeactuellementdeuxœuvresdel’artisteliéesàlamusiquerock. La galeries. souvent lapolémique.Pourcréer, ilpartd’objetsquotidiens,defaitssimples,souventinéditsdansles Chantal Croussel.Cetartisteestl’undesplusinfluentsdesagénération.Pourtant,sesœuvrescréent Rirkrit Tiravanija, artistethaïlandaisnéàBuenos Aires, estexposédu6juin au18juilletàlagalerie 06/06/2015 -18/07/2015 Rirkrit Tiravanija –GalerieChantalCrousel « Rirkrit Tiravanija -GalerieChantalCrousel», NewsArtToday, July, 2015. http://newsarttoday.tv/expo/rirkrit-tiravanija-galerie-chantal-crousel/ Tiravanija, envisager - Galerie Chantal Crousel where itswallsandalarge quantity ofpostersandmemorabiliaisconservedintact. Lower EastSide. A reliquary versionoftherealCBGBsurvivesinJohn Varvatos’ luxuryboutique, 1970s andclosedin2006,aclearreferenceto the gentrificationprocessunderwaythroughout reproduces thetoiletsoflegendaryCBGBin New York, aclubthatbecamepunkshrineinthe A perfectlyfunctioning1:1scaleversion concealedbehindthemainChantalCroselgalleryentrance we happilyassociatewithexquisiteandage-old taste experiences. This isallthemoresogivenadoptionofingredients suchas ries thatgreetvisitorstothegallery. tion, perhapsforthepurityofmarbleorsuper-clean sanitaryfixtures–washbasinsandlavato attempt toconstructamausoleumforthenowdefunctpunkaestheticandcelebratesenseofaliena- Rirkrit Tiravanija’s newworkUntitled2015(runlikehell),ondisplayinParis,seemsanironical http://www.domusweb.it/en/art/2015/07/16/rirkrit_tiravanija_run_like_hell.html Ivo Bonacorsi.«Run like hell»,domusweb.it, July, 16,2015. Lardo diColonnata , apurefatproduct - Galerie Chantal Crousel to useitcrossesevenitsboundaries. founding ready-madeurinalin1917),Rirkrit Tiravanija’s displayisatrueexceptionandtheinvitation and bodyfluidsthatpassedoverMrRobertMutt’s whiteceramic(thenameDuchampsignedonthe ready-made strategiesarecancelledout.Ofallthemanynuancesthathaveaccompaniedthoughts Here, thisphantompresenceandprecisesamplingfromarealcontextareofdif http://www.domusweb.it/en/art/2015/07/16/rirkrit_tiravanija_run_like_hell.html Ivo Bonacorsi.«Run like hell»,domusweb.it, July, 16,2015. ferent natureand Galerie Chantal Crousel metope andmarblesjust likeamodern-dayLordElgin. ly, unnatural.Itisan explantofmaterialsfromtheiroriginalsetting and Tiravanija citestheParthenon Guitar, bassanddrumsallfunctionperfectly canbeusedbuteverythingremainsmuteand, actual- core performancebutanunconsciousmonument toitsimpracticability. construction ofaltarsandsanctuaries,likethisone inrealmarble:nolongerthetypicalsetforahard- Tiravanija presentstoday’s artworldwiththissimple exercise ofturningthetables.Herelaunches like themostfamousrockstars,helpingtoextenddomainofpunkaesthetic. ture sceneonaparwithhighculture. Artists startedharbouringadesireforlegendsandbiopics,just theoretical productionandrereadingofyouthphenomena,frompunktogrunge,placedthecountercul- based onananalysisofthepunkaesthetic,gavemovementatheoreticalreputation. An immense lifted thelidonpowerfulandunnaturalfascinationwithsubcultures.Oneofhispiecesstyle, rything iscaughtupinthereflectionsofBritishsociologistDickHebdigewho,about30yearsago, The impressiongivenbyaninvestigationoftherelationshipbetweensubjectandobjectisthateve- Avenue Armory. Butwherehasalltheearlyenergy gone? Museum inNew York. Others,likePhilippeParreno,stagemultimediasuper-productions atthePark uproot pavingstonestoconstructsophisticatedmicro-environmentsontheroofofMetropolitan thoughts onhowtheworkofsomanyhiscolleagueshasevolved.Some,suchasPierreHuygue, Taking aleakinoneofFrance’s mosthighlyregardedgalleriesseemsquiteirreverentandprompts http://www.domusweb.it/en/art/2015/07/16/rirkrit_tiravanija_run_like_hell.html Ivo Bonacorsi.«Run like hell»,domusweb.it, July, 16,2015. Galerie Chantal Crousel the piece.Histastyandfragrant now pushinghimselffarther. Hedoesnotwanttoresembleanyoneelseexceptinthemarketability of lar curriesandsoupshavelefttracesinthepublicprivatecollectionsofmuseumsworldwide –is vintage. The artist,whoisknownforservingexcellentmealstothehugeartpublic–andwhosepopu Today, ClassicismwithacapitalCisportableandeven The exhibitionmeasurestheeffort andsignificanceofthere-enactmentthathasbecomesofashionable. © allrightsreserved all thatspringstomindisthesimplemealofCarrara marbleworkersandnostalgiafornon-alignment. Immersed intherhetoriconfoodandeco-sustainability, inthisalchemicmixofpunkandclassicism, lery floorandfilledwithediblefatwhichisnot thesameasBeuysroundingcornersofModern. His marblebasinsformaturingthefattyporkback areminimalparallelepipeds,arrangedonthegal- it willnothalttheobsessionofcollectingandtradinginrelics. http://www.domusweb.it/en/art/2015/07/16/rirkrit_tiravanija_run_like_hell.html Ivo Bonacorsi.«Run like hell»,domusweb.it, July, 16,2015. Lardo diColonnata maybeabitterpillserveduptotheartsystembut prêt-à-porter,astootheideaofpostmodern - Galerie Chantal Crousel Frédéric Bonnet.«Rirkrit Tiravanija, ‘L’interaction avec desArts, »,LeJournal lepublic m’atoujoursintéressé’ June 2015, N°438, p. 17. Galerie Chantal Crousel A demain,Mehdi. toilettes d’unancienclub mythique deNew-York, leCBGB. Rencontre avec l’artistethaïlandais Rirkrit Tiravanija, quiaeul’idéed’exposer àParis unereproduction des Vie Rapide S1E67-Mardi MehdietBadrou, lesKids. « http://creative.arte.tv/fr/labo/vie-rapide-s1e67-mardi Vie Rapide S1E67 », Arte Creative, June 24,2015. Claire Moulène.Claire «L’artiste Rirkrit Tiravanija revivre duCBGBparses“dirtybathrooms” fait lalégende »,lesinrocks.com,June, 23,2015. Galerie http://abonnes.lesinrocks.com/2015/06/23/arts-scenes/arts/lartiste-rirkrit-tiravanija-fait-revivre-la-legende-du-cbgb-par-ses-dirty- Chantal Crousel CBGB pourretrouver unpeuduparfum contestatairedupunknew-yorkais nésurlescendres delacontre- Suffit-il comme lefaitaujourd’hui Tiravanija dereconstituer à échelle1,lesfameuses“dirty bathroom”du nants de Television etlavoixde Tom Verlaine, lesPerfectodesRamonesetlepunk sexy deDebbieHarry? pouilleux pourretrouverl’odeur delasueuretl’alcool,lescrispuissance desshoots,lesaccordsdisso- tient l’espritd’unlieu?Suffit-il, commeleproposaitHillyCristaldetélétransporter barpoisseuxetbackstage drôle d’expositionquesigne l’artistethaïlandaisRirkrit Tiravanija àla galerieChantalCrouselàParis. A quoi Depuis c’estsilenceradio. Avec cette questionquiresteensuspensetquecontribueaujourd’huiàreformulerla propriétaire dubâtimentaannoncévouloirdoublerle prixdelalocation. 1973 àManhattan,annoncequ’ilvadéménagerLas Vegas, contraint demettrelaclésousporteaprèsquele Ramone.” Onesten2006,etHillyCristal,fondateur et gérantdumythiqueclubCBGB,fondéendécembre “Je prendslebaravecmoi,jelascène jeprendslesurinoirsdanslesquelsj’aipisséavecJoey ty bathrooms”duclubpunknew-yorkais. une reconstitutiongrandeurnature,sansfétichismeaucun,desfameuses “dir- tion queposel’artisteRirkrit Tiravanija àlagalerieChantalCrousel,avec après trente-troisansdebonsetloyauxservices? Voici ensubstancelaques- Où estpassél’espritdumythiqueCBGB,quiafermésesportesen2006 bathrooms-11755671/ Claire Moulène.Claire «L’artiste Rirkrit Tiravanija revivre duCBGBparses“dirtybathrooms” fait lalégende »,lesinrocks.com,June, 23,2015. Galerie http://abonnes.lesinrocks.com/2015/06/23/arts-scenes/arts/lartiste-rirkrit-tiravanija-fait-revivre-la-legende-du-cbgb-par-ses-dirty- Chantal Crousel c visiteuràceluideparticipant” peut-onainsiliredansletextedeprésentation. laissant levisiteurinteragir entoutelibertéavecsesinstallationsetfaisantainsi glissersonstatutde la contestation,Rirkrit Tiravanija provoquedemanièrerécurrentedessituationsd’expérimentation, s’y exprimer, demanièreplusoumoinstalentueuse. Inspiréparcetteculturedel’amateurismeet descircuitsconventionnelsetdonnenotammentledroit àtoutunchacundemontersurscènepour “Iltémoigned’unrejettotal Tiravanija estl’unreprésentants). et denousproposeruneexpériencelivedureenactment (pratiquetrèsenvuedansl’artcontemporainetdont l’exposition enpassantcettefoisparl’arrière-courde lagalerie!Unefaçondenousmettrelenezdansl’histoire historique etironiqueàlafois,avantderevenirsurses pas,faireletourdupâtédemaisonetrejoindrereste fort aveccetteentréeenmatièreimposéequelque sorte, puisquelevisiteurdoitd’abordpasserparcesas géant) etsonappartenanceàuncourantpharedanslesannées90:l’esthétiquerelationnelle,maisplutôt geste Zéro fétichismedoncducôtéde Tiravanija réputépoursesexpériencescommunautaires(repaspartagéetpuzzle léger reliefàpeinevisiblel’œilnu. années d’activitéduclubapparaissenticidefaçonquasiimperceptible,blancsurmaissignaléesparun Les déclarationsd’amouroulesinsultesgriffonnées àmêmelesmursquisesontaccumuléesaulongdes33 dans l’exposition). faire unstop)cescoulissesaumoinsaussidécisivesquelapistededanseetscène(quel’onretrouveplusloin Bowery ;maislivreiciunremakeimmaculé(bienquefonctionnel–lestoilettesfonctionnent,vouspouvezy traces multiples,dedoigts,graffs etstickersquirecouvraientlittéralementleschiottescradinguesdu315 Tiravanija nesefaitaucuneillusionapparemment,quimêmepasmined’importer, oudereporter, les ulture, lesrelentsdelaguerredu Vietnam etl’insalubritéduBronx? bathrooms-11755671/ Claire Moulène.Claire «L’artiste Rirkrit Tiravanija revivre duCBGBparses“dirtybathrooms” fait lalégende »,lesinrocks.com,June, 23,2015. Galerie http://abonnes.lesinrocks.com/2015/06/23/arts-scenes/arts/lartiste-rirkrit-tiravanija-fait-revivre-la-legende-du-cbgb-par-ses-dirty- Chantal Crousel mais àladisposition dupublic. Tandis quedes bacsàglace,sansbière, maisremplisdelardColonnata (un Les instruments,batteries, guitares etbasses,activéeslesoirduvernissageparl’artiste enpersonne,sontdésor- marbre, delascènemythique quivitpasserBlondie,SuicideouPattiSmith. taines demètresetdébarquer parl’arrière,jouesurlamêmecorde,avecreproduction millimétrée,maisen s’y arrêtentéventuellement letempsd’unraildecokeoud’unepausepipi,avant deparcourirquelquescen- Le restedecetteexpositionchorégraphiée,quiattend duspectateurqu’iljouelejeu,faceàunsautauxtoilettes, bathrooms-11755671/ Claire Moulène.Claire «L’artiste Rirkrit Tiravanija revivre duCBGBparses“dirtybathrooms” fait lalégende »,lesinrocks.com,June, 23,2015. Galerie http://abonnes.lesinrocks.com/2015/06/23/arts-scenes/arts/lartiste-rirkrit-tiravanija-fait-revivre-la-legende-du-cbgb-par-ses-dirty- Chantal Crousel La suiteestcélèbre. PattiSmithélitdomicile au315Bowery contenté d’un peudemonnaie.Lafoisd’après, Television débarqua avecquatreblousons noirs se vitsupplierderemettre ça. Ilcéda. Après tout,sonbaravaitfaitduprofit, etpourcachetlegroupes’était Héroïne enquantité. Accrochages. Pitreriesde Tom Verlaine. Kristaljuraqu’on nel’yreprendraitplus,mais Ainsi, leCBGBvégétajusqu’à cequeRichardHellyprogrammeunconcertde Television, le31 Dead Boysaimaientàsebranler… déféquait àlavuedetous,etdontlescuisinesl’hygiène moyenâgeuseabritaitunchiliinfectdanslequelles Ou furentvitedissuadésparcetespacepuantl’urine, ausolchroniquementsale,auxtoilettesgraffitéesoùl’on ment peuplédeclodos,junkiesetbohèmes)les amateursdecountryetbluegrass.Quinevinrentjamais. proprio Hilly cer Arts Center avaitfermé.Seshabitués(New York Dolls,Suicide…)semirentàlarecherched’unhavre.Le c’était l’Avenue A. Deuxblocsausud,lalisièreduLowerEastSide. Au cœurdubrasier. Peuavant,leMer- Décembre 1973,leCBGBouvritsesportesau315Bowery, surlescendresduPalaceBar. Trois blocsàl’est, En 1973,lepunkélitdomicileauCBGB.Là,c’estl’histoire dumouvementquis’écritaufildesconcerts. Bienvenue auclub Rirkrit Tiravanija, Untitled2015(RunLikeHell),jusqu’au18juilletàlagalerieChantalCrousel.Paris. Claire Moulène taire. Bienloindel’East Village. années. Unefaçonderappelerqu’en2015,silescanauxrévolteontchangé,ilsouffleencoreunventcontesta ceux présentésactuellementàlaBiennalede Venise) recensanttouslessoulèvementpopulairesdecesdernières message, “onnepeutpassimulerlaliberté“,fontdel’œilàunesériedessinssurfondrouge(lesmêmesque Dans lasalleadjacente:deuxcouverturessérigraphiéessurtoiledujournalLibérationaffublées dumême lés deglacière),jonchentlesollagalerie. lard blancetfondant,untempsconservédansdesvasquesenmarbredecarraredontsontaussifaitcesfacsimi-

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1974. , - Claire Moulène.Claire «L’artiste Rirkrit Tiravanija revivre duCBGBparses“dirtybathrooms” fait lalégende »,lesinrocks.com,June, 23,2015. Galerie http://abonnes.lesinrocks.com/2015/06/23/arts-scenes/arts/lartiste-rirkrit-tiravanija-fait-revivre-la-legende-du-cbgb-par-ses-dirty- Chantal Crousel L ici piocherquelquesidéespoursonfuturgrandprojet. David Brun-Lambert s’en mêlait.Peuaprès,laplupartdeseshérosétaientlessivés. Stooges avantimplosion.C’étaiten1974.Lepunknew-yorkaisvenaitdenaître.Deuxansplustard,l’industrie Plus loin,surBleeckerStreet,ungraffitilagrilled’uneépicerie l’angle de2ndStreet AC/DC, GreenDay, The Strokes,etc.). A saplacetrôneaujourd’huiunegaleried’art.Delà,remontezjusqu’à sa fermetureen2006,ilaccueillitplusieursgloiresdurockquivinrentyparfaireleurréputation(GunsN’Roses, La décenniesuivante,lehardcoreyconstituasonabri(SickofIt All, Madball, Agnostic Front,etc.)et,jusqu’à sous peudansunautrehautlieupunk Mink DeVille. Danslepublic Un anplustard,leclubétaitl’épicentredel’underground new-yorkais,programmant Talking Heads,Blondie, Suicide, Johnny Thunders, The DictatorsouMalcolmMcLaren–alorsmanagerdesNew York Dolls ’histoire aétélargement réviséedepuismais,en1974,iln’yavaitpascentpersonnesquitraînaientauCBGB.

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– quivint York”. Galerie Chantal Crousel http://www.lesinrocks.com/2015/06/14/arts-scenes/arts/le-top-5-des-expos-de-la-semaine-21-11753777/ sel àParis “Untitled 2015(runlikehell)”deRirkrit Tiravanija, jusqu’au18juilletàlaGalerieChantalCrou- cription dansl’éternitédecettehistoirelacontre-culture. (mais avecdularddeColonnataàlaplacedesbières), sontunetentatived’ins- deuxième partiedel’expo,unescèneetdesbacs àglacetaillésdanslemarbre Ramones etdePattiSmith,d’avantlenéo-conservatismelanormalisation.La qui convoqueavecluitouteunehistoire,maisaussiépoque:celledes d’un lieumythique,lebarnew-yorkaisCBGB1,qu’ils’estattaqué.Unbackstage new-yorkais, tousdeuxrépliquésàéchelle1.Cettefois-ci,c’estaupipi-room paces atypiques:unepénicheconçueparleCorbusierousonpropreappartement L’artiste thaïlandaisnousavaithabituéàsesreconstitutions grandeurnatured’es- Rirkrit Tiravanija Ingrid Luquet-Gad, Claire Moulène. Luquet-Gad,Claire Ingrid «LeTop 5desexpos delasemaine»,LesInrocks, June, 14,2015. Galerie Chantal Crousel Opens June 6th2015 http://www.artforum.com/?pn=guide&show=mustsee&country=FR&place=paris «MustseeParis», Artforum , Thursday, June 4,2015. Tue -Sat 11amto7pm 10 rueCharlot /+33142773887crousel.com Galerie ChantalCrousel Jun 6-Jul 25,2015 Rirkrit Tiravanija untitled2015(runlike hell) the viewers exhibition, toget stage are invited on andplay. set. There will duringthe beaconcert opening, andduringthe of run CBGB’s bathroom andastage outfitted with aguitar, bass, anddrum the legendary York New (now-closed) works: Citypunkbar areplica of Rikrit Tiravanija’s fifth show with this gallery debuts two large-scale Galerie Chantal Crousel http://www.huffingtonpost.com/artphaire/top-5-more-summer-shows-t_b_7696172.html?utm_hp_ref=arts&ir=Arts crowds towhat isarguably themostimportant spacetoseecontemporary artinRussia. t-shirt factory andastandservingpelmeni. The installation willopenupthemuseum tothecity, drawingin Koolhaas, Tiravanija hascreatedaleisurespace markedbyaplushpurple carpet,blackpingpong tables,a structure, whichwasoriginally a1200-seatrestaurantthatopenedin1968,and was lar and eatingpelmeni,which areRussiandumplings.OccupyingtheCentralandSkylight Galleriesinthe based onhistimespentin Russia participatinginpopularactivities--playingping-pong, producingt-shirts socializing withviewersare centralelementsinhiswork. At theGarageMuseum,hecreates aninstallation known forprojectsthatinvolverelationalaesthetics-- cookingmeals,creatingstructuresforlivingand is thefirstsoloexhibitionofworksbyRirkrit Tiravanija inRussia.BornBuenos Aires, Tiravanija isbest Rem KoolhaasandislocatedinaSoviet-eraconcrete buildinginGorkyPark,"T One offiveexhibitionsheraldingtheopening Garage Museum'snewhome,whichwasdesignedby Through August 23,2015 Garage MuseumofContemporary Art, Moscow 1. Rirkrit Tiravanija: Tomorrow istheQuestion missed thissummer. art thatcan'tbeviewedanywhereelse.Below, weroundupfiveshows infar-flung locationsthatcan'tbe In theglobalizedworld,itispossibletotravelanywhereinandseeexemplarycontemporary By Brienne Walsh, June25,2015 Posted: 06/30/201510:06amEDT Updated:06/30/201510:59amEDT Top 5:MoreSummerShowstoSee Around the World Brienne Walsh. «Top SummerShows 5:More toSeeAround theWorld June 25,2015. »,huffingtonpost.com, omorrow istheQuestion" gely preservedby Galerie Chantal Crousel Frédéric Bonnet.«Festival Faites vos desArts, n°436,May jeux!»,LeJournal 22-June 4,2015, p. 22. Galerie Julia Michalska, Rivetti, JaneMorris, Ermanno Pac Pobric. «IntheGiardini:five toseeinOkwuiEnwezor’s Allthe World’s Futures Chantal Crousel red” olderartistsand womenred” artistsondisplay. lesswell-known artists,tely many isthenumber outside Europe apparent andAmerica,“rediscove born of - given artistsare theirown presentations, flowingartists, pairsandtriosof oneto theother. What isimmedia- theworksstyle troubling individual (though many are Around Arena, underthe surface). thecentral of capitalismserved late modern upinacoolly even elegant, sleek, theshow isindeedacriticismof Much of Marx’s artisticpresentations. DasKapital.Surrounding that, headded, would bea“dimsum”of the pavilion to atheatrical spacededicated entirely topolemicalreadings, including, aswidely Karl reported, limitstowhatare you of candowith gallery thecentral it”, hesaid.Despitethissaidhadtransformed inthePalazzotures delleEsposizioneintheGiardini.“It’s anessentially Classicalspace, itiswhat itis, there of installinghis exhibitionAll theat theCa’Guistinianyesterday World’s hediscussedthedifficulties Fu- OkwuiEnwezordirector promised themostpolitically oriented Venice terrace foryears. Speaking onthe roof In hisinterviews intheweeks theVenice before Biennaleopened toinvited today, guests andpress 5May, Rirkrit Tiravanija’s Demonstration Drawings (2007)inAlltheWorld’s Futures andsleek capitalismiselegant The Biennaledirector’s critiqueof World’s Futures In theGiardini:five toseeinOkwuiEnwezor’s Allthe http://www.theartnewspaper.com/news/155425/ », Theart newspapee, May 5,2015. Galerie Julia Michalska, Rivetti, JaneMorris, Ermanno Pac Pobric. «IntheGiardini:five toseeinOkwuiEnwezor’s Allthe World’s Futures Chantal Crousel nal Emily KameKngwarreye, Earth’s Creation(1994)completes thepresentation. wooden totemicfigures by the Pakistan-born HumaBhabha. painting Alarge by thelate Aborigi- Australian Irish AfricanAmericanartist EllenGallagher, with atwisted, outtyre burned sculpture, Atlas(2015),and from Africa,AsiaandLatin Akey Americaortheirdiaspora. room intheexhibitions placespaintingsby the crowd away from artmarket darlings tolesser-known (OscarMurillomakes appearance) asurprise artists, between.they fewandfar are Enwezor thebiennale isclearly todraw usinghisplatform theattention of S Ellen Gallagher, HumaBhabha, Emily KameKngwarreye Let’s (white) famous notpraise men frames. sarcasm. Bleakanddishevelled children andmothersdust-covered workers black outfrom stare elegant collaboration with justasbeautifully JamesAgee, are asDeller’s, presented arty thoughwithout any hintof photographs, takenEvan’s from 1936bookLetUsNow hisfamous Famous Praise Men,madein seriesof worker totellhimhisservices would that day. notberequired you have day off(2013), which hetookfromrecently anautomated text message senttoazero-hours contract poverty hangsagiantfabric bannerwith thewords of buttouchingthese small,faded images Hello, Today ironworks taken duringtheindustrialrevolution, which hehasirreverently titledThe ShitOldDays. Next to Deller’s anonymous, work exhausted includes women archival workers of photographs inaSouthWales working poor. Though separated by timeandgeography, theillsinflicted by capitalismonthe theirprojects bothspeakof theGreat Depression. fordocumentingtheeffectsof famous photographer Jeremy Deller, who filledtheBritishpavilion at the2013Biennale, and Walker Evans, US the20th-century Karl Marx’s totheviewer’s DasKapitalisafittingprelude The of reading encounter with the works by Jeremy Deller, Hello, Today you have a day off,2013 Workers production asunitsof theshow,in away that much of initsconceptualcoolness, isnot. away violence?These hardtoturn piecesare from becausethey aesthetically are with appealing thebeautyof Enwezor’s capitalism,whichThese works isakey aspectof show. mimictheviolenceof Buthow dowe deal whaling andpolarbearhunting.oceans andtheArctic with sickening of footage documentary in theshow isJohn Akomfrah’s three-channel video, gorgeous Vertigo Sea(2015),pairingsweeping of images amurdered man,naked from thewaist up, covered hisface of newspaper inblood. photograph The final work works sculptural ceramic recent bysing. Walead Aninstallation of Beshtyincludes front agripping page adarkened room and vomits blood theexhibition, amansitsaloneonthefloorof while convul- the startof works thosethat are brutalisetheimagination. InChristianBoltanski’s film L’Homme quitousse(1969), at themostcompelling There isbeautyinviolence. Throughout exhibition thecentral at theGiardini,someof Walead Beshty, various works, 2013-15 Violence o there are somesuperstarwhite are o there maleartistsintheshow Gursky, (Andreas HansHaacke, forexample) but http://www.theartnewspaper.com/news/155425/ », Theart newspapee, May 5,2015.

Galerie Chantal Crousel Galerie Julia Michalska, Rivetti, JaneMorris, Ermanno Pac Pobric. «IntheGiardini:five toseeinOkwuiEnwezor’s Allthe World’s Futures Chantal Crousel hmsHrchr,Ro Off,2015 Thomas Hirschhorn, Roof Dramatic appeal feel likefeel naughtyschoolchildren who thenrunoffto the yachts andparties,remains tobeseen. tively). Whether theartworld (with the1%)will it’s pay attention orsimply close connectionstothe1%of Harvey, theartworld’s (theHayward’s tosomeof leadingdirectors Ralph Rugoff canbeseenlistening atten- IsaacJulien’sted tobepolitically engaged. KAPITAL (2013)even includes by alecture anthropologist David to Rirkrit Tiravanija’s Demonstration Drawings that isnoescapingthefact viewers (2015), there expec are - work onshow: from HansHaacke’s World Poll (2015),Alexander Kluge’s philosophicalandpoliticalvideos, thebiennale)aswell asotherreadings, anddebates. lectures This isnottheonlymonths of overtly didactic Marx’s volumes, DasKapital(allthree it will probably of beused for readings through read twice over the spacewithpassing through performance The alarge Arena, seating ontwo levels. Throughout thebiennale As clearly intendedby Enwezor, thepavilion totheotherwithout itisimpossible tonavigate from onesideof Das Kapital, inTheArena readings anddiscussions Back toschool Thomas Hirschhorn’s Off(2015) Roof http://www.theartnewspaper.com/news/155425/ », Theart newspapee, May 5,2015. bert Smithson, enlivens a gallery of works onpaper.bert Smithson,enlivens of agallery iscompletewithoutart fair one)thistimeby Ro- scattered at itsroots. (nobiennaleor Anactualtree a gallery, Plato’s treatises with discardedcopiesof packing tape, insulation ductsandwire,like, fills of thepavilion. Ariot,almostjungle- of one gallery of apparentlyHirschhorn burststhrough theroof work by theSwiss-born, Paris-based artistThomas pavilion’s fresco-covered dome. Anew site-specific by sculpture Fabio Mauriunderthe presentation of installations andvideos. Hestartswith adramatic punctuated thedisplay with somecrowd-stopping conceptual, monochrome, orarchival, Enwezor has thework onshow iscontrolled, Although much of Galerie Chantal Crousel 2012 GwangjuBiennale. in 2005.Hesetupabookstoreatthe2009 Venice Biennaleandapingpongtableatthe ned anexhibitionspaceintoaliveradiobroadcastingstudioattheGuggenheimMuseum He loveseschewingtheusualmuseumparadigm:anartist,artworkandaudience.tur- What manythoughtwasanopeningeventcontinuedthroughouttheexhibition. He cookedandserved Thai curry tovisitorsatagalleryinNew York intheearly1990s. Artist Rirkrit Tiravanija breaksthetypicalmuseumstereotypes. LeeWoo-young. back “Breathinglife intomuseums”, TheKorea Herald, September 1,2014. Art. “Demo StationNo.5”atLeeum, SamsungMuseumof Artist Rirkrit Tiravanija posesforaphotoonhiswork http://www.koreaherald.com/view.php?ud=20140901001176 (Park Hae-mook/TheKoreaHerald) Galerie Chantal Crousel interested in someonelike Angelina Jolie,butIthink it’s important weseeboth,”hesaid. are importanttous. They arepoetsandartistswhoselives wedon’t payattentionto. We’re “These arethekindsofpeople intheperiphery, notsomeonewefocusonevery day. Butthey different areasofsociety. 2 1/2hourfilmencourages viewerstofindmeaningandvalueinthelives ofthesepeoplefrom rice farmerinChiangMai,apoetandanartist,people thatarebarelypaidattentionto.Butthe Recently, hebegantoworkonfilmsaboutpeople. Thefilmsareabouttheordinary livesofa ned. tand. Itwasn’t aboutthefood,butpeoplebeingtogetherinsameplace,” heexplai- “I usedfoodalotinmypreviousworksbecause it’s somethingthatweallknowandunders- experience,” hesaid. from displays. We onlyreadandlookatwhatwearetold. Butwearenotreallyhavingan “When wecometoamuseum,expectthere’s somekindofmeaningorinformationtolearn people canplay, interactandsharetheirexperiencewithothers. back intogalleries.Hehasturnedwhatwouldhavebeenlifelessinstallationsplaceswhere the conventionalapproachofdisplayingworkinamuseum,butinsteadwantedtobreathelife His interactiveartstartedfromaninterestinarchaeology. However, hewas notinterestedin aspects ofpeople’s livesthatotherspaidlittleattentionto. The artist,whoworksintheUnitedStates,Germanyand Thailand, saidhisworkwasabout fifth projectinhis“DemoStation”series,whichstarted2005. the exchange,”said Tiravanija, explainingthetitleofwork“DemoStationNo.5.”Itis “It’s aplatformforpeopletodemonstratesomething.It’s aboutshowingyourideas aspartof the world. performances, andaclassroom,wheretheycanlearnhowtoplaydifferent drumsfromaround At thesametime,audiencecanuseitastheirownplayground,stageforpiano Korean traditionalmusicandalternativemusic,withperformancesbyprofessionaldancers. formances ―unusualeventsforaquietmuseum. There willbeconcertsofclassicalmusic, The two-storywoodenstagewillserveasthevenueforafashionshow, concertsandper- daily life,”hetold The KoreaHeraldlastweek. to breakdownthedistancebetweenwhatwethinkasartorhighanddoinour “I imaginepeopletomovearoundliketheyareintheirdailylife.Partofmyinterestisalways Art. ticipate inculturalactivitiesatthe10thanniversaryexhibitionofLeeum,SamsungMuseum This time,theartistpresentsanotherpublic-orientedworkthatinvitespeopletowatchandpar- Tiravanija receivedtheGoldenLionforBest Artist atthe2009 Venice Biennaleforhisidea. LeeWoo-young. back “Breathinglife intomuseums”, TheKorea Herald, September 1,2014. http://www.koreaherald.com/view.php?ud=20140901001176 Galerie Chantal Crousel Emmanuelle Lequeux.«Rirkrit Tiravanija», LeQuotidiendel’art, numéro spécialjuin2014,p. 28. Galerie

Chantal Crousel Marilyn Goh.«Rirkrit Tiravanija: Time Travelers Chronicle Tyler (Doubt):2014–802,701A.Dat Singapore PrintInstitute», paranoia regardingtheaudience’s roleandfunctioninthegalleryspace. becomes theartinquestion,despitethatsmackingalittletoooptimisticallyofart’s relativelyrecent establish “live”encountersinacarefullyconstructedenvironmentwheretheexperienceofviewer better termedasrelationalaesthetics,aconceptcoinedbyNicolasBourriaudpracticethatseeksto sceptical ofartthattakesparticipationasitspointdeparturewellendpoint.[1]Infact,it’s The transactionalqualityin Tiravanija’s hybridinstallationsisunmistakable,evenforthosewhoare way theywouldinafriend’s home. his three-roomEast Village apartment,thenextendingtheinvitationtopublicspendtimeinit tled (Tomorrow CanShutUpandGo Away) (1999)byre-creatingtheinteriordimensionsandspacesof Untitled (Free).Sevenyearslater, Tiravanija furtherblurredtheexperiencebetweenartandlifeinUnti served riceand Thai currytoacrowdthatbecameunwittingparticipantsinhybridinstallationtitled In 1992,Rirkrit Tiravanija convertedthespacesof303GalleryinNew York intoakitchenwherehe Institute. hair, STPIhandmadeabaca paper;99.5xcm. Editionof6.Imagecourtesy ofSingapore Tyler Print Rirkrit Tiravanija. DoubtDoesNot Travel in aStraightLine,2013;etching,screenprint,metal foil,horse http://dailyserving.com/2014/06/time-travelers-chronicle-doubt-2014-802701-a-d/ Dailysevring, June 18,2014. - Galerie

Chantal Crousel Marilyn Goh.«Rirkrit Tiravanija: Time Travelers Chronicle Tyler (Doubt):2014–802,701A.Dat Singapore PrintInstitute», and spacethat’s looselyinspiredbyH.G. Wells’s novel The Time Machine. 2014 –802,701 A.D. attheSingapore Tyler PrintInstitute,aconceptuallydrivenexplorationoftime of sociallyengagedartandinterpersonalactivityinhislatestshow Time Travelers Chronicle(Doubt): constant desiretoredefinetheseboundaries,itissurprisingfindtheapparentabsenceofpatois spectator issupposedtogleanfromhisorherparticipationoftenunclear. Considering Tiravanija’s by shiftingtheonusofartproductiontospectator-artist interactivity, evenifthepurposeofwhat At theveryleast, Tiravanija’s stagedtableauxofexaggerating,thencapturingunscriptedhumanrespon ses throwsthespotlightonfinedemarcationlinesthatstandbetweenviewer courtesy ofSingapore Tyler PrintInstitute. screen print,metalfoil,horsehair, STPIhandmadeabacapaper;99.5xcm.Editionof6.Image Rirkrit Tiravanija. Almost, Always, Never, The Further theDistanceCloserIs Time, 2013;etching, http://dailyserving.com/2014/06/time-travelers-chronicle-doubt-2014-802701-a-d/ Dailysevring, June 18,2014. , materiality , andartist - Galerie

Chantal Crousel Marilyn Goh.«Rirkrit Tiravanija: Time Travelers Chronicle Tyler (Doubt):2014–802,701A.Dat Singapore PrintInstitute», Rirkrit Tiravanija. The Time Travelers CalendarB,NegativePresent,2013;embossing,screenprint,ther courtesy ofSingapore Tyler PrintInstitute. mochromatic ink,STPIhandmadeextra-thickcottonpaper;114.5 x114.5 x3cm.Editionof4.Image (First Chapter: The Tree of Life, The EclipseandDrink aNigronetotheFuture). merry rompthroughspace andtimebeginningwithevolutionary CharlesDarwin’s treeoflife eight life-sizedscreenprints, eachchroniclingachapterintraveler’s logbook,eachtellingastoryof Nothingness, He Wakes UpUnder the Tree Again). Arguably themost eye-catchingoftheworksare The FurtherOne Travels theCloserOneReturns(To Doubt);Spongebob’s The Surreal Realmof through phasesofthemoon)andmetaphysical (EightChapter:ReturntotheUnknowingDesire, physical (MoonRise– Time IsSetting – Tomorrow Never Arrives positsthemeansofchroniclingtime The installationsseemtobeconstructedarounda narrativeofmeasuringtimeintherealms flect andabsorbtimespace”“torepresent thepossibilitiesofpresent,past,andfuture.”[2] of varying sizes. Silver is theshow’s dominant color inwhitegallery space, chosenforitsability to “re precise mathematicallinesthatappeartobedrawn byagiantcompass—containedwithinsilvercircles The quirkydetailsemerge uponcloserscrutiny:bold,squigglysketches,thecrooked branchesoftrees, faces thatformcircularplanesofsharpbutsterile contrastsagainststerilewhitegallery-wallspace. At firstglance, Tiravanija’s latestofferings appeartobesetinstylishandsombresilver-gray flatsur http://dailyserving.com/2014/06/time-travelers-chronicle-doubt-2014-802701-a-d/ Dailysevring, June 18,2014. - - - Galerie

Chantal Crousel Marilyn Goh.«Rirkrit Tiravanija: Time Travelers Chronicle Tyler (Doubt):2014–802,701A.Dat Singapore PrintInstitute», pore Tyler PrintInstitute. paper, stainless steelpedestal,3Dprintedobject;259.5xcm;4sheets.ImagecourtesyofSinga on thewaybackdon’t forget tosmile,2013;screenprint,metalfoil,castpaper, STPIhandmadecotton Rirkrit Tiravanija. Sixthchapter:take thespinoff, unwind,reverse directions,andshatterthebonsai, http://dailyserving.com/2014/06/time-travelers-chronicle-doubt-2014-802701-a-d/ Dailysevring, June 18,2014. - Galerie

Chantal Crousel Marilyn Goh.«Rirkrit Tiravanija: Time Travelers Chronicle Tyler (Doubt):2014–802,701A.Dat Singapore PrintInstitute», Institute throughJune28,2014. Time Travelers Chronicle(Doubt):2014 –802,701 A.D. willbeonviewatSingapore Tyler Print artist. their materialpresencealone,totheporousnessthatexistinapparentlinesdividingaudienceand a retrospectiveofsorts—thatoverridethephenomenologicalexperiencetimeandbearwitness,by than thearchitecturalstructuresofbuilding. As such,theypresentaconflationofmemories—and the mirroredsurfacesinUntitled2002(HePromised)thatexplicitlyreflectedhumanactivitiesrather oeuvre: theiconiccurryexperiencewaybackin1992,Negronicocktailimbibedbeforeflights,or in theshow, we’realsogivenglimpsesinto Tiravanija’s retrospectivereconstructionsofhisentire front ofeachflatscreenprint,addeffervescent absurditytotheentireshow. Inallthematerialsused loop andthesesmallthree-dimensionalobjectsonstainless-steelplinths,deliberatelypositionedin a bowlofcurrynoodles,martiniglass,mathcompass,andminiaturetoySpongebobintothe viewer, departingfromtheformallogicvalidating Wells’s narrator’s journeyintothefuture. Throw Jocularly playful,theamusinglylongtitlesofeachworkareguaranteedtotripupeverywell-meaning [2] Rirkrit Tiravanija, ExhibitionCatalog,Singapore Tyler PrintInstitute,2014. [1] ClaireBishop,“AntagonismandRelational Aesthetics,” October110, Autumn 2004. http://dailyserving.com/2014/06/time-travelers-chronicle-doubt-2014-802701-a-d/ Dailysevring, June 18,2014. Galerie Chantal Crousel “At thetimeofthisinterviewRyan GanderisenjoyinghislastdayatSTPIbeforehereturnstona tive UK,andpreviousresidentRirkrit Tiravanija hasreturnedfortheopeningofhissoloshow...” of paperand printandwhatitmeans toberesidentatSTPI. ked departure fromhiscurrentpractice, andmoretoathoughtful andplayfulexcavation ofthemedium It isforthisreason,one wonders whetherthefinalexhibitionofGander Ultimately, Ganderisaculture magpieexploringarhizomeoftrajectoriestoup-end acceptednotions. London’s Barbican Centre. guing linebetweenseemingly disparatepointsonaculturalmap-J.R.R. Tolkien toInspectorMorse works -forexampleLoose Associations Lecture(2002)consisted ofatalktoslidesthatdrewanintri remade inZebra Wood (BauhausRevisited,2003)?Heisalsoknownforhislanguageandperformative morialising marble(Tell MyMothernotto Worry (ii),2012);whatifallthepiecesinachesssetwere known forhisrepresentationofeverydayobjects: whatifachild’s den-of-sheetswereremadeinme A World youDon’t Want toRattle,or We GoDarkFor, andgraphicextractsofpolicecars.Ganderis guing selection–includingasplatteredplinthand itstwin,printsofprintingblockstentativelyentitled Gander’s worksarestilltobefinalised,butaglimpseoftheirprogressreveals adisparate,butintri time atSTPIandinparticular, thedemandsofpresentingobjectbasedwork. sents aninterestingconjunctureinwhichtoconsider howtwoconceptualartistsmightapproachtheir resident Rirkrit Tiravanija hasreturned toSTPIfortheopeningofhissoloexhibition. The overlappre Gander isenjoyinghislastdayatSTPIbeforehereturnstonativeUnitedKingdom,andprevious are thenpresentedintheInstitute’s exhibitions. At thetimeofthisinterview, incumbentresidentRyan an opportunitytousetheInstitute’s outstandingprintandpaper-making facilitiestocreateworkswhich which inthepasthaveincluded Ashley Bickerton,EkoNugroho,andDoHoSuh–areprovidedwith STPIconsistentlydeliversachallengingandexceptionalexhibitionprogramme.Residentartists – http://ocula.com/magazine/conversations/rirkrit-tiravanija-and-ryan-gander/?preview=true «Oculaconversation. Rirkrit Tiravanija andRyan Gander»,Ocula,2014. ’ s workwillpointlessto a mar ------Galerie Chantal Crousel tive. Itis,inaway, acomplete experimenttoseehowcreatingobjectscanstill beinteractive. that Iamthinkingabout in creatingthatobject. The exhibition thereforeisactuallystillkindofinterac tried tocomeupwithanarrative thatIthoughtwouldactuallygetpeople moreinvolvedwithwhatitis is -Ihavenotreallyworked beforetocreateobjects(assuch).Soinhaving toworkwithanobject,I RT: Iguessthatisthedifficult partforme–havingtoworkwiththemediumofprintandpaper. Thefact Untitled Free(1992),andtheworkyoucreatedduring yourresidencyatSTPI? and yourearliestwork.Rirkrit,arethereanythreads betweenyourearlywork,forexampleaworklike Well instead-let’s lookattheconnectionsbetweenworkyou havecreatedwhileresidentatSTPI, Rirkrit Tiravanija: Yes, neitherofuscouldanswerthat question. artists. Isupposethisisthesame. Ryan Gander: We wentfordinnerlastnightChiliCrab,andwewerebothaskedwhybecame explore art. What aboutyou? Rirkrit, IwasjustaskingRyan iftherewasafirstpieceofartoranartistthatinitiallyinspiredhimto [Rirkrit Tiravanija joinstheconversation] Rirkrit isherenow! RG: Okforyou!Notsureitisokme? That’s ok. Ryan Gander:Ican,butit’s terrible. Canyourememberthefirstartworkthatinitiatedyourjourneywithart? king. tion tomentallyengagewiththeconceptoftimeviaanimaginativescenarioartist’s ownma- each representingaseriesoftimeportals. There isnocommunalcurryonoffer, butinsteadaninvita tation ofeightlife-sizedsilverworksonpaper, pairedwith3Dprintedobjectsonchromedpedestals, Time Machine,theexhibitionreconfiguresSTPIgallery spaceintoatimemachinebypresen still providesaframeworkforactiveaudienceparticipation.InspiredbyH.G. Wells’ dystopiannovel time Tiravanija haspresentedanexhibitionconsistingsolelyofobject-basedwork, butneverthelessit The currentexhibitionatSTPI, Time Travelers Chronicle(Doubt):2014–802,701 A.D, marksthefirst these spacesintoplacesofcommunion. and galleriesworldwideintoakitchenwhereheservesrice Thai currytovisitors,transforming pioneer ofrelationalaesthetics,anearlyworklikeUntitled(Free)startingin1992,convertsmuseums tory eventsthatinvestigatethenatureofhumaninteractionthroughconstructedsocialenvironments. A ryday’, buthehasmorediligentlypursuedaperformativeapproachtohispractice–creatingparticipa characterised hiswork.LikeGander, Tiravanija’s workhassteadfastlyinvolvedananalysisofthe‘eve his usualpractice,thereareimportantthreadsthatreflectacontinuationofconcernshavealways For Tiravanija, whiletheresidencyandcurrentexhibitiondosignifyasignificantdeparturefrom http://ocula.com/magazine/conversations/rirkrit-tiravanija-and-ryan-gander/?preview=true «Oculaconversation. Rirkrit Tiravanija andRyan Gander»,Ocula,2014. - - - - - Galerie Chantal Crousel I alsowonderedifhistoryanddifferent layersofhistoryarerelevant? I understandoneaspectoftheworkyouhavecreated whileatSTPIalsorelatestotheconceptoftime? an aestheticone.Imean,Loose Association methodologyworkswithanythingreally. were. You couldtakethegeographicaloneofwalkingaround exhibition,orchronologicalone, RG: There arelotsoftrajectoriesthatyoucantakethroughthem,butitwould dependonwhoyou How would the work you have made at STPI relate to an earlier work like Loose Association Lectures? they makeprints,butactuallyitmightbeprintor anobject–itisjustaboutthenotionofprintmaking. to makeartworkaboutprints.Fromtheoutsideyou havetheperceptionthatpeoplecomehereand RG: Beingheredoesn’t feellikeyouarebeingrequiredtomakeprints.Forme,itfeelsIamhere with thephysicalactofprintandpapermaking.Howhaveyoufoundresidency? Ryan, youalsoareaconceptualartistandhavebeenputinsituationwhereaskedtoengage RG: Sometimesitiseasiertogivetheaudienceaframeworkorrestriction. The wholethingabouttheworkhereisthatitsupposedtobeakindoftimemachine. narrative structurethatrequiresthemtousetheirmindjogthroughthespace. was akindoftheatrespacecondition.Ithinkinthisworkwanttheaudiencetoenterintocertain Tempo del Postino wastryingtomovetheworkthroughpeopleinakindoffixedframe–which working withtheperformative,peoplearethroughworkorspaceitself,whereas il RT: Il Tempo Postino wastryingtore-framethepositionofviewerinsensethatwhenIam and thequestionposedbythatproject,whatyouhavedonehere? You explore‘time’ intheexhibitionatSTPI. Are thereanyconnections betweenIl Tempo delPostino was: 'Whathappensifhavinganexhibitionisnotawaytooccupyspace,buttime?'. Rirkrit, youwereinvolvedwithIl Tempo delPostino. The questionoriginally posedbythecurators type ofmentalengagement–anviatheirimagination. into theworkitself.Inthissituation,Iamtryingtopresentanarrativeaudiencethatrequires to beengaged.Ithinkprettymuchamtryingmakeatypeofframewherepeoplewillhaveenter that Ihavedonesince.Inmywork,alwaystriedtopresentaframeworkinwhichpeople something IwasinterestedinwhendoingFreeUntitled(2005)andtheothermoreperformativework carries throughisperhapsthisrelationshipbetweenaworkandthetimeyouspendwithit. Which is But reallyitisprettytenuousbetweenwhatIusedtodoandamdoinghere.Oneelementthat RT: Yes, youhavetoputyourhandonitforbeactivated. where atatouch,tracesofhandprintsareleftbehindtodissipateovertime.] [Gander isreferringtoaworkinRirkrit’s exhibition, The timetravelerscalendarB,negativepresent, RG: The handprintworkisveryinteractive. http://ocula.com/magazine/conversations/rirkrit-tiravanija-and-ryan-gander/?preview=true «Oculaconversation. Rirkrit Tiravanija andRyan Gander»,Ocula,2014. Galerie Chantal Crousel circle? So theresidencyprovidedyouwithanopportunity tore-visittheseearlyinfluences–comefull my interestinart. want tobeanartist.ItwaslookingatDuchamp’s urinalandMalevich’s White on White thattriggered history andatjournalismschool,itwasseeingthese artiststhatmademeinterestedinartand very important to me – like Duchamp, Beuys, and Broodthaers. When I wasa student going through art the artistswhooriginallyinfluencedme,andthere arereferencestothoseartiststhatwere,andstillare, particular work–it’s relevanthere,because increatingtheworkhereforSTPI,Ithoughtalotabout You knowthefirstquestionyouasked–oneabout artistsfirstmemoryofarelationshipwith day, andIamtryingtobookmyselfbackintothisresortagain[laughs]. for me.Inafunnywayitwasanopportunitytostepoutsideofmyusualpractice–likebeingon holi an amazingthingtoreturnandseethecompletedworks.Butitisaverydifferent methodofworking going toworkornot.SosinceIwentaway, theJedihaveactuallymadeworkswork.Soitisquite STPI, theprintswerepartiallymade–wetestingthemsoweren’t reallysureiftheywere It isexceptionaltoreturnnowandseetheworksallcompletereadybeexhibited. When Ileft king inastudiowasrevelation. in prison–butitwasagoodprison.Idefinitelythinkyouhavetoonyourtoes.Butforme, wor RT: Onmypart,Iactuallyhaveneverbeforesatinastudioandmadework –soitwasabitlikebeing RG: Absolutely. So itisaplacethathaschallengedyouandonefeltdemandedthoughtfulresponse? your decisions.Iwishcouldworkthatfastalltime. easy towastetheopportunity, soyouhavetothinkonyourtoesandbelightfootedquickwith amazing Jediprintmasterswalkingaroundwhoarewaitingheretotellyouwhatdo.Itwouldbe Any residencyisgood,butthisparticularlygoodbecauseyouaretested. There arethese RG: Iwilltakeawayareallyniceprintoftwolobsters,whichamgoingtoputinmykitchen[laughs]. STPI? In relationtoyourworkgoingforward,whatdoyouthinkwilltakeawayfromthisexperienceat making atSTPI,itallstartedwithbeingblindandtryingtoneverthelessmakeadecisiononmark. have anycolourinit-coloursareoftenirrelevanttothework.InthinkingaboutworkIbeen colour blind-butwhenIgotherereallyrealised AM colourblind.MostoftheworkI makedoesn’t a threadthroughthem.Essentiallytheyallhavesomethingtodowithblindness.Ialwaysknewwas here areabitofredherringbecausewhenyoulookatthem,theyalldifferent soitishardtopull reference bitsofhistory–printhistory, historyofthisspace,etc.ButIthinktheworkshavemade RG:Historyandtimearerelevanttoeverything.isreferencedinalloftheworks–they http://ocula.com/magazine/conversations/rirkrit-tiravanija-and-ryan-gander/?preview=true «Oculaconversation. Rirkrit Tiravanija andRyan Gander»,Ocula,2014. - - Galerie Chantal Crousel RT: Yes, itisinterestingthatIamactuallyreferringtothosethingsoriginallyinspiredmeinves Why didyoucreateSanto Stern? by –afictionalartist. monogram paintedonit,‘SS’,whichstandsforSanto Stern-anartistwhomIsometimesmakework tor ofSTPI,soitlookslikeissomebody’s cheapportfoliothathasbeendelivered.Butitalsoa reflecting theamalgamatedbrands. And thisisleftbythedooratSTPIandaddressedtoEmiDirec have createdtakestheformofanartstudent’s portfolioandprintedonthefolioisare-designedpattern re-imagined themactuallyonconceptionallcoming togetherandformingonecompany. SotheworkI ultimately theyareallnowincompetitionwitheach other. SoIthoughtaboutre-visitinghistoryand in Parisandtheywereallcreatedaroundthesame time,buttheywentondifferent trajectoriesand (Passage of Time). Louis Vuitton, [Mointe]andGoyard – theyareluxurybrandsfromthesamestreet subject. Mineiscalled There arePeopleHavingMoreFunwithProstitutesor Toki NoNagare,2014 RG: Well actuallyIhavealsojustmadeaworkabouttime travel.ImadeitthisweekatSTPI.It’s areal Where wouldyoutravelbacktoRyan? RT: Well probablybacktotheChili Crab,backtothelastgoodmeal[laughs]. RG: Rirkrit,ifyoucouldtimetravelwherewouldgo? to imaginetheyaregoingthroughthisspacethatactuallyisaboutmovingtime. So Iwaspullingintoplaydifferent kindsofpossiblescenariosaboutspaceandtime.Iwanttheviewer to UntitledFree(1993)–sothiskindofstructurecameintoplaywithideathe‘passage time’. protagonists gotoPatisserie Valerie andaftereatingabowlofcurrytheyaretransportedintimeback RT: Yes, toPatisserie Valerie, andinmystory, andinordertostopmemakingthebadworks, RG: Patisserie Valerie. happens. When IwasinLondonusedtogo…Ryan, whatisthatpatisserieplacecalledagain? ce fictionstoriesregardingtimetravel,thereisalwayssomethingyouhavetostopbeforethefuture done somebadwork,andtheywantedtogobackintimestopmemakingthework.Intypicalscien small sciencefictiontimetravelstoryaboutpeoplegoingbackintolookfindmebecauseIhad about lookingback.Iwasn’t verycomfortableaboutputtingmyoldworksbacktogether, soI wrote a exhibition attheSerpentineGalleryinLondon,whichwaskindofaretrospectivework–really ches ofhisdiagram-itsortexplodesintoakindtimewarpinformation.Imadeworkformy Machine -whenyouenteroneendinacertaintimeandcomeoutanother. LookingatDarwin’s sket- king aboutideasforthework. Through the‘Tree ofLife’,Istartedtomakethisplotatype Time Darwin’s diagramforthe‘Tree ofLife’.ItcameupasIwasleafingthroughsomematerialwhenthin RT: Iwantedtoachieveatypeofpassagethroughtimeusingtheprints.Itallstartedfromlookingat toothbrush, eatCurrynoodlesthroughthewormhole? Let’s discusstheworkthatappearsinSecondChapterofSTPIexhibition,Be sure topackthe tigate art,nowthatIambeingforcedtoactuallycreateartobjects. http://ocula.com/magazine/conversations/rirkrit-tiravanija-and-ryan-gander/?preview=true «Oculaconversation. Rirkrit Tiravanija andRyan Gander»,Ocula,2014. - - - - «Ocula conversation. Rirkrit Tiravanija and Ryan Gander», Ocula, 2014. http://ocula.com/magazine/conversations/rirkrit-tiravanija-and-ryan-gander/?preview=true

RG: I invented Santo because I saw how easy it was to make really bad art and I needed a vessel from which to release my own bad art – so I make work by Santo that is really horrible and I really enjoy doing it. If you can imagine the most disgusting artist that you could ever meet – morally, ethically and aesthetically – he is an arrogant guy and pig-headed and his work really grates. There is a work here by him. Tell me about the work tentatively titled, Nothing is without Meaning?

RG: When I got here there were lots of plinths – they were dirty and so I reproduced what is essentially a dirty plinth. So, when you enter the gallery you see something that looks like it belongs in the works- hop and which appears to have been accidently left in the gallery space. However, I made it as a twin, because I wanted the viewer to be aware that the work is where it should be – it’s not a real plinth, but in fact a work about mark making.

RT: So it is essentially a double print?

RG: Yes, it is a three-dimensional double print. But it is also two fake dirty plinths. What about the titles you give your work - do the titles come before you make the work, or after?

RG: I made 11 works while at STPI – for two of them I thought of the titles while I was here and for the others….well I have a list of titles on my phone [holds his phone up and scrolls through titles], and Galerie I write titles when I think of them on this list, and then I just pick one. Are you serious. Give me a title now? Chantal Crousel

RG: “Whispering Vagina” or “Dreamcoats”. What about you Rirkrit - what about the titles for the works you have created for the exhibition at STPI?

RT: I made them as I went along. Sometimes something comes up and I just jot it down. Usually I don’t even title my work. But for this show, the titles – well they are more like sub-titles – something that is a portion of the larger thing.

RG: Do you ever title works to make them more complicated, or to divert the spectator? So they settle on different paths?

RT: In some ways – in this particular exhibition, it is about pointing the audience to things they should be thinking about. I am not very keen on making images, so the imagery is almost made via the nar- rative structure - that is the platform – created in many ways via a sub-title (which is the title of a work).—[O] Galerie Chantal Crousel ARA Isarttoday forafewinsiders, orforthe many? may notbesomuch social butrathercommercial. der reachthanmostartworks ondisplay at Frieze ArtFair. Butmostconversations about artthesedays wesun’, lookat we Thomas it’s Hirschhorn, cansay it is broad. Orif narrower butnonetheless abroa- we lookat Olafur[Eliasson]’sRT ‘little recent If engagement. levels different Thereare orlayers of ARA What role doesartandthe artistplay inthebroader socialconversation today? think that iswhere power lies. somevery thatare it isinteresting there powerful peopleintheartworld that never make thelist,andI anyIt iscertainly played consequence. Ithink with itisallof andplayed out,butonehastowonder if way that, say, acollector thinks about it. use (anddisplay) power differently. Generally Idon’t thinkmostartistsabout power inthesame is theartworld. Perhaps it’s astrategy, theartworld perhapsit’s of spheres butIthinkdifferent agame, powerthe onethat isvery aware andweary of RIRKRIT TIRAVANIJA allplaces, Ithinkof Sohow ispower exercised intheartworld? Doesithave acapital‘P’? vision. ARTREVIEW ASIAYou’re doingthecover forourPower power, 100issue. The visionof thepower of By Mark Rappolt Read ArtReview theinterview with thecover Asia'sNovember artistof 2013Power 100issue Rirkrit Tiravanija Mark Rappolt. “Rirkrit Tiravanija”, Asia,November Art Review 2013. Galerie Chantal Crousel RT Artcanchange society. The land foundation isn’t about art,but many involved. artists are artistic community.] an outof andfor social engagement’ land isanexperiment aself-sustainingopenspace‘of ingenerating Perhaps I’mpartly inhow interested this mightapply tothelandfoundation. [Initiated in1998,the ARA Canartchangesociety, thepotentialforchangein society? ordoesitjustmake peopleaware of tability. Butwe needtobelieve inwhat we talking are about. ching outasmuch asitisabout beingclear, orbeingreadable, andperhapsreadabilityaddressestransla- RT Well, whether is a sausage, toRoth asausage it’s onerefers ornot.ButIdon’t about rea- know if to audiences)? (I guessyou could beseenassomeonewho doesmake anefforttoreachout people who might beable even to‘get’them?Anddoesanartisthave adutytoreachoutanaudience some thingsthat there cannot betranslatedintoart?Thatmind). Are createalimittothenumber of translatability (partly with theRothARA Iguessthat lastmightreally in beaquestionof reference RT andspecific. Ithinkitisbothintegrated Perhaps specificity changes withcontext. here.) somedangers seems tomethatare there ability that tobespecific?(I’mnotsuggesting thesethingsapply to you –quitetheoppositebutit Doesn’tthing? Isitreallylanguage? tobeaninternational possible forartinallitsforms that negate theThai constitutionandDieterRoth at lastyear). Neugerriemschneider your Isthisagood useof toanother(let’sone culture say aTakashi show Murakami inDoha,forexample,way, orinadifferent have today increased inoneway. Thingsculturally are aswell ascommercially exchangeable: bothfrom artintocommerce that Duchamp talks about seemsto ‘integration’of thekind of ARA The impactof RT Yes. artinourtimeistheleadinginfluenceonnow? sation of ARA Perhaps Ijustwant toaskthequestionthat Tomkins asks Duchamp: doyou the commerciali- feel day.ground, perhapslike agroundhogafterhehasseenthedaylight orthelightof Perhaps we believe toomuch inpower. goingunder- Ithinkwas focusedonDuchamp’s more ideaof move thesituation intoanotherplane. been able enough,orperhapswe tochangeourdesires have tochangethings nothadenoughdesire like Groundhog Day. The thingis, we already know how itiswe wake up toeach day, butwe haven’t perhaps we canseethat we haven’t gottenvery far. Orperhapsit’s justcyclical, RT Yes, Duchamp isamarker inthelandscapeIkeep looking back to, toseehow we far have come, and matic? artandcommerce beproble- theinterview? Canthemixof todaygrated thanthey were at thetimeof Why didyou choose this?IsDuchamp aparticularinfluence?Do you believe inte- thatmore artistsare tworks commerce onart. forthisissue. Inparticularoneinwhich theartisttalks aboutof theeffect ARA You usedanextractfrom CalvinTomkins’s thear- interviews with Marcel Duchamp inoneof ther, forthematerial/consumption. itismore informational with art,butthat involvement isn’t about how artisrelevant tothespiritualhumanconstruction.Ra- RT Arttoday isforthe many insiders. andinvolved peopleinterested andmore Thereseemtobemore Mark Rappolt. “Rirkrit Tiravanija”, Asia,November Art Review 2013. Galerie Chantal Crousel This article ArtReview was firstpublished intheNovember Asia 2013issueof RT Free will. ARA What you are working onat themoment? whatyou itis? have of nopreconception RT We never are free,becausewe burdenedby are toomany preconceptions. What isbreaking thelaw if the law? ARA To will? free Doyou what believe will? extent infree isartanexpressionof you Are tobreak free RT Yes. concept beanartwork? ARA Cananything inconceptsorobjects?Cananobjectdetached beart?Isartinherent from a experience. RT Itisaburdenonemust usetokill preconceptions. Disappointmentisgoodforthehumansocial confirmed? preconceptions this way beaburdenorproblem? Perhaps becausepeopleattend ashow nottolookbuthave their ARA You’re perhapsbest known stillforcooking mealsingalleries. Canbeing‘known’ forsomethingin me. Republicans wanting theAffordableme. torepeal Actaffects Care canbeinflux.Idon’tperhaps theform know about affects atmosphere, butpeopleriotinginthestreet RT Iguessthatinattitude, goesback tothecontextnodifferences but (condition)question.Thereare around you you affect inthisway? between differences there ARA Are works you make inBangkok andinNewYork? Doestheatmosphere Mark Rappolt. “Rirkrit Tiravanija”, Asia,November Art Review 2013. Galerie Chantal Crousel http://stationtostation.com/participants/rirkrit-tiravanija/ Rirkrit Tiravanija Rirkrit Tiravanija August 2013 -Station toStation Galerie Chantal Crousel a kind of faith inthehumanrace.” faith a kind of “I like towork inavery hopefulway,” Rirkrit toldaninterview in2004.“Ithinkhopeis the U.S., theArts. Europe, andAsia.He is aprofessorat Columbia University School of Maddeningly prolific, Rirkrit hasbrought works togalleriesthroughout museums and the work and each otherwithin—and becauseof—theartitself. thecrowd, Rirkrit’s peopletouching of interaction artlacks thefinalpiece: The spark of of people.” Withoutthe of hisessential materials is“lots first name)toldaprofiler, one eat together, mix,andinsodoing, becometheart.AsRirkrit (everyone callshimby his They Thai traditional curry: were toserve implored ittothemselves andothers of itintoafamily andturned kitchen.ry Viewers were notasked toobserve thepreparation New Yorkthe BuenosAires-born, artist tookover andChiangMai-residing aSohogalle Take forexample thepiecethat Saltzwas describing above: Untitled (Free) 1992.Init, just artappreciation. stimulate theviewers andtheirbodiesopenthemuptoexperiences brains beyond from socialinteraction conversation worlds tosex—temporary of that containallforms lations—which oftencombine foodandcommunionwithin amongstrangers intimate, amind-bodythat“bridge oftenexists gap inWestern art.”Meaning:Tiravanija’s instal Saltz,RirkritAccording toartcriticJerry Tiravanija’s works donothinglessthan Happening. Rirkrit theNew York Tiravanija will toguestsof handoutasurprise Station toStation http://stationtostation.com/participants/rirkrit-tiravanija/ Rirkrit Tiravanija August, 2013 -Station toStation - - Galerie Chantal Crousel n mxr prsd n ra o lpos te lw f hi Ape oo sfee b dae whi- draped byspea- (four softened arrangement speaker logos cubic Applea their of courtesy that, of music with glow us bombarded (the and fabric), laptops te of array an perused knobs mixer,twiddled Pasveer minutes, a seventy next on the For me. the from away in feet few desk a semicircularhall, the a of behind center seated was long- who interpreter, a Pasveer, and Kathinka collaborator projectionist” “sound Stockhausen by time overseen was of This accompaniment noise. the electronic to again of on burst flashed then a black, to faded lights the in, settled crowd the As focus.) visual simple a as performers abovethe light of disc moonlike single a projecting often mise, compro- to usuallyrequired was he darkness,but worktotal his in experience listeners that preferred (Stockhausen myopicphantoms.like interior lit dimly the in places their for fumbled masses cloaked WorldHalloweenthe setup,Osaka as the 1970 to the at Fair. of undeniableelement an wasalso There auditorium spherical a in staged composer’sworkswas the of most of performance marathon a since vy-sweet aroma. But most likely it was the suggestion, powerthings having of become less free-’n’-easy latter venue’s popularity among smokers.on cue, I could And haveas if swornthe I detected a recalling familiar hea- planetarium’s,also a to similarity mise-en-scène’s the noted me behind couple senior A coo- (installation, jack-of-all-disciplines aesthetic. kosmische composer’s spi- late presumably, of the with visually—and,jibed also brainchild it This but Tiravanija, Rirkrit the chairs.kery,Ping-Pong) deck was which minimalist on requirement platform of white ritually—unifying circular rings a for concentric heading before ranged poncho), were disposable of kind a (actual- cloak to white a closer don ly and shoes my remove to along asked I, been after had holder,was ticketrow. This other front every withthe in one shift to seat to OKTO- middle-section Stockhausen’s determined chosen arbitrarily seemed Karlheinz my usher from of- an of me théâtre, nearly de receive performance coup I latest final Armory’s Avenue invitation Park night the Wednesday of PHONIE, kind the the at Not but circle?” enough, inner ten the join to LIKE YOU “WOULD by Michael Wilson Stockhausen Syndrome (Photo: StephanieBerger) Karlheinz Stockhausen’s OKTOPHONIE with visualsby Rirkrit Tiravanija at thePark Avenue Armory. Michael Wilson.“Stockhausen Syndrome,” http://www.artforum.com/diary/id=40075 Artforum, March 4,2013. Galerie Chantal Crousel and was inspired in part by the composer’s experience of conflict as a teenager during during II. World War teenager a as conflict of composer’sexperience the by part in inspired was and Lucifer, and Michael on” angels between the conflict so the on composer’s]—Dienstagand focuses the [emphases glissando, the with parallel less or more again, climbs it glissando upward an of case the in descends, rotation the downwardglissando a of case fol- the in roughlyglissandi: the rotations “The of contour as pitch the lowsuch instructions technical as well as score unhinged-looking the of section a reproduces program—whichalso the cycle.to the According in opera (Tuesday),fourth the contains sections that also function whichas stand-alone works. Dienstag OKTOPHONIE belongs to of the second act of each cycle—sevenoperas, (Light) LichtStockhausen’s ove- of nonetheless. part wasn’tis experience OKTOPHONIE immersive volume an for The made half-assed. sound the rather of seem dimensionality the reproduction in but away rwhelming, quadraphonic thespace mere around made zoomed up), feet that forty-five four another level, ground above just kers a laugh. I’d be quite into having him ’round.” Regrettably, unsurprisingly, if the date was never arranged. Twin, did at least offer the friendship: hand “He of should hang out with me and my mates: That would be the club kids noted their senior counterpart’s compositions’ undanceability. But Richard James, aka admiration, Aphex but for the most part, the elder composer found the by then young a current post-techno clutchartists, of and vice pretenders’ versa. This did efforts result in the mutualodd too spark of repetitive, and 1995 originality.gambit by the their Wire magazine and BBC forget Radio 3 in which to Stockhausen was sent easy tapes Filtering containing into music it’sthe ornate Veterans that Room post-performance, clutching music my sphe- free-drink havebeenso ticket, noise I here remembered and“popular” a sounds and ofthe many electronica academic So into dated. inboth little integrated a work thoroughly his find composers now to on not difficult influence is it res; major own a his become of victim Stimmung, having a is enthu- 1968’ssuccess, 2007, in an recording, died who composer, played) As the Perhapsex- awed. (rarely the truly not. enjoyed being 2005—I without one probablyin perience London in own not, Music Frieze practice—I at performance, if previous in one it; attended have than and love theory probably you’d in always fan, more music describing Stockhausen siast as a futile as you’re feels itself If piece does. the of experience the describe to Attempting Berger) Kathinka Pasveer inKarlheinz Stockhausen’s OKTOPHONIE at thePark Avenue Armory. (Photo:Stephanie Michael Wilson.“Stockhausen Syndrome,” http://www.artforum.com/diary/id=40075 Artforum, March 4,2013. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Raimar Strange. “Portrait Rirkrit Tiravanija,” Spike, Spring2012,p.60-71. Galerie Chantal Crousel Mauricio Estrada Munoz “OnAir”CodeCouleur13-Centre Munoz PompidouMauricio Estrada , May -August 2012,p.50-52. Galerie Chantal Crousel Mauricio Estrada Munoz “OnAir”CodeCouleur13-Centre Munoz PompidouMauricio Estrada , May -August 2012,p.50-52. Galerie Chantal Crousel tôt danslajournée,unpetitconcertdeguitareavait étéimprovisé. course d’avionsenpapier, unhommeexerçaitsavoituretéléguidée…Onamêmeentendudireque,plus y avoirtrouvésaplace. Tandis quecertainssesustentaientjoyeusement,desenfantsimprovisaient une ment moinstentaculaire:rarementnousavionspu lecontemplerd’unseulcoupd’œil.Chacunsemblait œuvres quiyprennentplace–lelieunousapparut danstoutesonimmensitéquilerendaitparadoxale cepté peut-êtrelorsdeMonumentamaisc’estlà encore l’occasiondeleparcourirautraversdufiltredes d’expositions qui font que, presque jamais, nous ne venons auGrandPalais pour voirle Grand Palais, ex- rassé desartificesparlesquelsnousl’appréhendons habituellement–standsdefoiresouautresdispositifs plus frappantdecettesoirée,renforçantlasensation d’unmomentprivilégiédansuntelbâtiment.Débar- connaissions nouslaissauneplusgrandelibertéd’observation.Lecalmeétaitsansdoutel’élément le nous permettred’apprécierplusaisémentlasituation.Nousinstalleràl’écartdespersonnesque nissage, lechauffage enmoins!Laseconde,recréantunecertaineintimitéaucœurdelatablée,sembla un seconddel’autre.Lapremièreoptionfitquenotredînernedif aire depique-nique,parmilafouledesinconnus.Lasolutionfutmangerunpremierbold’uncôté et rain, auxcôtésdescurateursdela Triennale etdesartistesprésents,ou,commedansunrestaurantouune veaux convives.Lepetitboldecartonenmain,ilfallutdécideroùnousasseoir:latabléeartcontempo- assez sommairestraversaientlanefdeparten;ilrestaitencoreplacepouraccueillir nou- Un silencequasireligieuxrégnaitalors,vers22h,quandnoussommesarrivés.Deuxrangéesdetables auront repu8000à10personnesauGrandPalaisle7avrildernier. lime (oucombava),1000grammesdetofumou,coupéencarrés…15000bolssoit5litres soupe 18 tassesdebouillonlégumes(environ2500ml),5tigescitronnelle,feuillesentièreskaffir Aude Launay. Rirkrit Tiravanija, Soup/NoSoup,O2,N°62,summer2012,p.69. Rirkrit Tiravanija, Soup/NoSoup féra guèred’unautrebuffet dever - - Galerie Chantal Crousel gourmandise. lait decoco[…].L’art de Tiravanija neselaissetoujourspascernerparlesdéfinitions, ilsedégusteavec pour parfumer[…]jusqu’àcequeleschampignons soienttendres[…]réduireàfeudouxetajouterle ment queleboldesoupequinousétaittenduderrière.[…]porteràébullitionetlaisserbouillir5 minutes buffet. Opérantpresquecommeunemiseenabymedel’œuvre,elles’offrait sansmystère,aussisimple- Faisant pourainsidireofficedecartel,larecetteétaitaffichéesurunpetitpanneau,entrelestables etle des joyauxdelaRépublique. médias ayantfortementrelayél’invitationàcettegrandesoupepopulaireetgratuiteservieaucœur d’un peuplaient eneffet maisilesttoutàfaitplausibledepenserquelafouleétaitplusbigarréecela,les mué encoquillevideprêteàaccueillirtouteslesinterprétationspossibles.Beaucoupd’amateursd’art le tion ouredite,ilétaitpermisdedouter. Pourtant,cefutunmomentfascinantquedevoirleGrandPalais la reproductionàl’échelle«institutionnelle»d’unconceptquiaplusdevingtansd’existence;consécra- té de«l’utopiesociale»parfoisreprochéeauxdispositifsl’artiste.L’on pouvaitêtresceptiquequantà Quelques-uns auraientmêmeensuiteétéembauchésparletraiteur, prouvantsanspréméditationlavalidi- place del’artisteencuisineetdesbénévolesd’Emmaüsétaientvenusprêtermainfortepourleservice. palement lesdimensionsduprojetcommesitequil’accueille.Untraiteuretsonéquipeavaient prisla La différence d’avectouslesautres«événementsculinaires»organisés parRirkrit Tiravanija ?Princi- Aude Launay. Rirkrit Tiravanija, Soup/NoSoup,O2,N°62,summer2012,p.69. Galerie Chantal Crousel recipes, despite their deliberate references totheartist’srecipes, despitetheirdeliberatereferences indifference. ethnicityandhisinterest its theconvivialitybe amistake thework tojudge oreven itgenerates by theconnotations of thequalityof done by helperswho assistantsandhired amiably introduce visitorstothefoodandwork. Butitwould availablerecipes onlineat soupnosoup.com). the work The artistputinseveral was appearances, butmuch of aweekly featured next doortothemaingallery rotating menu drawn from various exotic andlocalcuisines(all cook-offs, andendlessmealslater, haschangedlittle. thebasicrecipe show, Intherecent the“soupkitchen” Cooking hasdefined Tiravanija’s hospitable art-making. Several two-decade of cookbooks, career multiple heated stones. marinated pork that isslow-roastedancient Mayan by beingburiedaholeinthegroundalongwith dishof the earth,perhaps?)The pitwasthemealthat theartistserved usedtoprepare toguestsat hisopening, an an indistinguishable makeshift manholecover except“THEWAY foritsslogan: THINGSGO.” (Back to behind by workers who haddugthesmallholeinground.The holewas thencovered with ametalsheet, space, window have frames walls, theentrance beenleanedagainst next toshovels, crowbars, andbrooms left Tiravanija’s thepasttwenty years have installations of consistently focusedoneveryday activity. Inthemain Brown’sWhile somethings, like gallery, thesizeandsuccessof have changed,othershave thesame. remained thetime,” Tiravanija mused. “Iguessthatmost of shows how thingshave changed.” newspaper, Culture. “IhadhopedGavin andJamesClifford’s would beworking Theof Predicament there pair tothelivelier next door. “factory” Thereiseven atiny officein the back with exhibition catalogues, a The 1994showaschrome entire here isredone replicas, bland andshiny acontrasting “artobjects”that form made fortheoccasion:awok placednext toaBrillobox, forexample (thelatterby areplica artistMike Bidlo). show, Tiravanija’s artworks, orratherhisworking objects, were with paired Warhol artworks borrowed orre- Tiravanija’s of isareconstruction Next doortothefactory firstshow with Gavin Brown in1994. For that ever stopby? CanIreally buyat-shirt?CanIchangewhat itsays?”). dissent(“DoesRirkrit voidably the commodityof conditionstheexchange, asdoestheinevitable cynicism of conversation commerce asartuna- somewhat andcuriosityare forced, more sincethemetonymic of “framing” genuinely warm,albeitstraightforwardly commercial andslightly awkward. shop, toa“real” Compared the Tiravanija, at $20each (witha studentof onlineordersconveniently available). with Interactions visitorsare shop, where collectedby while politicalslogans theartistcanbe“hand-screened you wait” by Nick Paparone, which asitisunremarkable. canbeasengaging Thereisaplywood that structure housesat-shirtfactory/ Activities within thespace, however, well are inkeeping with Tiravanija’s cheerful interaction, aestheticof Arizona, GordonMatta-Clark’s Window 1976). Blowout of priations), personalandrevealed othersmore only through conversation with shootingin theartist(therecent built onmany someobvious references, (the1974Rainer Werner Fassbinder film,Andy Warhol’s Pop appro- theshow’svisitors canpiecetogether bleak titlefrom theletters:FEAREATS THESOUL. The exhibition is the outside, thespacelooks emptyexcept forthesoaringblack lettersspray-painted onthewalls. Onceinside, themainexhibition spacehavewindows beenremoved, anddoorsof exposing From theinteriortostreet. The moststriking thingabout Rirkrit Tiravanija’s New recent York showaspect:the isalsoitsmostorganic Media Farzin. “FEAREATS THESOUL,” artagenda.com, April 2011. Galerie Chantal Crousel show proves, initsunsettlingordinariness. canstillbeaffecting chens orworkshops. Hisambitions hismeansunremarkable, mightbegrand, butTiravanija’s artwork, asthis thespaces, which never are quiteseamlesslyidentity of onethingoranother, whether galleries,replicas, kit- negotiationbrought outby theambiguous timeandspace.ded inreal What mattersthesmallmomentsof are They combine loftyhumanismwith eitherby mundane beinggroun- blandness, saved butare from thefateof Mayan roasted pork, much andpretty everyday itself, life forslow theseinstallationsstages unfoldings. are comesbackphrase onthemanholecover attothegallery. theentrance Like Fischli andWeiss’s videos, the “The way thingsgoisthat they take time,” Tiravanija oncewrote about theartistsFischli andWeiss. The why them. andrestage hecontinues tostage “relationalaesthetics”later, isstillaproductive there of awkwardness about Tiravanija’s spaces, which may be aspacethatgate mixes hospitalitywith commerce, public with personal,andgenuinewith theatrical. Decades that Tiravanija hasnothesitated tousehisadvantage. Butthevisitorsalsobecomeoutsiders asthey navi- isolated. This isalldonegently, anoutsider, with smileandthe“native” aposition adisarming hospitalityof towardsdesires somethingslightly lesscommercial, slightly lessstratified,and even slightlyfearful and less nija employs thesebasic, thoroughly commercialized elementstomobilizebodiesandtheireveryday needsand SOCIETY ISNUMBERED,” thet-shirtonclothesline. reads Soupandt-shirts, foodandclothing: Tirava- pears intheTiravanija billboardthat links theshow’s andsoupkitchen: maingallery “THEDAYS OFTHIS “Fear eat soul,”Fassbinder’s slipap- “foreign” Moroccan hero says The samekind inhisstiltedGerman. of surroundings. their an unlikely relationshipthat bringsouttheirown asmuch deepestfears asthexenophobiaof andracism cleaner andaMoroccan mechanic, meetinthefilm’s openingscene over drinks, theaforesaid andcommence per’s inColognethat only storefrontgallery served beerandcola.Fassbinder’s two leadcharacters, aGerman infilm firstappeared Tiravanija’s Untitled 1994 (Fear Eats theSoul),abarheconstructed atEsther Schip- Fassbinder’shuman condition.Ali:Fear Eats theSoulwas AngstessenSeeleauf. theEnglish translationof The The exhibition’s explicit titleismore about Tiravanija’s concerns,which larger mightgrandly becalledthe

New York, 2011. Rirkrit Tiravanija’s 1View of «FEAREATS THESOUL» Gavin Brown’s enterprise, Media Farzin. “FEAREATS THESOUL,” artagenda.com, April 2011. Galerie Chantal Crousel New York, 2011. Rirkrit Tiravanija’s2 View of «FEAREATS THESOUL»Gavin Brown’s enterprise, New York, 2011. Rirkrit Tiravanija's4 View "FEAR EATS of THESOUL"Gavin Brown's enterprise, Media Farzin. “FEAREATS THESOUL,” artagenda.com, April 2011. New York, 2011. Rirkrit Tiravanija's3 View "FEAREATS of THESOUL"Gavin Brown's enterprise, Galerie Chantal Crousel 2011. 5 Rirkrit Tiravanija, untitled2011(t-shirt,not-shirt), Media Farzin. “FEAREATS THESOUL,” 6 Rirkrit Tiravanija, untitled2011(558broomeischrome), st,thefuture 2011. artagenda.com, April 2011. Galerie Chantal Crouselt 8 Rirkrit Tiravanija, untitled2011(t-shirt,not-shirt),2011. Media Farzin. “FEAREATS THESOUL,” the future ischrome),the future 2011. 7 Rirkrit Tiravanija, untitled2011(558broome st, artagenda.com, April 2011. Galerie Chantal Crousel Joshua Decter, “Rirkrit Tiravanija, Gavin Brown’s Artforum,n°9,mai2011,p283. enterprise”, Galerie Chantal Crousel Lumi Tan. “Rirkrit Tiravanija, Gavin Brown’s New enterprise, York”, Frieze #140July/August 2011.