Rirkrit Tiravanija
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Rirkrit Tiravanija (b. 1961, Thai: ฤกษ์ฤทธิ์ ตีระวนิช, pronounced RICK-rit Tira-VAN-it) is a Buenos Aires-born contemporary artist who divides his time in New York, Berlin and Bangkok.
His early installations involved cooking meals for gallery-goers.[1] Tiravanija's artwork, which explores the social role of the artist, is described by Nicolas Bourriaud as having a "relational aesthetics." His installations often take the form of stages or rooms for sharing meals, cooking, reading, playing music. Architecture or structures for living and socializing are a core element in his work. He is represented by the Gavin Brown Gallery in New York.
Tiravanija's work has been presented widely at museums and galleries throughout the world including solo exhibitions at Musée d'Art Moderne de la Ville de Paris (2005); Serpentine Gallery, London (2005); Secession, Vienna (2002); and The Museum of Modern Art, New York (1997). He has participated in such notable group exhibitions as the Sharjah Biennial 8, United Arab Emirates (2007); 27th São Paulo Biennial, Brazil (2006); Whitney Biennial 2006: Day for Night, New York (2005), and the 50th Venice Biennale (2003).
In 2004 he was awarded the Hugo Boss Prize by the Guggenheim Museum, "in recognition of his profound contribution to contemporary art."[2]
He was married to noted painter Elizabeth Peyton in 1991. They separated in the late 1990s and divorced in 2004. They are both represented by Gavin Brown.[3]
[edit] Recent solo exhibitions (include)
The Drawing Center, New York (2008), The Museum of Modern Art, New York (1997); Los Angeles County Museum of Art (1999); Center for Contemporary Art, Kitakyushu, Japan (2000); Portikus, Frankfurt (2001); Secession, Vienna (2002); Galerie für Zeitgenössische Kunst, Leipzig (2003); and Ikon Gallery, Birmingham, UK (2003–04).
[edit] References
- ^ Jerry Saltz, Art in America, Feb 1996.
- ^ Exhibition of the Artist’s Work Presented at the Guggenheim in Early 2005
- ^ Calvin Tomkins, Profiles, “The Artist of the Portrait,” The New Yorker, October 6, 2008, p. 47.
