Rirkrit Tiravanija

untitled 2020 (once upon a time) (after jasper johns)

September 5 - October 10, 2020

 

For his sixth solo exhibition at Galerie Chantal Crousel, Rirkrit Tiravanija presents a new set of works, textiles and marbles.

Made from the purest tradition of weaving, Aubusson rugs displayed on walls and floors will serve as surfaces conveying the artist’s new slogans. At the crossroads between political activism and commercial marketing, the words are set out on U.S geographical maps referring to the ones Jasper Johns made between 1960 and 1965. Other texts overlap the United States’ flag – as Jasper Johns depicted it from 1954 – in a series of unique marble works, creating both echo and tension, eternally engraved.

"In this exhibition, what is interesting to me is that it really is a kind of painting and sculpture show while at the same time I wanted to create the impression of coming to a little grave site and walking through the landscape and pick up certain things in a poetic way. [...] I am picking Johns for several reasons, one being: what's the reason for using that image of the flag or map? One reason is that it refers itself to a work of art. At the same time that work of art reverts back to something else."

"I usually describe my text works as road signs. Like when you drive on a highway and you drive by a big signage and pick up whatever the words are written on it. It's about whether that gets into your consciousness or not.

Rirkrit Tiravanija

Rirkrit Tiravanija
untitled 2020 (the continuum of insidiousness) (map, 1963)
2020

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Hand tufted rug
152 x 237 cm | 59 7/8 x 93 2/8 inches

Price: 130,000 USD excl. VAT

Rirkrit Tiravanija

Rirkrit Tiravanija
untitled 2020 (im moral compass) (map, 1965)
2020

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Tapestry
111 x 179 cm | 43 6/8 x 70 1/2 inches

"I always find it interesting how they suddenly show up in the middle of nowhere, totally out of context. You read it because it stands out, and it does have some effect, whether you agree with it or not. I'm interested in this floating attention."

"I think none of the texts I worked with have ever been politically straightforward, even if they seemed so. It's more about how you have your own experiences of things and ideas and how you come across something that trips that up. The reason for not being too direct or even oblique is that I hope in this way the work can be more open to the lives of anybody else. “The Odious Smell of Truth” works everywhere. When I think about what I want to do or say, I do think about it in a bigger way."

 

Rirkrit Tiravanija

Rirkrit Tiravanija
untitled 2020 (shadows in progress) (map, 1962-63)
2020

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Hand tufted rug
152.4 x 236 cm | 60 x 92 7/8 inches

Price: 130,000 USD excl. VAT

Rirkrit Tiravanija

Rirkrit Tiravanija
untitled 2020 (a hurricane in a drop of cum) (two maps, 1965)
2020

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Dyptich of hand tufted rugs
229 x 178.5 cm | 90 1/8 x 70 2/8 inches

Price: 160,000 USD excl. VAT

"In some ways it's about the hand […]. This connects to my desire at this moment in time to go back to very basic, handmade stuff. […]The whole idea of maps and mapping relates back to things I've been interested in for a very long time, like locating myself in the cultural landscape of where I was working. […] Tapestries might also have a relationship to my mother who just passed away. She used to knit, make sweaters and so on. Now I'm going to start to continue that in a way, continue her ideas. But generally speaking, it is just another material."

 

"Unlike in a monument, the scale of the works is human or even smaller than human. Everything in the show is based on the scale of Johns' works. And why do his flags have the scale they have? Because the American flag is like that."

Rirkrit Tiravanija, untitled 2020 (once upon a time), 2020

Rirkrit Tiravanija
untitled 2020 (once upon a time)
2020

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Hand tufted rug, Bianco Crystal marble, Kentia
65 x 84 x 9 cm | 25 5/8 x 33 1/8 x 3 1/2 inches198 x 313 cm | 78 x 123 2/8 inches

Price: 220,000 USD excl. VAT

"I see the marble like I see chrome. It is a material that in itself has a kind of void of time and space. The reflection of the metal for me represents a void in that despite its heavy physical presence it also produces an absence. It is absorbed by whatever it is reflecting. Marble like the one Michelangelo used is like a cloud, it's like air. That's why everyone is so interested in it: that in itself it disappears because it is not mere stone. I'm interested in that materiality or immateriality of the material."

Rirkrit Tiravanija, untitled 2020 (shadows in progress) (flag, 1967), 2020

Rirkrit Tiravanija
untitled 2020 (shadows in progress) (flag, 1967)
2020

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Bianco Crystal marble, Kentia
84.1 x 142.2 x 13.5 cm | 33 1/8 x 56 x 5 3/8 inches

"I've been working with the flag in other materials. In a way, for me this goes all the way back to when I was working with Gretchen Bender. Artists were protesting Ronald Reagan's invasion of Central America. Gretchen made a video animation deconstructing the American flag as part of her multi-channel installation “Total Recall” (1987). She had recognized that in sports broadcastings the American flag was shown to announce breaks and then dissolved when the game restarted. She isolated that moment and inserted it into her video collage."

"[…] Also around that time I think there was a student at the Art Institute of Chicago who burned the flag as part of a performance. This caused a huge scandal. But people forget that it is part of political speech, part of enacting your right to critique. […] So, this idea of deconstructing the flag has been going on since the 1980s, since Ronald Reagan. Or even for longer, since the Vietnam war protests. Of course, as an artist thinking about the flag you also have to think about who has worked with the flag before. Obviously, Johns has done it most prominently."

Rirkrit Tiravanija, untitled 2020 (il était une fois) (two flags, 1973-77), 2020

Rirkrit Tiravanija
untitled 2020 (il était une fois) (two flags, 1973-77)
2020

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Marble
132.7 x 179.4 x 14 cm | 52 2/8 x 70 5/8 x 5 1/2 inches

Rirkrit Tiravanija, untitled 2020 (im moral compass) (flags, 1987), 2020

Rirkrit Tiravanija
untitled 2020 (im moral compass) (flags, 1987)
2020

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Bianco Crystal marble, Kentia
65.4 x 83.8 x 13.5 cm | 25 3/4 x 33 x 5 3/8 inches

"Johns was doing a Duchampian readymade. This is what I think is interesting about it, using the flag as a readymade. At the same time, it was also a pop icon. Pop Art basically is readymade art. Just that it is about using imagery rather than using objects."

Rirkrit Tiravanija, untitled 2020 (the odious smell of truth) (three flags, 1958), 2020

Rirkrit Tiravanija
untitled 2020 (the odious smell of truth) (three flags, 1958)
2020

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Bianco Crystal marble, Kentia
77.8 x 115.6 x 6.5 cm | 30 5/8 x 45 1/2 x 2 1/2 inches

Rirkrit Tiravanija, untitled 2020 (a hurricane in a drop of cum) (two flags, 1962), 2020

Rirkrit Tiravanija
untitled 2020 (a hurricane in a drop of cum) (two flags, 1962)
2020

[+]

Bianco Crystal marble, Kentia
249 x 183.5 x 3 cm | 98 x 72 2/8 x 1 1/8 inches

"The American dream was immediately recognized as a farce. But this also made it interesting to become an artist because it was a way to dismantle these things, at least for myself. That these things are here now in a show in Paris is because they affect everyone of us."

— Rirkrit Tiravanija

Rirkrit Tiravanija, untitled 2020 (the ambrosias of evil) (flag, 1971), 2020

Rirkrit Tiravanija
untitled 2020 (the ambrosias of evil) (flag, 1971)
2020

[+]

Bianco Crystal marble, Kentia
66 x 43.2 x 13.5 cm | 26 x 17 x 5 3/8 inches

Price: 35,000 USD excl. VAT

Rirkrit Tiravanija


Born in 1961, Buenos Aires, Argentina.
Lives and works in New York, U.S.A., Berlin, Germany and Chiang Mai, Thailand.

The work of Rirkrit Tiravanija has not stopped questioning the format of artworks and the exhibition system. His practice is a mix of performance, sculpture and installation that leads to the transformation of the art space into a place of social interaction often dotted with meeting points, encounters, and exchanges.

Recent projects and solo exhibitions include: Hirschhorn Smithsonian Museum, Washington DC, USA (2019); Chaos Omotesando, Tokyo, and Fondation Luma in Arles, France (2018); The NG Teng Fong Roof Garden Commision: Rirkrit Tiravanija, National Gallery, Singapor (2018); untitled 2017 (fear eats the soul) (white flag), Creative Time, NY in collaboration with more than 20 American cultural institutions (2018); and All the worlds futures, La 56e Biennale di Venezia, Arsenale Artiglierie, Venice (2015).

Find the full interview between Rirkrit Tiravanija and Jörn Schafaff here.

 

For more information, please contact sales@crousel.com

or call +33 1 42 77 38 87.

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