Photo: Daniel Dorsa. Courtesy Rirkrit Tiravanija and David Zwirner
Excerpt from: ArtReview
Rirkrit Tiravanija has been recognized as the second most influential figure in the contemporary art world in 2024. His work often blurs the lines between art and daily life, fostering social interaction and community engagement.
In 2023, Tiravanija’s retrospective, “A LOT OF PEOPLE,” was showcased at MoMA PS1 in New York. This exhibition spanned four decades of his career, featuring over 100 works, including early installations, films, photographs, and sculptures. Notably, it included participatory pieces like untitled 1990 (pad thai).Following its New York run, the exhibition traveled to LUMA Arles in France, where it continued to engage audiences with its interactive installations.
In addition to his exhibitions, Tiravanija has been active as a curator. He curated the 2023 edition of Art Spectrum at Leeum, Samsung Museum of Art in Seoul, featuring emerging Asian artists such as Heecheon Kim, Riar Rizaldi, and Vivien Zhang. Moreover, he had also co-curating of the Thailand Biennale in 2023. These highlights the next generation of artists, reflecting Tiravanija’s commitment to fostering new talent.
Tiravanija’s dedication to community and collaboration is further evident in his teaching role at Columbia University in New York and his support for Gallery Ver. His openness and generosity to other artists and exhibition attendees underscore his belief in art as a communal experience.
In 2024, Tiravanija contributed new works to the Forest Festival in Okayama, including textile pieces and ceramic bowls filled with locally sourced ingredients. He also hosted a rehearsal space for local bands in Montreal and presented a room-sized installation at Pilar Corrias in London during Frieze Week.
Through these diverse projects, Tiravanija continues to bridge the gap between art and everyday life, fostering connections and dialogues within the art community and beyond.
Photo: Daniel Dorsa. Courtesy Rirkrit Tiravanija and David Zwirner
Excerpt from: ArtReview