rirkrit tiravanija
1961, Buenos Aires
Although Rirkrit Tiravanija’s diverse artistic production eludes classification, he describes it as “relational.” His practice emphasizes real-time experience and exchange that breaks down barriers between object and spectator, questions an art object as fetish, as well as the sacredness of the gallery and museum display. Tiravanija’s work first came to public awareness in New York in 1989 with Untitled (). The project consisted of weekly displays of the various stages of cooking a green curry meal. In Untitled (Free) (1992), hecontinued to push and question the possibilities and principles of the gallery space when he emptied out an art gallery and transformed it into a social space where he cooked large meals for visitors. In Untitled (1999), the artist created an exact replica of his East Villageapartment, inviting people to live inside. Tiravanija has described his work as “comparable to reaching out, removing Marcel Duchamp’s urinal from its pedestal, reinstalling it back on the wall, and then, in an act of return to its original use, pissing into it.” Tiravanija is interested in subverting deeply ingrained ways of interacting with art through novel forms of collaboration and exchange that diminishthe preciousness of objects, reconsider their lifecycle and function, while remaining accessible to a broad public.
Tiravanija is an Argentina-born Thai artist who lives between New York, Berlin, and Chiang Mai. His practice exposes the tensions of this nomadic existence, blending and renegotiating different cultural contexts. His work does not insist on a specific reality or truth;instead, it provides open-ended contexts that allow spectators to grapple with the proposed questions themselves. The essence of Tiravanija’s work lies in its ephemeral and elusive qualities, which defy clear definition. By appropriating and restaging everydaymaterial, the artist offers the viewer a perspective that is simultaneously ordinary and profoundly meaningful—an insight into thetransient nature of life.
Tiravanija received his BA from Ontario College of Art and Design (1984) and an MFA from the School of the Art Institute ofChicago (1986). From 1985–1986, he participated in the Whitney Independent Study Program. n 2024, Tiravanija was artistic director and co-curator of 2024 Art Spectrum: Dream Screen at the Leeum Museum of Art, Seoul, an exhibition of emerging Korean artists. He has received numerous grants and awards, including the Absolut Art Award 2010, the Silpathorn Award by the Ministry of Culture in Thailand (2017), Hugo Boss Prize (2004), Lucelia Artist Award by the Smithsonian American Art Museum (2003), among others.
Tiravanija lives and works in New York, Berlin, and Chiang Mai.
untitled 1998 (pad thai), 1990
electric woks, cooking utensils, pad thai recipe, glass display case
variable dimensions
untitled 1998 (pad thai), 1990
electric woks, cooking utensils, pad thai recipe, glass display case
variable dimensions
untitled 1992 (free), 1992
gallery equipment, artworks, fridge, table, stools, cooking utensils, cooking ingredients
variable dimensions
untitled 1992 (free), 1992
gallery equipment, artworks, fridge, table, stools, cooking utensils, cooking ingredients
variable dimensions
untitled 1993 (sleep/winter), 1993
straw mat, foam mattress, cotton pillow, duvet
variable dimensions
untitled 1993 (sleep/winter), 1993
straw mat, foam mattress, cotton pillow, duvet
variable dimensions
untitled (tomorrow is another day), 1996
mixed media
variable dimensions
untitled 1996 (rehearsal studio no. 6, silent version), 1996
plexiglass, steel, musical instruments, amplifiers, headphones, archive recordings
variable dimensions
untitled 1997 (playtime), 1997
wood, glass, grey carpet, video monitor, video with excerpts from playtime (france 1967, directed by jacques tati), children's activities.
variable dimensions
untitled 1997 (playtime), 1997
wood, glass, grey carpet, video monitor, video with excerpts from playtime (france 1967, directed by jacques tati), children's activities.
variable dimensions
untitled 1999 (caravan), 1999
wooden scale replica of caravan used for on the road with jiew jeib sri and moo, electric stoves, pots, cusions, water pump, monitor, dvd player, library of road movies
variable dimensions
untitled 1999 (royal thai pavilion), 1999
wooden platform, teak tree, chalkboard, chalk, posters, advertisements, envelopes, invitation cards, flags, performance schedule
variable dimensions
untitled 1999 (royal thai pavilion), 1999
wooden platform, teak tree, chalkboard, chalk, posters, advertisements, envelopes, invitation cards, flags, performance schedule
variable dimensions
untitled 1999 (royal thai pavilion), 1999
wooden platform, teak tree, chalkboard, chalk, posters, advertisements, envelopes, invitation cards, flags, performance schedule
variable dimensions
untitled 2002 (the raw and the cooked), 2002
long table, custom-made plastic foods, drinks, monitors screening footage of people making fake food
variable dimensions
untitled 2003 (elephant juice), 2003
stage, headphones, pole, pole dancer
documentation of performance
chew the fat (a documentary portraid by rirkrit tiravanija), 2008
mixed media
variable dimensions
untitled 2002 (he promised), 2002
chrome and stainless steel, monitors, palms
variable dimensions
untitled 2002 (he promised), 2002
chrome and stainless steel, monitors, palms
variable dimensions
untitled 2002 (he promised), 2002
chrome and stainless steel, monitors, palms
variable dimensions
untitled 2005 (the air between the chain-link fence and the broken bicycle wheel), 2005
glass and stainless-steel structure with transmitter, wooden structure with receiver, furniture, monitors
variable dimensions
untitled 2006 (demo station no. 5), 2006
mixed media
variable dimensions
untitled 2006 (demo station no. 5), 2006
mixed media
variable dimensions
palm pavilion (2006-2008), 2006-2008
metal, wood, palm trees, striated and galvanized metal sheets, fiber glass, 10 aquarium lamps UV, 3 showcases
354.33 x 433.07 x 196.85 in.
installation view of palm pavilion, kurimanzutto, mexico city, 2006
palm pavilion (2006-2008), 2006-2008
metal, wood, palm trees, striated and galvanized metal sheets, fiber glass, 10 aquarium lamps UV, 3 showcases
354.33 x 433.07 x 196.85 in.
installation view of palm pavilion, kurimanzutto, mexico city, 2008
palm pavilion (2006-2008), 2006-2008
metal, wood, palm trees, striated and galvanized metal sheets, fiber glass, 10 aquarium lamps UV, 3 showcases
354.33 x 433.07 x 196.85 in.
installation view of palm pavilion, kurimanzutto, mexico city, 2008
menos petróleo más valor, 2008
oil on clayboard
14.75 x 23.62 in.
untitled 2011 (menos petróleo más valor / 14 de junio 2011), 2011
acrylic and newspaper on linen
75.31 x 68.03 in.
untitled 2007 (esto no es decoración), 2007
oil paint on board
18 x 24 in.
untitled 2012 (the sun is gone but we have the light), 2012
oil on canvas
102.36 x 62.99 in.
untitled 2011 (el gusano), 2011
acrylic on newspaper (set of 110 drawings) and 40,000 clay tortillas
14.96 x 22.64 in. each drawing, 5.12 in. diameter each tortilla
untitled 2011 (los días de esta sociedad son contados), 2011
acrylic on newspaper
set of 20, 14.96 x 22.64 in. each
untitled 2011 (los días de esta sociedad son contados, 7 de julio de 2010), 2010
acrylic and newspaper on linen
75.39 x 68.5 x 1.57 in.
untitled 2012 (mañana es la cuestión), 2012
silkscreen on set of three ping pong tables and paddles, lime tennis court tracing
36.61 x 108.66 x 64.96 in. each
untitled 2012 (mañana es la cuestión), 2012
silkscreen on set of three ping pong tables and paddles, lime tennis court tracing
36.61 x 108.66 x 64.96 in. each
detail view of ping pong paddle
untitled 2012 (all those years at no. 17e london terrace), 2012
wooden structure, 1,938 CDs, 949 books, original furniture, 3 sets of posters, kitchen with gas, 12 scanned and 3D printed objects in abc plastic
116.14 x 245.28 x 455.91 in. installed
installation view of untitled 2012, (all those years at no. 17e london terrace), kurimanzutto, mexico city, 2012
untitled 2012 (arto's fireplace), 2012
stainless steel, acrylonitrile butadiene styrene plastic
51.97 x 51.97 x 19.69 in. and variable dimensions
untitled 2012 (arto's fireplace), 2012
stainless steel, acrylonitrile butadiene styrene plastic
51.97 x 51.97 x 19.69 in. and variable dimensions
detail
untitled 2013 (todos juntos / jueves 5 y viernes 6 de septiembre de 2013), 2013
encaustic and newspaper on linen, set of two
75.31 x 68.03 in. each
Solo exhibitions include: The House That Jack Built, Pirelli HangarBicocca, Milan (2026); SAY YES TO EVERYTHING, STPI Creative Workshop & Gallery, Singapore (2026); Lo que queda del día, kurimanzutto, Mexico City (three-person exhibition with Allora & Calzadilla) (2025); A MILLION RABBIT HOLES, Gammel Strand, Copenhagen, Denmark (2025); DAS GLÜCK IST NICHT IMMER LUSTIG, Gropius Bau, Berlin (2024); JOUEZ/PLAY, PHI Foundation for Contemporary Art, Montreal, Canada (2023); A LOT OF PEOPLE, MoMA PS1, Long Island City, New York (2023); traveled to LUMA Arles, France (2024); Rirkrit Tiravanija, Haus der Kunst, Munich, Germany, in collaboration with Bayerische Staatsoper (2023); Mezcal vs. Pulque, kurimanzutto, Mexico City, in collaboration with Cooperativa 1050 (2022); untitled 2018 (the infinite dimensions of smallness), Museum Dhondt-Dhaenens, Deurle, Belgium (2021); Tomorrow Is the Question, Centro per l’arte contemporanea Luigi Pecci, Prato, Italy (2019); Tomorrow Is the Question, Remai Modern, Saskatoon, Canada (2019); untitled 2018 (the infinite dimensions of smallness), as part of Ng Teng Fong Roof Garden Commission, National Gallery Singapore (2018); Tomorrow Is the Question, Stedelijk Museum Amsterdam (2016); The fire is gone but we have the light, Johnson Museum of Art, Ithaca, New York (two-person exhibition with Korakrit Arunanondchai) (2016); UFO (Universal Fantastic Occupation), Museo Jumex, Mexico City (2015); untitled 2015 (tomorrow is on our tongue, as today pass from our lips), Centro Cultural do Banco do Brasil (CCBB), Brasília (2015); Tomorrow Is the Question, Garage Museum of Contemporary Art, Moscow (2015); FOCUS: Rirkrit Tiravanija, Modern Art Museum of Fort Worth, Texas (2014); Portraits, Tate Modern, London (2013); On Air, Centre Pompidou, Paris (2012); Chew the Fat, The Mildred Lane Kemper Art Museum, St. Louis, Missouri (2009); Demonstration Drawings, The Drawing Center, New York (2008), among others.
Tiravanija has also participated in group exhibitions such as: Regift, LUMA Westbau, Zurich, Switzerland, in collaboration with Swiss Institute (2026); Tausendmal Berlin, Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin (2026); New Humans: Memories of the Future, New Museum, New York (2026); Homage: Queer lineages on video, Wallach Art Gallery, Columbia University, New York (2025); The Summer Show, Fondation Beyeler, Riehen, Switzerland (2024); Pista 500, Pinacoteca Agnelli, Turin, Italy (2024); Colección Jumex: Todo se vuelve más ligero, Museo Jumex, Mexico City (2023); Y/OUR Nature, Hoam Museum of Art, Yongin, South Korea (2023); Vielheit. Geschichten aus der postmigrantischen Gesellschaft, Kunst Meran Merano Arte, Italy (2023); TODOS JUNTOS (All Together), kurimanzutto, New York (2022); Futuros abundantes en tiempos convulsos, Centro de Creación Contemporánea de Andalucía (C3A), Córdoba, Spain (2022); Face à Arcimboldo, Centre Pompidou-Metz, France (2021); The Paradox of Stillness: Art, Object, and Performance, Walker Art Center, Minneapolis, Minnesota (2021); Colección Jumex: Al filo de la navaja, Museo Jumex, Mexico City (2020); No habrá nunca una puerta. Estás adentro. Obras de la Coleção Teixeira de Freitas, Sala de Arte Santander, Boadilla del Monte, Spain (2019); Power to the People. Political Art Now, Schirn Kunsthalle Frankfurt, Germany (2018); Frederick Kiesler: Life Visions, Austrian Museum of Applied Arts / Contemporary Art (MAK), Vienna, Austria (2016); La collection Thea Westreich Wagner et Ethan Wagner, Centre Pompidou, Paris (2016); Ugo Rondinone: I ♡ John Giorno, Palais de Tokyo, Paris (2015); Take Me (I’m Yours), Monnaie de Paris (2015); Zero Tolerance, MoMA PS1, Long Island City, New York (2014); 1984–1999. La Décennie, Centre Pompidou-Metz, France (2014); Take It or Leave It: Institution, Image, Ideology, Hammer Museum, Los Angeles (2014); The Red Queen, Museum of Old and New Art (MONA), Hobart, Tasmania, Australia (2013); NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York (2013); Thai Transience, Singapore Art Museum (SAM), Singapore (2012); Ecstatic Alphabets/Heaps of Language, The Museum of Modern Art (MoMA), New York (2012); Print/Out, The Museum of Modern Art (MoMA), New York (2012); Sin realidad no hay utopía, Centro Andaluz de Arte Contemporáneo (CAAC), Seville, Spain (2011); traveled to Yerba Buena Center for the Arts (YBCA), San Francisco (2013), among others.
Tiravanija has also been included in various international biennials, such as: Unruly Waters, Rubaiya Qatar, Doha (2026); Coyote Time, Counterpublic 2026, St. Louis, Missouri (2026); untitled 2026 (a gathering of remarkable people), Qatar Pavilion at the 61st Venice Biennale (2026); Does the flower hear the bee?, 15th Shanghai Biennale, China (2025); pure intention, Singapore Biennale 2025 (2025); Islands, Constellations & Galapagos, Yokohama Triennale 2017, Japan (2017); THE GARDEN – End of Times; Beginning of Times, ARoS triennial, Aarhus, Denmark (2017); Water, CURRENT:LA Public Art Biennial, Los Angeles (2016); FOOD – Ecologies of the Everyday, 13. Fellbach Triennial of Small Scale Sculpture, Germany (2016); Ordinario/Extraordinario: la democratización del arte o la voluntad de cambiar las cosas, 20 Bienal de Arte Paiz, Guatemala City (2016); All the World’s Futures, 56th International Art Exhibition at the Venice Biennale (2015); The past, the present, the possible, Sharjah Biennial 12, United Arab Emirates (2015); Interruption, 30th Ljubljana Biennial of Graphic Arts, Slovenia (2013); ROUNDTABLE, 9th Gwangju Biennale, South Korea (2012); Postmonument, XIV Biennale Internazionale di Scultura di Carrara, Italy (2010); Still Life: Art, Ecology and the Politics of Change, Sharjah Biennial 8, United Arab Emirates (2007); Como viver junto, 27ª Bienal de São Paulo, Brazil (2006); Day for Night, Whitney Biennial 2006, New York (2006); BEYOND: An Extraordinary Space of Experimentation for Modernization, 2nd Guangzhou Triennial, China (2005); Egofugal – Fugue from Ego for the Next Emergence, 7. Istanbul Bienali (2001); dAPERTutto, 48th International Art Exhibition at the Venice Biennale (1999), among others.
read the full article about mezcal vs. pulque on frieze
read the full article about mezcal vs. pulque on the brooklyn rail
read the full article on the art newspaper
read the full article of rirkrit tiravanija on the new york times style magazine
Read full article on how artists like Rirkrit Tiravanija use food to cook up new works in ARTnews.
Read the full review about Rirkrit Tiravanija's work for this year's Arco Madrid at Ocula Magazine.
Read the full review on Rirkrit Tiravanija’s tendency to reuse other artists’ works in Art Basel.
Rirkrit Tiravanija takes part in Bangkok Art Biennale (BAB), a biannual art festival set in the capital of Thailand.
On the Razor’s Edge is an international exhibition that brings together works within four thematic sections: migration and liberty; the human body; its environment; and the irrepressible and forever incomplete passage of time.
Artists Rirkrit Tiravanija and Tomas Vu, longtime collaborators, join host Yasi Alipour for New Social Environment #55 to discuss what art can do for and in situations that arise around the persistent violence of the United States.
Try Rirkrit Tiravanija's recipe of his own version of negroni cocktail.
This exhibition blurs the boundaries between art and life, a key aspect of the artist’s practice that has led him at times to abandon the art object in favor of creating shared, immersive experiences.
This exhibition presents artistic experiences designed as direct or indirect dialogues with Hélio Oiticica and Joseph Beuys’ production, two of the most important and active artists of the second half of the twentieth century.
The Institute of Contemporary Arts is proud to present a newly commissioned permanently sited work by Rirkrit Tiravanija.
Organized by Mark Beasley, the museum’s Robert and Arlene Kogod Secretarial Scholar, Curator of Media and Performance Art, the exhibition transforms the Hirshhorn’s galleries into a communal dining space in which visitors are served curry and invited to share a meal together.
Tomorrow Is the Question is the first solo exhibition in an Italian museum by Rirkrit Tiravanija (Buenos Aires, 1961), one of the most influential artists of his generation, known internationally for works that bring real life inside the spaces of art, achieved by the active intervention of the public and breaking down all barriers between the object and spectator.
Five ping pong tables are set up in parallel inside the Remai Modern Gallery as part of Rirkrit'stiravanija tomorrow is the question.
