#relational aesthetics

[cosmicanger]

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[usefulquotes7]

[daughterofchaosstuff]

done healing my inner child. next up is my inner teen. her highness demands a sword.

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[loveelizabeths]

love elizabeth s.

[twistedlybroken]

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[r0ttinginmyr00m]

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art by @bylittlenursegirl , @/littlenursegirl on ig

[lipikkawrites]

A lot will go wrong before everything goes right.

Keep moving forward.

-@lipikkawrites

[antonia-gergely]

Podcast episode

Rirkrit Tiravanija on the Dave Chang Show

‘He was training to be a photojournalist, but after seeing two pieces of art, he changed his mind.’ Duchamp’s Fountain, Kazimir Malevich’s White on White, after Russian revolution

Begs the question of what constitutes art - How do you determine the value of something, how do you own the narrative of something?

First food piece he did was 1990 pad thai piece. New York.

Tiravanija mentions Duchamp’s origins and his need to ask himself why he exists, why in this condition (after first world war) thus finds context for readymades. Tiravanija: “You don’t need to have your own skill to think things… You can use your imagination.” 15:26 – 15:32

“Art is a place where you can ask a lot of questions” 16:08 – 16:12

conceptual structures, making things out of ideas, make a representation which is a representation of an idea – “meta-art” - A starting point for Tiravanija and the work he wants to express.

What is art, question asked all the time of oneself, as an artist. The same questions of ‘what is art’ apply to cooking, or eating, and they’re just asked more of art. They can be asked of everything. A good curry on the street is a good curry. Not just a high end restaurant. – implying that art, if it’s good, doesn’t need a setting? “the only thing that matters is how you feel about what you ate.” Dave Chang 18:19 – 18:24

“and that is where art is, is that moment where you can, having seen or done and experienced a lot of things, that there is a moment where you an say to yourself, ‘Wow, this is a really good bowl of noodles,’ compared to other things in the world, but you can’t compare it to other things in the world if you haven’t gone through it.” 18:43 – 19:02

“The urinal … isn’t about skill, it isn’t about illusions, it’s what it is. And what it is could be more about how you think about it.” 19:06 – 19:17. he sounds like a Boddhisatva. Ceci n’est pas une pipe vibe.

Taking down Western conventions around knowledge by questioning them. Reanimation of pots that were displayed in western museums, pots that he would have used, reclaiming. 19:50-20:18 “I started off in the Art Institute of Chicago looking at artefacts. It was all bowls and pottery and Buddhas, and I was like ‘But these are all things that I actually use in my daily life, and they’ve elevated it into an aesthetic object”

“You take that thing, which is their object, and you put your life into it.” 21:06 – 21:11 “We don’t sit around thinking about the object, we think about the people around it.”

21:40 – 21:50 “The beauty … is actually maybe the noodle, it’s maybe the cook who made the noodle, it may be the people who sat around and ate the noodle, but it’s definitely not the bowl”

Who’s assigning value to anything?

23:20 – 23:22 “You have to live through it”

Chang 23:22 – 23:30 “How do you live with the current critics that determine the value, then, of the art that you’re trying to take back?”

24:23 – 24:28 “I think we’ve opened ourselves up a lot more to understanding the other”

Kazimir Malevich, White on White. Suprematist art. 25:40 – 25:45 “The idea of an artist as a kind of spiritual being” 26:02 – 26:06 “It’s not even an image, it’s just an idea,” on Malevich’s work

The concept of relational aesthetics, but not to do with undermining the gallery space, just to use ideas in their rawest forms, not necessarily a skill-based thing. “The urinal was against the white on white.” Constructive opposition of ideas.

28:28 – 28:36 “I was looking at these potteries in the museums and … saying to myself ‘I gotta try to retrieve this back to myself … back to my own space.”

28:40 – 28:43 “Suddenly one day I just said to myself “I’m gonna cook, and use the pottery”

Part of a group show in SoHo

29:01 “The pot was boiling and people were just looking at it” realised that it was the same as looking at it in a museum 29:15 – 29:17 “The next show I made was pad thai…” 29:23 – 29:27 “I cooked until the last strand of noodle was gone.” 29:59 - 30:03 “my friends came and they saw that I was struggling and they started to help”

Gordon Matta-Clark’s Food, Alison Knowles’ Make a Salad

31:30 – 31:34 “THE OLDER CRITICS SAID … WHAT’S THE DIFFERENCE”

31:36 “She didn’t look at the wok I was using, she didn’t really think about what kind of noodle I was cooking” His work has a more cultural point and purpose than previous food works. Reclaiming his heritage and questioning its aestheticisation. Pad Thai was the only noodle dish invented by the Thais, politically by them, to have a national dish. Metaphors, pictures and layers. Now realising that the aim of tiravanija’s work was not actually a social awakening and buzzing of people to come together.

31:45 – 31:54 “I understood of course that it wasn’t anything new, but I knew that the layers of things within what I was doing was different.”

Chang asked, What do you do when your predecessors also staged something similar, and the critics who should know don’t appreciate the nuance and novelty of what you’re trying to do? 32:42 – 32:45 “Not being afraid as long as you know yourself.

35:10 “I used an electric wok because it was made by this company … this wok was in a video by an older video that I respect a lot…” reference to her work (who?) The west turning the east into a consumerist commodity. The east made into a product. Brought to attention by tiravanija’s use of an electric wok.

Using food

38:11 – 38:23 “How do you convince people to see what you want to see … how do you let more people be patient, and soak things in, and question their default setting?” 38:24 – 38:28 “I think that’s part of using food.” 38:34 – 38:41 “It is .. something you do three times a day, so it isn’t that out of your experience.” In that way, there is a point where it’s open enough and more understandable.

“Even the art people didn’t see all those things.”

Tiravanija teaches at Columbia; rallying against what institutions do. Disrupting learning. No interest in teaching anyone anything. The shift from MFA of 12 students to 50 students. University wants to make money from artists. 56:21 – 56:44 “Do you think that food, because it’s so taken for granted, because everyone has to eat … can reveal so much more about an individual and a culture and a set of beliefs than people ever care to give credit to?”

[Yes]

Summer kitchen available Friday to Sunday – losing money. Finding a way to fund it by doing something else; selling art. You make stupid sandcastles everyday that people shit out – culinary art – Dave Chang

ART COOKBOOK https://www.amazon.co.uk/Rirkrit-Tiravanija-Cook-Antoinette-Aurell/dp/6167339066 A cookbook of his food-based art, and the recipes for the food involved.

[strawberryblondedoll]

its true ⋆ ˚｡⋆୨୧˚

[delicacysblog]

“what was the most pain you have ever felt”

healing from someone, i once thought i would heal with

[usefulquotes7]

[daughterofchaosstuff]

The intimacy of “How did you know that?”

“because I know you.”

[missinyouiskillingme]