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Rickley Tiravanica: A Journey of “Interactive Art” by Nomadic Artist

  Nomadic artist “On the Road”
  Rickli Thirawaniga is an artist who is very active in the field of Western contemporary art. This oriental artist has a multicultural identity. His father is a Thai diplomat, in 1961 Tiravanica was born in Buenos Aires, Argentina, and traveled the world with her family since she was a child: Thailand, Ethiopia, Canada, the United States… Now she mainly lives in the United States, and travels through New York, Bangkok, Berlin. Considered to be an artist of Thai descent. He is a typical “global” nomadic artist.
  The artist, who grew up in both Asia and Latin America, is world-renowned in the Western contemporary art circle for his American Pop-style “everyday myth” art. Tilavaniga attempts to redefine the value of art and explore the relationship between art and the existence of everyday life. His works are not limited by materials and media, nor can they define the attributes and boundaries of the works, often combining behaviors and installations. Visitors to the exhibition participate in the joint creation. Rickley’s work cannot be defined by traditional art categories, nor can it be measured by the aesthetic criteria of classic art, such as cooking Thai food for visitors in a New York gallery, playing puppets with a group of teenagers on the streets of Germany, and leaving it intact in the gallery. Reproducing his own apartment without moving… These seemingly extremely life-like “eating and drinking” and “games” can all become the main body of his artistic creation. More importantly, most of his works require the participation of the audience to achieve. The audience is transformed into an art participant, subverting the previous “sacred” artistic image and concept.
  Rickley Tiravaniga is a Buddhist who likes to live in a Buddhist way. No matter in life or art, he refuses to presume, does not make preconceived structures or shields any possibility, and avoids inherent identities and material properties, but maintain a state of “flowing emptiness”, seeking the possibility of a constantly flowing life in practice. Rickley always travels around, and his exhibitions are all over the world. He seldom repeats the same works on tour, but every time he goes, he uses different cities as the context and creates works according to the surrounding space. For him, “on the road” has become the most profound imprint of his life and creation.
  Crowd-Based Interactive Art
  Tilavaniga’s work began in the 1990s, and his landmark art project was a 1992 exhibition titled “Free” at 303 Gallery in New York. Rickley turned the whole gallery into a kitchen that serves Thai curry rice for free. He cooks Thai curry in the gallery, and lets the audience who come to the exhibition share it and chat with the visitors at the same table. In 2012, as part of the “Museum of Contemporary Art: 1980—” curated by the MOMA Museum of Modern Art in New York, the kitchen was recreated in the MOMA showroom, where the gallery-prepared curry is served daily from noon to 3pm. In this seemingly conceptually simple work, Rickley Tilavaniga invites the viewer to interact with contemporary art in a more social way, blurring the sense of distance between artist and viewer. The audience no longer just looks at the artwork, but becomes a part of it, completing a certain creation in their daily diet.
  In 1994, Rickley completed a mobile installation in Spain. He installed a bicycle into a small mobile home: a folding table, six folding chairs, pots and pans, necessary ingredients, and a bulging luggage. . He cycled around Madrid, attaching a video camera to the handlebars to record what he saw along the way. Tiravaniga said: “The Spaniards once traveled around the world, Columbus and Magellan sailed around, and finally discovered the new world. I made a ‘return’ trip, I tried to discover Spain.”
  In the Museum of Cologne, Germany, mentioning Lavanica cloned the room structure of his New York residence in wood, with a fully functional kitchen, bathroom, and bedroom. During the exhibition period, the Cologne Museum of Art is open to the public 24 hours a day. The audience can walk through, sit down, look at items, watch TV in the living room, lie down in the bedroom, read books in the toilet, eat Thai curry in the kitchen, etc. A radio program is broadcast at any time, and the audience is encouraged to enjoy the space freely, and it becomes a moving scenery, and the museum is full of people all the time.
  Rickley often builds bars, teahouses, recording studios, mini supermarkets and other daily places in the exhibition, not only to bring the works closer to the audience, but also to let them participate in the creation of the works. missing component. Sometimes he would set up a big drum in the museum and let the audience beat it; sometimes he would perform a puppet show with the teenagers who came to visit. In Tiravaniga’s works, the role of the artist is an event planner, a maker of game rules, and a creator of spatial situations. He has established a communication field and platform to provide an atmosphere of sharing. The audience is no longer passively receiving, but actively participating, intervening and using these spaces, so the work is no longer just a fixed form or final result, the relationship between the audience and the work, and between the audience and the audience is related to the relationship between the audience and the audience. The shared feeling is the important spirit of the work. Tilavaniga is a catalyst, creating situations that allow the audience to step in or perform, share those experiences with the audience, and together stimulate and give deeper meaning to the works through them.
  Tilavaniga is an active artist around the world, always seeking to break new ground and create new ideas, where his works are created in conjunction with the local spatial and social environment. For example, in 2010, he held an exhibition called “Don’t Do It” at the Tang Contemporary Art Center in Beijing. Using many social elements of contemporary China, he covered a shrunken Mercedes sedan model with a layer of milk powder—— Used in reference to the 2008 milk scandal in China. Near the car, spectators can enjoy a hot bowl of tofu brain. In the main showroom, the machines for producing bricks are already running, and 14,068 bricks are to be produced on site, and these bricks are sold instantly on site, and they are enough to build a room in China. On the opposite side of these bricks, two towering bamboo models are located at No. 1 Jianguomenwai Street, Chaoyang District, Beijing and No. 25, Zhongshan North Road, Putuo District, Shanghai. There are hundreds of birds chirping in the models, as if they are locked in an office building. white-collar crowd. In this group of works, Rickley offers a unique reflection on the status quo of continuous overproduction in contemporary China, as well as the opportunities and human attrition caused by this overproduction.
  everyday life art
  Rickley Tilavaniga’s work caused a lot of controversy in the 1990s. Many people expressed doubts about these works that cannot define sculptures, installations, and social activities, and some adherents of traditional art questioned this. Whether a work similar in form to everyday life can be called artistic creation. In the field of traditional art, the boundaries between art categories are very clear, and the distinction between art and life is also clear. Rickley’s creative model has been used more and more widely in the contemporary art world. At present, there are many similar works in the world, such as providing services, or proposing precise game rules to the audience, and also providing a social mode, etc. .

  Since the second half of the 20th century, the diversified “post-art era” has come, and contemporary artists have constantly surpassed their own traditional creations. The emergence of Pop Art once again destroyed the barriers between art and life, and dispelled the relationship between high art and popular art. The difference is that the endless installation art, process art, performance art, accidental art, etc., are constantly “crossing the wall” in terms of art medium, form and concept. The post-war art world was established, and “art” stepped down from the ritualized altar and re-aligned with daily life and social reality, making the “post-art era” an era of “artistic survival” that is omnipresent and unstoppable. The German avant-garde art master Beuys put forward the concept of “everyone is an artist”, which has almost become a classic declaration of postmodern art.
  In today’s postmodernism, the absence of a sense of history causes people to stare at the present moment. Therefore, art also shares such a situation, summoning the audience with the familiarity of daily life forms, and briefly talking, sharing and building with the audience in the gallery. Relationships only take effect in the present art works at this moment. The audience consumes the pleasure of the moment, enjoys the current situation, forgets the past, and forgets the reality. This kind of art does not require the artist to be a prophet or a prophet, but is mainly based on the understanding and participation of most people. The works come from life, and a lot of popular language is used as a common code, so it is generally easy to understand and approachable. , Works with gameplay and fun characteristics have become the main trend. Encouraging art is for everyone, everyone is an artist, and art is in daily life, emphasizing the participation of “people” to make general social behavior shine with the brilliance of art. Rickley Tilavaniga’s creations have been based on the crowd and life from the very beginning. He has moved daily activities into the exhibition space many times, and established a relationship with the audience as the main driving force for the completion of his works. A new aesthetic paradigm for interaction.
  Land Feelings and the “Earth Plan”
  Thailand is a big agricultural country with traditional rice cultivation. Since Rickley’s famous curry rice, “rice” has been a frequent element in his works. In 2007, it was exhibited at the Shanghai Art Fair? In the international contemporary art exhibition, the work “Untitled 2007” exhibited by Tiravanija uses rice as the main material. In a space of 60 square meters, about 9 tons of Thai fragrant rice is piled up in a giant installation. One side is a tempered glass curtain wall, and there is an oil painting on the wall behind the meter. The audience can pick up the rice bags with the word “free” printed on the scene, and scoop away about 3 kilograms of fragrant rice from the small mouth on the glass curtain wall. As the fragrant rice decreases, the oil paintings hanging on the back wall gradually show their true colors. This work has been widely acclaimed. It uses Thai fragrant rice as a medium. Rice is the lifeblood of Thailand. The mechanism, tradition, and consciousness of the whole Thailand are presented in this work. The subtitle of the work is particularly eye-catching: “Watch out, rich bastards!” The artist’s boredom with modern fetishes and sentiments about traditional agriculture is evident.
  ”Back to the land” is a trend of thought that is extremely popular among intellectuals and artists today, and there are many urban artists who go into the countryside to experiment in rural areas around the world. There is a “country studio” in the United States, where a group of outstanding architects help farmers build houses in the American countryside; in Japan, the famous documentary director Ogawa Shinsuke has lived in the Japanese countryside for more than ten years, and has made a lot of films about agriculture ‘s documentary. Growing up in Thailand, Rikli Thirawaniga has a deep affection for Thailand’s traditional agricultural civilization. He and his friends implemented a “Earth Project” in the countryside near Chiang Mai.
  They were influenced by the idea of ​​”Buddhist agriculture” from a farmer in northern Thailand, who could not bear the over-reliance on pesticides and fertilizers in modern agriculture, and carried out an alternative agricultural practice that was deeply influenced by Buddhist ideas. He believes that human life is subject to nature, so it has the same four elements of soil, water, wind and fire as nature. He dug seven ponds in his field according to the structure of the human body, representing the left and right chest, arms, heart, belly and genitals, planting rice in the most important part of the belly, and stocking fish, shrimp, Crabs and snails, and then build houses by the pond, with coconut trees, mangoes, bananas and bamboos planted around, ventilation and heat, water and soil mutual support, a variety of animals and plants and people in harmony, soil, water, wind, fire four The elements form a good ecological cycle system. This became the model for Project Earth to learn.
  Thiravanika and his friends planned a piece of land in the countryside of Chiang Mai, dug ponds, planted plants, and cultivated rice, invited international artists, farmers, and student volunteers to “go to the countryside” for labor experiments, and invited architects from all over the world. The teacher started a series of micro-architecture experiments around the pond. Each building can only occupy an area of ​​2 meters by 4 meters, and built a modern rural building complex with an enclosed layout similar to a Buddhist temple in Thailand. All the small houses correspond to nature and terrain. Based on the concepts of Buddhism and archaeology, they produce about 1,500 kilograms of rice each year for the experiment participants and some local AIDS patients for their own use. Tilavaniga attempts to build a utopian art space that blurs the boundaries of species, nation, society, and art.
  Rickley Tilavaniga’s unique artistic practice has made him an extremely active contemporary artist with a very personal style. In 2005, Rickley won the Hugo, known as the “Barometer of International Contemporary Art Trends”. Hugo Boss Prize. The jury of the Hugo Boss Award commented on Rickley’s artistic creation over the years: “He cooks Thai food for the audience at the exhibition site, and replicates the living space in the art museum for the audience. In recent years, he has gathered Thai artists in Chiang Mai to develop a ‘land ‘Projects and so on, its interactive creation of grafting art and life provides a new paradigm for the trend of international contemporary art in recent years.”

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