III. Delicate as bias With Philippe Parreno – Untitled (2005), five puppets each with ceramic heads, feet and hands, synthetic hair, clothes, stuffing. All images: Courtesy Rirkrit Tiravanija and Gallery Side 2, Tokyo. ART iT: Distinct from but still relatedView More >
IV. Installation view of the exhibition “Let me disclose the gifts reserved for age” at Rat Hole Gallery, Tokyo, 2011. Courtesy Rat Hole Gallery. ART iT: Earlier you mentioned this need to always have art “come with” you, to beView More >
II. Time as a measurement of the imagination Installation view, Vienna Secession, 2002. All images: Courtesy Rirkrit Tiravanija and Gallery Side 2, Tokyo. ART iT: Returning to the idea of sculpture as a reproductive medium, what happens in the caseView More >
III. Failing to Fetch Me at First (2010), steel, paint, foam, wood, approx 75 x 196 x 70.5 cm. ART iT: You often draw work and exhibition titles from literature and poetry, like the card you made for Castillo CorallesView More >
ON EXACTITUDE IN SCIENCE By Andrew Maerkle Installation view of Untitled 2001/2012 at Gallery Side 2, Tokyo. All images: Courtesy Rirkrit Tiravanija and Gallery Side 2, Tokyo. In February 2012 Rirkrit Tiravanija came to Tokyo for a solo exhibition atView More >
II. The Easy Isn’t Done Easy (2007), lacquered steel, 100 x 70 x 50.5 cm. ART iT: It’s difficult to put the experience of your works into words. Certainly there is a technical vocabulary to do so, but it wouldView More >
© Nils Klinger documenta 13 9 JUN – 16 SEP 2012 Kassel, Germany http://d13.documenta.de/ Participating Artist – PEDRO REYES’ PUZZLES by Octavio Zaya Participating Artist – Thea Djordjadze: THE SECRET BORDER IN HUMAN CLOSENESS Participating Artist – Jérôme Bel: SANCTUARYView More >
SANCTUARY OF CONFRONTATION By Natsuko Odate Theater Hora – Disabled Theater. Photo Michael Bause. All images: Courtesy Jérôme Bel. In November 2011 Jérôme Bel came to Japan for a performance of The Show Must Go On, mounted at Saiatami SainokuniView More >
THE SECRET BORDER IN HUMAN CLOSENESS By Andrew Maerkle Deaf and Dumb Universe (2008), iron, foam, rubber, plaster, paint, ceramics. Installation view, Neue Nationalgalerie, 5th Berlin Biennial. © Berlin Biennial for Contemporary Art, Uwe Walter, 2008. All images: Courtesy SprüthView More >
III. Abandonment – Occupation Limitless Situation (Stairs) (1970), installation view at the National Museum of Modern Art, Kyoto. Courtesy Kishio Suga and Tomio Koyama Gallery, Tokyo. ART iT: We’ve addressed different aspects of your concept of activation, but in yourView More >
II. Action – Event Sui-jyou shikitai (1973), photo documentation of open-air work. Courtesy Kishio Suga and Tomio Koyama Gallery, Tokyo. ART iT: Earlier you mentioned how in your “events” there was a tension between your own viewpoint and those ofView More >
IV. Quod petis, hic est I don’t blame you, or, When we made love you used to cry and I love you like the stars above and I’ll love you like the stars above and I’ll love you ‘til IView More >