In this work Rirkirt selects visitors to share a meal in a gallery space. The meal that they share is Thai takeaway, consisting of pork satay, green papaya salad, chicken yellow curry and rice; the choice of sharing Thai food is related to his culture – having a Thai background- and having people to shape and change a space through interactions between one another, like a family sharing food at dinner.
This work intentionally brings people together, and is a reconceptualization of his work in 1996 that holds the same name.
https://www.ngv.vic.gov.au/exhibition/rirkrit-tiravanija/
https://www.moma.org/collection/works/65545
Untitled 2017 (nothing rhymes with lobscouse, labskaus, lapskaus, lobskovs):
This work is a film that is projected onto a wall. This film was made at the same time as another work (appropriated small scale Victorian stove) and both of these works function together to create a single work.
In this work, Rirkirt makes a uses a recipe that was created for this work to make a large communal stew on the appropriated Victorian stove.
Through the capture of the artist cooking, his work can relate to real life experiences of the audience watching and it highlights the use and importance of the stove to feed and nourish.
http://www.pilarcorrias.com/exhibitions/rirkrit-tiravanija-4/
Temporary places, edible spaces:
An installation at Manhattan ac institute, this work created by de Souza (part of her series temporary places, edible spaces) is an inflatable tent that looks similar to a jumping castle, coloured in white and red checks.
The tent is a “discussion about food and society”, The checks of the tent are reminiscent of a picnic, a casual and non-hierarchical setting to have and share food. And this picnic setting sets up Keg de Souza’s discussions enabling everyone to share their thoughts, opinions and experiences about the food despite the non-importance of the comments.
In this work, groups of people would enter and sit with foods that involve new York, the area of the exhibit. In the tent de Souza leads a discussion on how these foods have origins in new York and how each “fit into the foodscape of the city”.
https://www.ediblemanhattan.com/foodshed-2/temporary-place-edible-space-mapping-relationships-between-food-memory-and-the-city/
http://acinstitute.org/temporary-spaces-edible-places-new-york/
This work is a structure comprised of clear freezer bags containing freeze dried foods. Similar to he other works, Changing Courses also related to place (The Art Gallery of New South Wales/ the domain). In this work she follows the history of the foods relating to the location and how they changed over time and different social migration patterns of the area.
Based on the foods and culture, the foods in the freezer bags ranged from indigenous foods, fast food, super foods and high end food.
The structure is also a place of discussion where people can enter and talk about their experiences with food and culture.
https://www.the-national.com.au/artists/keg-de-souza/changing-courses/
Walking 1 -Mårådalen Walk:
Made by composer Samkopf, this work describes a walk through the sounds and noises that are made over the trip (ed feet on gravel, breathing for air,) from these sounds, we as the share the experiences within the sound clip with Samkopf.
In this work the addition of sounds is just as important as absence of sounds to create an idyllic walk through sound scaping.
http://users.notam02.no/~joranru/mediefiler/Soundscape%20in%20the%20Arts.pdf
The Dinner Party ( 1974-1979 ),
Installation, Brooklyn Museum, Brooklyn, New York
The Dinner Party is an installation artwork that portrays the history of women in Western civilisation. The 39 place settings each represent a historical or mythical woman of significance in order to educate audiences of the rich history of women.
http://www.judychicago.com/gallery/the-dinner-party/dp-artwork/
Vertumnus ( 1590-1591) oil painting.
Giuseppe Arcimboldo was an Italian, Mannerist painter who created painted portraits made of fruits and vegetables. His imaginative use of food can be seen in his painting Vertumnus of the Holy Roman Emperor Rudolf II portrayed as Vertumnus, the Roman god of metamorphoses in nature and life. The fruits and vegetables are used to represent the return of the Golden Age that came with the new Emperor’s rule.
https://www.giuseppe-arcimboldo.org/biography.html
This work is a performative piece which utilizes the use of sound. Erek recreates the sound of the ocean and waves by running his hands over a patch of carpet. He encourages the audience to participate in the work and run their hands over the carpet to also create the ocean-like sounds
https://www.ibraaz.org/interviews/220
Young presented a politically charged multi-media exhibition in New York (2015). The main part of the exhibition was his live performance ‘Nocturne’ which involved him recreating bombing and war noises with his own set of instruments. He compiled a 6 hour video of bombings and war footage which he plays on mute as he recreates the sounds using household objects (as his instruments). He attempted to create the sounds of gunfire, bombing, debris etc as accurately as he could.
http://www.teamgal.com/exhibitions/324/pastoral_music
Cardiff created a immersive experience in 2001 involving the use of 40 speakers positioned in an oval shape. The speakers each play different recordings of choirs singing ‘Spem in Alium.’ Cardiff mentioned that the experience created was meant to “reveal the piece of music as a changing construct” and give the audience a chance to hear the song from the singers viewpoint, ultimately becoming more “intimately connected with the voices.”
https://www.cardiffmiller.com/artworks/inst/motet.html
https://news.artnet.com/art-world/12-sound-artists-changing-perception-art-587054
