Guests interact with Tiravanija’s ‘Untitled (pad thai)’ (1990) at Paula Allen Gallery, New York (Photo: courtesy of David Zwirner Hong Kong gallery)
Cover Guests interact with Tiravanija’s ‘Untitled (pad thai)’ (1990) at Paula Allen Gallery, New York (Photo: courtesy of David Zwirner Hong Kong gallery)

Our monthly art series demystifies the artworks we love—or love to hate. This time we tackle a piece that might be mistaken for a restaurant

In 1990, visitors to the Paula Allen gallery in New York expecting paintings, sculptures, films and installations instead found artist Rirkrit Tiravanija cooking and serving pad Thai from a small cooking station—that was the artwork. 

Tiravanija’s Untitled (Pad Thai) was conceived around the same time as a 90s’ art movement known as “relational aesthetics” came into being. The movement required audience interaction to be a part of the artwork, which forged a connection between the artist and viewer, and made the work more than just an object to be viewed. With his work, Tiravanija challenged the established ideas about what art was and how it was valued. His work initially critiqued the art world’s capitalist tendencies and the monetary value placed on art and physical objects, which is a criticism shared by the relational aesthetics movement.

Tatler Asia
Tiravanija's "Untitled (pad thai)" (1990) (Photo: courtesy David Zwirner)
Above Tiravanija’s “Untitled (Pad Thai)” (1990) (Photo: courtesy of David Zwirner Hong Kong gallery)

At the same time, he also critiqued the post-colonial practice of museums in the west taking and exhibiting objects from other cultures outside of their accurate context. To counter the opaque art world’s exclusivity, he championed a genuine engagement between his artwork and the audience, by making it intrinsically inclusive through the communal engagement that comes from the shared experience of participation, especially sharing a meal together. 

While Tiravanija was influenced by many artworks, Marcel Duchamp’s Fountain (1917)—a urinal—and Kazimir Malevich’s White on White (1918)—a white square on another white square—were crucial to changing his notion of what art could be. In Untitled (Pad Thai), Tiravanija exemplifies Duchamp’s principle that art can be whatever the artist says is art—in the process creating a seminal piece in his oeuvre that set the foundation for his subsequent works.  

For the follow-up to his Paula Allen debut, Tiravanija presented a similar exhibition at 303 Gallery in New York, named untitled (free) in 1993, but instead of pad Thai, he cooked and served viewers curry and rice.

Tatler Asia
“Untitled (pad thai)” at David Zwirner’s “The Real World” exhibition in Hong Kong in 2021  (Photo: courtesy of David Zwirner Hong Kong gallery)
Above “Untitled (pad thai)” at David Zwirner’s “The Real World” exhibition in Hong Kong in 2021 (Photo: courtesy of David Zwirner Hong Kong gallery)

Tiravanija also creates more conventional forms of art, including sculptures and installations, but it is his curated immersive experiences that put him on the art world map. Various iterations of Untitled (Pad Thai) have been staged at museums and galleries all over the world, including the David Zwirner gallery in Hong Kong in 2021 as part of a group exhibition titled The Real World. It will next appear at New York’s MoMA PS1 art centre in October 2023, as part of an exhibition featuring a major survey of Tiravanija’s work. 

Currently showcased at David Zwirner Hong Kong is Tiravanija’s latest exhibition, The Shop, for which he has created an umbrella repair shop that’s similar to the old-school ones that used to be strewn across Hong Kong before they started disappearing in the 2010s. Viewers can navigate through the crowded “shop”, overflowing with umbrellas and other inventory, where they will encounter playful motifs such as small cut-outs showing the artist’s face, reminding the viewer of his presence and maintaining a kind of connection with audiences. And like his previous exhibitions, The Shop reinterprets a commonplace surrounding into an artistic experience, and goes back to the artist’s fundamental value of questioning the relationship between the artist, the audience and institution. It all started with Untitled (Pad Thai) and its simple bowl of fragrant noodles, which engaged the audience through a simple, everyday manner that made them a part of the work, and redefined what art could be—and that’s why it’s art. 

Topics