Taking a leak in one of France’s most highly regarded galleries seems quite irreverent and prompts thoughts on how the work of so many of his colleagues has evolved. Some, such as Pierre Huygue, uproot paving stones to construct sophisticated micro-environments on the roof of the Metropolitan Museum in New York. Others, like Philippe Parreno, stage multimedia super-productions at the Park Avenue Armory. But where has all the early energy gone?
The impression given by an investigation of the relationship between subject and object is that everything is caught up in the reflections of British sociologist Dick Hebdige who, about 30 years ago, lifted the lid on the powerful and unnatural fascination with subcultures. One of his pieces on style, based on an analysis of the punk aesthetic, gave the movement a theoretical reputation. An immense theoretical production and rereading of youth phenomena, from punk to grunge, placed the counterculture scene on a par with high culture. Artists started harbouring a desire for legends and biopics, just like the most famous rockstars, helping to extend the domain of the punk aesthetic.
Tiravanija presents today’s art world with this simple exercise of turning the tables. He relaunches the construction of altars and sanctuaries, like this one in real marble: no longer the typical set for a hard-core performance but an unconscious monument to its impracticability.
Guitar, bass and drums all function perfectly and can be used but everything remains mute and, actually, unnatural. It is an explant of materials from their original setting and Tiravanija cites the Parthenon metope and marbles just like a modern-day Lord Elgin.