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In 1968, the year of Marcel Duchamp’s death, Rirkrit Tiravanija’s father took a photograph of his two children in Addis Ababa, Ethiopia, where they resided at the time. Initially exhibited in 1993 as self-portrait and eventually under the title untitled 1968 (mr. spock), the black-and-white picture shows young Rirkrit, next to his blurry sister, wearing tinkered prosthetics on his ears, mimicking those of Spock, the iconic character of the US-American television series Star Trek. On the original show that first aired in 1966, Spock was the only extraterrestrial crew member aboard the Starship USS Enterprise—he is described as half-human, half-Vulcan—and it’s precisely his pointy ears that signify his otherness. The artist would later cheekily refer to those pieces he made from modelling clay at age six or seven, as his first sculpture.
Rirkrit Tiravanija’s works have always defied notions of singular authorship, not only when they are shaped by the gathering of people, their agency and…
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In 1968, the year of Marcel Duchamp’s death, Rirkrit Tiravanija’s father took a photograph of his two children in Addis Ababa, Ethiopia, where they resided at the time. Initially exhibited in 1993 as self-portrait and eventually under the title untitled 1968 (mr. spock), the black-and-white picture shows young Rirkrit, next to his blurry sister, wearing tinkered prosthetics on his ears, mimicking those of Spock, the iconic character of the US-American television series Star Trek. On the original show that first aired in 1966, Spock was the only extraterrestrial crew member aboard the Starship USS Enterprise—he is described as half-human, half-Vulcan—and it’s precisely his pointy ears that signify his otherness. The artist would later cheekily refer to those pieces he made from modelling clay at age six or seven, as his first sculpture.
Rirkrit Tiravanija’s works have always defied notions of singular authorship, not only when they are shaped by the gathering of people, their agency and…
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