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Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017
Rirkrit Tiravanija, Untitled 2013 (indexical shadow no.1), 2013-2017

Rirkrit Tiravanija

Untitled 2013 (indexical shadow no.1), 2013-2017
Stainless steel base (3 x panels), 3D printed plastic (Bonsai Tree), stainless steel cube (plinth)
Base: 90 x 90 x 90 cm | 35 3/8 x 35 3/8 x 35 3/8 in
Bonsai Tree: 65 x 65.9 x 71.8 cm | 25 5/8 x 26 x 28 1/4 in
Plinth: 25 x 25 x 25 cm | 9 7/8 x 9 7/8 x 9 7/8 in
Edition of 4 plus 1 artist's proof
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Rirkrit’s mirrored bonsai work Untitled (Bonsai), 2017 is part of a series of works using mirrors which reference Robert Smithson’s seminal corner pieces from the late 60s. The use of...
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Rirkrit’s mirrored bonsai work Untitled (Bonsai), 2017 is part of a series of works using mirrors which reference Robert Smithson’s seminal corner pieces from the late 60s. The use of three mirrors in a corner reflects both the space around it and multiplies the reflections in the other mirrors creating infinite symmetrical reproductions of an image. As in Smithson’s combination of mirrors with fragments of the natural world - coral, sand, gravel or rocks - Tiravanija’s use of mundane objects such as pressure cookers, barbecues, mussels and packaged pudding, or in this case a 3d printed bonsai, translate social dynamics into matter. The 1960s dichotomy between “site" and "non-site" occurring in the transposition of elements from an outdoor site within the indoor space of the gallery are taken up in Tiravanija’s presentation of material elements connected to daily actions.
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