The Relationship between Rirkrit Tiravanija Work and its Audience

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Introduction
Recently, several artists have used their work to communicate to people about the issues that have been assumed in the society but need attention. The arts reflect certain historical events which have been assumed and have not been solved or certain cultures that have been abandoned with time. The information about some of the major artists and their works has been documented in various articles and books and can be analyzed to enable people have a better understanding of the historical issues. Therefore, the work will focus on the arts of Rirkrit Tiravanija, Felix gonzalez-torres, and Fred Wilson and how they have helped people to understand the issues that they think need to be addressed.
The Relationship between Rirkrit Tiravanija Work and its Audience
Tiravanija was born in 1961 at Buenos Aires. However, he was raised in Canada, Ethiopia, and Thailand. He studied in Toronto at Banff Center School of Fine Arts in the year 1984. Later in 1984 to 1986, he studied at the Chicago School of Arts. After completing his studies at Chicago, he joined Whitney Independent Studies Program in New York in the year 1985 and graduated in the same institution in 1986 (' 'Guggenheim.org ' ' N.p). Tiravanija aligned his work with ethnic social engagement where he invites audience to activate and inhabit his arts.
According to ' 'Web.mit.edu ' ' (N.p), Tiravanija performed a show at 303 Gallery in New York that bewildered several people. The work showed Tiravanija or another artist cooking progressively and several visitors eating. The visitors were entertained by the culinary performance and also got a hint on the packed artwork, gallery directors, and office supplies as Taravanija exposed the 'back room' elements by relocating them in front of the curtains where the audience could easily see them. However, the work raised a sizeable number of concerns regarding the condition under which the cooking was being done. Some argued that the place was filthy with every waste products scattered everywhere. Luckily, the audiences were able to understand the process of making arts and the economy within which it functions.
The show was called Untitled (Free) and the most important aspect of it was the artist cook curry. Tiravanija started the performance and later invited the viewers to be involved through offering them food in return of their participation (Hicks 4). The resulting team effort that included several people and extended for many days was the main objective of the art. The audience who participated had the chance to eat the prepared meals and this was part of the work which was indicated in the essential ingredients labeled “lots of people.”
Currently, Tiravanija has changed the way in which he performs which has totally changed the phase of the original work and several people questions the condition under which they operate. One of the major determinants of the work is the condition under which it is performed. The work does not go in line with the advancement in technology where people eat in more luxurious environment (Linden 47). In one of his performance in Cologne, Tiravanija brought chairs and tables for viewers and performers to relax in when they were tired. The absence of Tiravanija in the process makes the art lose its orininality. Similarly, the work is performed on a filthy environment with most structure uncompleted which has discouraged more people to participate in the process.
The recent change in the manner in which Tiravanija performs his art proves that technology still continues to erode the traditions. The work was highly appreciated when it was started. However, it can no longer be used together in the modern setting where there are luxurious facilities. People view the condition under which it is performed to be filthy because of the wastes that are dumped everywhere. However, the issues were of little concern in the past.
Relational Aesthetic
Relational art is then mode in fine art that considers the human interaction and the social context of the work. The art is viewed as a catalyst instead of being seen as the center of the relational art. Felix gonzalez-torres described the political and aesthetic strategy that lies behind his art work. He states that “At this point I do not want to be outside the structures of power, I do not want to be the opposition, the alternative. Alternative to what? To power? No. I want to have power. It’s effective in term of change. I want to be like a virus that belongs to the institution. All the ideological apparatuses are, in other words, replicating themselves, because that’s the way culture works. So if I function as a virus, an imposter, an infiltrator, I will always replicate myself together with those institutions.” The statement describes how the artists renounce the objective of his work which is related to the social setting and political environment (Chambers-Letson, Josh Takano 559). The artist was born in Cuba in the year 1957 and he grew up in Puerto Rico where he studied at a university within the area. After completing his educat...