This exhibition explores ‘play’ as a mode of participatory disruption, where authorship, control, and meaning are deliberately loosened. Across three major installations, Rirkrit Tiravanija invites audiences into open-ended environments shaped by chance, repetition, and social encounter.

The exhibition brings together untitled 1996 (rehearsal studio no. 6, open version); untitled 2017 (Skip the bruising of the Eskimos to the exquisite words vs. if I give you a penny you can give me a pair of scissors); and untitled 2023 (sitcom ghost), a new art installation for the exhibition. Through these works, Tiravanija explores notions of rehearsal, repetition, and collective authorship, inviting audiences to inhabit, modify, and perform within the installations themselves.

Referencing John Cage’s experiments with indeterminacy and the Fluxus movement’s embrace of everyday action, Play blurs the boundary between art and life. In Play, Tiravanija enacts what Nicolas Bourriaud has termed ‘relational aesthetics’—but with a deliberate ambivalence that questions its own conditions of possibility. Authorship is dispersed, outcomes are unpredictable, and meaning is formed not in advance, but through contingent encounters. The exhibition thus becomes a living system of exchange, where performance, spectatorship, and social interaction are reimagined as essential components of artistic production.

Press: Mousse Magazine Cult Montreal e-flux Chantal Crousel Pilar Corrias

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