Rirkrit Tiravanija is a conceptual and installation artist whose practice is widely known for its performative and participatory nature. Counted as the most influential artist of his generation, Tiravanija blurs the line between art and life, eliminating the distance between the two by encouraging social engagement as a means to activate his works.

This is the third time that he returns to STPI for a collaboration. Born in Bueno Aires; raised in Thailand, Ethiopia and Canada; and educated in Chicago and New York, Tiravanija’s life is a constant negotiation of cultures and languages from which he draws inspiration for his practice. His most iconic work Untitled (Free), 1992 transforms museums and galleries worldwide into kitchens and a place of communion where he serves rice and Thai curry to visitors. A recipient of the Hugo Boss Art Prize, his works are part of notable public collections such as The Solomon R. Guggenheim Museum; The Museum of Modern Art (MoMA); Museum of Contemporary Art, Los Angeles; Migros Museum, Zurich; Neue Nationalgalerie, Berlin; and TATE, London.

Together with fellow artists Carsten Höller, Tobias Rehberger and Anri Sala, Rirkrit Tiravanija makes up the quartet that pursues creative juxtapositions, by relinquishing control in the art making process through an old Surrealist parlour game called the “Exquisite Corpse.” The quartet is slated to hold their exhibition at STPI Gallery in March.


Kim Beom was born in 1963 in Seoul, Korea, where he lives and works. Through an expansive practice that spans drawing, sculpture, video, and artist books, Kim contemplates a world in which perception is radically questioned. His visual language is characterized by deadpan humor and absurdist propositions that playfully and subversively invert expectations. His works have been shown in institutions including the Contemporary Art Gallery (Vancouver, Canada), Hayward Gallery (London, UK), REDCAT Gallery (LA), the Cleveland Museum of Art (Cleveland), Artsonje Center (Seoul, Korea), Museo Tamayo Arte Contemporaneo (Mexico City, Mexico), the Los Angeles County Museum of Art (LA), and the Museum of Fine Arts in Houston (Houston), and biennials including Gwangju Biennale (1997 and 2012), Taipei Biennial (1998), Istanbul Biennial (2003), Venice Biennale (2005), Media City Seoul (2010), and Sharjah Biennial (2015).



Born in Seoul, Korea, internationally acclaimed Do Ho Suh (b.1962) received a BFA in painting from Rhode Island School of Design and an MFA in sculpture from Yale University. His large scale, site-specific fabric installations and sublime compositions often draw attention to themes of cultural displacement, space, identity, collectivism and memory. Characterised by a transnational dilemma of home and belonging, his works provoke viewers to think about their own stories that define their real and imagined lives. The artist lives and works in New York, London and Seoul.

Named WSJ Magazine’s 2013 Innovator of the Year in Art, Suh’s work has been added to notable permanent collections including the Museum of Modern Art, New York; Whitney Museum of American Art; The Solomon R. Guggenheim Museum; Museum of Contemporary Art, Los Angeles; Leeum, Samsung Museum of Art, Seoul; Artsonje Center, Seoul; Mori Art Museum, Tokyo; Tate Modern, London; and Walker Art Centre, Minneapolis, amongst many others.

Do Ho Suh’s works reflect the transnational dilemma of home and belonging, malleable space and memory, and the boundaries of identity. Suh broke new ground in 2009 creating “thread drawings” embedded in paper, leading to a long-term collaboration with STPI in developing thread drawings of greater complexity and scale. Suh’s new body of 3-D thread drawings titled Specimens (2015), which makes its debut in Miami, renders 1:1 scale architectural elements and fabric sculptures in paper. Alongside these, sculptural paper works from Suh’s ongoing series Rubbing/Loving are also on show. The works act as symbols of memory, as within them the artist preserves his experience of living within spaces of attachment through rubbing pastels over paper-covered surfaces. His lithographs of his self-portraits, on the other hand, are honest and direct engagements with the material, highlighting the value of drawing as an artistic form for the site-specific, multimedia artist.