Join artist Rirkrit Tiravanija and Chicago-based artist Dan Peterman for a casual serving of Mislabeled Invasive Vine Tea on June 4th at 61st Street Market. The plant, Celastrus orbiculatus, commonly known as Asian Bittersweet, produces a mild, pleasant tea and has a long history of medicinal benefit and use. But imported to North America more than a century ago, it wreaks havoc in local ecosystems, while being frequently mislabeled and still sold by plant distributors.
Mislabeled Invasive Vine Tea is hosted by Wrightwood 659 and Peterman Studio in the bustling environment of Experimental Station’s 61st Street Market. The program is free and registration is not required.
Dan Peterman (b. Minneapolis, USA, 1960) combines innovative strategies of local engagement and activism with national and international art projects, exhibitions and installations. His works frequently focus on networks of recycled, or discarded materials that function interchangeably as stockpiles, sculpture, functional objects, and critiques of environmental oversight and neglect. In the early 1990’s Peterman developed a building on Chicago’s southside that became an influential model of cultural activism and urban placemaking. After a fire in 2001 destroyed the building, Peterman rebuilt the facility, and co-founded the Experimental Station, a 501c-3 nonprofit organization that continues to provide independent cultural programming and infrastructure for local enterprises.
Rirkrit Tiravanija (b. Buenos Aires, Argentina, 1961; raised in Thailand, Ethiopia, and Canada), is a pioneering figure in relational art, a form of artmaking rooted in the construction of experiences rather than art objects. Termed “relational aesthetics” by French critic and curator Nicolas Bourriaud, this type of artmaking gained traction in the 1990s through the burgeoning practices of Tiravanija and his peers, including artists such as Andrea Zittel, Philippe Parreno, and Jorge Pardo. Intent on bringing life into the gallery, these artists sought to make art a catalyst for social exchange and insisted that their artwork must be completed through the interaction, collaboration, and engagement of the audience.
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