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were slowly shipped to Vienna. As the parts arrived, the house was put up.<br />
During the course of the exhibition, which lasted about two anel a half months,<br />
the house was only completed two days before the exhibition closed. Pictures<br />
were taken of the slow process of, amongst other things, what went on in the<br />
space, as well as that of the construction process in Mexico. Visitors in Vienna<br />
could buy one ticket and return to the space at a later date to keep up with the<br />
construction of the house as well as participate in the daily events offered.<br />
Tiravanija never did participate in the process of the exhibition or see the<br />
completion of the house itself... but, like all this work, Tiravanija was much<br />
more interested in the people and how they came and went, how they may have<br />
had different views and memories of what they had passed through.<br />
Thank you for joining us, for walking through with us and giving your<br />
attention to this 'retros pective'. You may have wondered all this time why we are<br />
not in the presence of the work itself and are instead just given a story about or<br />
descriptions of the work or event, Tiravanija and the curators believed that this<br />
is one of the possible ways this body of work could be represented. There is no<br />
object, no picture, no moment, no space and even perhaps no time, but in this<br />
void of representation we hope you have heard and have imagined a picture of<br />
your own, a memory of your own, and that in the end it was an experience of its<br />
own making . .. [The Docent shows everyone out. .. I<br />
THE END<br />
Rirkrit Tiravanlja, 'No Ghosts in the Wall', Rirkrit Tiravamja: A Retrospective (Rotterdam: Museum<br />
Boijmans Van Beuningen, 2004) 51-92<br />
Tiravanijaj jNo Ghosts in the Wall/ /153
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