tino sehgal
Skin Fruit at the NEW MUSEUM Part II
Tino Sehgal casting call at Guggenheim, Saturday September 26, 2009
Astor Place flyer for Guggenheim open call. $7.25/hr for upcoming Tino Sehgal show.
[ thanks to Lindsay Pollock http://twitpic.com/j2y0d ]
Performance Power Grab, and MoMA Gets a Sehgal
January 1, 2009. On reading Erica Orden's "Collecting Smoke" text in New York Magazine examining MoMA's upcoming two year performance art initiative, which includes a Marina Abramovic retrospective and the acquisition of Tino Sehgal's The Kiss, all under the direction of the very enterprising Klaus Biesenbach, I felt compelled to jot down a couple of thoughts. A version of the text below also appears as a comment under my pseudonym on the New York Magazine site.
Klaus Biesenbach and Glenn Lowry, 2004
Tino Sehgal was selected for the German pavilion at the 2005 Venice Biennale, was shortlisted for the Hugo Boss Prize, and has been a darling of a small but influential coterie of international jet setting curators of which Biesenbach counts himself a particularly ambitious member. So it is not surprising to see MoMA finally buy one of the "constructed situations" pieces, following the lead of the Tate and the Walker. To paraphrase another Sehgal work, "This Is Not New", especially for a curator eager to establish his bonafides over an entire realm of artmaking.
On Tino Sehgal
Taken from my postings on the Artworld Salon thread Considering “Tino Sehgal”, with the addition of images found online.
First post:
The artist’s refusal to create a physical object, even the photo document of a performance, is an implicit critique of the status quo, a dogmatic assertion of non-compliance. As Andras notes, the significance of this gesture depends entirely on the prevailing power structure, on what in fact is being rejected. It can be a potent argument when aimed at a corrupt, repressive political regime that would be quick to censor the content in any case.
