art object
The art of Tino Sehgal is unique. Without objects, such as paintings or sculptures, it cannot be considered an installation, and according to the artist, it is not performance.
Born in London 1976, Tino Sehgal, who lives and works in Berlin, received just recently the prestigious 80 000 Swiss Francs Zurich Art Prize. He is what we call a famous artist. But his artistic background and education represents a quite unusual combination: political economy and dance. He studied in Berlin and in Essen, and made his debut as an artist at the age of 24, in 2000.
In producing works that are neither physical nor material, and by refusing any kind of documentation of them, he takes a clear stand for the protection of global environment and against a structure of economy that relies on exploitation.
Sehgal, who always travels by environmentally friendly trains or boats even to very distant destinations, has shown his work in a number of prestigious art venues such as the Venice Biennale and Art Basel. In Venice he showed “This is Propaganda;” the exhibition guides began to dance and sing “This is propaganda, you know, you know,” circling around the visitors.
In the art gallery Magasin 3 ...
Weiterlesen mit dem digitalen Monats-Abo
Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
- Alle tanz-Artikel online lesen
- Zugang zum ePaper
- Lesegenuss auf allen Endgeräten
- Zugang zum Onlinearchiv von tanz
Sie können alle Vorteile des Abos
sofort nutzen
The use of the body as living raw material during a performance enables the artist to reduce the distance between himself and his art work. Even before any activity takes place, the body manifests itself in both a material and a temporal dimension by its simple presence. The arrival of performance art during the 1960s followed man’s desire to use the human form...
“We all wanted to become ballet dancers, football players, astronauts, where did we go so wrong?” Berlin’s theatre group Gob Squad asked in one of their shows. The action had the group’s members sit from nine to five behind desks in a slick office building. With the professional smiles of financial advisers, they revealed the labour market’s ugly strategies to...
La Ribot and Mathilde Monnier form a duo. Or, when burlesque takes revenge on art
They laugh and cry together like two teenage best friends, two sisters, two black swans in a pas de deux. Nobody believed the project could work. La Ribot and Mathilde Monnier? Aren’t those two very different artistic worlds? Mathilde with her rotating groups, the embodiment of...
