Sehgal’s latest work will likely go down as one of the 21st century’s most interesting hybrids between contemporary art and dance.
PARIS — Dance that pushes sensual and temporal boundaries and sculpture that pushes formal boundaries share a solid connection while simultaneously remaining, in many respects, in distinct opposition.
Between the four speakers of Chris Watson’s “Ring Angels,” the fluttering of a thousand wings fills a corner of City Hall Park.
MARRAKESH — As the afternoon sun radiated onto Jemaa el-Fna square in the old medina quarter of the city, nine bodies emerged before me on the ground, beatboxing and gyrating, surrounded by curious onlookers.
BERLIN — With a quiet and contemplative beginning, Sehgal sets up museumgoers for an unanticipated fall into the very heart of spectacles of intimacy.
I’m in a surgical center in Scottsdale, Arizona, being treated as if I were an esteemed guest at a Marriot. Better. A series of very nice people are being serially very nice to me, asking me questions, checking-in with how I feel, giving appropriate boosts.
PARIS — My long encounter with Philippe Parreno’s vast but fey exposition Anywhere, Anywhere, Out Of The World was anything but otherworldly.
French video and installation artist Laure Prouvost has been announced as the winner of the Tate’s Turner Prize, given this year in Londonderry, UK.
Frieze New York is an undeniably nice fair. Even if you generally hate art fairs, or sympathize with the union workers, or a devotee of the Armory Show, you have to admit that Frieze does it right: the spacious, light-filled tent, the excellent food options, the weekend-getaway feel as you board the ferry to Randall’s Island.
We round up the Turner Prize shortlist (Lynette Yiadom-Boakye, Tino Sehgal, Laure Prouvost, and David Shrigley) and turn it over to you. Who do you think should win?
The Tate Modern just announced its selection for the 2012 Turbine Hall commission, and the winner is none other than your favorite relational aesthetics artist and mine, Mr. Tino Sehgal. But with Sehgal’s outlawing of any photo documentation of his works, will we actually get to see the piece?
The standard cliché summary of modern (and contemporary) art is that now, anything is art. Jackson Pollock threw paint around. Duchamp strung up a shovel, upended a bike wheel into a stool, put a urinal on a pedestal and called the resulting three “sculptures” art of the highest order. After so long, we’ve started to run out of things to suddenly deem “art.” But relational aesthetics, or the posing of an artist-constructed social experiences as art making, is the latest step in this process of turning everything into art.