Tino Sehgal, This Exhibition, 2004: Week 4


Week 4: Rather uneventful, though not as much as week 3, the week before x-mess, and a dead one at that.

We experienced rather massive technical difficulties when firing up Apocalypse Now: failed equipment, as per the usual exhibition woes. This Exhibition provided a perfect ruse then, as a patron (and local gallery owner) became increasingly irritated with the impossible state of affairs, venting her concerns to the poor undergrad working at the admission desk. Who can ignore a person writing on the ground while reciting a few sentences’ worth of art speak? People who already know Tino Sehgal’s work, that’s who. My second (and only other) drop was for a continuing studies-type student— an 40’s-ish woman who inquired as to what the Wattis was, exactly, on her way into the gallery. “Good times,” I thought to myself, anticipating my delight at her impending confusion. Sister kept it cool though, and that was the end of Day 4.

Tino doesn’t permit his work to be photographed— talk amongst yourselves on that one. (I already finished my MA, OK? I don’t have to bullshit about PoMo anymore.) How to circumnavigate the lack of physical evidence then when discussing his work? During his 2007 exhibition at the Museum of Contemporary Art Chicago, local news station CBS2 solved their own problem by asking museum visitors to enact the performances (or, as her prefers to call them, interpretations) they were witnessing. In the case above, two young lovers tried really, really hard to recreate Kiss, Sehgal’s elegantly choreographed, 8-hour kiss generally enacted by professional dancers and based on 5 infamous examples from art history. Sloppy. Fun.

Next up: This Exhibition a la Paul McCarthy. Looking forward.

See also: Tino Sehgal, This Exhibition, 2004: Week 1


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Filed under Contemporary Art, Criticism, Forward Retreat, Institutional Critique, Performance, Theater

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