Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space. Upon hitting the cold, hard gallery floor, the seemingly confused interpreter writhes slowly on the ground while reciting a few lines from the curatorial statement in a whispered moan.
Tino Sehgal is an artist, dancer and choreographer. His work most commonly takes form in what he calls “constructed situations” activated time-based pieces that rely on the live encounters between spectators and those enacting the work. Sehgal’s work has been challenging the perception and conception of what are commonly framed as artworks, overcoming their materiality to focus on the fleeting gestures and social subtleties of shared experiences. Sehgal’s practice is informed by both his training as a dancer, subtly referencing the history of dance and, more broadly, of modern and contemporary art, and his education in economics, as his work is framed in a tight and elaborated critical and conceptual discourse that questions value, meaning, commodity and capital. Producing immaterial, ephemeral, reproducible but often unpredictable pieces, Sehgal’s works elude categorization and raise questions on the ecological impact of our current production systems, as well as on the relationship art holds with its market and agents.
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
Gutmann’s photographs Untitled Nob Hill and From the North Tower of the Golden Gate Bridge are some of the oldest pieces in the Kadist Collection and serve as historical anchors for many of the more recent works...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
In 2012, former Guatemalan President José Efran Ros Montt was charged with genocide and crimes against humanity; Regina José Galindo’s video Tierra is a chilling reimagining of the atrocities recounted during his trial...
The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...