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...
In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo...
The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
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...