Skip to main content
×
×
Home

Welcome to This Situation: Tino Sehgal's Impersonal Ethics

  • Toni Pape, Noémie Solomon and Alanna Thain
Abstract

What of dance is welcomed in the museum, and what remains on the outside? Artist Tino Seghal's “constructed situations” redirect this question, reworking relations of inside and outside, participant and observer, subject and object through a collective bodily attending to the situation itself. This article explores the conspiratorial techniques activated by This Situation (2007) to consider how dance moves in and with the museum. These techniques, which are derived from or affiliated with those of performance (the intricate negotiation of bodies, movement, and time in relation), include repetition, remixing, distributed movement, conspiratorial breathing, the compliment, disjunctions between words and gestures, and more as part of the work's ecology of practices. As interpreters of the piece in Montréal (and, as such, embodied archivists), the three authors take up key issues such as tensions between ephemerality and preservation, dance's anarchival propensity, and the contagious corporeal techniques of the piece that pass between interpreters and visitors, human and object materialities, and which traverse heterochronicities of the event and its resonances. We propose that what is specific to Sehgal's work within the museum is a holding of movements and relations as a way of persistently making and unmaking its forms, contents, and relations—as a way of making art contemporary, so to speak, via dance's propensity to always begin again. This commitment to re-beginning is what we term Sehgal's impersonal ethics: how This Situation (re)activates and relies on the generation of intensive but ambiguous embodiments.

Copyright
References
Hide All
Bishop, Claire. 2005. “No Pictures, Please.” Artforum 43(9): 215217.
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.
Chun, Wendy. 2008. “The Enduring Ephemeral, or the Future Is a Memory.” Critical Inquiry 35(1): 148171.
Deleuze, Gilles. 1989. Cinema 2: The Time Image (1986). Translated by Tomlinson, Hugh and Galeta, Robert. Minneapolis, MN: University of Minnesota Press.
Deleuze, Gilles. 1992. “Ethology: Spinoza and Us.” In Incorporations, edited by Crary, Jonathan and Kwinter, Sanford, 628633. New York: Zone Books.
Foucault, Michel. 1994. “Des espaces autres” (1967). In Dits et Écrits, Tome IV, 754–755.
Franko, Mark. 2013. “Boris Charmatz at MoMA.” http://www.jampole.com/OpEdgy/?p=231.
Fuller, Matthew. 2005. Media Ecologies: Materialist Energies in Art and Technoculture. Cambridge, MA: MIT Press.
Griffin, Tim. 2005. “Tino Sehgal: An Interview.” Artforum International (May): 218219.
Guattari, Félix. 1995a. “On Machines.” Journal of Philosophy and Visual Arts (6): 812.
Guattari, Félix. 1995b. Chaosmosis: An Ethico-Aesthetic Paradigm (1992). Translated by Bains, Paul and Pefanis, Julian. Bloomington, IN: Indiana University Press.
Lepecki, André. 2010. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42(2): 2848.
Levine, David. 2006. “Bad Art and Objecthood.” ART US 15(13): 2225.
Morgan, Jessica and Wood, Catherine et al. 2007. “It's All True.” Tate Etc. (11): 7174.
Schneider, Rebecca. 2011. Performing Remains: Art and War in Times of Theatrical Reenactment. New York: Routledge.
Smith, Roberta. 2007. “Art in Review: Tino Sehgal—This Situation.” The New York Times. December 14. http://www.nytimes.com/2007/12/14/arts/design/14gall.html.
Solomon, Noémie, ed. 2014. DANSE: An Anthology. Dijon, France: Les presses du réel.
Stengers, Isabelle. 2010. Cosmopolitics. Vol. 1. Translated by Bononno, Robert. Minneapolis, MN: University of Minnesota Press.
Thain, Alanna. 2010. “Anarchival Cinemas.” Inflexions 4. Special Issue on Transversal Fields of Media. Edited by Christoph Brunner and Troy Rhodes. http://www.senselab.ca/inflexions/volume_4/n4_thainhtml.html.
Umathum, Sandra. 2009. “Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporality.” Theatre Research International 34(2): 194199.
Umathum, Sandra. 2011. Kunst als Aufführungserfahrung: Zum Diskurs intersubjektiver Situationen in der zeitgenössischen Ausstellungskunst. Felix Gonzalez-Torres, Erwin Wurm und Tino Sehgal. Bielefeld, Germany: Transcript.
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Dance Research Journal
  • ISSN: 0149-7677
  • EISSN: 1940-509X
  • URL: /core/journals/dance-research-journal
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×

Keywords

Metrics

Full text views

Total number of HTML views: 7
Total number of PDF views: 147 *
Loading metrics...

Abstract views

Total abstract views: 424 *
Loading metrics...

* Views captured on Cambridge Core between September 2016 - 17th August 2018. This data will be updated every 24 hours.