Monday, November 26, 2007

Minneapolis or Miami - where would you rather go this winter???

As the art world travels south to Florida next week for Art Basel Miami Beach, the Walker Art Center opens an exhibition of work by German sensation Tino Sehgal. This is the first major exhibition of the artist's work in the US. We have Walker curator Yasmil Raymond to thank for bringing this work to such a great institution. Sehgal was one of two artists represented in the German pavilion during the 2005 Venice Biennale and in my opinion, the standout.

I would love to post pics of Sehgal's works but you are not allowed. His work can best be described as "situations" or "happenings". His work is bought and sold with only a notary present. No catalogs, no receipts, no instructions, just art. So if you want to see his work (which I obviously highly recommend), leave the speedo at home and grab your man-fur (ladies please insert your own gender specific cold-weather garb for man-fur) and head north with me to Minneapolis.

9 Responses to “Minneapolis or Miami - where would you rather go this winter???”

Anonymous said...
November 28, 2007 at 6:07 AM

I know Indy's kinda a dull town. But most cities, on a good First Friday Artwalk, have half a dozen street performers who also have 'no catalogs, no receipts, no instructions, just art'.

gbmurray said...
November 28, 2007 at 11:45 PM

That is actually a good observation (minus the dull town remarks).

Anonymous said...
November 29, 2007 at 4:36 PM

re: Venice Biennale 2005

It's not as if Mr. Sehgal's work wasn't interesting in the Biennale, it's just that it seemed like an easy one-liner. I do question the judgment of someone who enjoyed it more than Louise Bourgeois's piece, Vezzoli's 'Trailer for a Remake of Gore Vidal's Caligula', the room of Guston, the room of Bacon, the rooms of Frieze or Weischer, Blue Noses, W. Kentridge, etc etc etc.

Can someone explain, seriously, a little more about what makes this artist INTERESTING?

Christopher said...
December 1, 2007 at 6:18 PM

I'm not saying Sehgal had the only interesting work in the Biennale. I agree Bourgeois was great and the Kentridge room was spectacular. Blue Noses too were interesting. After seeing Vezzoli again at the Whitney the following year, I felt the same way you felt about Sehgal - pretty much a one liner IMHO. And then Annette Messager won the Lion d'Or for an interesting installation yet, again in my opinion, wasn't very compelling.

Back to Sehgal, I like his work because of what it critiques. I am personally fascinated by the market, and he 'somewhat' covertly slaps in the face what ridiculously has become the norm in terms of what people actually pay money for. For similar reasons, I also enjoy the work of William Powhida, yet he at times is obviously a lot less subtle.

Christopher said...
December 1, 2007 at 6:24 PM

And too emphasize the point of the original post, since there is no documentation, you can't see or experience Sehgal's work online or reproduced. And that's why I recommend going to the Walker.

Scott said...
December 2, 2007 at 11:46 AM

Welcome back Christopher.

The Walker once again proves to be one of the great art centers in country for its vision. While Sehgal's work is something I have only read about, I am interested in experiencing it. I too hope to make it up to the Walker for this show, but I am still heading south for Miami.

I actually see Art Basel Miami as the most blunt observation of the Art World and the Art Market itself. These artists who attempt to subvert the market always find a way to make a market for their work. Its a love, hate situation.

I hope to post a daily report via Miami. I can't believe it is that time of year already.

gbmurray said...
December 3, 2007 at 12:13 AM

Sorry to back track, but I wanted to contribute to the question about of what makes Sehgal's work interesting. I also hoped to put what I had said before into a clearer picture.

"you can't see or experience Sehgal's work online or reproduced"

"have half a dozen street performers who also have 'no catalogs, no receipts, no instructions, just art'."

These are pretty much the two quotes I feel that point out the interestingness of the artist. I don't really care about the criticality of the market, as much as I do about the placement of what is important about art to him.

I do love that an international museum show can be linked to a regional art fair packed of artists completely dislocated from that kind of venue.

Sure it can be taken as an ironic jab to the consumers/contributors/collectors that make/fund the voice/platform of what we see in magazines and books as important Art History and Contemporary Art. However, I am ignoring that perspective (despite writing the previous sentence) in this one to claim it as an homage to the regional Art Fair Street Performers across the world. Yay.

Christopher said...
December 3, 2007 at 10:20 AM

Yay indeed gben. There is indeed work happening all over this world that will remain undocumented. I'm just personally most excited about this one.

And Scott I couldn't take it anymore! I broke down a few days ago and booked a trip south. ABMB is harder to drop than a coke habit!

Anonymous said...
December 3, 2007 at 12:49 PM

Art up and down
Could it be here at the crossroads

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