The Illogic of Sehgal. Performance, Experience and Immaterial Economy in Tino Sehgal´s Work

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Published: Mar 21, 2017
DOI: https://doi.org/10.18239/sinobj_2017.00.02

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Juan Albarrán
Universidad Autónoma de Madrid

Abstract

Tino Sehgal is one of the most acclaimed artists of recent years. His work consists of situations interpreted by hired performers. Those situations, designed for museums, biennials and galleries around the world, never produce material traces: photographs, objects, scores or contracts of his pieces could not be displayed, published or collected. This paper explores some of the contradictions related to Sehgal´s conceptualization of artistic labour, its position in the international art system, and the strategies that he has developed in order to avoid the hegemonic institutional and commercial inertias.

Article Details

Issue
#00 Collecting the Immaterial
Section
Dossier

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Author Biography

Juan Albarrán, Universidad Autónoma de Madrid

Juan Albarrán Diego received his PhD in Art History from the University of Salamanca and is currently Assistant Professor in the Department of Art History and Theory at the Autónoma University, Madrid (UAM). He has taught in Castilla-La Mancha University and Salamanca University, and collaborates with Duke University Program in Madrid since 2011. He is also part of the teaching staff and Coordinator of the MA in Contemporary Art History and Visual Culture (UAM / UCM Complutense University Madrid / Museo Reina Sofía). Juan Albarrán’s research focuses on contemporary art practices and discourses, especially in Spain’s Post-Transitional context, and in the areas of photography and performance. He has edited the books Arte y Transición (Art and Transition, 2012) and Llámalo Performance: historia, disciplina y recepción (Call it Performance: History, Discipline and Reception, with Iñaki Estella, 2015). 

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