{"id":9209,"date":"2015-08-03T01:00:00","date_gmt":"2015-08-03T01:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2015\/08\/03\/arxiu-tino-sehgal-a-la-sala-de\/"},"modified":"2015-08-03T01:00:00","modified_gmt":"2015-08-03T01:00:00","slug":"arxiu-tino-sehgal-a-la-sala-de","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/","title":{"rendered":"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana"},"content":{"rendered":"

\"IMG_1415.jpg\"
\nQuan parlem d’instituci\u00f3 sovint parlem de l\u00edmits. Tino Sehgal \u00e9s un artista que des de la pr\u00e0ctica art\u00edstica es q\u00fcestiona l’entramat, no nom\u00e9s institucional, sin\u00f3 tamb\u00e9 del mercat, el comissariat, el paper de l’artista i el del p\u00fablic). Espais buits, “situacions constru\u00efdes” i un espectador que definitivament ha d’actuar d’una manera diferent a l’habitual, s\u00f3n les \u00faniques constants en la seva tasca. I tot i la volunt\u00e0ria dificultat del seu treball per a encaixar en el marc institucional, est\u00e0 present en un gran nombre d’institucions i esdeveniments, com Documenta, la Biennal de Ven\u00e8cia o ara mateix la Martin Gropius Bau a Berl\u00edn. En l’article que avui recuperem, publicat l’any 2012, Angel Calvo Ulloa escriu sobre la seva intervenci\u00f3 a la Sala de Turbines de la Tate Modern a Londres<\/strong> <\/p>\n

Tino Sehgal \u00e9s una d\u2019aquelles figures que fan un treball que mai passa desapercebut. Les \u00faltimes ressenyes de la recent finalitzada Documenta destacaven la for\u00e7a de la seva intervenci\u00f3 i l\u2019assenyalaven com un dels punts imprescindibles de la cita. En alguns casos, era la pe\u00e7a de Sehgal la que s\u2019al\u00e7ava com una pedra angular d\u2019una cita que, sota el cartell del no-concepte, ha suscitat diversitat d\u2019opinions. No obstant, la figura de l\u2019anglo-alemany, que actualment copa els grans espais i cites de l\u2019art mundial, evoluciona intocable. Ascendeix imparable.<\/p>\n

Parlar d\u2019en Tino Sehgal no \u00e9s una tasca que se solucioni amb una lectura \u00e0gil del material que ha anat generant la seva intensa carrera. Les p\u00e0gines s\u00f3n escasses i aquestes se centren en un an\u00e0lisis purament emocional del que l\u2019escena provoca en els seus part\u00edcips. Com a p\u00fablic, l\u2019experi\u00e8ncia rarament \u00e9s passiva, el que ens porta del lloc de l\u2019espectador al de c\u00f2mplices d\u2019aquestes situacions. No \u00e9s aquest un an\u00e0lisi diferent ni revelador. Creuar la porta que separa el carrer i el hall d\u2019entrada de la TATE Modern suposa traspassar un l\u00edmit entre el real i el realitzat. Les connotacions que com a antic generador d\u2019energia perduren a la sala de turbines, obliguen als artistes que la intervenen a tenir en compte aquesta cl\u00e0usula inherent al propi espai. Anish Kapoor, Olafur Eliasson, Rachel Whiteread o m\u00e9s recentment Ai Weiwei han optat per treure l\u2019armament pesat per a no arriscar-se. Sehgal la ha omplert de buit i de moviment, per\u00f2 no d\u2019un moviment mon\u00f2ton i mec\u00e0nic. No hi ha coreografies circumscrites, aquestes es fonen per moments amb l\u2019activitat quotidiana de la sala, encoratjades per consignes i hist\u00f2ries que es repeteixen al llarg de la jornada. Aquests relats s\u00f3n emesos pels diferents personatges que s\u2019oculten entre la massa, sense distintius que els diferenci\u00efn de la resta.<\/p>\n

Fidel a l\u2019imprevisible esdevenir de les seves accions, el terra comen\u00e7a a vibrar sota els peus d\u2019una manifestaci\u00f3 incontrolada. La multitud esclata i l\u2019explosi\u00f3 despla\u00e7a les persones que, al nostre costat, passaven desapercebudes entre la massa, com espectadors impassibles. Aix\u00f2, unit a les constants apagades i parpellejos de la il\u00b7luminaci\u00f3 de la sala, provoca el desconcert entre el qui, incr\u00e8duls, assisteixen a una nova demostraci\u00f3 de que \u201cel m\u00f3n s\u2019ha tornat boig\u201d o \u201caquests artistes ens volen prendre per rucs\u201d. L\u2019energia ja no \u00e9s fruit d\u2019un generador, s\u00f3n els individus organitzats els que la provoquen. \u00c9s per aquest motiu pel qual l\u2019espectador ja no \u00e9s espectador, sin\u00f3 actor, encara que encara no ho s\u00e0piga. D\u2019acord amb el moment hist\u00f2ric que ens toca viure, l\u2019obra de Sehgal no compta a priori amb un marcat car\u00e0cter pol\u00edtic. \u00c9s dif\u00edcil, tot i aix\u00f2, no contemplar aquesta opci\u00f3 si es t\u00e9 en compte all\u00f2 revolucionari de les seves propostes. Una multitud no organitzada que de manera espont\u00e0nia decideix trencar amb la seva conducta aut\u00f2mat. Probablement ens soni d\u2019alguna cosa.<\/p>\n

Resulta inusual enfrontar-se a una obra en la qu\u00e8 el seu p\u00f2sit no es manifesti en forma de cat\u00e0leg, de registre v\u00eddeo-gr\u00e0fic ni de cap altra manera. Les institucions adquireixen les seves obres mitjan\u00e7ant un contracte verbal en el que \u00e9s l\u2019artista, i nom\u00e9s l\u2019artista, qui estableix les condicions. Podr\u00edem aleshores qualificar-lo de farsant o valorar la import\u00e0ncia d\u2019aquest tipus de decisions per a sustentar un treball que d\u2019altra manera correria el risc de convertir-se en carn de feres per a ansiosos col\u00b7leccionistes. Per al desconcert dels amics d\u2019all\u00f2 provocatiu, Tino Sehgal tampoc aixeca la veu, no ven una imatge d\u2019enfant terrible ni s\u2019erigeix en abanderat de cap causa tendenciosa. Sehgal no oculta els seus referents, i darrere del seu treball hi ha Bruce Nauman, Dan Graham, John Cage o Fluxus al complert per citar-ne alguns. No obstant, el museu ha estat el cementiri d\u2019una bona part d\u2019ells, amb la resta dels decorats convertits en rel\u00edquies que engreixen el patrimoni i les seves imatges avantatjades en prou feines cinc d\u00e8cades. Aprendre dels errors del passat \u00e9s el que l\u2019ha portat a rebutjar tot \u201csouvenir\u201d extret del seu treball. No hi ha guions, fotografies ni projeccions que certifiquin all\u00f2 ocorregut. Tot material registrat \u00e9s paper mullat perqu\u00e8 res ens d\u00f3na una dimensi\u00f3 real del que ha passat.<\/p>\n

Experimentar el treball de Sehgal exigeix ser-hi, introduir-se en l\u2019espai sense informaci\u00f3 pr\u00e8via o amb informaci\u00f3 imprecisa. \u00c9s igual que ens expliquin el final de la pel\u00b7l\u00edcula perqu\u00e8 no es tracta d\u2019aix\u00f2, sin\u00f3 d\u2019una experi\u00e8ncia que en alguns casos pertorba els nostres sentits creant una confusi\u00f3 davant la que, per exc\u00e9s d\u2019influ\u00e8ncia de l\u2019aven\u00e7 tecnol\u00f2gic, sembl\u00e0vem haver-nos immunitzat. Sehgal deixa clar, d\u2019una manera aclaparadora, que all\u00f2 que ens envolta mai deixar\u00e0 de sorprendre\u2019ns. No \u00e9s necessari infestar el m\u00f3n de criatures o objectes misteriosos, ni jugar amb efectes enllaunats a provocar el p\u00e0nic o la felicitat. \u00c9s en les situacions que se\u2019ns mostren incontrolables en les que ens sentim confosos. Quan no sabem qu\u00e8 passar\u00e0 al nostre voltant, un m\u00ednim gest pot fracturar el nostre equilibri i \u00e9s aqu\u00ed on Tino Sehgal ha decidit rascar. Poc compta doncs, haver presenciat alguna d\u2019aquestes situacions constru\u00efdes anteriorment per a fer-se a la idea del que passa a la sala de turbines, perqu\u00e8 l\u2019\u00fanic que val la pena \u00e9s assistir-hi, i l\u2019indeterminat de tota reflexi\u00f3 te\u00f2rica no far\u00e0 m\u00e9s que ofegar-nos en la sinopsis d\u2019una experi\u00e8ncia que precisa ser viscuda.<\/p>\n","protected":false},"excerpt":{"rendered":"

Quan parlem d’instituci\u00f3 sovint parlem de l\u00edmits. Tino Sehgal \u00e9s un artista que des de la pr\u00e0ctica art\u00edstica es q\u00fcestiona l’entramat, no nom\u00e9s institucional, sin\u00f3 tamb\u00e9 del mercat, el comissariat,…<\/p>\n","protected":false},"author":1241,"featured_media":9203,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[3575],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Quan parlem d’instituci\u00f3 sovint parlem de l\u00edmits. Tino Sehgal \u00e9s un artista que des de la pr\u00e0ctica art\u00edstica es q\u00fcestiona l’entramat, no nom\u00e9s institucional, sin\u00f3 tamb\u00e9 del mercat, el comissariat,...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2015-08-03T01:00:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"670\" \/>\n\t<meta property=\"og:image:height\" content=\"500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"A*DESK\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"A*DESK\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"A*DESK\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/\",\"name\":\"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana – A*Desk\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg\",\"datePublished\":\"2015-08-03T01:00:00+00:00\",\"dateModified\":\"2015-08-03T01:00:00+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/e32f2cc33a81d4e3e29207cb91b1c058\"},\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg\",\"width\":670,\"height\":500,\"caption\":\"IMG_1415.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/e32f2cc33a81d4e3e29207cb91b1c058\",\"name\":\"A*DESK\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/10ff463f7c1b7bf67a9b0c7cb7d009a0\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/512021342347efd46b63b4246a323676?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/512021342347efd46b63b4246a323676?s=96&d=mm&r=g\",\"caption\":\"A*DESK\"},\"url\":\"https:\/\/a-desk.org\/ca\/autor\/audeske\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana – A*Desk","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/","og_locale":"ca_ES","og_type":"article","og_title":"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana – A*Desk","og_description":"Quan parlem d’instituci\u00f3 sovint parlem de l\u00edmits. Tino Sehgal \u00e9s un artista que des de la pr\u00e0ctica art\u00edstica es q\u00fcestiona l’entramat, no nom\u00e9s institucional, sin\u00f3 tamb\u00e9 del mercat, el comissariat,...","og_url":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/","og_site_name":"A*Desk","article_published_time":"2015-08-03T01:00:00+00:00","og_image":[{"width":670,"height":500,"url":"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg","type":"image\/jpeg"}],"author":"A*DESK","twitter_card":"summary_large_image","twitter_misc":{"Escrit per":"A*DESK","Temps estimat de lectura":"6 minuts","Written by":"A*DESK"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/","url":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/","name":"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana – A*Desk","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg","datePublished":"2015-08-03T01:00:00+00:00","dateModified":"2015-08-03T01:00:00+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/e32f2cc33a81d4e3e29207cb91b1c058"},"breadcrumb":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#breadcrumb"},"inLanguage":"ca","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/"]}]},{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/08\/IMG_1415.jpg","width":670,"height":500,"caption":"IMG_1415.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-tino-sehgal-a-la-sala-de\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/ca\/"},{"@type":"ListItem","position":2,"name":"ARXIU: Tino Sehgal a la sala de turbines. I on li doni la gana"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"ca"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/e32f2cc33a81d4e3e29207cb91b1c058","name":"A*DESK","image":{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/10ff463f7c1b7bf67a9b0c7cb7d009a0","url":"https:\/\/secure.gravatar.com\/avatar\/512021342347efd46b63b4246a323676?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/512021342347efd46b63b4246a323676?s=96&d=mm&r=g","caption":"A*DESK"},"url":"https:\/\/a-desk.org\/ca\/autor\/audeske\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/9209"}],"collection":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/users\/1241"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/comments?post=9209"}],"version-history":[{"count":0,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/9209\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media\/9203"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media?parent=9209"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/categories?post=9209"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/tags?post=9209"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/coauthors?post=9209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}