Tino Sehgal at Foundation Beyeler
By Dorian Batycka
From May until November, the artist Tino Sehgal will be presenting a series of six artworks, what he calls “constructed situations,” at the Foundation Beyeler in the picturesque Swiss city of Basel. The starting point for the exhibition is a work acquired by the institution in 2015 entitled This You (2006), the only one of Sehgal’s works intended to be staged outdoors. The work consists of a single performer—or “interpreter” as Sehgal calls them—who confidently serenades passersby with a recognizable pop song, after which the interpreter announces the name of the artist and the title of the piece. This You is installed in the blossoming Berowerpark area on the museum’s grounds in the Basel suburb of Riehen, overlooking sweeping vistas of corn fields and vines covering the Tüllinger Hills. Above all, This You brings into focus the idea of the park as a place where social interaction takes place, the substance of which becomes a series of performative interactions expanding the traditional notion of an artwork beyond something immovable, silent or fixed.
INTERVIEW BY KATHY NOBLE
Creating fragmentary choreographies that take movement from everyday life, the British-Polish artist generates a non-normative space of intimate estrangement—a space of friendship, desire and queer alliance.
Did you train as an artist or a choreographer? How did that evolve?
I took part in a pilot project at the Universitat Der Kunste in Berlin, which was an experiment in working with an expanded choreographic practice. I was later invited to Beirut to participate in the Home Works Program at Ashkal Alwan; it was focused on performative practices that year, which really influenced my work. Now my practice is in both gallery and theatre contexts.
About Space Walk from Michele Rizzo with Emma Daniel & Valerio Sirna.
By Clara Amaral
I was thinking about the difference between adding a word before or after Space. For example: open space, closed space, middle space vs. Space walk. Obviously, it is possible to talk about walking a Space, but we never really say: —That Space there is really calling for a walk, I will go and walk it. Maybe the Space that is a field asks for a walk, or the Space that is a beautiful avenue asks for a walk; an anonymous space doesn’t ask for a walk. But if you ask me, that looks like the best space for going for a walk. To Space walk. And that would be the moment before the Space becomes something, before the Space becomes the highway, the beach, the football field or even the theatre space. The Space that shows and talks the invisible, the imagination, the potential.
While watching Space Walk from Michele Rizzo, I had to think, “how is it that a closed circuit becomes an open space?”
Visceral but lifeless: violence + the value of the image in Venice Biennale winner Anne Imhof’s Faust
by Hadden Manhattan
Anne Imhof the artist emerged in the libidinal shadows of the European financial project in Frankfurt. Before entering the city’s famed Städelschule art academy, her first improvised work happened in its red light district — a boxing match in a strip club. A band played. Noses were bloodied and broken.
Anne Imhof “Faust” at German Pavilion, Venice Biennale
Susanne Pfeffer interviewed by Noemi Smolik
Noemi Smolik: Could you say a little about what informed your decision to pick Anne Imhof for the German pavilion?
Susanne Pfeffer: I spent a lot of time doing research. As part of this process, I also discovered several new artists. The question of what constitutes the now—our contemporary reality—was of crucial importance to me. Today, we are confronted with the far-reaching effects of technological change. A new subject arises that is both hormonal and extremely networked across media. Our perception and our movements increasingly take place in virtual space. The effective mechanisms of power and control are inscribed in the body. I find the extent to which we cede to the capitalization of our bodies, while simultaneously bridling at this process, remarkable. This is a fundamental transformation requiring reactions and responses. Consequently, finding an artistic position that tackles these issues in contemporary language seemed imperative to me.
Places for introspection – Rodrigo Sobarzo intervied by Sonja Jokiniemi
Could you tell a bit about yourself?
A very interesting and challenging question to answer right now! If there’s something like ”liquid identity”, it is exactly what I’m experiencing at this very moment. A bunch of principles and values that used to glue my life together for quite some years now are surely drifting, and as the earth plates of the planet move ever so slightly, there are huge repercussions and consequences to that almost imperceptible motion.
Going straight to the core I guess my life revolves heavily around my work and I’m not satisfied with the medium that the ”performing arts” is or are. I’m trying to change my medium due to a lack of effectivity or inclusivity that I experience within this art form.
INDIA SALVOR MENUEZ Interview by OLIVIER ZAHM
The New York art scene is not dying, as so many think. Dash Snow, Dan Colen and Ryan McGinley: young, spontaneous, easygoing, feminist women. They use every medium from Instagram to sculpture, performance to fashion, and are audaciously open and independent. At the center of this emerging scene is 22-year-old India Salvor Menuez.
Seven years ago, India created the art performance group Luck You, performing in galleries and on the Internet, and making sculptures, paintings, and films. She supported herself by modeling for photographers, designers, and painters like John Currin and brands like Miu Miu. Her appearance in Olivier Assayas’s Something in the Air kick-started her budding career in cinema, and she is Currently working on directing a film, curating exhibitions more, and performing.
OLIVIER ZAHM – I’m very interested in you, your generation, your friends. It reminds me of the early ’90s.