A Year at the Stedelijk: Tino Sehgal
Stedelijk Museum Amsterdam
Museumplein 10, Amsterdam, Netherlands

The first major survey of the German/British artist Tino Sehgal marks the new directorate of Beatrix Ruf. Taking place in 2015, the overview unfolds in 16 chapters. The Stedelijk Museum will present the live work of this radical artist nonstop for 365 days, from opening to closing time.

Conceived as a consecutive series of twelve presentations, the exhibition features  different work from Sehgal’s oeuvre each month, enacted in a different gallery space.

Constructed as a consecutive series, one or more works will be on view each month in different galleries of the museum. On January 1st, the project started with Instead of allowing some thing to rise up to your face dancing bruce and dan and other things(2000) from the Stedelijk collection. Until February 28, the museum presents Sehgal’s This is good (2001) and This is new (2003).

From March 1 until March 31 Tino Sehgal will present: This is good, This is propaganda, This is exchange and Instead of allowing some thing to rise up to your face dancing bruce and dan and other things on different locations in the museum.

The survey will build up in intensity. In the months after January, the scale of the works will gradually increase, culminating in the summer in ‘situations’ involving a larger number of participants. As summer turns to fall, the works return to a smaller scale, ending in December.

Divided over 16 successive chapters and unfolding over a one-year period, Sehgal’s twelve-part survey is not only a prelude to a fresh approach to using the building under the new directorship but also an innovative re-envisioning of the exhibition as phenomenon.

The exhibition is curated by Beatrix Ruf and Martijn van Nieuwenhuyzen.

Beatrix Ruf comments: “I am truly proud to be able to realize a project that presents one of the most radical artists of this era. Sehgal thinks about how to continue conceptual art, which has such a long history in the Stedelijk, extending this field beyond the material into the experience of space and time. It is exciting to work together on how Tino Sehgal’s sharp artistic statements in and for art can be presented in a survey exhibition, which has never been done before. This one year project will challenge our concepts in how live situations in the context of a collection display define presence and how an overview of this particular oeuvre is constructed in the sequence of presentations.”


Tino Sehgal (1976), who originally studied political economics and dance, crossed over to the visual arts in 2000. He achieved international renown for his groundbreaking, experimental work presented at the Venice Biennale, the Documenta in Kassel, in the Guggenheim Museum in New York and Tate Modern in London. The Stedelijk has worked with Sehgal from the outset of his career, presenting his work in 2004 and 2006; the museum acquired his first work in 2005: Instead of allowing some thing to rise up to your face dancing bruce and dan and other things (2000).

For Sehgal, an artwork consists of a live encounter between artwork and viewer. Sehgal does not make objects; he creates ‘situations’ within the museum space, in which interpreters enact choreographed actions and occasionally converse with visitors. These encounters offer the visitor a wholly unique experience of live artwork.



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