Tino Sehgal’s conceptual art exhibition, “This is Progress” at the Guggenheim has created quite a stir in the art world. Like Seghal’s other conceptual artworks, he questions the traditional framework of gallery environments and focuses on the beauty of experiencing art rather than possessing it.
Photo by Mike Gage DeSoto
“This is Progress” is visual art piece that was built upon Sehgal’s previous work, “The Kiss”-a sculptural piece in 2002. Rather than reexhibiting “The Kiss” as a purely sculptural piece as part of the “This is Progress”exhibition, Seghal has added a participation element that allows viewers to partake in dialogue involving the fitting topic, ‘progress’, alongside hired actors.
The visual art aspect isn’t the only thing that is attracting museum visitors to “This is Progress”, but the fact that Sehgal refuses any form of documentation of his work. In a recent New York Times article, a caption for an image of “This is Progress” read “a photo taken on an iPhone…”, poking fun at the exclusivity of a Sehgal piece.
It seems as though many museum-goers don’t agree with Sehgal’s prohibition of documenting his work. The objection comes from the fact that he preaches about the threat of material production; and yet he helps keep the money flowing into the market’s object-overflowing system by accepting six-figure payments for his work.
If you don’t mind spoilers, then check out the uploaded video clip of “This is Progress”
If the video happened to spark some curiosity as to the nature of the muted discussions, then check out this article by Gillian Sneed of Art in America Magazine as she shares her detailed experience.
“Tino Sehgal” continues through March 10 at the Guggenheim Museum.
Photo Credit: Various