Tino Sehgal Quotes

Powerful Tino Sehgal for Daily Growth

About Tino Sehgal

Tino Sehgal (born 1976) is a German-American contemporary artist who emerged as a prominent figure in the art world with his unique approach to creation and exhibition of artwork. Born in London to an American mother and German father, Sehgal spent his formative years moving between countries, which had a profound influence on his artistic perspective. Sehgal's education includes studies at the University of Oxford and the Staedelschule Frankfurt. He is best known for his conceptual art pieces that revolve around human interaction and performance, rejecting traditional mediums like paint or sculpture. Instead, he creates situations involving verbal exchange, physical movement, and the use of space to engage viewers in immersive experiences. One of Sehgal's first major works was "This is so contemporary" (2003), an installation at Tate Modern where visitors were encouraged to dance with a performer. This piece exemplified his philosophy that art should not be passive but an active experience. Other notable works include "Kiss" (2010) and "These Associations" (2013). In 2013, Sehgal was the focus of a solo exhibition at the Tate Modern in London, which featured some of his most celebrated pieces. His work has been showcased globally, including at the Venice Biennale and Documenta 13. Sehgal's innovative approach to art and his rejection of physical objects as art forms have made him a significant figure in contemporary art. Despite his success, Sehgal refuses to sell his works. Instead, they are licensed for exhibition by the institutions that acquire them, ensuring his pieces remain accessible and experiential rather than becoming commodities. This unconventional approach further distinguishes Sehgal's artistic practice and underscores his commitment to challenging conventional notions of art.

Interpretations of Popular Quotes

"The work is a situation in which a person comes to occupy a role."

This quote by Tino Sehgal suggests that art, specifically his own, is not about creating physical objects, but rather it's about creating situations where people interact and assume roles. In these situations, the participants become integral elements of the artwork itself, living out their assigned roles in a way that can evoke emotions, ideas, or experiences in viewers. The work, therefore, is a stage set for human interaction and role-playing, inviting us to reflect on our own identities and social dynamics within these contexts.


"Art should be something that gets you out of what you already know."

This quote by Tino Sehgal emphasizes the transformative power of art. He suggests that good art transcends our familiar experiences, prompting us to move beyond our comfort zones and gain new perspectives. By engaging with such art, we can challenge ourselves cognitively, emotionally, or otherwise, fostering personal growth and expanding our understanding of the world around us.


"Everyone who experiences this piece is an artist."

This quote emphasizes that the act of experiencing art, not just creating it, makes one an artist. Tino Sehgal suggests that the audience plays a crucial role in shaping the artwork through their active engagement, thereby implying they too are artists. In essence, he's advocating for a more inclusive understanding of art and creativity.


"I want art to be alive and active, and not just something you look at."

This quote by Tino Sehgal emphasizes the desire for art to be more than a static, passive experience. Instead, he envisions art as an interactive, dynamic, and even engaging event where viewers are active participants rather than mere observers. Sehgal's idea is that art should not only stimulate thought and emotion but also inspire action or interaction from the viewer, making it a living, breathing entity that evolves over time with each encounter.


"If you can't act without a script, you should probably get another job."

This quote by Tino Sehgal emphasizes the importance of autonomy and self-reliance in one's work or profession. He suggests that if an individual cannot perform their duties or tasks independently, using their own initiative and creativity, they might need to reconsider their chosen field. The 'script' here symbolizes structured instructions or guidelines, suggesting a lack of originality or adaptability when it comes to problem-solving and decision-making without explicit directions. Sehgal seems to advocate for workers who can think critically, innovate, and act effectively in unpredictable situations, demonstrating a high level of professional competence and versatility.


What my work is about is, 'Can something that is not an inanimate object be considered valuable?'

- Tino Sehgal

Work, About, Considered, Inanimate

My work comes out of a deep psychological place, so it's not like I'm Object Man at home. Theoretically, I'm not against objects, but, personally, I'm not comfortable attaching myself to them - I don't seek them out. What you can say about my home is that it's not very ambitious.

- Tino Sehgal

Deep, Very, Psychological, Theoretically

A museum is like a valuing machine. Museums and the industrial society started at the same moment, and they're really tied into each other. They've been all about displaying objects and the kind of wealth that can be derived from objects and promoting that point.

- Tino Sehgal

Other, Been, Objects, Displaying

The nature of my work is my subjectivity meshed with other people's subjectivity. So there's a correspondence with that... Even if you write about me, it will reflect on you; everything is a kind of weird collaboration.

- Tino Sehgal

Nature, Other, Subjectivity, Correspondence

As a culture or a civilisation, we are a bit juvenile; it's like 'Oh, I have all this power, whoa, this is so cool, I can transform the earth and I can produce all this wealth. But we're blinded by our success in a naive way. There's more to life, actually, and I think the sustainability issue is also helpful in reminding us about that.

- Tino Sehgal

I Think, About, Bit, Civilisation

In preindustrial times, the idea of creating something was more related to your personality. Personality was something that you constructed; it's something you had to actively develop and work on. Now personality is something that you have.

- Tino Sehgal

More, Idea, Constructed, Actively

I wanted to do dance with the same seriousness as art was done and acknowledged, not with the entertainment factor that is always connected to theater and film.

- Tino Sehgal

Art, Always, Acknowledged, Factor

One often forgets that even if art is a very successful field in contemporary culture, there are still a lot of people alienated by it. Even if people don't fully understand where my work is coming from, at least there's somebody who looks kind of sane standing in front of you and politely engaging with you. People react.

- Tino Sehgal

React, Very, Least, Politely

For the general public, my work is sometimes easier than a painting because there is someone addressing you; it can actually be a relief. What's interesting is the idea of a tourist randomly coming in and the experience they'll have.

- Tino Sehgal

Work, Idea, Addressing, Relief

Because of this high status of the object in our culture, something has to be a thing. Live efforts are almost marginal. I think dance, for example, is just as much a thing, and I want for it to have the same status. I don't want it to be the thing that comes in the evening and is, like, the happy music.

- Tino Sehgal

Happy, I Think, Almost, Marginal

We package everything as a product so we can derive income from it. Then we can occupy ourselves with higher-order psychological lifestyle things. This is a very new issue. Money still matters, but other factors have joined the status game - like how interesting, how meaningful your work is.

- Tino Sehgal

Income, Other, Very, Derive

Material things are not helpful after a certain degree of saturation. So you turn to other products. I think that therapy is a product that can transform you. But why does it need to be packaged as a product? Why can't I work on myself with my friends and family?

- Tino Sehgal

Why, Other, I Think, Packaged

My father had to flee from what is today Pakistan when he was a child, and he became a manager at IBM, and any item of consumption he would acquire was a direct measurement of his success in life. But that same equation wasn't going to work for me - I was quite clear about that in my early teens.

- Tino Sehgal

Father, Became, Direct, Measurement

Our culture is hung up on and overemphasises what can be derived from material objects. I think this is something quite new, over the past 200 or 300 years - that life has become about accumulating material wealth. The 21st century is not about accumulating material wealth like the 20th century. It's already eroding.

- Tino Sehgal

I Think, Objects, About, 21st Century

I want to bring back the human encounter into places where material things have a prime status. In a museum, you're supposed to look at things and not talk to other people.

- Tino Sehgal

Want, Other, Prime, Encounter

I'm not against the intergenerational function of the museum, I am not against its address or celebration of the individual, but I am against its continuous, unreflected-on celebration of material production.

- Tino Sehgal

Against, Individual, Address, Continuous

On a very, very basic level, I'm definitely pro market because with the market comes the idea of the individual and the idea of specialisation, and I personally like being an individual and choosing my interactions. I don't see culture moving away from that, like back to a farming society. You couldn't do that with the amount of people we have.

- Tino Sehgal

Away, Idea, Very, Interactions

Photographs are two-dimensional. I work in four dimensions.

- Tino Sehgal

Work, Four, Two-Dimensional, Photographs

As we get better at things, we need less people to produce the things we really need, but what do we do with the rest of the people? They have to be doing something, too, to buy from those few which are doing the really basic stuff, and so that's why we need to be continually producing new stuff.

- Tino Sehgal

Doing, Why, Buy, Producing

Kids are very sensitive to the value system of their parents, and I just felt my parents were attaching too much importance, too much meaning, to things.

- Tino Sehgal

Very, Importance, Felt, Value System

I am for fetishisation! All of us have our favourite things, and they speak to us.

- Tino Sehgal

I Am, Speak, Things, Favourite

I don't see myself as somebody who looks particularly good in photos.

- Tino Sehgal

Looks, See, Particularly, Photos

I have this belief that if you have an idea, and you have to write it down to remember it, then it can't be a great idea.

- Tino Sehgal

Down, Idea, Then, Belief

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