白白的墙壁，空空的地面（除了大厅一对不停舞蹈的男女），沿着平缓的螺旋坡面上升，观众和‘作品’的对话成全了展览的意图。‘作品’是不同年纪、不同职业的志愿者（我最后才想起确认一番，只是没机会多问几句他们是怎样被挑选的）。

舞者的动作更多躺倒在地面上进行--大庭广众下连续的亲密姿势。 我不知道多少人可以假装不动声色的一直盯着看。坦白一下，我没这兴趣和心理素质。 正奇怪通常拥挤不堪的展厅为什么显得如此空荡白净，一个十岁不到的小女孩主动伸手，问我要不要导游。边陪我往上走，她边问我什么是‘progress', 还让我举例， 然后满意的将我领到一个大学生模样的小伙子面前，重复了她和我的问答。 我继续回答小伙子的问题，又被转手给一个丰满的少妇，最后结束在和没有大卫式鼻子的花甲希腊学者的抬杠中。举例，他说癌症随现代科技进步而越来越多，我说很有可能从前也有，只是人们不懂那就是可怕的C。看过一本杂书，说史前时代如果有人能数到三，他就是天才。 可见不知不晓不等于不存在。。。

别开生面，没有画和雕塑，没有多媒体装置， 光是对话，观众有意无意的成为作品的一部分，艺术乎非艺术乎，真的不懂。我敢说肯定有人为参与了这样的展览作品感到不值，我不晓得和我一样在严寒中排队等了一刻钟才进大门的观众是否是特意为这样的展览而来。

回家查了下古根海姆的网站，粘贴如下。有兴趣的自己读吧。





January 29?March 10, 2010

Tino Sehgal (b. 1976, London) constructs situations that defy the traditional context of museum and gallery environments, focusing on the fleeting gestures and social subtleties of lived experience rather than on material objects. Relying exclusively on the human voice, bodily movement, and social interaction, Sehgal’s works nevertheless fulfill all the parameters of a traditional artwork with the exception of its inanimate materiality. They are presented continuously during the operating hours of the museum, they can be bought and sold, and, by virtue of being repeatable, they can persist over time.

Sehgal’s singular practice has been shaped by his formative studies in dance and economics, while using the museum and related institutions―galleries, art fairs, and private collections―as its arena. He considers visual art to be a microcosm of our economic reality, as both center on identical conditions: the production of goods and their subsequent circulation. Sehgal seeks to reconfigure these conditions by producing meaning and value through a transformation of actions rather than solid materials. Consequently, throughout his works he explores social processes, cultural conventions, and the allocation of roles, thereby not only redefining art production but also reconsidering fundamental values of our social system, including sustainability, originality, and ownership.

The fact that Sehgal’s works are produced in this way elicits a different kind of viewer: a visitor is no longer only a passive spectator, but one who bears a responsibility to shape and at times to even contribute to the actual realization of the piece. The work may ask visitors what they think, but, more importantly, it underscores an individual’s own agency in the museum environment. Regardless of whether they call for direct action or address the viewer in a more subtle sense, Sehgal’s works always evoke questions of responsibility within an interpersonal relationship.

Presented as part of the Guggenheim’s 50th Anniversary celebrations, Sehgal’s exhibition comprises a mise-en-scène that occupies the entire Frank Lloyd Wright?designed rotunda. In dialogue with Wright’s all-encompassing aesthetic, Sehgal fills the rotunda floor and the spiraling ramps with two major works that encapsulate the poles of his practice: conversational and choreographic. To create the context for the exhibition, the entire Guggenheim rotunda is cleared of art objects for the first time in the museum’s history.