
FAIR USE: AN ARTIST'S PROJECT
I CHOOSE to consider writing as a useless labor, apolitical and of little moral significance. Urged on by some base inspiration, I confess I would experience a kind of pleasure at being proved wrong. A guilty pleasure, since it would be at the expense of the victims, those who thought I was right.
For Tino Sehgal, other people’s writing on his work would appear to function as notary to the juggernaut that is the artist’s career, a kind of amicus brief in which the content is irrelevant so long as its signature achieves the necessary gravitas. All that really matters in this moment of writing,