Tino Sehgal

  • Tino Sehgal

    WHILE THE ART MUSEUM might largely be considered a place for art history—a classifying repository for artworks of the past—there is another perspective that seems far more relevant when it comes to considering why the museum is so central to Western societies and, moreover, why its role is increasingly important around the world. In short, from this perspective the museum is a place of self-government, governmentality, or liberal government—a place for a secular ritual, in other words, where categories that constitute the basis of our society are enacted and exercised. Since, to


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2008.


    James Coleman, Background, 1991–94 (Irish Museum of Modern Art, Dublin) Existential photo-novel? Soap opera? Mail-order-catalogue photo shoot? Coleman’s installations, pairing slide projection with synchronized audio, don’t lend themselves to easy categorization. In Background, shown at the Irish Museum of Modern Art this year, the male narrator’s voice adds to the general dislocation, straining earnestly to convey some sort