The Best Piece On Tino Seghal You’ll Read

“Does this generation no longer consider objects capable of transcendence?”

As shopping seems to now equal transcendence (corporate logos being the new mandalas) the art that resonates the most deals exactly with that (Murakami & LV, Hist and diamonds, etc.)

Would have loved to have been there to hear the woman who shrieked for her 17 bucks back because of the ‘empty’ museum. (Would have loved even more to see her disappear in a puff of smoke when the sunlight hit her)

““Yeah, but it’s like spiritual. Not like that stuff” -So great (but probably being merchandised on a t-shirt for the museum shop this minute.)

thanx for drawing attention to that article…

“Does this generation no longer consider objects capable of transcendence?”

As shopping seems to now equal transcendence (corporate logos being the new mandalas) the art that resonates the most deals exactly with that (Murakami & LV, Hist and diamonds, etc.)

Would have loved to have been there to hear the woman who shrieked for her 17 bucks back because of the ‘empty’ museum. (Would have loved even more to see her disappear in a puff of smoke when the sunlight hit her)

““Yeah, but it’s like spiritual. Not like that stuff” -So great (but probably being merchandised on a t-shirt for the museum shop this minute.)

thanx for drawing attention to that article…

“Does this generation no longer consider objects capable of transcendence?”

As shopping seems to now equal transcendence (corporate logos being the new mandalas) the art that resonates the most deals exactly with that (Murakami & LV, Hist and diamonds, etc.)

Would have loved to have been there to hear the woman who shrieked for her 17 bucks back because of the ‘empty’ museum. (Would have loved even more to see her disappear in a puff of smoke when the sunlight hit her)

““Yeah, but it’s like spiritual. Not like that stuff” -So great (but probably being merchandised on a t-shirt for the museum shop this minute.)

thanx for drawing attention to that article…

progress is a myth. that’s a good display of apathy. however, this reminds me of how many children have approached me along the way — to varying degrees adressing the intrinsic evil in some people who would egotistically present that they’re doing something positive for children. it’s like people mentoring about openness while blatantly incorporating schism -isms and bigotry. it’s like new york artists throwing junior high school charades and on-stage masturbation while ground zero remains a pit ….however, since i wasn’t there, perhaps — the artist was presenting something through masturbation since i find most of new york a giant madison avenue circle any longer and thus, along church street the pews are empty and a mud hole remains. anyhow, yes, the children love the play time, but many of them can see through this mentoring bullshit and recognize the pomposity of stale academics and ira glass shattering nothing.

malama pono, aloha ke akua, aloha nui loa — it’s right in front of them, but the flat screen iPad rep is enough representing for them. tragictrainwrecks.org

progress is a myth. that’s a good display of apathy. however, this reminds me of how many children have approached me along the way — to varying degrees adressing the intrinsic evil in some people who would egotistically present that they’re doing something positive for children. it’s like people mentoring about openness while blatantly incorporating schism -isms and bigotry. it’s like new york artists throwing junior high school charades and on-stage masturbation while ground zero remains a pit ….however, since i wasn’t there, perhaps — the artist was presenting something through masturbation since i find most of new york a giant madison avenue circle any longer and thus, along church street the pews are empty and a mud hole remains. anyhow, yes, the children love the play time, but many of them can see through this mentoring bullshit and recognize the pomposity of stale academics and ira glass shattering nothing.

malama pono, aloha ke akua, aloha nui loa — it’s right in front of them, but the flat screen iPad rep is enough representing for them. tragictrainwrecks.org

It’s a good question. I’m surprised that the “myth” answer was rare. This article makes me dig the piece. I wonder if there was a broken telephone effect, and, if not, if that was disappointing to the artist. Did he expect the message to dissolve as it got closer to the end/top? Did he underestimate the diligence of kids?

It’s a good question. I’m surprised that the “myth” answer was rare. This article makes me dig the piece. I wonder if there was a broken telephone effect, and, if not, if that was disappointing to the artist. Did he expect the message to dissolve as it got closer to the end/top? Did he underestimate the diligence of kids?

without the comments of the author’s kids, i’d never think twice about seghal’s project.

without the comments of the author’s kids, i’d never think twice about seghal’s project.

Paddy
Glad that you revisited the the discussion of the Tino Seghal show on your blog. I read your article in L and this piece in the WSJ. I think the fact that children got it sometimes better than adults says something profound about the piece. Its a threatening piece to an adult, academic , aesthetically fetishizing and provincial micro-class. Most of the people i spoke with about the piece fell on one side of the sand or the other. I think your question “Does this generation no longer consider objects capable of transcendence” starts to focus on the problem but might not be the best way to frame the question. Can visual artists still make objects that are capable of transcendence might be another way of looking at it. One perspective puts Art driving the train and the other sees art as the caboose maybe. I think our culture has driven this car of visual arts on the breath of gas huffing youth as far as it can take us. maybe its time to find another car on the side of the road. If objects are only symbolic vessels of the artists experience and local paradigm what happens to a culture that feeds only on coke zero and chips. We’ll feed as a society as long as theres calories to support our “progress” when it no longer gives us sustenance we move on. This understanding is beyond the avant-garde and doesn’t specifically reside in the execution of what we know of as visual art. Tino has seen and created a detour in the road sooner than most are able to recognize possibly. Yes people do similar work but its the context of it being in the Gugg that acts like a sledge hammer. We go to museums to shape ourselves and i think he’s seen that clearer than most. Wether he’s just exploiting a new economy or hopeful that we can find transcendence in futility i think we will come to find the future of visual art will be seen as before and after this piece. I for one still have hope this car doesn’t have 4 flats though. I think beyond the avant-garde there are people that want partners in this progress and transcendence. just my opinion though.

Paddy
Glad that you revisited the the discussion of the Tino Seghal show on your blog. I read your article in L and this piece in the WSJ. I think the fact that children got it sometimes better than adults says something profound about the piece. Its a threatening piece to an adult, academic , aesthetically fetishizing and provincial micro-class. Most of the people i spoke with about the piece fell on one side of the sand or the other. I think your question “Does this generation no longer consider objects capable of transcendence” starts to focus on the problem but might not be the best way to frame the question. Can visual artists still make objects that are capable of transcendence might be another way of looking at it. One perspective puts Art driving the train and the other sees art as the caboose maybe. I think our culture has driven this car of visual arts on the breath of gas huffing youth as far as it can take us. maybe its time to find another car on the side of the road. If objects are only symbolic vessels of the artists experience and local paradigm what happens to a culture that feeds only on coke zero and chips. We’ll feed as a society as long as theres calories to support our “progress” when it no longer gives us sustenance we move on. This understanding is beyond the avant-garde and doesn’t specifically reside in the execution of what we know of as visual art. Tino has seen and created a detour in the road sooner than most are able to recognize possibly. Yes people do similar work but its the context of it being in the Gugg that acts like a sledge hammer. We go to museums to shape ourselves and i think he’s seen that clearer than most. Wether he’s just exploiting a new economy or hopeful that we can find transcendence in futility i think we will come to find the future of visual art will be seen as before and after this piece. I for one still have hope this car doesn’t have 4 flats though. I think beyond the avant-garde there are people that want partners in this progress and transcendence. just my opinion though.

Paddy
Glad that you revisited the the discussion of the Tino Seghal show on your blog. I read your article in L and this piece in the WSJ. I think the fact that children got it sometimes better than adults says something profound about the piece. Its a threatening piece to an adult, academic , aesthetically fetishizing and provincial micro-class. Most of the people i spoke with about the piece fell on one side of the sand or the other. I think your question “Does this generation no longer consider objects capable of transcendence” starts to focus on the problem but might not be the best way to frame the question. Can visual artists still make objects that are capable of transcendence might be another way of looking at it. One perspective puts Art driving the train and the other sees art as the caboose maybe. I think our culture has driven this car of visual arts on the breath of gas huffing youth as far as it can take us. maybe its time to find another car on the side of the road. If objects are only symbolic vessels of the artists experience and local paradigm what happens to a culture that feeds only on coke zero and chips. We’ll feed as a society as long as theres calories to support our “progress” when it no longer gives us sustenance we move on. This understanding is beyond the avant-garde and doesn’t specifically reside in the execution of what we know of as visual art. Tino has seen and created a detour in the road sooner than most are able to recognize possibly. Yes people do similar work but its the context of it being in the Gugg that acts like a sledge hammer. We go to museums to shape ourselves and i think he’s seen that clearer than most. Wether he’s just exploiting a new economy or hopeful that we can find transcendence in futility i think we will come to find the future of visual art will be seen as before and after this piece. I for one still have hope this car doesn’t have 4 flats though. I think beyond the avant-garde there are people that want partners in this progress and transcendence. just my opinion though.

Paddy
Glad that you revisited the the discussion of the Tino Seghal show on your blog. I read your article in L and this piece in the WSJ. I think the fact that children got it sometimes better than adults says something profound about the piece. Its a threatening piece to an adult, academic , aesthetically fetishizing and provincial micro-class. Most of the people i spoke with about the piece fell on one side of the sand or the other. I think your question “Does this generation no longer consider objects capable of transcendence” starts to focus on the problem but might not be the best way to frame the question. Can visual artists still make objects that are capable of transcendence might be another way of looking at it. One perspective puts Art driving the train and the other sees art as the caboose maybe. I think our culture has driven this car of visual arts on the breath of gas huffing youth as far as it can take us. maybe its time to find another car on the side of the road. If objects are only symbolic vessels of the artists experience and local paradigm what happens to a culture that feeds only on coke zero and chips. We’ll feed as a society as long as theres calories to support our “progress” when it no longer gives us sustenance we move on. This understanding is beyond the avant-garde and doesn’t specifically reside in the execution of what we know of as visual art. Tino has seen and created a detour in the road sooner than most are able to recognize possibly. Yes people do similar work but its the context of it being in the Gugg that acts like a sledge hammer. We go to museums to shape ourselves and i think he’s seen that clearer than most. Wether he’s just exploiting a new economy or hopeful that we can find transcendence in futility i think we will come to find the future of visual art will be seen as before and after this piece. I for one still have hope this car doesn’t have 4 flats though. I think beyond the avant-garde there are people that want partners in this progress and transcendence. just my opinion though.

I get the feeling the kids invested in a “spiritual” aspect because they felt responsible and implicated by the work. Might feel similarly about transcendent possibilities of objects if they spent a couple weeks as docents for Rothco paintings. That would probably be pretty rough going too.

I get the feeling the kids invested in a “spiritual” aspect because they felt responsible and implicated by the work. Might feel similarly about transcendent possibilities of objects if they spent a couple weeks as docents for Rothco paintings. That would probably be pretty rough going too.

I get the feeling the kids invested in a “spiritual” aspect because they felt responsible and implicated by the work. Might feel similarly about transcendent possibilities of objects if they spent a couple weeks as docents for Rothco paintings. That would probably be pretty rough going too.

I get the feeling the kids invested in a “spiritual” aspect because they felt responsible and implicated by the work. Might feel similarly about transcendent possibilities of objects if they spent a couple weeks as docents for Rothco paintings. That would probably be pretty rough going too.

@sally – That makes a lot of sense. I hadn’t thought about it that way, but it’s probably true.

@sally – That makes a lot of sense. I hadn’t thought about it that way, but it’s probably true.

@sally – That makes a lot of sense. I hadn’t thought about it that way, but it’s probably true.

@sally – That makes a lot of sense. I hadn’t thought about it that way, but it’s probably true.

Sally – I had the same thought of the telephone effect. Children have a very different way of describing an idea versus a teenager. I would also want to know how they would reflect on comments by the same person at a later point in time. Sounds like a lovely exhibition.

Sally – I had the same thought of the telephone effect. Children have a very different way of describing an idea versus a teenager. I would also want to know how they would reflect on comments by the same person at a later point in time. Sounds like a lovely exhibition.

Paddy, why didn’t you put my comments??? Thank..

Paddy, why didn’t you put my comments??? Thank..