Tino Sehgal Quotes

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.

Attention is the material I work with.

The people who are interested in my work - they're quite far-out.

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.

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?

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.

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.

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.

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

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.

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.

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.

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

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

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.

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.

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.