Rooted in transitory places of gathering: performing spacing in Tino Sehgal's performance "These situations" at the Palais de Tokyo

Jean-Luc Moriceau (), Philippe Mairesse () and Yannick Fronda ()
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Jean-Luc Moriceau: LITEM - Laboratoire en Innovation, Technologies, Economie et Management (EA 7363) - UEVE - Université d'Évry-Val-d'Essonne - Université Paris-Saclay - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris], IMT-BS - DEFI - Département Droit, Économie et Finances - TEM - Télécom Ecole de Management - IMT - Institut Mines-Télécom [Paris] - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris]
Philippe Mairesse: ACTE - Institut ACTE - Arts Créations Théories Esthétiques - UP1 - Université Paris 1 Panthéon-Sorbonne
Yannick Fronda: LITEM - Laboratoire en Innovation, Technologies, Economie et Management (EA 7363) - UEVE - Université d'Évry-Val-d'Essonne - Université Paris-Saclay - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris], IMT-BS - DEFI - Département Droit, Économie et Finances - TEM - Télécom Ecole de Management - IMT - Institut Mines-Télécom [Paris] - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris]

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Abstract: Tino Sehgal occupied the Palais de Tokyo with bodies of performers moving in the museum space, creating "situations." We interpret this from the perspective of "spacing" proposed by Beyes and Steyaert: a processual and minority construction of space. The approach is situated in the turn to affects that allows exposure as openly as possible to the aesthetic experience and triangulates between the performer's position and the spectator's. Performing spacing appears first and foremost as a paradox: how to produce what escapes major production? We then analyze how spacing is produced by means of a limited number of rules, which nevertheless leave some scope to the spontaneous. For performance purposes, a certain degree of policing (Rancière) seemed necessary and kept unchanged part of the distribution of the sensible. Beyond this political aspect, by turning to two sentences by Arendt and Heidegger sung by the performers, we wonder whether the digital age, in its liquid transience and ephemeral connectivities-as well as spacing-can provide a place to settle. We conclude with a reflection on the possibility of representing, performing, and writing about spacing as organizing.

Keywords: Distribution of the sensible; Tino Sehgal; Spacing; Artistic performance; Dwellingyaert; CSR (search for similar items in EconPapers)
Date: 2020-10-27
Note: View the original document on HAL open archive server: https://hal.science/hal-02987062v1
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Published in Monika Kostera; Cesary Wozniak. Aesthetics, organization, and humanistic management, Routledge, pp.94-111, 2020, Humanistic Management, 978-0-367-55007-3. ⟨10.4324/9781003091530-8⟩

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Persistent link: https://EconPapers.repec.org/RePEc:hal:journl:hal-02987062

DOI: 10.4324/9781003091530-8

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