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Choreographer Tino Sehgal gave up theatre and dance and moved to museums. Museums, on the other hand, have moved away from exhibiting objects, and have begun to display people, arranged situations, conversations, and meetings, and as a result, began to open departments of performance, dance, and theatre. Sehgal, a German-British artist of Pakistani background, does not allow his work to be documented, explaining that performance can only be registered ?in the viewer?s memory?. Hence, it is impossible to find complete recordings of his performances online. His works made for museums ? such as for the Tate Modern?s Turbine Hall, the Guggenheim Museum, or during the recent Documenta in Kassel ? last at least six weeks, which is equal to the time scope of most exhibitions. In This Objective of That Object (2004), the participants stood with their backs turned towards the gallery viewers and fell to the floor if the viewers failed to continue the discussion; the assumption was: ?the aim of this work was to become the object of discussion?.


(untitled) (2000) is Sehgal?s last piece for the theatre. He has recently decided to pass his solo to Frank Willens and Boris Charmatz, the founder of Musée de la danse.  (untitled) is a subjective review of the history of dance, a montage of fragments of iconic choreographies of the 20th century, an exhibition played out on stage. Bringing to life excerpts of well-known choreographies, Sehgal, and Charmatz in his present re-enactment, plays the role of an interpreter, choreographer and stage curator, posing the question on the role of dance in society that is constantly in motion, in ideology, politics, and the relation of power and knowledge. They ask about the possible shape of a society whose values would derive from choreography. And finally, they ask about the change in how choreography has been viewed in the course of the last fifteen years, when we witnessed the performative turn. How did Sehgal receive it in 2000, and how does Charmatz refer it to today? During the Kraków Theatrical Reminiscences the same choreography will be performed by two excellent dancers: Boris Charmatz and Frank Willens. The piece will be shown on Friday, 10 October, at 7 pm, at MOS ? Pauza in Garden (ul. Rajska 12) at Małopolski Ogród Sztuki, followed by the screening of The Witness and a meeting with the artists. 


Boris Charmatz / Musée de la Danse
When Boris Charmatz became the director of the centre of choreography in Nantes in 2009, he transformed it into Musée de la Danse ? a museum of dance and an institution in motion. He is consistently linking dance and visual arts, making documentation of choreography and developing critical discourse on dance. One of his most interesting projects, Expo Zéro, is a performance, a living exhibition, and a dialogue, where a quasi-workshop features renowned choreographers and directors of performative arts, such as Rabih Mroué and Meg Stuart, who dance and talk to writers, critics, and the public on the reasons and means of creating movement ? from the most personal to the most political. In its new version Expo Zéro will be showcased at Reminiscences in 2015.


Conception: Tino Sehgal
Interpretation: Boris Charmatz, Frank Willens

Production Musée de la danse / Centre chorégraphique national de Rennes et de Bretagne ? Direction : Boris Charmatz. Association subventionnée par le Minist?re de la Culture et de la Communication (Direction Régionale des Affaires Culturelles / Bretagne), la Ville de Rennes, le Conseil régional de Bretagne et le Conseil général d?Ille-et-Vilaine.

L?Institut français contribue réguli?rement aux tournées internationales du Musée de la danse.

Coproduction: Tanz im August (Berlin), Kaaitheater (Bruxelles), Les Spectacles vivants Centre Pompidou ? Paris, La Bâtie-Festival de Gen?ve et Bonlieu Sc?ne nationale Annecy dans le cadre du projet PACT bénéficiaire du FEDER avec le programme INTERREG IV A France-Suisse


 Tino Sehgal (untitled) (2000) (100?), Małopolski Ogród Sztuki

21:00 film Ruti Sela The Witness  and meeting with Boris Charmatz and Frank Willens, MOS- Pauza in Garden


Project funded with support from:


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