Conception: Tino Sehgal
Interpretation: Frank Willens
Production: Musée de la danse / Centre chorégraphique national de Rennes et de Bretagne
Direction:Boris Charmatz. Association funded by the Ministry of Culture and Communication (Regional Direction of Cultural Affairs / Britain), the city of Rennes, the Brittany Regional Council and the General Council of Ille-et-Vilaine
The French Institute contributes regularly to the Museum of the international dance tours.
Coproduction: Tanz im August (Berlin), Kaaitheater (Bruxelles), Les Spectacles vivants Centre Pompidou – Paris, La Bâtie-Festival de Genève et Bonlieu Scène nationale Annecy dans le cadre du projet PACT bénéficiaire du FEDER avec le programme INTERREG IV A France-Suisse
Duration: 50 min
In his (untitled) (2000), Tino Sehgal harkens back to his past engagement with dance and choreography. Created fourteen years ago, the piece presents twentieth-century “stage dance,” transposing choreographic practices and visions of the body accompanying them. When the artist performed it (with no stage set or music) at Moderna Museet in Stockholm, the curator Jens Hoffmann told the artist that “… it [was] like a museum of dance.” Since then, many dancers have tried to incorporate twentieth-century dance into their style… However, this solo performance is also historic in the sense that it allowed the artist to place himself within both modernity and the realm of the museum.
Set in the theatre (untitled) (2000) has the project of theatrically exhibiting the ‘stage dance’ of the 20th Century, resituating choreographic practices and their associated visions of bodies into an aesthetic order similar to the museum. (untitled) (2000) looks to imagine what the world could be if the values systems of society were to learn from dance and the choreographic, to ask what if the presence, transformation of acts, simultaneity of production / deproduction of dance and the choreographic were the model for organising societies.
(untitled) (2000) is the last work Tino Sehgal made for the theatre, it is the last moments of his relationships with its explicit discourses before moving on. Returning to this work 14 years after its premiere brings us alternative perspectives on what might be at work in his practice at large, the theatre allowing different qualities come to the foreground.