SPIN OFF, 2011

Hans Bryssinck invites

Halory Goerger

Sarah Vanhee

plus a presentation of a book about Tehching Hsieh

and an interview with Tino Sehgal

Production SPIN

Co-production Beursschouwburg

©David Hammons

SELLING MATCHES IN SNOW COVERED STREETS - Time Based Arts: an Immaterial Product?

SPIN proposes this event as the second in a series of evenings to encourage critical discussions around different urgent questions within art practice today.

Performance artists explore the boundaries of the physical and codified theatre space, the length of the performance, the visibility of their work, the relation to an audience, the right for a performance to exist solely as a concept. What are the reasons to explore those boundaries? And where lie the boundaries of an art form that is composed out of immaterial and transient qualities?

On this second SPIN night Halory Goerger speaks about how and where he transgresses the classical frame of performance. Hans Bryssinck interviews Sarah Vanhee about the diverse layers of reality within The C-Project. Diederik Peeters en Hans Bryssinck zoom in on the art practice of Tino Seghal. The book “Out of Now: the lifeworks of Tehching Hsieh” will be presented.

Halory Goerger: I make shows and installations instead of building houses because it's better like that for everybody. I work on the history of ideas, because everything was already taken by the time I came along. In all my undertakings, total destitution flirts with formal rigour, blessed by an easy rapport with artistic practice, and a concern for getting out alive.

Sarah Vanhee: Her work merges product and process, art and life, fiction and reality. Often she proposes, within a precise framework and transparently, new laws and rules that generate alternative perspectives and narratives. Meetings are a central point. She researches a.o. the construction of identity; diverse ways to produce (meaning) or to not produce; authorship; (in)visibility; success and failure; performativity.

Tehching Hsieh: In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, Tehching Hsieh made an exceptional series of artworks: five separate one-year-long performances that were unprecedented in their use of physical difficulty over extreme durations and in their absolute conception of art and life as simultaneous processes.