A Quote by Tino Sehgal

What my work is about is, 'Can something that is not an inanimate object be considered valuable?' — © Tino Sehgal
What my work is about is, 'Can something that is not an inanimate object be considered valuable?'
Inanimate objects can be classified scientifically into three major categories: those that don't work, those that break down and those that get lost. The goal of all inanimate objects is to resist man and ultimately to defeat him, and the three major classifications are based on the method each object uses to achieve its purpose. As a general rule, any object capable of breaking down at the moment when it is most needed will do so.
There's something about seeing this little inanimate object coming to life that's just very exciting. That's why with 'Nightmare' I held out for so long to do it.
When I opened my gym, I got rid of the scales! Stepping on a scale empowers an inanimate object - every time you get on it, you turn over the helm of your emotional well being to something that doesn't care about you.
I always liked the challenge of that, how to take an inanimate object and build something around it that's scary.
Children must be considered in a divorce considered valuable pawns in the nasty legal and financial contest that is about to ensue.
It's really hard to write about art in general. But it's exceptionally hard to fictionalize art and make work that isn't a parody, or is something that could withstand critique and exist in the art world as a valuable object, or a true piece.
Life has value only when it has something valuable as its object.
I want to create work that extends beyond myself because I always thought it was a way to change the general rules about art, and also to give an impulse to something else. It's a transformation about attitude. Most of the time, when someone buys the object, it's 100 percent transferred to them. I don't think this is true. Something exists within the object that can never be appropriated. This little part, I try to make it visible.
Never fight an inanimate object.
I love bringing the inanimate object to life.
No inanimate object is ever fully determined by the laws of physics and chemistry.
I always design the hat with the wearer in mind; otherwise, it's an inanimate object.
The problem is that humans have victimized animals to such a degree that they are not even considered victims. They are not even considered at all. They are nothing. They don't count; they don't matter; they're commodities like TV sets and cell phones. We have actually turned animals into inanimate objects - sandwiches and shoes.
It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914).
Pronouns really don't matter in a song - 'I' or 'he' or 'she' or even subscribing a lyric to an inanimate object.
From inanimate object, to microorganism, to plant, to insect, to animal, to human, there is an evolving level of intelligence.
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