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My father had to flee from what is today Pakistan when he was a child, and he became a manager at I
My father had to flee from what is today Pakistan when he was a child, and he became a manager at I
My father had to flee from what is today Pakistan when he was a child, and he became a manager at I
My father had to flee from what is today Pakistan when he was a child, and he became a manager at I
My father had to flee from what is today Pakistan when he was a child, and he became a manager at I
My father had to flee from what is today Pakistan when he was a child, and he became a manager at I
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Tino Sehgal:
The nature of my work is my subjectivity meshed with other people's subjectivity. So there's a corrTino Sehgal:
I don't see myself as somebody who looks particularly good in photos.Tino Sehgal:
One often forgets that even if art is a very successful field in contemporary culture, there are stTino Sehgal:
Kids are very sensitive to the value system of their parents, and I just felt my parents were attacTino Sehgal:
I wanted to do dance with the same seriousness as art was done and acknowledged, not with the enterTino Sehgal:
I am for fetishisation! All of us have our favourite things, and they speak to us.Tino Sehgal:
Attention is the material I work with.Tino Sehgal:
For the general public, my work is sometimes easier than a painting because there is someone addresTino Sehgal:
Our culture is hung up on and overemphasises what can be derived from material objects. I think thiTino Sehgal:
What my work is about is, 'Can something that is not an inanimate object be considered valuable?'