National Days of Architecture

Tino Sehgal (b. 1976, London, UK) is a critically acclaimed artist of German and Indian descent who lives in Berlin. He studied economics in Berlin and dance at the Folkwang University of the Arts in Essen. Tino Sehgal's work defies the conventional precepts of the exhibition by developing modalities of interactions and movement rather than static, material objects. Reflecting on history, sociology and art theory, the artist constructs situations in the form of choreography, encounters, discussions. He often calls on “interpreters” who come into contact with visitors to the exhibition through bodily movement, words or song. His work has been the subject of several solo exhibitions, recently at the Centro Botín, Santander, (2023); Remai Modern, Saskatoon (2022); Tai Kwun, Hong Kong (2021), Odawara Art Foundation, Odawara (2019); Officine Grandi Riparazioni, Turin (2018); V-A-C Foundation, Moscou, (2017); Fondation Beyeler, Bâle (2017); Palais de Tokyo, Paris (2016) ; Stedelijk Museum, Amsterdam (2015); Martin-Gropius-Bau, Berlin (2015); Pinacoteca, Sao Paulo and CCBB, Rio de Janeiro (2014) ; Tate Modern ; (2012) Solomon R. Guggenheim Museum, New York (2010. He won the Golden Lion at the 55th Venice Biennale in 2013.

Carsten Höller uses his training as a scientist in his work as an artist, concentrating particularly on the nature of human relationships. Born in Brussels in 1961, he now lives and works in Stockholm, Sweden and Biriwa, Ghana. His major installations include Test Site, a series of giant slides for Tate Modern’s Turbine Hall (2006); Amusement Park, an installation of full-size funfair rides turning and moving at very slow speed at MASS MoCA, North Adams, USA (2006); Flying Machine (1996), a work which hoists the viewer through the air; Upside-Down Goggles, an experiment with goggles which modify vision; and the famous The Double Club (2008-2009) in London, which opened in November 2008 and closed in July 2009, that took the form of a bar, restaurant and nightclub designed to create a dialogue between Congolese and Western culture.

His Revolving Hotel Room (2008), a rotating art installation that becomes a fully operational hotel room at night, was shown as part of theanyspacewhatever exhibition at the Guggenheim Museum in 2009. For his 2015 exhibition Decision at the Hayward Gallery, he turned the whole building into an experimental parcours with two entrances and four exits, two of them being slides. His works have been shown internationally over the last two decades, including solo exhibitions at Fondazione Prada, Milan (2000), the ICA Boston (2003), Musée d’Art Contemporain, Marseille (2004), Kunsthaus Bregenz, Austria (2008), Museum Boijmans Van Beuningen, Rotterdam (2010), Hamburger Bahnhof, Museum für Gegenwart, Berlin (2011), New Museum, New York (2011) Thyssen-Bornemisza Art Contemporary (TBA21), Vienna (2014), Pirelli HangarBicocca, Milan (2016), Henie Onstad Kunstsenter, Høvikodden, Norway (2017), The Florence Experiment at the Palazzo Strozzi, Florence (2018), Sunday at Museo Tamayo, Mexico City (2019) and most recently the exhibitions Behaviour at Kunsten Museum of Modern Art, Aalborg (2019) and Reproduction at Copenhagen Contemporary, Copenhagen (2019). 

Philippe Parreno studied at École des Beaux-Arts, Grenoble, and Institut des hautes études en arts plastiques, Palais de Tokyo, Paris. He lives and works in Paris, France. Parreno is a French artist who rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text. Parreno radically redefined the exhibition experience by taking the exhibition itself as a medium and placing its construction at the heart of his process. Exploring the possibilities of the exhibition as a coherent “object” rather than as a collection of individual works makes it into a true open space, a format that differs on each occasion, and a frame for things to appear and disappear. Parreno conceives his exhibitions as a scripted space where a series of events unfolds. He seeks to transform the exhibition visit into a singular experience that plays with spatial and temporal boundaries and the sensory experience of the visitor, who is guided through the space by the orchestration of sound and image. For the artist, the exhibition is less a total work of art than a necessary interdependence that offers an ongoing series of open possibilities.