Tino Sehgal

The artist who never makes a thing

If 2013 was the year of artworld laurels for his live, undocumentable encounter works – a Golden Lion at Venice, a much-fancied nomination for the Turner Prize – 2014 has felt like the global roll-out of brand Sehgal, kicking off with a revival of This Is So Contemporary (2005) at the Gallery of New South Wales, Sydney, and culminating in an exhibition of This Progress (2006) and This Variation (2012) in and around the Roman Agora in Athens. In between he supplied a gallerist-tormenting reboot of This Is Competition (2004) as part of 14 Rooms in Basel, a response to the work of Frank Gehry at Luma Foundation’s Solaris Chronicles at Arles and a marathon chat at the Swiss Pavilion of the Venice Architectural Biennale (all three Hans Ulrich Obrist-related projects – make of that what you will). While there has been some critical wearying of his interventional shtick, and questions as to how well his works endure, there’s no doubting either his popular pulling power, or the influence he’s having on the status and practice of performance.