"These Associations is no less complex, affecting and disconcerting. At one point the walk speeds up and I am running to keep up with the story I am being told. Then the crowd whirls like a hive of maddened bees. Now they all seem to be chasing an invisible rabbit. The light keeps changing along with the atmosphere and the performers’ routines. At one point the performers loiter and sit, whisper and hiss and sing, coming together as a choir, their words soaring towards the roof. The words themselves – something about the technological age and nature, nature, nature, human nature – get lost in the echoing space.
Within an hour, on the first day, visitors are already joining in. Children run with the pack of performers and snake through Sehgal’s milling throng. Soon, I am sure, visitors will be mingling with performers and tell their own stories. We’re all participants now. A bystander said: “This is Tino’s opera.” We’re on stage too.
I could barely drag myself away to write this, and I cannot wait to get back. These Associations is a great antidote to the ever more spectacular, large commissions the Unilever Project has produced. It is also a rejoinder to all the brouhaha and corporate fascism and jingoism of the Olympics.
These Associations is one of the best Turbine Hall commissions. There are no objects: we are the subject. It is about communality and intimacy, the self as social being, the group and the individual, belonging and separation. We’re in the middle of things. It is marvellous.”
-Adrian Searle on Tino Sehgal