![]() Tate has shown its commitment to bringing the ephemeral and the performative into museum history by showing two works from the collection – Lis Rhodes's Light Music (1975) an abstract, double-projected work in which black and white stripes are played on both a film and soundstrip so that light becomes read as sound and Suzanne Lacy's The Crystal Quilt (1985-7), an elevating project that saw the artist bring together 430 women aged over 60 in Minneapolis to record their thoughts on aging in a kind of social sculpture in a shopping mall. Make no mistake: this is a bold move from Tate, one which might just transform museum practice around the world, as the Turbine Hall did when Tate Modern first opened its doors in 2000.įor the past five years or so there has been a huge resurgence of interest in performance work. ![]() ![]() Here are more beautifully raw concrete rooms, excellently developed by Herzog & de Meuron into permanent spaces for live art. What strange lower world is this that has opened up beneath Tate Modern? Through a sliding door at one side of the Turbine Hall one can now enter the spaces that were once used as oil tanks in the old power station.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |