“My grandchildren and my great-grandchildren think I lived in the dark ages!” one voice says, ironically speaking from a speaker hung on the shadowy, dark ceiling.Ĭontrastingly, the female element of Lis Rhodes’ piece is an absent female concentrating on the lack of women composers in Western classical music, the sound produced by this work is cold and mechanical. For this piece, viewers sit on a circular bench in the middle, absorbing the voices of women talking about how they feel being part of the older generation. Lit in a dark red, the smell of oil still lingers. The sound element of Lacy’s The Crystal Quilt resonates in the Tate’s smallest tank. This is continued in the “Tate Collection: New Acquisitions” room where works by Suzanne Lacy and Lis Rhodes are exhibited in preserved and restored industrial settings. A sense of being deep in the gut of the building overwhelms as the viewer becomes surrounded by concrete foundation-pillars and low ceilings. The raw and bare interior leading into the tanks is quite a contrast to The Tate Modern’s “white cube” gallery spaces on its other floors. This is the entrance to a previously hidden set of underground chambers, the former power station’s giant oil tanks, which are being unveiled to the public this week as gallery spaces devoted entirely to performance, sound, moving image and installation. Upon descending the grey, scarred slope of the Turbine Hall, Tate Modern, a new and unfamiliar opening in the wall reveals itself to the right.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |