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Venues
Tate Modern
Bankside, London, SE1 9TG
Reviews
Juan Munoz: a Retrospective [28 February 2008]
Playing with scale, using the minute and the immensely big to experiment with the possibility of perceiving the world in a different way. "You have to come, to look, to smile and despair." The words of Juan Muñoz, to whom Tate Read on…
Tate Modern, London
24 January - 27 April 2008
Reviewed by: federica bueti
TAKE A DEEP BREATH SYMPOSIUM [29 November 2007]
The continuous recurrence of the theme of air reveals a perpetual interest with concepts of the immaterial and the invisible. The Take a Deep Breath symposium was held at Tate Modern during 15-17 November in order to explore air, the nothing and Read on…
TATE MODERN, LONDON
15-17 November 2007
Reviewed by: Eva Pryce
Doris and Louise [27 November 2007]
Two Artists with very different concerns and approaches to art are currently presented at Tate Modern. The art of Louise Bourgeois is highly subjective and emerges from a life–long struggle originating from her childhood Read on…
Tate Modern, London
10 October 2007 - 20 January 2008
Reviewed by: Andrea Kim Valdez
Louise Bourgeois [20 November 2007]
Louise Bourgeois A retrospectiveWhen you leave the Louise Bourgeois retrospective at the Tate Modern in London you are left feeling alone, confused and slightly disturbed. You seem to have questions which cannot be named nor Read on…
Tate Modern London, London
10 October 2007 - 20 January 2008
Reviewed by: Nottingham Trent University
Shibboleth [18 November 2007]
The intriguing thing about Doris Salcedo’s Shibboleth is the question of why it doesn’t work. That is, why an artist experienced in producing arresting installations in large architectural spaces has failed to turn an exciting idea into Read on…
Tate Modern Turbine Hall, London
9 October 2007 - 6 April 2008
Reviewed by: Tom Robinson
Martha Rosler: Talking Art [10 October 2007]
Starting at the end of the talk; ‘the questions and discussion section’ created a strange atmosphere that rippled through the past two hours and shifted all that had been discussed. The paraphrased question: “An Read on…
Tate Modern, London
29 September 2007
Reviewed by: Alexandria Clark
Carsten Höller's Test Site [18 February 2007]
Carsten Höller's Test Site, the seventh commission in Tate Modern's Unilever Series, links floors five, four, three and one with the Turbine Hall via coiling metal slides. There are two viewpoints for the work, one as participant, and Read on…
Tate Modern - Turbine Hall
10 October 2006 to 4 April 2007
Reviewed by: Hugh Dichmont
Pierre Huyghe: Celebration Park [25 January 2007]
What is the artist's role in society today? To take a stance anywhere outside of current sociological concerns and make an objective commentary from the insular, safe haven of the contemporary art world is ostensibly no longer enough. Artistic Read on…
Tate Modern
7 July 2006 to 12 December 2006
Reviewed by: Aaron Juneau
Fischli and Weiss Flowers and Questions A Retrospective (Room 3: Suddenly This Overview) [28 November 2006]
Fischli and Weiss are like the Batman and Robin of the art world, fighting the conventions of art to open our eyes and make us see the world in a new light. Through a variety of media they create very different artworks, photographic imagery, Read on…
Tate Modern
10 October 2006 to 1 January 2007
Reviewed by: Naomi Terry
Destricted: Art and Sex [26 October 2006]
Tickets for ‘Destricted: Art and Sex’ were sold out to an eager over 18’s audience weeks ago. Its popularity was no doubt due to the warnings of ‘real sex’ and ‘highly explicit’ pornographic content. The Read on…
Tate modern
9 September 2005 to 9 September 2006
Reviewed by: Rachel Lois Clapham
Rachel Whiteread’s ‘Embankment’ [27 December 2005]
"…..another example of meritless gigantism …..". Brian Sewell, London Evening Standard, 10 October 2005 Predictably, the poisoned pens were put to paper once again. If art reviewers aren't capable of Read on…
Tate Modern, London
11 November 2005 to 4 April 2006
Reviewed by: Ann Isik
Rachel Whiteread ‘Embankment’ [21 December 2005]
Rachel Whiteread has described her artistic motivation as being to communicate through the language of sculpture, her vocabulary becoming more sophisticated as her work evolves. Whiteread tends to cast the space around or within domestic objects, Read on…
Tate Modern
10 October 2005 to 4 April 2006
Reviewed by: Dr Helen Pheby
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