video installation the tanks tate modern

“The new Tate Modern is an instrument that will allow us to present a changing perspective on the world, offer a rich variety of experiences to visitors and give opportunities to artists to explore new ways of making and showing their work,” Serota said. The total cost of the development has moved upwards from £215m to £260m to bring it in line with 2016 prices. Tate’s director, Sir Nicholas Serota, said: “There will be old friends and new friends – Pablo Picasso, Joseph Beuys and Mark Rothko will be joined by artists introduced to the public by Tate Modern in recent years, including Saloua Raouda Choucair, Meschac Gaba, Daidō Moriyama and Cildo Meireles.” In terms of art, there will be the familiar and the unexpected. The new Tate Modern will get a complete rehang of the permanent collection, with far more space for performance and interactive art. When it became clear that was never going to happen, Tate opened up the tanks space, based in underground former oil tanks, for 2012 only. It is a vast project, one which was originally meant to be completed in time for the London 2012 Olympics. Lacy has stated: 'In some sense the Crystal Quilt was successful politically, in that the work was bigger, it had more social impact in the region, but do one or two events change the way people - other than those who directly experience it - see? This raises this issue of whether you can expect art to create social change, and at what point it is no longer art'.The Turbine Hall featuring Richard Tuttle’s 2014 installation I Don’t Know. The event was an attempt to consciously comment on the representation of older women in the media.

The resulting performance, The Crystal Quilt, was broadcast live on television. The performance ended with the audience joining the stage, transforming the formal pattern of the quilt.

Witnessed by 3,000 people the women talked and moved their hands at prearranged intervals in gestures choreographed by Sage Cowles. An accompanying soundrack by the composer Susan Stone mixed the voices of 75 of the women with personal observations interspersed with social analysis. On in the central atrium of the Crystal Court shopping mall in Minneapolis, 430 women over the age of 60 took part in this performance, dressed in black and seated at tables arranged in a pattern based on a quilt designed by painter Mirriam Shapiro. The women shared their views on growing older. I do not know what the function of it was. This is a small, round room, with a diameter of 3-4 metres, dark, womb-like.

Video installation the tanks tate modern