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Exhibitions - 2007Episodes
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Exhibitions - 2007
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Since the 1970s Kennard has developed a way of making art that comments directly on the political situation of his times. With their extensive use of photomontage, his arresting images have been used for posters and book covers, and published i
Greenwood is a video artist and musician who plays all three parts in the art-punk trio Tracy + the Plastics. Hardy is an experimental filmmaker and founding editor of the art collective LTTR (Lesbians To The Rescue). Both artists work across a
For his Willkommende Gemeinschaft (Welcoming Community) (2006) project, he has selected images of individuals holding placards, which he has painstakingly altered, replacing their slogans with ornate graphic symbols.
Davis’s Retail Series (2001) examines the increasing presence of commercial interests in small-town America.
STRIKE (2005/7) consists of a scaffold structure on which the word ‘strike’ is spelled out using fluorescent tubes in the ‘K. font’. This font was created by the artists in homage to the protagonist of Franz Kafka’s The Castle, a novel about bu
Bakker’s work is a critique of consumer culture, but is also intended to function within it. His Untitled Projects are hand-carved, hand-painted wooden objects, each one a unique work of art.
Travelling Guide (2005)is an unofficial guide for Romanians seeking to enter and work in the United Kingdom illegally.
The question of labour and the exploitation of women’s bodies lies at the heart of Rottenberg’s humorous video installations. In Mary’s Cherries (2005) three female wrestlers perform a series of bodily actions in small claustrophobic chambers o
The Fountain of Prosperity (2007) is a reconstruction of the ‘Moniac’, a machine designed in the late 1940s by New Zealand economist Bill Phillips to illustrate the concept of monetary flow in national economies.
Werthein’s Brinco (2005) trainers were designed to assist illegal immigrants seeking to cross the Mexican-American border.
Goshka Macuga’s sculptural environments include unlikely displays of other artists’ work alongside disparate collections of objects – books, souvenirs, scraps, artefacts and curios – thus blurring the roles of artist, curator and collector. Fo
Surf's up at Tate St Ives where the new exhibition is inspired by the life and music of The Beach Boy's Brian Wilson. It includes art from the 1960s to today that seems to parallel or reflect Wilson’s musical development. DJ and major Beach Boy
To mark the opening of Tate Liverpool’s exhibition of contemporary Chinese art, the Yangjiang Group staged a ‘fireworks battle’ in the docks. The work is called If I Knew the Danger Ahead I'd Have Stayed Well Clear and involved £50,000 of fire
Ulla von Brandenburg is interested in the idea of the tableau vivant, or 'living picture'. Popular in the nineteenth century, the tableau vivant was a combination of fine art and theatre, with live models carefully posed and lit in a compositio
Poet Paul Farley explores Tate Liverpool's latest exhibition, Centre of the Creative Universe: Liverpool and the Avant-Garde. Farley grew up in Liverpool and has strong memories of many of the places that feature in the artists' work, from the
Mika Rottenberg’s mesmerising video installations are humorous and surrealistic. In Mary’s Cherries (2005) three female wrestlers take part in a bizarre production line, turning red painted fingernails into maraschino cherries. The video is sh
Bourbon biscuits, Liquorice Allsorts and golf balls are some of the unlikely materials from which architect Nigel Coates conjures a vision of London’s future. Coates was invited to make a piece of work for Global Cities, Tate Modern’s exhibiti
‘There will be no miracles here’, reads the illuminated signboard in Nathan Coley’s section of the Turner Prize exhibition. It’s one of a number of works Coley is presenting that explore the idea of faith in an era of moral uncertainty. He tal
Matei Bejenaru put out a call to fellow Romanian nationals, asking them to gather as a crowd outside Tate Modern to take part in a public performance. Here he introduces his own film of the event, Together (2007). Bejenaru is one of the artists
Since the 1970s, Martin Parr has photographed aspects of British life, documenting and dissecting the way we live with a witty, unblinking eye. On the eve of Tate Britain’s exhibition ‘How We Are: Photographing Britain’ Parr met us at his Lond
Mark Wallinger talks about his dramatic re-creation of peace campaigner Brian Haw's Parliament Square protest, State Britain, currently on display at Tate Britain, and outlines his own political stance on the Iraq war. State Britain consists of
In amongst the galleries at Tate Modern you might come across a barbershop, complete with barber’s chairs, checkerboard floor and striped red and white pole at the entrance. This is Sweeney Tate (2007), an art installation named in homage to th
Keith Tyson won the Turner Prize in 2002, the year the then culture minister Kim Howells caused a media storm by describing the entries as ‘cold, mechanical, conceptual, bullshit’. Tyson talks about the effect winning had on him, and discusses
One morning in November Jude Law walked through Borough Market, just down the road from Tate Modern, and bought some fish. It was a performance for a ‘real-time movie’, in which Law and a cast of extras mingled with the market crowds, following
Jeremy Deller talks about the two works that helped him win the Turner Prize in 2004, a wall drawing called The History of the World, a sort of mad-professor’s mind-map of the history of Britain through music; and a film called Memory Bucket th
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