Writing in today’s Observer newspaper, Laura Cumming’s review followed the headline (at least in the print version) ‘These swings don’t mean a thing’ describing the Superflex installation in the Turbine Hall of the Tate Modern as ‘by far the worst Turbine Hall commission in the history of the Tate Modern’, and went on to suggest that, if she were Hyundai (who sponsored the commission), she’d ask for her ball back.
I am no art critic, but I wonder if her review missed part of the essential point of the Tate Modern? It is an open expansive space, much of which can be viewed freely. A space where those unfamiliar with art can have their eyes opened, their lives changed. The vast expanse of the Turbine Hall is indeed a challenging space for any artist to fill, no matter how sweeping their ambition or profound their talent.
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In Wetin You Go Do?
– Title of an installation at the Tate Modern, created by Nigerian born Otobong Nkanga
The title of Nkanga’s piece, when translated from Nigerian Pidgin, an English-based Creole language widely spoken across Nigeria, is ‘What are you going to do?’. ‘In Wetin You Go Do’ integrates voice and sculpture to reflect on contemporary anxieties.
The theme of anxiety stitched a ragged thread through the time I spent lingering in the Tate Modern after my early morning arrival in London. Or perhaps, when visiting a gallery such as this, the feelings we have, that we bring in through the door, colour the way we see the exhibits, determine the way we select what to linger with and what to pass on by?
Do you mean to tell me that you’re thinking seriously of building that way, when and if you are an architect?
– Ayn Rand, The Fountainhead
Back in August last year, I shared a series of photos of The Shard, shot with my Nikon D700 and Nikkor AF 80-200mm f/2.8 D lens.
Yesterday, equipped with my Fujifilm X100F with its fixed 23mm (35mm full frame equivalent), I made these images.