Although this program has continued to develop and change since July, its singular and overwhelming achievement arguably took place during the opening week, when a production of Anne Teresa De Keersmaeker’s Fase: Four Movements to the Music of Steve Reich, 1982, offered a generative new approach to staging dance in a museum context. The inaugural program, a fifteen-week festival called Art in Action, placed a strong emphasis on female artists using approaches hitherto somewhat marginalized in museum exhibitions, including structuralist film installation (Lis Rhodes) and social practice (Suzanne Lacy). Now these enormous structures have been converted into fully equipped circular spaces designed for performance, installation, and filmapparently the first museum galleries in the world to be dedicated to these modes, and a significant departure from the 1960s arts-center approach, in which activities were divided into either “white cube” galleries or “black box” theaters. Back in the days when Tate Modern was a power station, the Tanks, located just south of Turbine Hall, held vast supplies of oil. ONE OF THE FEW HIGHLIGHTS of this past summer’s Cultural Olympiad, the UK government’s austerity-busting spending spree, was the July opening of the Tanks, Tate Modern’s new gallery spaces. De Keersmaeker perfoming movement 3, “Violin Phase,” July 19, 2012. Anne Teresa De Keersmaeker, Fase: Four Movements to the Music of Steve Reich, 1982.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |