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Tate Britain
The latest installation in the Duveen Galleries is a huge sculpture by Eva Rothschild. Stretching the full length of the galleries and made of aluminium box tubing, "Cold Corners" is a spidery tangle of black lines that resembles a computer generated scribble in three dimensions. I love the contrasts in colour and form with the surrounding architecture and the way the work darts about in the space like a child high on artificial preservatives. To quote from the exhibition info board: "Cold Corners is too large and complex to be taken in at a single glance. Instead it can be experienced over time as the visitor walks around or through it."
-- Post From My iPhone
-- Post From My iPhone
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One of the interesting questions thrown-up by the curators of this space relates to the successful use (or not) of the pathetic fallacy in encouraging responses from the audience. There is a mention of the meaning of the sculpture being in the creation of an anxious architecture. By which they are partly trying to mean that we the audience have our own anxieties reflected by this collision of classical geometric order and minimalist hyperbolic acute angles. I thought that Tate's description of an anxious architecture was silly, but the pathetic fallacy can work as a literary/descriptive device. Check-out Richard Serra's work too, in Tate Modern and Liverpool St station, if you want a similar experience.
V
I must say that this is one of the most exciting installations I've seen in the Duveen Galleries (as good as the medieval sculpture show a couple of years ago). I didn't feel much anxiety, partly because the classicism of the gallery architecture is not at odds with geometry, even of this minimalist nature. I thought they worked together beautifully. What I loved most was the energy of Rothschild's work, like an electric current running the length of the building.
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