Is bigger necessarily better? Apparently there is a curatorial desire for different sorts of exhibition space in which video works, architecture, performance and photography could be presented more suitably than they are in the currently available galleries. Tate Modern is vast acquisitions, as the Tate Director constantly reminds us, are limited further financial obligations, for an institution that is already underfunded, would follow on from the cost of the building itself. Although other architects were considered, the choice of Herzog & de Meuron to continue the work seems a logical outcome.īut the larger question of whether or not this ‘completion’ is necessary has been little aired. This will involve reclaimed areas from the electricity substation to the south of the Turbine Hall and further new structures. This is all the more surprising given the fact that the same firm has been selected for the ‘completion’ of Bankside, as announced earlier this year. On the multitude of tables bearing the plans, related materials and models that testify to the firm’s accelerating, worldwide commissions, Tate Modern is not easy to find. But this project, which immeasurably increased the firm’s international profile, is minimally represented in the show. At present, however, there is something very different on view, a sprawling exhibition celebrating the work of the architectural practice Herzog & de Meuron who were responsible, of course, for the building of Tate Modern.
#TATE GALLERY LONDON COLLECTION SEARCHY SERIES#
All these were part of the brilliantly conceived Unilever Series which continues next autumn with a commission to Rachel Whiteread. Since 2000, the soaring east end of the Turbine Hall has seen five spectacular, consecutive installations by Louise Bourgeois, Juan Muñoz, Anish Kapoor, Olafur Eliasson and Bruce Nauman. The whole enterprise has been an extraordinary success and a visit to Tate Modern is now as much part of the London tourist itinerary as the Eye, the Tower, the Abbey and the National Gallery. In the latter, Matisse Picasso (2002) and Edward Hopper (2004) attained the highest attendance figures of the twenty-eight shows mounted since then, with well over 400,000 viewers each. Since then, twenty million visitors have made their way down the Gallery’s wide, sloping Turbine Hall towards the escalators that serve the three levels devoted to the permanent collection and the temporary exhibition galleries. FIVE YEARS AGO, in a blaze of publicity, Tate Modern opened in the former Bankside Power Station overlooking the Thames.
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