The turbine hall of the Tate Modern gallery in London is one huge space to fill. Creating a work to tame its cathedral-like dimensions is one of the biggest asks in the arts world.
We’ve had a huge sun in there with the ceilings covered in mirrors, helter-skelter slides (a big hit with the kids), an eerie sound sculpture, a truly colossal creation that looked like an ear trumpet and now we have — a crack in the ground.
Shibboleth, by Colombian artist Doris Salcedo is the eighth major work to have been displayed in the hall and certainly one of the most challenging.
Named after the biblical massacre, it begins as a hairline crack in the concrete floor and widens to a jagged crevice along its near-200 metre journey to the other end of the hall.
Salcedo says it is a commentary on racial hatred and division in society. “I always try to relate my work to tragedy,” she said at the opening.
Do you like it?
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2 comments so far
I actually like the piece but I’m not sure about the name or the philosophy behind it. Our country may seem to have a divided society but no more than any other and we are more cohesive a society than plenty of others.
In patricular I disagree that we are a race hate society - we have one of the most integrated and cosmopolitan societies on earth.
- Posted by Rick HoughIt sounds like a good use of the space and I like the idea, but I haven\’t seen it \”in the flesh\”.
It sounds like a contender for the Turner Award.
Which brings me to a point about the Turner Award exhibit at the Tate Britain. Apart from the Gormley sculptures, and one or two experimental films,the exhibit is just not worth the space it takes up.
It is outrageous that the Tate Britain is charging an admission fee to see the show.
I was disappointed with the written information accompanying the art works.
They discussed the controversy surrounding the annual contemporary art award without putting the works in context of the cultural events in Britain surrounding its creation.
- Posted by June