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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Sung Tieu", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sung-tieu-31319" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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{ "id": 8, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of works in Tate’s collection by Vietnamese-born artist Sung Tieu that build on a body of research into the 1980 recruitment agreement between the German Democratic Republic (GDR) and the Socialist Republic of Vietnam. This agreement brought up to 100,000 Vietnamese contract workers to almost 1,000 publicly owned German enterprises (Volkseigener Betrieb or VEB). All dated 2021, the works are two sculptures – <i>The Earth and the Sky</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-the-earth-and-the-sky-t15887\" title=\"View the details of this artwork\"><span>T15887</span></a>) and <i>Filling Gaps </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-filling-gaps-t15888\" title=\"View the details of this artwork\"><span>T15888</span></a>) – each of which is paired with a unique work on paper, both entitled <i>Work Contract</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-work-contract-t15910\" title=\"View the details of this artwork\"><span>T15910</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-work-contract-t15911\" title=\"View the details of this artwork\"><span>T15911</span></a>).</p>\n<p>The stamped ‘work contracts’ form the narrative structure of this group of works. In each case, they comprise three framed pages that reproduce material held in the German Federal Archive, transcribed verbatim in German and Vietnamese, reformatted and stamped by Tieu with an ink motif of a fence. This motif is based on the design of a fence used in building construction and is applied to each sheet in an identical formation using a grid. It is a mark made by the artist’s hand but one that is controlled, a process of making that permeates these works. The text of each <i>Work Contract </i>outlines the standardised contract that was issued to and signed by every Vietnamese worker arriving in the GDR, including Tieu’s father. It not only sought to control workers professionally, detailing salary, holiday entitlement and working hours, but to control them social and bodily as well. In Article 4 of the contract, for example, it states that the employees must commit to ‘high levels of work ethic, discipline and productivity’, whilst further points acknowledge the employee’s duty to ‘protect Socialist property from loss and damage’ and to ‘utilise the opportunities provided to further their professional and linguistic qualifications’.</p>\n<p>\n<i>The Earth and the Sky </i>and <i>Filling Gaps </i>each connect to a unique version of the <i>Work Contract</i>, though the sculptures can also be displayed without their respective contracts. They are found objects produced by Vietnamese workers that Tieu has sourced from the GDR state-owned enterprises. <i>The Earth and the Sky </i>consists of a pillow and duvet made at the VEB Vowetex factory, tightly strapped together by metal wire, and <i>Filling Gaps </i>of tampons made at the VEB Vliestextilien Lößnitztal plant, encased in a polished stainless-steel tube. Together these sculptures expose the hidden labour that drove the GDR’s industrial complex; the labour of Vietnamese workers is made visible by Tieu in the material form of the output of their labour – whether duvet, pillow or tampon.</p>\n<p>Encountering <i>The Earth and the Sky </i>in the gallery, the viewer is presented with the constriction of the steel wire that binds the duvet and pillow together. There is a tension between the softness of the familiar domestic fabric elements and the hardness of the metal strictures. The strict rules of behaviour outlined in <i>Work Contract</i> are thus materialised in the sculpture. As in Tieu’s work more broadly, <i>The Earth and the Sky </i>is imbued with personal cultural testimony of the Vietnamese diaspora. It connects to <i>bánh chưng</i>, a direct translation in Vietnamese of the work’s title. <i>Bánh chưng</i> is a rice cake served at New Year that is wrapped in bamboo leaves and tied with a lattice of <i>giang</i> strings, another type of bamboo, that is formally echoed in the bound constructions of <i>The Earth and the Sky.</i>\n</p>\n<p>\n<i>Filling Gaps</i> draws attention to the specific and disproportionate control exerted by the GDR on the bodies of Vietnamese women. Article 5 of <i>Work Contract </i>demands that any changes to workers’ personal relationships which may have a consequence for their working relationship – ‘marriage, birth of a child, amongst others’ – must immediately be reported and made known to the employer. Together <i>The Earth and the Sky </i>and <i>Filling Gaps</i> evoke the realities of GDR state control over the lives and bodies of Vietnamese workers, but also allude to pervasive systems of social and political power more broadly.</p>\n<p>Born in Vietnam, but growing up in Germany and working between London and Berlin, Tieu’s transnational practice explores the Vietnamese diasporic experience in Europe, imbuing her research into the dynamics of globalised capitalism and spatial dislocation with personal cultural testimony of the Vietnamese diaspora. Works such as these demonstrate her preoccupation with conflicting mechanisms of care and control as well as the volatile social conditions that impact life in the Vietnamese diaspora. While addressing social and cultural class divides now and in recent history, Tieu’s work foregrounds the ways information has historically been manipulated as a tool of imperialist violence.</p>\n<p>\n<b>Further reading</b>\n<br/>Cédric Fauq and Damian Lentini (eds.), <i>Sung Tieu:</i> <i>Oath Against Minimalism</i>,<i> </i>London 2020.</p>\n<p>Nathan Ladd <br/>October 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1906–1988", "fc": "Ithell Colquhoun", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ithell-colquhoun-931" } ]

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{ "id": 6, "meta": { "type": "art.Classification" } }

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[ { "artistRoomsTour": false, "dateText": "14 October 2017 – 31 January 2021", "endDate": "2021-01-31", "exhibitionLegs": [ { "dateText": "14 October 2017 – 31 January 2021", "endDate": "2021-01-31", "id": 11254, "startDate": "2017-10-14", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 9298, "startDate": "2017-10-14", "title": "Modern Art and St Ives", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "1855–1927", "fc": "Marianne Stokes", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/marianne-stokes-528" } ]

[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]

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{ "id": 6, "meta": { "type": "art.Classification" } }

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[ { "artistRoomsTour": false, "dateText": "31 October 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "4 October 2021", "endDate": null, "id": 13418, "startDate": "2021-10-04", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11050, "startDate": "2022-10-31", "title": "Gallery 8", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>A Fisher Girl’s Light</i> depicts a young woman walking alongside a harbour, with her head tilted downwards, and her eyes closed. She appears absorbed in thought. She wears traditional local costume and winged, white headdress of the Dutch town of Volendam. Two lanterns glow orange against the dusk of the sea. Boats and nets appear beyond. The girl contemplates a rosary and a lantern bearing an image of Our Lady of Luxemburg, Kevelaer, Consoler of the Afflicted. The warm lantern spheres set against a cool geometry of nets and boats, looks forward to early twentieth-century abstraction. <i>A Fisher Girl’s Light </i>exemplifies Stokes’s study of medieval techniques and imminent adoption of an egg tempera medium, applied in tiny strokes, to achieve paler, purer colour and a smoother surface.</p>\n<p>The Austrian artist Marianne Stokes (née Preindlsberger) had an international career. She was based in Britain after her marriage to fellow artist, Adrian Stokes (1854–1935). <i>A Fisher Girl’s Light</i> was the highlight of her most important exhibition, <i>Dutch Life and Landscape, works by Adrian and Marianne Stokes</i>, at the Fine Art Society, London in 1900. The painting was purchased by the sculptor, George Frampton (1860–1928). This work is typical of Stokes' blend of naturalism and spiritual underpinnings. Its partner painting, <i>The Netmender </i>1899–1900, in the Guildhall Art Gallery, London has a muted, chiaroscuro palette.</p>\n<p>Stokes’s international practice connected artistic colonies across Britain and Europe, from St Ives to Volendam in the Netherlands. Her travels informed her work and provided her with an extensive knowledge of painting. <i>A Fisher Girl’s Light</i> was made after a working tour of Holland that included the artists’ colony in the small coastal town of Volendam. The subtitle states that the girl is ‘A Pilgrim of Volendam returning from Kevelaer’. Kevelaer is a seventeenth-century Roman Catholic pilgrimage site over the border in Germany, and the Edam and Volendam pilgrimage and return procession took place during Stokes’s visit.<br/>Most of Holland was protestant, but Volendam was mainly catholic. The trip also inspired Stokes’s smaller <i>Candlemas Day </i>c.1901 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/stokes-candlemas-day-t02108\" title=\"View the details of this artwork\"><span>T02108</span></a>), made the following year. In 1883 Stokes had studied in Pont-Aven in the south of France, where, over the next decade,<br/>Paul Gauguin (1848–1903) and his circle observed traditional religious rituals and dress. The Pont-Aven artists developed formal effects of colour and composition to enhance the spiritual atmosphere of such scenes. Nonetheless, Stokes’s depictions of women in traditional dress are individual portraits, as can be seen from the fisher girl’s distinctive profile.</p>\n<p>As Britain and Europe became more industrial and urban, artists collected in less modernised locations, seeking settings and populations that were considered picturesque by city audiences. Lifestyles were more affordable for artists in these colonies, and modern transport networks made it easy to travel between population centres and markets. <i>A Fishergirl’s Light</i> is typical in aestheticising a working person in a rural setting. Painters foregrounded humble models like the fisher girl, traditional dress such as the cap, and local crafts, exemplified here by the lanterns.</p>\n<p>\n<b>Further reading</b>\n<br/>Meynell, Wilfrid, ‘Mr. and Mrs. Adrian Stokes’,<i> Art Journal, </i>July 1900, pp.193–198.<br/>Magdalen Evans, <i>Utmost Fidelity, The Painting Lives of Marianne and Adrian Stokes</i>, Warwick 2009, pp.94–95.<br/>Laurence Madeline, Bridget Alsdorf, Jane R. Becker, Joëlle Bolloch, Vibeke Waallann Hansen, <i>Women Artists in Paris 1850–1900</i>, New Haven 2018.</p>\n<p>Carol Jacobi<br/>May 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-06-06T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This young woman is on the annual religious pilgrimage in the fishing village of Volendam, near Amsterdam. The religious figure painted onto the lantern hints at what she sees in her mind’s eye. It was common to show young women on the threshold of marriage and motherhood, the orange lantern glow reflected on her belly hinting at this. Marianne Stokes’s style blended natural settings with spiritual effects. She focused on local crafts and traditional dress that she and her audience saw as a more traditional and mystical way of life.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2023-11-29T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Sung Tieu", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sung-tieu-31319" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of works in Tate’s collection by Vietnamese-born artist Sung Tieu that build on a body of research into the 1980 recruitment agreement between the German Democratic Republic (GDR) and the Socialist Republic of Vietnam. This agreement brought up to 100,000 Vietnamese contract workers to almost 1,000 publicly owned German enterprises (Volkseigener Betrieb or VEB). All dated 2021, the works are two sculptures – <i>The Earth and the Sky</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-the-earth-and-the-sky-t15887\" title=\"View the details of this artwork\"><span>T15887</span></a>) and <i>Filling Gaps </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-filling-gaps-t15888\" title=\"View the details of this artwork\"><span>T15888</span></a>) – each of which is paired with a unique work on paper, both entitled <i>Work Contract</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-work-contract-t15910\" title=\"View the details of this artwork\"><span>T15910</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tieu-work-contract-t15911\" title=\"View the details of this artwork\"><span>T15911</span></a>).</p>\n<p>The stamped ‘work contracts’ form the narrative structure of this group of works. In each case, they comprise three framed pages that reproduce material held in the German Federal Archive, transcribed verbatim in German and Vietnamese, reformatted and stamped by Tieu with an ink motif of a fence. This motif is based on the design of a fence used in building construction and is applied to each sheet in an identical formation using a grid. It is a mark made by the artist’s hand but one that is controlled, a process of making that permeates these works. The text of each <i>Work Contract </i>outlines the standardised contract that was issued to and signed by every Vietnamese worker arriving in the GDR, including Tieu’s father. It not only sought to control workers professionally, detailing salary, holiday entitlement and working hours, but to control them social and bodily as well. In Article 4 of the contract, for example, it states that the employees must commit to ‘high levels of work ethic, discipline and productivity’, whilst further points acknowledge the employee’s duty to ‘protect Socialist property from loss and damage’ and to ‘utilise the opportunities provided to further their professional and linguistic qualifications’.</p>\n<p>\n<i>The Earth and the Sky </i>and <i>Filling Gaps </i>each connect to a unique version of the <i>Work Contract</i>, though the sculptures can also be displayed without their respective contracts. They are found objects produced by Vietnamese workers that Tieu has sourced from the GDR state-owned enterprises. <i>The Earth and the Sky </i>consists of a pillow and duvet made at the VEB Vowetex factory, tightly strapped together by metal wire, and <i>Filling Gaps </i>of tampons made at the VEB Vliestextilien Lößnitztal plant, encased in a polished stainless-steel tube. Together these sculptures expose the hidden labour that drove the GDR’s industrial complex; the labour of Vietnamese workers is made visible by Tieu in the material form of the output of their labour – whether duvet, pillow or tampon.</p>\n<p>Encountering <i>The Earth and the Sky </i>in the gallery, the viewer is presented with the constriction of the steel wire that binds the duvet and pillow together. There is a tension between the softness of the familiar domestic fabric elements and the hardness of the metal strictures. The strict rules of behaviour outlined in <i>Work Contract</i> are thus materialised in the sculpture. As in Tieu’s work more broadly, <i>The Earth and the Sky </i>is imbued with personal cultural testimony of the Vietnamese diaspora. It connects to <i>bánh chưng</i>, a direct translation in Vietnamese of the work’s title. <i>Bánh chưng</i> is a rice cake served at New Year that is wrapped in bamboo leaves and tied with a lattice of <i>giang</i> strings, another type of bamboo, that is formally echoed in the bound constructions of <i>The Earth and the Sky.</i>\n</p>\n<p>\n<i>Filling Gaps</i> draws attention to the specific and disproportionate control exerted by the GDR on the bodies of Vietnamese women. Article 5 of <i>Work Contract </i>demands that any changes to workers’ personal relationships which may have a consequence for their working relationship – ‘marriage, birth of a child, amongst others’ – must immediately be reported and made known to the employer. Together <i>The Earth and the Sky </i>and <i>Filling Gaps</i> evoke the realities of GDR state control over the lives and bodies of Vietnamese workers, but also allude to pervasive systems of social and political power more broadly.</p>\n<p>Born in Vietnam, but growing up in Germany and working between London and Berlin, Tieu’s transnational practice explores the Vietnamese diasporic experience in Europe, imbuing her research into the dynamics of globalised capitalism and spatial dislocation with personal cultural testimony of the Vietnamese diaspora. Works such as these demonstrate her preoccupation with conflicting mechanisms of care and control as well as the volatile social conditions that impact life in the Vietnamese diaspora. While addressing social and cultural class divides now and in recent history, Tieu’s work foregrounds the ways information has historically been manipulated as a tool of imperialist violence.</p>\n<p>\n<b>Further reading</b>\n<br/>Cédric Fauq and Damian Lentini (eds.), <i>Sung Tieu:</i> <i>Oath Against Minimalism</i>,<i> </i>London 2020.</p>\n<p>Nathan Ladd <br/>October 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1946", "fc": "Obiora Udechukwu", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/obiora-udechukwu-31305" } ]

[ { "id": 999999873, "shortTitle": "Tate St Ives" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI34", "map_space_label": "Tate St Ives / TSI34", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479054" }, { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI35", "map_space_label": "Tate St Ives / TSI35", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479055" } ]

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[ { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14384, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11863, "startDate": "2021-03-13", "title": "Gallery 4: Modern Art and St Ives", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Udechukwu was one of a group of artists who studied and taught at the University of Nigeria, Nsukka, an institution known for promoting the inclusion of <i>uli </i>motifs within the modernist tradition. After Nigeria’s independence from British colonial rule in 1960, Uche Okeke (1933–2016), one of the teachers at Nsukka, revived the use of <i>uli. </i>This took place<i> </i>during a period of growing freedom from the colonial restraints placed on cultural traditions. <i>Uli </i>motifs can refer to everyday Igbo life, such as cooking, tools and pots, as well as natural elements such as the sun, the moon, birds, animals and plants. Some of the motifs are also for decorative purposes. The incorporation of these designs became critical in creating a distinctively Nigerian modernist art movement.</p>\n<p>\n<b>Further reading</b>\n<br/>Obiora Udechukwu, ‘Obiora Udechukwu: Towards Essence and Clarity’, <i>Nigeria Magazine</i>, 1980, pp.132–3, 143–6.<br/>Simon Ottenberg, ‘Sources and Themes in the Art of Obiora Udechukwu’, <i>African Arts</i>, Summer 2002, vol.35, no.2, pp.30–43, 91–2.<br/>Chika Okeke-Agulu, <i>Obiora Udechukwu: Line, Image, Text</i>, Milan 2017.</p>\n<p>Tamsin Hong and Catherine Wood<br/>October 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-07-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1984", "fc": "Abbas Zahedi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/abbas-zahedi-30863" } ]

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{ "id": 3, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>How To Make A How From A Why</i> is an installation comprising a fire sprinkler system suspended overhead, through which rose-infused water circulates and drips into hand-washing bowls and jugs placed on the floor. The system is activated by hand-pumping the rose-infused water into a white and orange cistern, also set on the floor. On the wall, a hand-dryer of the type found in public facilities displays a short sentence: ‘why me/you not you/me’. A fire exit sign has been redesigned with an image of an arm and is positioned above a door. On another wall, a closed aluminium shutter suggests the presence of a concealed door and vibrates to the sound emitted by surface transducers installed within it. The sixty-minute sound piece, composed with musicians Saint Abdullah, Mohammad and Mehdi Mehrabani-Yeganeh, includes found sounds from Iranian field recordings, eulogies and poems.</p>\n<p>The bespoke sprinkler system is made of food-grade steel, a reference to the food industry which runs through the artist’s practice and whose roots can be found in his biography. His mother’s family were drink-makers in their village in Iran, providing drinks for grieving ceremonies and religious occasions. Having himself worked as production assistant in a craft brewery in London, Zahedi organised grassroots interventions in the form of a pop-up bar (2015–17) and other projects involving the service of locally-sourced food in galleries (including at Tate Britain in 2018) or the making of drinks.</p>\n<p>\n<i>How To Make A How From A Why </i>was created for the South London Gallery Fire Station in Camberwell, the result of Zahedi’s Postgraduate Artist Residency there in 2019–20. It combines research into the history of the building and local area – notably the deadly fire in a tower block on the nearby Sceaux Gardens estate which occurred in July 2009, almost a decade before the Grenfell Tower fire of July 2017 – and references to grieving and to the artist’s family’s heritage of ceremonial drink-making in Iran. Rose water is traditionally used in grieving rituals as a commemorative libation and to wash the dead before burial. For the artist, activating the flow of rose water contributes to the making of an offering to the space and suggests the act of cleansing the institution, a cyclical movement that also acts as a source of energy and life. This is embodied by the ceramic bowls, fired with crushed glass bottles that the artist had produced and distributed as part of his work for the Diaspora Pavilion at the Venice Biennale in 2017.</p>\n<p>Through the incorporation of the shutter (referencing the original architecture of the South London Gallery Fire Station), Zahedi reflects on spaces of exit and threshold – both literal and metaphysical: ‘The points of entry, the points of exit, these thresholds, these borders situation: who’s allowed to cross? Which way? Who benefits from the crossings across these thresholds? These are all aspects that I wanted to highlight and that feed into the conception of the work.’ (Zahedi, in South London Gallery 2020, accessed 11 January 2021). As suggested by its title, <i>How To Make A How From A Why</i> refers to questions raised by experiences of death, loss and transformation. It echoes some of the artist’s personal experiences, but also invites the viewer to contemplate a material expression of grief and death. The presence of the verb ‘to make’ in the title anchors the work in the physical and bodily, via the act of<i> </i>turning the drops of rose water into allegorical tears.</p>\n<p>Zahedi’s participatory practice explores his concept of neo-diaspora, the predicament of being a second-generation migrant in a hyper-connected world. His work questions methods of integration from a cultural rather than social or economic perspective. Curator Cédric Fauq has described Zahedi’s installation as part of an ‘updated conceptualism’:</p>\n<p class=\"cttext\">\n</p><blockquote>a conceptualism that helps reformulating systems of oppression while emphasizing the need for the adoption of a radical affective sociality; a conceptualism that gives new meaning to potential flight for liberation and the beautiful crafting of strategies to refuse representational performances of blackness, in intersection with the abolition of labour as we know it. Or, simply put, a conceptualism that commands us to take a breath.</blockquote>\n<blockquote>(Fauq 2020, accessed 11 January 2021.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Abbas Zahedi, <i>How To Make A How From A Why</i>, <i>artist interview</i>, exhibition video, South London Gallery 2020, <a href=\"https://abbzah.com/2020/03/06/how-to-make-a-how-from-a-why/\">https://abbzah.com/2020/03/06/how-to-make-a-how-from-a-why/</a>, accessed 11 January 2021.<br/>Cédric Fauq, ‘Transactional Objects Full of Contexts in Voided Sites’, <i>Mousse Magazine</i>, no.71, Spring 2020, <a href=\"http://moussemagazine.it/transactional-objects-full-of-contexts-in-voided-sites-cedric-fauq-2020/\">http://moussemagazine.it/transactional-objects-full-of-contexts-in-voided-sites-cedric-fauq-2020/</a>, accessed 11 January 2021.</p>\n<p>Elsa Coustou<br/>January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1970", "fc": "Anne Hardy", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anne-hardy-25372" } ]

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[ { "artistRoomsTour": false, "dateText": "13 May 2022 – 4 September 2022", "endDate": "2022-09-04", "exhibitionLegs": [ { "dateText": "13 May 2022 – 4 September 2022", "endDate": "2022-09-04", "id": 14986, "startDate": "2022-05-13", "venueName": "Whitworth Art Gallery (Manchester, UK)", "venueWebsiteUrl": "http://www.whitworth.man.ac.uk" } ], "id": 12187, "startDate": "2022-05-13", "title": "British Art Show 9", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Anne Hardy’s <i>Liquid Landscape</i> 2019 is a large sculptural installation in which objects, light, colour and sound combine to produce an intensely sensory experience for the viewer. It is one of a number of sculptural environments, collectively titled ‘FIELD’ works, which Hardy has presented since 2013, allowing the viewer to immerse themselves physically in carefully constructed spaces of the type she routinely uses as the basis for her photographic works (see, for example, <i>Cipher </i>2007 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hardy-cipher-p82561\" title=\"View the details of this artwork\"><span>P82561</span></a>] and <i>Untitled VI </i>2005 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hardy-untitled-vi-p15084\" title=\"View the details of this artwork\"><span>P15084</span></a>]). Hardy requests that people enter her FIELD works without shoes, to enable a more sensitive engagement with the environment. The viewer is encouraged to navigate a route through the disparate objects that make up <i>Liquid Landscape</i>. Bright orange carpet envelops the space, covering both the floor and walls. Tilting grid-like structures made of wood appear to sink into the ground, while various bare bulbs create pockets of glowing light. Some of the taller structures have cascades of fluttering, ribbon-like video tape suspended from them. A hand-blown glass shade over a bulb still has a molten quality. What appear to be slender branches and polystyrene packing chips are in fact cast in aluminium. Silver-coloured nitrous oxide canisters litter the floor. Sound is a significant sculptural component in this work; a programmed quadrophonic soundtrack loops over the course of just over ten minutes. In addition to this, the lighting system is programmed to vary in brightness multiple times over each ten-minute period. The intermittent sound of pouring rain as one navigates the space, together with the varying light conditions, makes one increasingly sensitive to the environment, where objects tilt, apparently teetering on the brink of collapse.</p>\n<p>The point of departure for Hardy’s FIELD works is the city landscape, and especially the liminal spaces of East London where she lives and works. In an essay for the exhibition leaflet for the work’s showing at Museum Boijmans Van Beuningen, curator Nina Folkersma described the way in which Hardy:</p>\n<p class=\"cttext\">\n</p><blockquote>approaches ‘the landscape of the city like a gigantic instrument’. She will fashion the collected sounds into a special audio score that will play in the work through a quadraphonic (4-channel) audio system, giving the sound a very precise spatial structure. The audio score and the lighting will be programmed such that visitors will get the feeling that the space around them is slowly changing – like an animated but unstable world that moves in time with them. Hardy describes her new FIELD work as a ‘sentient space’. “I want the work to give you the feeling that it is performing for you, and around you; that it is a sentient, poetic being with which you can spend time, but can never fully understand.”’<br/>(<i>Anne Hardy: Sensory Spaces</i>, exhibition leaflet, Museum Boijmans Van Beuningen, Rotterdam, 2018, pp.7–9.)</blockquote>\n<p>Working in her studio, Hardy builds the spaces depicted in photographs such as <i>Cipher </i>and <i>Untitled VI </i>over many months, using mostly found objects. The result of a labour-intensive process that involves building the structure of a space, then developing the interior details over time, Hardy’s rooms are constructed with the frame of a photographic lens in mind. When completed, the fabricated spaces are photographed and the structures themselves discarded. Hardy’s dense, enigmatic interiors become spaces the viewer can only explore with the imagination. The critic Helen Chang has described the speculation they generate in the viewer:</p>\n<p class=\"cttext\">\n</p><blockquote>While devoid of people, as well as any clear identifiable purpose, they are full of objects that yield myriad narratives, as fantastical as they are forensically futile. The possible inhabitants of these spaces are momentarily away, or perhaps have deserted the place altogether: a costume-party-goer leaves a mask hanging on the door, karaoke lounge singers are waiting to sing, gymnasts are out celebrating a win. Their traces and detritus are arranged meticulously, to the point of disbelief, so painterly is their composition.<br/>(Helen Chang, ‘Anne Hardy’, <i>Frieze</i> magazine, no.151, November–December 2012, <a href=\"https://frieze.com/article/anne-hardy\">https://frieze.com/article/anne-hardy</a>, accessed 17 October 2019.) </blockquote>\n<p>In his essay ‘Two-dimensional Sculpture’, the curator Francesco Manacorda discussed how Hardy’s work involves a complex navigation through the conventions of signification in photography, painting and sculpture. He wrote: </p>\n<p class=\"cttext\">\n</p><blockquote>Hardy’s photographs tend to bring the mechanical and representational apparatus of photography into the territories of painting. Akin to the tradition of figurative painting, the artist imagines and constructs an entire world in three-dimensions, taking into consideration the way light falls onto it, its colours, density and composition, all in front of the camera, completing the process by framing it. The ‘iconophiliac’ intention is nonetheless modulated by the constructed ambiguity that pervades all of Hardy’s photographs … Viewers are left to decide which marks to believe and how to read them while reading them. Like clues in a detective story, the scenarios in Hardy’s photographs are half-sentences, empty and contradictory. The task of decoding is made more difficult by the deliberate tensions towards a degree zero of indexicality. This operation attacking the truth claim of photography and our unquestioned visual literacy is paradoxically a sculptural one.<br/>(Francesco Manacorda, ‘Two-dimensional Sculpture’, in <i>File Note 58: Anne Hardy</i>, exhibition catalogue, Camden Arts Centre, London 2011.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Anne Hardy: Sensory Spaces</i>, exhibition leaflet, Museum Boijmans Van Beuningen, Rotterdam 2018.</p>\n<p>Helen Delaney<br/>October 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1990", "fc": "Augustas Serapinas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/augustas-serapinas-30571" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Gym </i>2012–21 is a performative installation comprising multiple sculptures – a number of objects reminiscent of gym exercise machines, and a standing towel rack. The ‘machines’ are displayed as a static artwork, occasionally activated by between two and five performers wearing sports clothing and shoes. Lithuanian-born Serapinas originally conceived <i>Gym </i>during an art residency at the Estonian Academy of Arts in Tallinn in 2012. Working in the studios there, he came across a number of abandoned sculptures left behind by fine-art students. Alluding to the academy’s isolation from its surrounding environment, which included a number of athletic training sites, the artist repurposed the discarded works by constructing a gym within the Academy’s spaces, highlighting their utilitarian function. He has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>The division between the department and the local environment really struck me. Inside the Academy everything looked like a self-run art factory. Students were producing a lot of art, which seemed to do nothing but take up storage space. At the same time, the atmosphere right outside the school was very dynamic. You had a stadium, some trails, a lot of people jogging … I decided to remove some works from the students’ storage unit and convert them into gym equipment. Then I invited students and townspeople to work out together.<br/>(‘Augustas Serapinas. In the Studio’,<i> </i>interview by Travis Jeppesen, <i>Art in America</i>, March 2017, p.120.)</blockquote>\n<p>The sculptures forming the installation are made of various materials including linen, plaster, metal and wood. Between 2012 and 2018 the work was exhibited six times, with the artist including one additional prop for each venue, hence the extended dating of the piece.</p>\n<p>\n<i>Gym</i> is emblematic of the artist’s signature use of found objects and his interest in combining performance or participation with sculptural practice. Serapinas investigates the social potential of urban and architectural spaces by activating them or changing their conventional function, challenging the routine ways in which we use and inhabit our surroundings. His installations often serve as spaces for encounters both with art and other people. The artist toys with the dynamics of social relations, subtly changing the codes of being together. The idea of working out and training embedded in an installation made of discarded artworks also playfully points to the efforts and perils of the creative process.</p>\n<p>Trained as a sculptor, Serapinas consistently undermines the traditional understanding of his discipline as something static and permanent, with many of his works encouraging interaction. For instance, in his series<i> Chair for the Invigilator </i>2019 he asked visitors to that year’s 58th Venice Biennale to climb up and sit on high chairs and assume the role of exhibition guards. The gesture of changing roles between visitor and invigilator, as well as the invitation physically to use an artwork, which traditionally should not be touched, exemplify Serapinas’s questioning of social conventions. This playful approach applies to his work with performers and participants, but also to his treatment of art objects, as seen in <i>Gym </i>where he has used other artists’ sculptures and transformed them into functional tools and elements in the construction of his own installation. </p>\n<p>\n<b>Further reading</b>\n<br/>Augustas Serapinas, ‘In the Studio’, interview by Travis Jeppesen, <i>Art in America</i>, March 2017, pp.114–21.<br/>Naomi Rea, <i>Meet Augustas Serapinas, the Youngest Artist in the Venice Biennale, Who Likes to Lure Curators Into an Empty Sewer</i>, published 26 April 2019, <a href=\"https://news.artnet.com/art-world/meet-augustas-serapinas-the-youngest-artist-in-the-venice-biennale-1525318\">https://news.artnet.com/art-world/meet-augustas-serapinas-the-youngest-artist-in-the-venice-biennale-1525318</a>, accessed 27 July 2020.<br/>Auguste Petre, ‘The parallel timelines of art. An interview with Lithuanian artist Augustas Serapinas’, <i>Arterritory.com</i>, 3 June 2019, <a href=\"https://arterritory.com/en/visual_arts/interviews/24145-the_parallel_timelines_of_art\">https://arterritory.com/en/visual_arts/interviews/24145-the_parallel_timelines_of_art</a>, accessed 23 July 2020.</p>\n<p>Kasia Redzisz<br/>June 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1948–1985", "fc": "Ana Mendieta", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ana-mendieta-11167" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "20 March 2022 – 5 February 2023", "endDate": "2023-02-05", "exhibitionLegs": [ { "dateText": "21 March 2022 – 5 February 2023", "endDate": "2023-02-05", "id": 14768, "startDate": "2022-03-21", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12145, "startDate": "2022-03-20", "title": "Ana Mendieta, Anu Põder and Veronica Ryan", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "born 1965", "fc": "Hurvin Anderson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/hurvin-anderson-12583" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "1 December 2021 – 3 April 2022", "endDate": "2022-04-03", "exhibitionLegs": [ { "dateText": "1 December 2021 – 3 April 2022", "endDate": "2022-04-03", "id": 13522, "startDate": "2021-12-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11148, "startDate": "2021-12-01", "title": "Life Between Islands: Caribbean-British Art 1950s - Now", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "1 December 2023 – 30 April 2024", "endDate": "2024-04-30", "exhibitionLegs": [ { "dateText": "1 December 2023 – 30 April 2024", "endDate": "2024-04-30", "id": 15391, "startDate": "2023-12-01", "venueName": "Art Gallery of Ontario (Toronto, Canada)", "venueWebsiteUrl": "http://www.ago.net" } ], "id": 12634, "startDate": "2023-12-01", "title": "Life Between Islands", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "1925–2008", "fc": "Robert Rauschenberg", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-rauschenberg-1815" }, { "append_role_to_name": false, "date": "", "fc": "Lawrence Voytek", "prepend_role_to_name": true, "role_display": "maker", "url": "https://www.tate.org.uk/art/artists/lawrence-voytek-31220" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 264813, "shortTitle": "Set and Reset" } ]

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[ { "artistRoomsTour": false, "dateText": "24 January 2022 – 4 September 2022", "endDate": "2022-09-04", "exhibitionLegs": [ { "dateText": "24 January 2022 – 4 September 2022", "endDate": "2022-09-04", "id": 14480, "startDate": "2022-01-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11927, "startDate": "2022-01-24", "title": "Trisha Brown with Laurie Anderson, Beverly Emmons, and Robert Rauschenberg", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "1936 – 2017", "fc": "Trisha Brown", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/trisha-brown-6383" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 264813, "shortTitle": "Set and Reset" } ]

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{ "id": 10, "meta": { "type": "art.Classification" } }

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[ { "artistRoomsTour": false, "dateText": "24 January 2022 – 4 September 2022", "endDate": "2022-09-04", "exhibitionLegs": [ { "dateText": "24 January 2022 – 4 September 2022", "endDate": "2022-09-04", "id": 14480, "startDate": "2022-01-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11927, "startDate": "2022-01-24", "title": "Trisha Brown with Laurie Anderson, Beverly Emmons, and Robert Rauschenberg", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>   Set and Reset </i>1983 is an installation of Trisha Brown’s dance production of the same name that includes Robert Rauschenberg’s (1925–2008) original costumes and sculpture created for the stage-set, lighting by Beverly Emmons (born 1943) with Rauschenberg, and music by Laurie Anderson (born 1947), with optional archival documentation of Brown’s choreography being performed.<i> Set and Reset</i> is considered one of the most important works in Brown’s career and in the history of postmodern dance. Brown is best known as a founding member of the Judson Dance Theater in New York and as a choreographer of postmodern dance, with productions that have been staged in a range of venues internationally.</p>\n<p>Rauschenberg titled the sculpture at the centre of the <i>Set and Reset </i>stage-set <i>Elastic Carrier (Shiner)</i> in reference to his ‘Shiner’ series of works that explored the reflective properties of stainless steel. <i>Elastic Carrier</i> consists of a central large rectangular form with two slanted internal panels flanked by two pyramidal structures, made from aluminium beams covered in Sharkstooth scrim and polyester fabric. Four black-and-white 16mm films with sound, composed from stock footage and newsreels, are projected onto mirrors that reflect the collaged film material onto the structure. The fabric enables the footage to pass through the structure and refract the images at different angles. As the original 16mm films are fragile, a digitised version is used for display. At the beginning of the performance, the sculpture and projectors begin on the floor, slowly rising after one minute twenty seconds to an overhead position, where they remain throughout the duration of the twenty-minute dance. Rauschenberg described the set as ‘a translucent traveller … to provide a hovering environment for the dance’ (quoted in Addison Gallery 2002, p.128). He purposely decorated the remainder of the stage-space sparingly, using sheer black scrim for the backdrop and the legs on the wings of the stage so that the off-stage activity becomes a part of the work. This is emphasised by one side of the legs being covered with white satin, which one of the dancers briefly holds in their mouth during the performance.</p>\n<p>The costumes created by Rauschenberg consist of trousers for the two male dancers and tops and trousers for the four female dancers. They are made of transparent fabric and feature silkscreened black-and-white monochromatic photographs of urban and industrial scenes taken by Rauschenberg. The costumes echo the layering of imagery shown in <i>Elastic Carrier </i>and resemble his pioneering work of the 1960s in which he used the commercial mechanism of silkscreen printing to create paintings such as <i>Almanac </i>1962 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rauschenberg-almanac-t01135\" title=\"View the details of this artwork\"><span>T01135</span></a>). By using sheer material Rauschenberg hoped to ‘provoke your looking <i>past </i>the costumes and back to the dance’ (quoted in Addison Gallery 2002, p.128).</p>\n<p>Rauschenberg’s approach to making painting and sculpture was significantly influenced by his long-term collaborations with choreographers; first Merce Cunningham, and then Trisha Brown, as well as his involvement in the Judson Dance Theater. His involvement in <i>Set and Reset</i> is an important example of such collaborations, demonstrating the way in which he experimented with new forms of object-making on-stage, and how closely his exhibitions and stage-sets were related in form and process, the attitude of ‘liveness’ being fundamental to both. Rauschenberg created the visual design for this piece partly in response to watching Brown’s dancers rehearse. Fascinated by the moments that take place ‘off-stage’ and the choreography’s interest in questions of visibility and invisibility, he ensured that forms of transparency recurred throughout the stage-set, the sculptural form and the costumes, all which would have been emphasised by the lighting that he created with Beverly Emmons.</p>\n<p>Once the dance of <i>Set and Reset </i>begins, the pre-existing soundtrack from the film material is replaced by the music composed by Laurie Anderson. Titled ‘Long Time No See’, it consists of various percussive and synthesised sounds, vocal utterances, field recordings and the repetition of the phrase ‘Long Time No See’, arranged over the recurring motif of a clanging fire bell. Anderson began to create the music by watching the Trisha Brown Dance Company’s rehearsals and responding to Brown’s own feedback that was usually communicated through additional movement. Anderson was struck by the falling movements of the dancers and stated that ‘Falling has always interested me on many levels, but I had never tried to make music that fell.’ (Quoted in Addison Gallery 2002, p.128.) Throughout the piece, sounds recur and echo with no single motif taking precedence, reflecting the layered and simultaneous activity present in <i>Elastic Carrier </i>and Brown’s choreography.</p>\n<p>Brown had originally asked Anderson to create music after hearing her track ‘Walking and Falling’ that was included on Anderson’s album <i>Big Science </i>(1982), as she had been thinking of the concept of falling and her early gravitational pieces. Consequently <i>Set and Reset</i> begins with a version of Brown’s <i>Walking on the Wall</i> 1971 that originally consisted of a figure hanging perpendicular to the ground from a rope and walking along the perimeter of a room, which was reimagined so that the body is carried by four dancers across the back of the stage. This is followed by almost twenty minutes of continuous dance by a group of six dancers who perform a set of fluid movements juxtaposed with unexpected geometric gestures based on the horizontal and vertical lines of the body divided into forty-five and ninety-degree angles. Performing in a number of different configurations to create a ripple effect, the dancers embody Brown’s style of dancing that was based on carefully memorised improvisation and which she first realised in her solo work, <i>Water Motor </i>1978 (documented in Babette Mangolte’s [born 1941] film <i>Trisha Brown WATER MOTOR</i> 1978, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mangolte-trisha-brown-water-motor-t14764\" title=\"View the details of this artwork\"><span>T14764</span></a>).</p>\n<p>\n<i>Set and Reset </i>was the final part of Brown’s ‘Unstable Molecular Structure’ cycle that developed her dance vocabulary into longer elaborate set pieces. This had coincided with a move from performing in unconventional spaces, such as lofts, rooftops and galleries, to theatrical spaces that had a proscenium stage. Working with a different viewpoint in a new context, Brown collaborated with her dancers to develop and ‘reset’ her choreography in a process that is reflected in the title. She explained:</p>\n<p class=\"cttext\">\n</p><blockquote>                              For <i>Set and Reset</i>, I made a very long phrase that circumnavigated the outside edge of the stage, serving as a conveyor belt to deliver duets, trios, and solos into the center [sic.] of the stage. All of the dancers were taught the phrase and given the following set of five instructions: </blockquote>\n<blockquote>1. Keep it simple. (The clarity issue.) </blockquote>\n<blockquote>2. Play with visibility and invisibility. (The privacy issue.) </blockquote>\n<blockquote>3. If you don’t know what to do, get in line. (Helping out with downtime.) </blockquote>\n<blockquote>4. Stay on the outside edge of the stage. (The spatial issue.) </blockquote>\n<blockquote>5. Act on instinct. (The wild card.).’<br/>(Quoted in Addison Gallery 2002, p.291.)</blockquote>\n<p>\n<i>Set and Reset </i>premiered at the first Next Wave festival at the Brooklyn Academy of Music, New York in 1983 and was performed by Brown with Irene Hultman, Eva Karczag, Diane Madden, Stephen Petronio, Vicky Shick and Randy Warshaw. It was immediately met with critical acclaim and provided Brown with wider recognition. Rauschenberg’s <i>Elastic Carrier</i> sculpture was described by the writer Thomas McEvilley as ‘less a stage set than a beautiful piece in its own right with its glowing primary shapes and mysterious volumetric picture space’ (Thomas McEvilley, quoted in Rosenberg 2017, p.267)      ; and Anderson later used a version of the music in ‘Gravity’s Angel’ for her album <i>Mister Heartbreak</i> (1984). Created at a time when the downtown New York art scene began to gain further attention, Brown described the collaboration as one of ‘electronic closeness’, stating that <i>Set and Reset </i>was defined by ‘metamorphic relationships; relationships between figures both plastic and organic, about space, both physical and aural. Fragments of the theme reverberate through the prior work of all three artists.’ (Quoted in Rosenberg 2017, p.266, footnote 15.)</p>\n<p>A selection of archival footage and photographs can be included in the display of<i> Set and Reset</i>; these include shots of Brown rehearsing the piece in her New York loft and a presentation of the piece in the Tanks at Tate Modern, London in 2017.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Trisha Brown: Dance and Art in Dialogue, 1961–2001</i>, exhibition catalogue, Addison Gallery of American Art, Andover, Massachusetts 2002, pp.116–29.<br/>Allen Fogelsanger, ‘On the Edges of Music: Trisha Brown’s <i>Set and Reset</i> and <i>Twelve Ton Rose</i>’, July 2006, <a href=\"http://m.armadillodanceproject.com/af/Cornell/Edges2006July.pdf\">http://m.armadillodanceproject.com/af/Cornell/Edges2006July.pdf</a>, accessed August 2018.<br/>Susan Rosenberg, <i>Trisha Brown: Choreography as Visual Art</i>, Connecticut 2017.</p>\n<p>Catherine Wood, Fiontán Moran<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-04-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1936 – 2017", "fc": "Trisha Brown", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/trisha-brown-6383" }, { "append_role_to_name": false, "date": "born 1950", "fc": "James Byrne", "prepend_role_to_name": true, "role_display": "maker", "url": "https://www.tate.org.uk/art/artists/james-byrne-31126" } ]

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[ { "artistRoomsTour": false, "dateText": "24 January 2022 – 4 September 2022", "endDate": "2022-09-04", "exhibitionLegs": [ { "dateText": "24 January 2022 – 4 September 2022", "endDate": "2022-09-04", "id": 14480, "startDate": "2022-01-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11927, "startDate": "2022-01-24", "title": "Trisha Brown with Laurie Anderson, Beverly Emmons, and Robert Rauschenberg", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>   Set and Reset </i>1983 is an installation of Trisha Brown’s dance production of the same name that includes Robert Rauschenberg’s (1925–2008) original costumes and sculpture created for the stage-set, lighting by Beverly Emmons (born 1943) with Rauschenberg, and music by Laurie Anderson (born 1947), with optional archival documentation of Brown’s choreography being performed.<i> Set and Reset</i> is considered one of the most important works in Brown’s career and in the history of postmodern dance. Brown is best known as a founding member of the Judson Dance Theater in New York and as a choreographer of postmodern dance, with productions that have been staged in a range of venues internationally.</p>\n<p>Rauschenberg titled the sculpture at the centre of the <i>Set and Reset </i>stage-set <i>Elastic Carrier (Shiner)</i> in reference to his ‘Shiner’ series of works that explored the reflective properties of stainless steel. <i>Elastic Carrier</i> consists of a central large rectangular form with two slanted internal panels flanked by two pyramidal structures, made from aluminium beams covered in Sharkstooth scrim and polyester fabric. Four black-and-white 16mm films with sound, composed from stock footage and newsreels, are projected onto mirrors that reflect the collaged film material onto the structure. The fabric enables the footage to pass through the structure and refract the images at different angles. As the original 16mm films are fragile, a digitised version is used for display. At the beginning of the performance, the sculpture and projectors begin on the floor, slowly rising after one minute twenty seconds to an overhead position, where they remain throughout the duration of the twenty-minute dance. Rauschenberg described the set as ‘a translucent traveller … to provide a hovering environment for the dance’ (quoted in Addison Gallery 2002, p.128). He purposely decorated the remainder of the stage-space sparingly, using sheer black scrim for the backdrop and the legs on the wings of the stage so that the off-stage activity becomes a part of the work. This is emphasised by one side of the legs being covered with white satin, which one of the dancers briefly holds in their mouth during the performance.</p>\n<p>The costumes created by Rauschenberg consist of trousers for the two male dancers and tops and trousers for the four female dancers. They are made of transparent fabric and feature silkscreened black-and-white monochromatic photographs of urban and industrial scenes taken by Rauschenberg. The costumes echo the layering of imagery shown in <i>Elastic Carrier </i>and resemble his pioneering work of the 1960s in which he used the commercial mechanism of silkscreen printing to create paintings such as <i>Almanac </i>1962 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rauschenberg-almanac-t01135\" title=\"View the details of this artwork\"><span>T01135</span></a>). By using sheer material Rauschenberg hoped to ‘provoke your looking <i>past </i>the costumes and back to the dance’ (quoted in Addison Gallery 2002, p.128).</p>\n<p>Rauschenberg’s approach to making painting and sculpture was significantly influenced by his long-term collaborations with choreographers; first Merce Cunningham, and then Trisha Brown, as well as his involvement in the Judson Dance Theater. His involvement in <i>Set and Reset</i> is an important example of such collaborations, demonstrating the way in which he experimented with new forms of object-making on-stage, and how closely his exhibitions and stage-sets were related in form and process, the attitude of ‘liveness’ being fundamental to both. Rauschenberg created the visual design for this piece partly in response to watching Brown’s dancers rehearse. Fascinated by the moments that take place ‘off-stage’ and the choreography’s interest in questions of visibility and invisibility, he ensured that forms of transparency recurred throughout the stage-set, the sculptural form and the costumes, all which would have been emphasised by the lighting that he created with Beverly Emmons.</p>\n<p>Once the dance of <i>Set and Reset </i>begins, the pre-existing soundtrack from the film material is replaced by the music composed by Laurie Anderson. Titled ‘Long Time No See’, it consists of various percussive and synthesised sounds, vocal utterances, field recordings and the repetition of the phrase ‘Long Time No See’, arranged over the recurring motif of a clanging fire bell. Anderson began to create the music by watching the Trisha Brown Dance Company’s rehearsals and responding to Brown’s own feedback that was usually communicated through additional movement. Anderson was struck by the falling movements of the dancers and stated that ‘Falling has always interested me on many levels, but I had never tried to make music that fell.’ (Quoted in Addison Gallery 2002, p.128.) Throughout the piece, sounds recur and echo with no single motif taking precedence, reflecting the layered and simultaneous activity present in <i>Elastic Carrier </i>and Brown’s choreography.</p>\n<p>Brown had originally asked Anderson to create music after hearing her track ‘Walking and Falling’ that was included on Anderson’s album <i>Big Science </i>(1982), as she had been thinking of the concept of falling and her early gravitational pieces. Consequently <i>Set and Reset</i> begins with a version of Brown’s <i>Walking on the Wall</i> 1971 that originally consisted of a figure hanging perpendicular to the ground from a rope and walking along the perimeter of a room, which was reimagined so that the body is carried by four dancers across the back of the stage. This is followed by almost twenty minutes of continuous dance by a group of six dancers who perform a set of fluid movements juxtaposed with unexpected geometric gestures based on the horizontal and vertical lines of the body divided into forty-five and ninety-degree angles. Performing in a number of different configurations to create a ripple effect, the dancers embody Brown’s style of dancing that was based on carefully memorised improvisation and which she first realised in her solo work, <i>Water Motor </i>1978 (documented in Babette Mangolte’s [born 1941] film <i>Trisha Brown WATER MOTOR</i> 1978, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mangolte-trisha-brown-water-motor-t14764\" title=\"View the details of this artwork\"><span>T14764</span></a>).</p>\n<p>\n<i>Set and Reset </i>was the final part of Brown’s ‘Unstable Molecular Structure’ cycle that developed her dance vocabulary into longer elaborate set pieces. This had coincided with a move from performing in unconventional spaces, such as lofts, rooftops and galleries, to theatrical spaces that had a proscenium stage. Working with a different viewpoint in a new context, Brown collaborated with her dancers to develop and ‘reset’ her choreography in a process that is reflected in the title. She explained:</p>\n<p class=\"cttext\">\n</p><blockquote>                              For <i>Set and Reset</i>, I made a very long phrase that circumnavigated the outside edge of the stage, serving as a conveyor belt to deliver duets, trios, and solos into the center [sic.] of the stage. All of the dancers were taught the phrase and given the following set of five instructions: </blockquote>\n<blockquote>1. Keep it simple. (The clarity issue.) </blockquote>\n<blockquote>2. Play with visibility and invisibility. (The privacy issue.) </blockquote>\n<blockquote>3. If you don’t know what to do, get in line. (Helping out with downtime.) </blockquote>\n<blockquote>4. Stay on the outside edge of the stage. (The spatial issue.) </blockquote>\n<blockquote>5. Act on instinct. (The wild card.).’<br/>(Quoted in Addison Gallery 2002, p.291.)</blockquote>\n<p>\n<i>Set and Reset </i>premiered at the first Next Wave festival at the Brooklyn Academy of Music, New York in 1983 and was performed by Brown with Irene Hultman, Eva Karczag, Diane Madden, Stephen Petronio, Vicky Shick and Randy Warshaw. It was immediately met with critical acclaim and provided Brown with wider recognition. Rauschenberg’s <i>Elastic Carrier</i> sculpture was described by the writer Thomas McEvilley as ‘less a stage set than a beautiful piece in its own right with its glowing primary shapes and mysterious volumetric picture space’ (Thomas McEvilley, quoted in Rosenberg 2017, p.267)      ; and Anderson later used a version of the music in ‘Gravity’s Angel’ for her album <i>Mister Heartbreak</i> (1984). Created at a time when the downtown New York art scene began to gain further attention, Brown described the collaboration as one of ‘electronic closeness’, stating that <i>Set and Reset </i>was defined by ‘metamorphic relationships; relationships between figures both plastic and organic, about space, both physical and aural. Fragments of the theme reverberate through the prior work of all three artists.’ (Quoted in Rosenberg 2017, p.266, footnote 15.)</p>\n<p>A selection of archival footage and photographs can be included in the display of<i> Set and Reset</i>; these include shots of Brown rehearsing the piece in her New York loft and a presentation of the piece in the Tanks at Tate Modern, London in 2017.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Trisha Brown: Dance and Art in Dialogue, 1961–2001</i>, exhibition catalogue, Addison Gallery of American Art, Andover, Massachusetts 2002, pp.116–29.<br/>Allen Fogelsanger, ‘On the Edges of Music: Trisha Brown’s <i>Set and Reset</i> and <i>Twelve Ton Rose</i>’, July 2006, <a href=\"http://m.armadillodanceproject.com/af/Cornell/Edges2006July.pdf\">http://m.armadillodanceproject.com/af/Cornell/Edges2006July.pdf</a>, accessed August 2018.<br/>Susan Rosenberg, <i>Trisha Brown: Choreography as Visual Art</i>, Connecticut 2017.</p>\n<p>Catherine Wood, Fiontán Moran<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-04-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1907–1977", "fc": "Lee Miller", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lee-miller-4791" } ]

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[ { "artistRoomsTour": false, "dateText": "4 October 2021 – 29 August 2022", "endDate": "2022-08-29", "exhibitionLegs": [ { "dateText": "24 February 2022 – 29 August 2022", "endDate": "2022-08-29", "id": 12632, "startDate": "2022-02-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10414, "startDate": "2021-10-04", "title": "Surrealism Beyond Borders", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1907–1977", "fc": "Lee Miller", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lee-miller-4791" } ]

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[ { "artistRoomsTour": false, "dateText": "4 October 2021 – 29 August 2022", "endDate": "2022-08-29", "exhibitionLegs": [ { "dateText": "24 February 2022 – 29 August 2022", "endDate": "2022-08-29", "id": 12632, "startDate": "2022-02-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10414, "startDate": "2021-10-04", "title": "Surrealism Beyond Borders", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "born 1985", "fc": "Mandy El-Sayegh", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mandy-el-sayegh-30871" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Net-Grid (my dad knows nothing)</i> 2020 is a large-scale, unframed painting part of an ongoing series of ‘Net-Grids’ started in 2010. In these paintings El-Sayegh works with silkscreen print directly onto canvas, creating a surface for a layered painting and collage process using found images and text. Overlaying scraps of newsprint from the <i>Financial Times</i>, found objects and silkscreen prints with hand-painted grids, she seeks to examine the pervasive circulation of images and information, as well as the structures that contain them. </p>\n<p>By reassembling these fragments into new configurations in her paintings, sculptures and installations, El-Sayegh highlights the processes through which information is circulated and meanings are internalised. Her juxtapositions are informed by what she refers to as ‘the scrolling way of seeing’, habituated through social media feeds and the undifferentiated flow of information across our screens. Removed from their original context and function, these words and images are reduced to a series of free-floating signifiers with no inherent meaning, drawing attention to the implicit linguistic, cultural or political systems that usually anchor their interpretation.</p>\n<p>The topography of the canvas recalls raised relief maps, as the painting’s surface seems to undulate and buckle under the weight of the matter within it. There are layers of glue and paint, studio rags, newspapers and printed images that all move in and out of visibility, as described by critic Amie Corry: ‘All this is contained, or trapped, beneath thin wobbly lines that criss-cross over the entire canvas surface. They present a sort of topography of contemporary visual culture: how it shimmies and darts, takes apart and desensitises.’ (Corry 2019, accessed 16 December 2020.)</p>\n<p>El-Sayegh’s repeated use of newspaper cuttings in her work makes reference to her father’s habit of doing calligraphy exercises on scraps of tabloid newspapers. There is a similar associative logic at work in <i>Net-Grid (my dad knows nothing)</i> as El-Sayegh densely layers text and images that take on new meanings through proximity. For her, newspapers are themselves a form of collage, a collection of ideas and opinions, time and matter, pulp and ink. El-Sayegh chooses to use the<i> Financial Times</i> both for its representation of global finance and for the fleshy pink tones of its pages. She challenges the perceived objectivity of the newspaper, disconnecting words and images from their conventional structures to take on new and unexpected meanings.</p>\n<p>In <i>Net-Grid (my dad knows nothing)</i> the somewhat haphazard grid acts as a schematic that simultaneously structures and obscures the fragmented debris of the words, images and materials used. The grid creates the illusion of unity without clarifying the connections between fragments. In such paintings El-Sayegh recasts the primacy of the grid in modernism, something she has described as alienating, saying: ‘I felt that there was a whole set of systems that I did not know, like a joke that I didn’t get.’ (Interview with Amrita Dhallu in Chisenhale Gallery 2019, accessed 16 December 2020.) </p>\n<p>In paintings like this one, bodies appear in disconnected forms – reproduced from sources ranging from mass-media and pornography to anatomical textbooks – exploring the construction of the self as fragmentary and incomplete. Ideas of the body and corporeality are key to an understanding of El-Sayegh’s work. She refers to her process of collaging as ‘suturing’ and her painted surfaces as ‘skins’, seeing the body as written literally and figuratively in her paintings. These medical associations are a language learned through her own experience: her mother was a midwife and her father suffered from chronic illness.</p>\n<p>El-Sayegh often sets her paintings alongside floor or wall installations. Accompanying <i>Net Grid (my dad knows nothing)</i> is <i>Floor</i> 2020 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/el-sayegh-floor-t15923\" title=\"View the details of this artwork\"><span>T15923</span></a>) in which pages from the<i> Financial Times</i> are applied directly onto the floor or wall using liquid latex, disrupting the otherwise neutrality or uniformity of the gallery space. The pages of newspaper are overworked with silkscreen prints and the artist’s own gestures in white emulsion. The newspaper becomes a surface to explore how words, sometimes chosen only for their shape, render a meaning that is arbitrary but still reliant on their context and position within the wider composition. <br/>\n<b>Further reading</b>\n<br/>Amie Corry, ‘Mandy El-Sayegh’<i>, Burlington Contemporary</i>,<i> </i>21 May 2019, <a href=\"https://contemporary.burlington.org.uk/reviews/reviews/mandy-el-sayegh\">https://contemporary.burlington.org.uk/reviews/reviews/mandy-el-sayegh</a>, accessed 16 December 2020.<br/>\n<i>Mandy El-Sayegh:</i> <i>Cite Your Sources</i>, exhibition handout, Chisenhale Gallery, London 2019.<br/>‘Mandy El-Sayegh, Interview with Amrita Dhallu’,<i> </i>in <i>Now let us shift</i>, Chisenhale Gallery Research document, London 2019, <a href=\"https://chisenhale.org.uk/wp-content/uploads/Chisenhale-Research_Now-let-us-shift.pdf\">https://chisenhale.org.uk/wp-content/uploads/Chisenhale-Research_Now-let-us-shift.pdf</a>, accessed 16 December 2020.</p>\n<p>Nathan Ladd<br/>December 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1940 – 1971", "fc": "Paolo Scheggi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/paolo-scheggi-31379" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Inter-ena-cubo</i> 1970 is a square relief composed of twenty-five cubic modules made of aluminium and painted in red enamel paint, arranged in a five by five grid. Each module has a circular opening on the front and a second layer, cut diagonally. The grid is arranged so that the direction of the diagonal edges of the inner layers alternate, creating an illusionistic internal motif of squares arranged at a forty-five-degree angle. The front sides of the modules also alternate between receding and protruding positions in a checkerboard pattern. Their edges and painted finish are very regular, giving the relief a machine-made appearance. The relief has a flat metal backboard, with a label in the bottom right corner bearing the artist’s signature.</p>\n<p>It is one in a series of monochrome modular works created by Scheggi between 1965 and 1971, all called ‘<i>Inter-ena-cubo</i>’ (plural ‘<i>Inter-ena-cubi</i>’). These are composed of either die-cut cardboard modules encased in Perspex or enamelled metal cubes (predominantly aluminium, in some cases steel), with an internal layer cut horizontally, vertically, diagonally or circularly, arranged to create different permutations in mainly square grids. As in his earlier works, the play of shadows generated by the layered construction of his reliefs enhances the sense of depth and generates gradients of colour across the otherwise flatly painted monochromatic surfaces.</p>\n<p>1964–5 was a turning point in Scheggi’s practice, marking a shift away from the biomorphic and elliptical shapes of his earlier spatialist canvases (such as the <i>Zone Riflesse </i>series from 1962), towards mathematically derived and modular patterns based on perfect circles and straight lines. Around this time Scheggi joined the international New Tendencies movement, which brought together artists associated with op and kinetic art, concrete poetry, Nul, Zero, Italian <i>arte programmata</i> and, later on, early forms of computer-generated and conceptual practices. </p>\n<p>Scheggi’s interest in transdiciplinary practices also intensified from 1964–5, as he began to extend his pictorial experiments towards more sculptural and architectural forms. Scheggi applied the layered motifs of his <i>Intersuperfici</i> to walkthrough environments such as <i>Intercamera Plastica</i> 1966, introducing a further level of interaction with the viewer based on movement. His reliefs and sculptures titled <i>Compositori Spaziali </i>of 1964 added an element of manipulation though moveable components, and he conceived of his modular <i>Inter-ena-cubi </i>as the continuation of these experiments: in principle, their modules could be manually rearranged. As he wrote in 1967, ‘The <i>inter-ena-cubo</i> … gives the viewer an equal degree of co-responsibility for the plastic life of the work through manual activation. The viewer will in fact be able to try all the possible variations of the plastic object … to personally [modulate] the light on the circular forms-dividers in relation to their time-reading requirements.’ (P. Scheggi, ‘Nota per l’Inter-ena-cubo’, 1967, reprinted in <i>Paolo Scheggi,</i> exhibition catalogue, Galleria d’Arte Moderna, Bologna, 1976, n.p.) Although they now exist as fixed objects, Scheggi himself created a high number of permutations of similar <i>Inter-ena-cubi </i>to demonstrate their potentially infinite variability.</p>\n<p>The title is a neologism derived from a kind of invented compound taxonomy, using the Latin prefix ‘inter-’, the untranslatable infix ‘-ena-’ and the Italian word for cube. This naming choice also reflects an interest in systematic, scientific approaches to perception, and in the modularity of language.</p>\n<p>Scheggi considered his modular works to be more than formal experiments operating at a purely visual level: ‘this systematically experimental practice [is] not merely a simplistic exercise in optical/physical phenomenology, but a structure aimed at expanding perception. Even the visual nature of the objects becomes unstable, and the investigation evolves, to constitute an operating method that rejects any conception or attribute of art, striving without naturalistic derivations or spiritual urges toward a greater dialectics of knowledge.’ (P. Scheggi, ‘Proposte sul cerchio. 10 intersuperfici curve bianche’, 1964, reprinted in L.M. Barbero, <i>Scheggi,</i> exhibition catalogue, Tornabuoni Art, Paris 2015, p.127). In Scheggi’s view, art made it possible to bridge the forms of knowledge set in motion by different disciplines, including science and design, and he saw these ‘greater dialectics of knowledge’ as a tool for formulating new possibilities for socio-political change. As he wrote in a 1964 text titled ‘Progettazione Totale’ (‘Total Design’), ‘the transformation of infrastructures in a neo-capitalistic society imposes the need for a new awareness of reality, as a substantive search for a neo-humanistic dimension of design’ (reprinted in L.M. Barbero, <i>Paolo Scheggi: Catalogue Raisonné</i>, Milan 2016, p.61).</p>\n<p>\n<b>Further reading</b>\n<br/>Francesca Pola, <i>Paolo Scheggi. The Humanistic Measurement of Space</i>, Milan 2015.<br/>Luca Massimo Barbero,<i> Paolo Scheggi: Catalogue Raisonné</i>, Milan 2016, esp. pp.55–62 and 288–315, reproduced p.314 (70 I 16).<br/>\n<i>Paolo Scheggi: In Depth</i>, exhibition catalogue, Estorick Collection, London 2019.</p>\n<p>Valentina Ravaglia<br/>November 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-01-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1985", "fc": "Portia Zvavahera", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/portia-zvavahera-31224" } ]

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[ { "artistRoomsTour": false, "dateText": "5 October 2024 – 1 June 2025", "endDate": "2025-06-01", "exhibitionLegs": [ { "dateText": "5 October 2024 – 16 February 2025", "endDate": "2025-02-16", "id": 15911, "startDate": "2024-10-05", "venueName": "Kettle’s Yard (Cambridge, UK)", "venueWebsiteUrl": "http://www.kettlesyard.co.uk/" }, { "dateText": "1 March 2025 – 1 June 2025", "endDate": "2025-06-01", "id": 15912, "startDate": "2025-03-01", "venueName": "Fruitmarket Gallery (Edinburgh, UK)", "venueWebsiteUrl": null } ], "id": 13052, "startDate": "2024-10-05", "title": "Portia Zvavahera: Dreaming in Shona", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>This Is Where I travelled [4]</i> 2020 is a large painting in oil-based printing ink and oil stick on canvas that depicts five mysterious figures cloaked under a lace veil. The painting is one in a series of five paintings of the same title presented in the exhibition <i>Ndakavata pasi ndikamutswa nekuti anonditsigira</i> at David Zwirner Gallery in London in 2020. The title of the exhibition translates from Shona to English as ‘I took my rest in sleep and then I awoke for He sustained me’. The title of the paintings refers to Zvavahera’s use of dreams as references for her compositions: ‘When we sleep, where do we really go? What happens? How do we come back from sleep? What if I can’t come back? This is where I traveled. That is the title of all the works.’ (<a href=\"https://www.davidzwirner.com/exhibitions/2020/portia-zvavahera\">https://www.davidzwirner.com/exhibitions/2020/portia-zvavahera</a>, accessed 21 August 2021.) Produced during the coronavirus pandemic and begun in 2020, the series of paintings shown in the exhibition reflects on a period of intense solitude and global collective struggle. Using her dreams as inspiration, Zvavahera establishes the base of her canvases with preparatory sketches, drawing from a visual language comprising women, her family and shape-shifting animals.</p>\n<p>Positioned against a deep purple background, the figures here are identified by rudimentary facial features as drips of purple ink stream down their faces. Gathering the figures at the centre of the composition, the scene suggests a ritual ceremony or an intimate union of family members. As worn in weddings or while praying, the veil symbolises both the start of a new life and protection from outside forces. The intricate patterns are taken from the artist’s own floral motifs or from classical Zimbabwean designs. A repeated scalloped edge is stamped with a block print across the canvas, overlapping translucent oil-based red, green and purple inks. Small organic forms in green and white are applied by hand across the printed portion, also mimicking its soft whorls and loops.</p>\n<p>Zimbabwe-born Zvavahera’s mixed-media paintings typically depict emotions and thoughts drawn from dreams as well as her experiences of everyday life, often engaging with questions about human existence through universal themes of pain and pleasure, isolation and connection, love and loss. The paintings represent an effort to transcend suffering through individual practices of ritual and devotion. This particular work exemplifies the way in which her deeply personal images are realised using layers of ink, traditional Zimbabwean textiles and hand-drawn patterns that demonstrate her training as a printmaker. A wax-resist process found in African batik textiles is used to reveal decorative elements beneath layers of pigment. Shifting between figuration and abstraction, Zvavahera combines faceless figures with floral and abstract patterns that build up to create intricate surfaces.</p>\n<p>\n<b>Further reading</b>\n<br/>Sabine Russ, ‘Interview: Portia Zvavahera by Netsayi<b> </b>[Chigwendere]’, <i>Bomb Magazine</i>, no.134, 15 December 2015, <a href=\"http://bombmagazine.org/articles/portia-zvavahera\">http://bombmagazine.org/articles/portia-zvavahera</a>, accessed 20 June 2021.<br/>Osei Bonsu, <i>African Art Now</i>, London 2022, p.67.</p>\n<p>Osei Bonsu<br/>June 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1941", "fc": "Fred Eversley", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/fred-eversley-31012" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled </i>1975 is a disc-shaped, highly polished sculpture made from black polyester resin. Its parabolic curvature reflects light towards a focal point, which is positioned asymmetrically off the centre of the sculpture. Its outer perimeter is the thickest and most opaque part of the lens, and its focus is the thinnest and most translucent. The work is displayed vertically, in a holder on a plinth.</p>\n<p>Beginning his career in electrical and aerospace engineering, Eversley’s abstract sculptures reflect his deep interest in energy as both a physical and metaphysical force. They explore the mechanics of light, sound and perception, while also opening up reflections on the more mysterious or transcendental movement of energy through the cosmos. His dedication to the parabolic form is predicated on the fact that the parabola is the only shape in nature which concentrates energy towards a single point. Works such as <i>Untitled </i>1975 explore the unique properties of this form to distort visual, sonic and spatial perception. Its shiny finish and semi-transparent focus enable viewers to see both their reflection and objects on the other side of the sculpture, each of which are subject to different phenomenal effects. Attempts to find the focal point through sight and hearing draw attention to the distance between these faculties.</p>\n<p>The work’s deeply pigmented perimeter and the smoky translucency towards its focus create a play between opacity and transparency. This gradation of thickness and saturation enables the work to function as a three-dimensional reflection on colour and light. Eversley began working with black dyes in 1972, initially as a joke in response to the criticism he was receiving for not making ‘Black art’. He came to realise the greater reflective power of the black lens than the amber, red and violet hues he had previously worked with. He also began working with white dyes shortly after. He related these colours to the cosmic phenomena of black holes and white dwarfs.</p>\n<p>\n<i>Untitled </i>1975 was made by spinning dyed polyester resin into a circular mould which spun on an electric turntable. Eversley’s process used a combination of gravitational and centrifugal forces to spin the material around a vertical axis to create its parabolic form. In changing the speeds of the turntable, he was able to change the shape of the sculpture’s curve. The resin hardened as it was spinning to create the work’s form. It was then polished to a high degree. <i>Untitled </i>is relatively thin compared with the artist’s other parabolic lens sculptures, as less resin was used in the mould.</p>\n<p>Speaking of his interest in the parabola, Eversley has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>Since the very beginning, my sculptures have been directly influenced by the concept of the solar energy source. The original goal of my early pieces of sculpture was to create kinetic art without using kinetic elements. I preferred to employ natural changes in the light, the environment, and the spectator to create the kinetic effects. All forms of energy are concentrated to the same focal point. So, there’s light, heat … And I postulated that if there were metaphysical energies, they’d get concentrated to the same point. <br/>(Fred Eversley, quoted in Olivier Zahm, ‘Purple Archives: Fred Eversley Brings an Optical and Scientific Edge to California’s Light And Space Movement’, <i>Purple Magazine</i>,<i> </i>vol.32, September 2019, <a href=\"https://purple.fr/magazine/the-cosmos-issue-32/an-interview-with-fred-eversley/\">https://purple.fr/magazine/the-cosmos-issue-32/an-interview-with-fred-eversley/</a>, accessed 19 March 2021.)</blockquote>\n<p>Eversley studied electrical engineering at the Carnegie Institute of Technology, Pittsburgh. In 1963 he moved to Venice Beach, California, to work for Wyle Laboratories, where he used the parabola to research high-intensity acoustics for NASA. A car accident in 1967 compelled him to consider a change in vocation. Having learned photography from his grandfather, he took a job documenting Frank Stella’s (born 1936) <i>Black Series I</i> 1967 for the print workshop Gemini G.E.L. Eversley then began experimenting with encapsulating his photographs in layers of resin. This sparked his interest in resin as a material with which to explore different perceptual phenomena, and effectively began his art career.<br/>In Venice Beach he met artists John McCracken (1934–2011) and Larry Bell (born 1939), who were also working with polyester resin, defining a Los Angeles style that became known as ‘finish fetish’ and that was connected with both the Light and Space movement and West Coast minimalism more broadly. Though Eversley shared a deep interest in light and perception with a number of the artists in these movements, his focus on energy and physics over formalism made him a distinct figure. Kim Conaty, curator of Eversley’s solo exhibition <i>Black, White, Gray</i> at the Rose Art Museum, Waltham, Massachusetts in 2017, explained that he was most often categorised with African American artists working in abstraction in the 1960s and 1970s, such as Al Loving, Sam Gilliam or Jack Whitten. She acknowledged that, ‘[t]o this day, it remains unusual for the top echelons of the white-dominated Western fine art world to embrace artists of color if they don’t make art that speaks about their racial identities’ (quoted in Greg Cook, ‘How Fred Eversley Went From NASA Engineer To Cosmic Artist In ’60s LA’, The ARTery, 8 March 2017, <a href=\"https://www.wbur.org/artery/2017/03/08/fred-eversley\">https://www.wbur.org/artery/2017/03/08/fred-eversley</a>, accessed 19 March 2021). Eversley has resisted being pigeon-holed as an African American artist, saying ‘[t]here’s certainly been criticism of me for not making art that talks about the black experience … I just keep doing what I do … It’s not about being black.’ (Quoted in Greg Cook, ‘How Fred Eversley Went from NASA Engineer to Cosmic Artist in ’60s LA’.)</p>\n<p>\n<b>Further reading</b>\n<br/>Frederick Eversley and Henry J. Seldis, <i>Frederick Eversley</i>, exhibition catalogue, Palm Springs Desert, Palm Springs, California 1978.<br/>Fred Eversley,<i> Fred Eversley, 50 Years an Artist: Light and Space and Energy</i>, exhibition catalogue, Muscarelle Museum of Art, College of William &amp; Mary, Williamsburg, Virginia 2017.<br/>Olivier Zahm, ‘Purple Archives: Fred Eversley Brings an Optical and Scientific Edge to California’s Light And Space Movement’, <i>Purple Magazine</i>,<i> </i>vol.32, September 2019, <a href=\"https://purple.fr/magazine/the-cosmos-issue-32/an-interview-with-fred-eversley/\">https://purple.fr/magazine/the-cosmos-issue-32/an-interview-with-fred-eversley/</a>, accessed 19 March 2021.</p>\n<p>Carly Whitefield <br/>March 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1935", "fc": "Mary Lee Bendolph", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mary-lee-bendolph-30639" } ]

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[ { "artistRoomsTour": false, "dateText": "20 June 2022 – 19 November 2023", "endDate": "2023-11-19", "exhibitionLegs": [ { "dateText": "20 June 2022 – 19 November 2023", "endDate": "2023-11-19", "id": 14908, "startDate": "2022-06-20", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12255, "startDate": "2022-06-20", "title": "Inherited Threads", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "1912 – 1999", "fc": "Aolar Mosely", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/aolar-mosely-30642" } ]

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[ { "append_role_to_name": false, "date": "1903–1975", "fc": "Dame Barbara Hepworth", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" } ]

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[ { "append_role_to_name": false, "date": "born c.1938", "fc": "Noŋgirrŋa Marawili", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/nogirra-marawili-31385" } ]

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[ { "artistRoomsTour": false, "dateText": "7 June 2021 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": "7 June 2021", "endDate": null, "id": 14379, "startDate": "2021-06-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11857, "startDate": "2021-06-07", "title": "A Year in Art - Australia 1992", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Baratjala </i>2020 is a large vertical painting, over two metres tall, made with earth pigments and recycled print-cartridge toner on stringybark. It depicts waves crashing against partially submerged boulders while lightning strikes across the magenta background, merging with the sea spray of the waves. Marawili is a senior artist working in Yirrkala in northeast Arnhem Land in Australia’s Northern Territory, in the Yolŋu artistic practice of painting with what is found on the land, including discarded printer cartridges. Consistent with the artist’s work, <i>Baratjala </i>shows how Marawili upholds the Yolŋu philosophy that ‘if you paint the land you should use the land’ (<i>22nd Biennale of Sydney:</i> <i>Nirin</i>,<i> </i>exhibition catalogue, 2020, p.242). Along with the bark, the distinctive magenta hue comes from spent printer-ink cartridges that she salvages locally, a practice that alludes to the changes in the local environment but also maintains the Yolŋu sustainable artistic tradition, which is consistent with custodianship responsibilities, including care of the land. Marawili began using salvaged printer ink in 2018, marking a significant shift in her practice.</p>\n<p>The bottom edge of the bark has a distinctive rippled form caused by dry conditions. Bark painting is an important art medium in the region, with increasingly larger barks reflecting the expansive scale of contemporary work, as with <i>Baratjala</i>. The work is also a continuation of Marawili’s innovative approach to bark painting. While she continues to draw from Yolŋu traditions, she has pared back her imagery, retaining bold areas of magenta while demonstrating restraint in her use of spots and stripes. The painting does not incorporate <i>rarrk</i>, the cross-hatching widely used across the region, which Marawili was trained in, and instead focuses on the interaction between land, sea and sky. Marawili favours depictions of Country and its dramatically cyclonic weather, capturing the dynamism of this living landscape and revealing her knowledge of Country and the significant interrelationship between land, sea and sky. Under Yolŋu law, the concept of land includes the sea (Buku-Larrŋgay Mulka, <a href=\"about:blank\">https://yirrkala.com/history/</a>, 2017, paragraph 7, accessed 9 November 2021).</p>\n<p>Marawili summarises this in her description of her practice: ‘I paint water designs. The water. As it crashes onto the rocks at high tide. Sending the spray into the sky … Rocks that stand strong. And the waves that run and crash upon the rocks. The sea spray. This is the painting I do.’ She adds further context to the content of her paintings, revealing that ‘the paintings I do are not sacred. I can’t steal my father’s [Mundukul Marawili] painting … You may spy on me and think that I am painting sacred things. This would be a lie.’ (Noŋgirrŋa Marawili, quoted in Tina Baum, <i>Defying Empire: 3rd Indigenous Art Triennial</i>, National Gallery of Australia, Sydney 2017, p.89.)</p>\n<p>Marawili works at the Buku-Larrnggay Mulka Art Centre in Yirrkala. Along with that of the Yolŋu women she paints alongside, her practice reflects changes in recent cultural practices, forging a new identity for painting in the region. Previously, women were not encouraged to paint during an era where painting sacred designs without permission was a capital offence (Judith Ryan, <i>Nonggirrnga Marawili Lightning in the rock</i>, <a href=\"about:blank\">https://www.ngv.vic.gov.au/essay/nonggirrnga-marawili-lightning-in-the-rock/</a>, accessed 11 November 2021). Nonetheless, painting has always been an important part of Marawili’s life, as both her father and husband were painters who held senior positions in their respective clans. Marawili learned to paint on bark in the 1980s when she assisted her husband, Djutadjuta Mununggurr (c.1935–1999), a leader of the Djapu clan. He taught her <i>rarrk</i> and involved her in painting Djapu clan designs. </p>\n<p>The art of the Yolŋu people has had significant influence not only on the recognition of contemporary Aboriginal and Torres Strait Islander art but also on the history of land rights in Australia, including saltwater rights. The Yirrkala Bark Petitions (1963) mark a significant intersection between art and political activism, and are recognised as the first formal assertion of Indigenous native land title in Australia (National Museum of Australia, <i>Defining Moments: Yirrkala bark petitions</i>, <a href=\"about:blank\">https://www.nma.gov.au/defining-moments/resources/yirrkala-bark-petitions</a>, paragraph 1, updated 11 November 2021). This has been extended into petitioning for legal recognition of marine rights with the Saltwater Collection of Yirrkala Bark Paintings of Sea Country (1997). </p>\n<p>\n<i>Baratjala </i>demonstrates this significant relationship in the context of Country by showing how land, sea and sky interrelate. It reflects a philosophical perspective, rather than a sacred one, based on Marawili’s distinctive interpretation of her relationship to Country. During her formative years, Marawili lived nomadically as part of her clan, travelling between Groote Eyelandt and the mainland in a flotilla of canoes. Will Stubbs, who works with Marawili as Co-ordinator at the Buku-Larrnggay Mulka Art Centre, has explained, ‘These are cyclonic, crocodile infested waters with huge tides and ripping currents and Noŋgirrŋa is part of them’ (Will Stubbs, <i>Noŋgirrŋa Marawili: Baratjala</i>, exhibition catalogue, Alcaston Gallery, Melbourne 2016, p.18).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Noŋgirrŋa Marawili: Baratjala,</i> exhibition catalogue, Alcaston Gallery, Melbourne 2016.<br/>\n<i>Noŋgirrŋa Marawili: from my heart and mind</i>, exhibition catalogue, Art Gallery of New South Wales, Sydney 2019.</p>\n<p>Tamsin Hong and Anneke Jaspers, MCA Australia<br/>November 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-03-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1959", "fc": "Judy Watson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/judy-watson-23978" } ]

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[ { "append_role_to_name": false, "date": "born 1959", "fc": "Judy Watson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/judy-watson-23978" } ]

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[ { "artistRoomsTour": false, "dateText": "7 June 2021 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": "7 June 2021", "endDate": null, "id": 14379, "startDate": "2021-06-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11857, "startDate": "2021-06-07", "title": "A Year in Art - Australia 1992", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Watson completed this painting in Australia during the first wave of the COVID-19 pandemic, a period of restricted social movement and introspection. The organic materials were gathered from her garden and on walks. The red lines, meanwhile, were based on a graph that was circulating in news media showing the effect of Australia’s economic recession on household savings. As with other infographics during the pandemic, this neatly abstracted a situation bound to physical and psychological distress. Watson recuperates the graph-line as a scar, the residue of a wound and a sign of healing, while also noting its resemblance to ‘sound waves … or the lines of data recorded in hospital instruments: signs of life’ (quoted in Davidson 2020, accessed 10 November 2021).</p>\n<p>The artist’s matrilineal family is from Waanyi country in Northwest Queensland and her work is inspired by Aboriginal history and culture, and is often concerned with collective memory of discrimination and resistance. This particular painting bridges contemporary references to the pandemic and Australia’s colonial history. Centuries before COVID-19, Aboriginal communities were ravaged by a different pandemic, thought to be smallpox, in the years immediately following the arrival of the First Fleet in 1788. Estimates suggest at least half the population living around Warrane (Sydney Cove) lost their lives to the outbreak. Other highly transmissible diseases soon followed, adding to the trauma of frontier violence, displacement and oppressive assimilation policies. Alongside this history, the work conjures scarification as a significant cultural practice for Aboriginal and Torres Strait Islander people, a tradition disrupted and suppressed by colonisation.</p>\n<p>Despite the serious themes, <i>memory scar, grevillea, mangrove pod (&amp; net)</i> projects a sense of tranquillity. The notion of healing suggested by the scar lines is reinforced by the vast expanse of blue, a colour that has been central to Watson’s palette over three decades, typically invoking water. The reference to water relates to Watson’s Waanyi heritage, for her Country is nourished by freshwater springs and this area of north-west Queensland has been known as the land of the ‘running water people’. The indigo in the painting also alludes to the tides of history and memory, as well as the oceans and atmosphere that sustain global connectivity. The artist has said, ‘blue is the colour of memory, the colour of water and sky’ (quoted in Pinchbeck 2021, accessed 10 November 2021).</p>\n<p>\n<b>Further reading</b>\n<br/>Louise Martin-Chew, <i>Judy Watson: blood language</i>, Melbourne 2009.<br/>Katina Davidson, <i>Judy Watson: memory scars, dreams and gardens</i>, exhibition room sheet, Tolarno Gallery, November 2020, <a href=\"file:///C:/Users/sl-22/AppData/Local/Temp/Judy%20Watson%20memory%20scars,%20dreams%20and%20gardens%20Room%20Sheet.pdf\">file:///C:/Users/sl-22/AppData/Local/Temp/Judy%20Watson%20memory%20scars,%20dreams%20and%20gardens%20Room%20Sheet.pdf</a>, accessed 10 November 2021.<br/>Cara Pinchbeck, ‘Judy Watson’, <i>The National: New Australian Art</i>, Art Gallery of New South Wales, Sydney, Carriageworks, Eveleigh and Museum of Contemporary Art, Sydney 2021, <a href=\"https://www.the-national.com.au/artists/judy-watson/clouds-and-undercurrents/\">https://www.the-national.com.au/artists/judy-watson/clouds-and-undercurrents/</a>, accessed 10 November 2021.</p>\n<p>Sook-Kyung Lee and Anneke Jaspers, MCA Australia<br/>November 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-03-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "artistRoomsTour": false, "dateText": "7 June 2021 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": "7 June 2021", "endDate": null, "id": 14379, "startDate": "2021-06-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11857, "startDate": "2021-06-07", "title": "A Year in Art - Australia 1992", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Garnkiny </i>is a large square painting featuring a stylised crescent moon and four-pointed star against a black background. White dots of clay outline the yellow moon and the star, which touch at their points. The painting tells the Gija Ngarranggarni story of when Garnkiny steps into the sky as the moon and connects with his forbidden love who has been transformed into a star (‘wardal’ in Gija). Juli is a senior custodian of Darrajayin Country and of Gija Ngarranggarni stories, which have been passed down to her from generations of her family. The pared-back composition carries rich meaning and cultural importance for Gija people, whose Country is in East Kimberley in Australia. Juli creates her paintings with a reduced palette of black charcoal (werlerrem), yellow ochre (goorndoorl‑goorndoorloo) and white clay (mawoondool). Each pigment is sourced in her Country, Darrajayn, connecting the painting and the Ngarranggarni story to place.</p>\n<p>\n<i>Garnkiny</i> reveals aspects of Gija law, kinship relations and the origins of mortality, told through a tale of forbidden love, represented in Juli’s painting by the moon and the star. In this story, Garnkiny was a man who fell in love with a woman called Dawool, but their different skin groups meant a relationship between them was forbidden. Garnkiny declared his love for Dawool and his intention to marry her, but the Elders refused. He was shamed and cast out by his community and denied the woman he loved. Humiliated and full of anger, Garnkiny climbed a nearby hill, looked down on his people and cursed them, saying that they would all die and that he would remain forever. And so he did, transforming into the moon that is seen in the west and that signals the beginning of the monthly lunar cycle. His forbidden love was transformed into a star and, in Juli’s painting, the two are reunited in the night sky.</p>\n<p>Explaining her choice to depict this story, one that she returns to repeatedly in her painting, Juli stated: ‘I was doing that <i>Garnkiny</i>; that’s the painting I started with – because my mother and father told me that Ngarranggarni<i> </i>story. I was reminded of all those stories from my Mum and Dad. Those stories come from my Country … and I always remember those stories. I got ’em in my brain.’ (Mabel Juli, <i>Jiregewoorrarrem: All kinds of birds</i>, exhibition catalogue, Warmun Art Centre 2015, p.26.) In Gija language, Ngarranggarni is an expansive and complex concept. It refers to the ancestral creation period when the East Kimberley landscape took its form, and how the actions of spirt beings and human ancestors established Gija cultural laws. These beings either changed into or shaped parts of the landscape such as hills, rocks, rivers and waterholes, creating sacred Ngarranggarni sites. Ngarranggarni is also a framework that forms and maintains Gija law and worldview, recurring eternally in the minds of the living. This framework includes social organisation, kinship, custodianship of Country and the practice of song, dance, language and ceremony.</p>\n<p>\n<b>Further reading</b>\n<br/>Mabel Juli,<i> </i>Frances Kofod et al., <i>Garnkiny: Constellations of Meaning</i>, Warmun Art Centre, Western Australia 2014.<br/>Anna Crane, Frances Kofod and Alana Huntc, ‘Warmun Arts. You got a story?’, <i>Artlink Magazine</i>, 1 June 2016, <a href=\"https://www.artlink.com.au/articles/4486/warmun-arts-you-got-a-story/\">https://www.artlink.com.au/articles/4486/warmun-arts-you-got-a-story/</a>, paragraph 8, accessed 10 November 2021.<br/>Frances Koford, ‘Narrative in Gija Art: Four Women, Four Stories’, in Rachel Kent (ed.), <i>Telling Tales: Excursions in Narrative Form</i>, exhibition catalogue, Museum of Contemporary Art, Sydney 2016, pp.90–1, 106–7.<br/>Wendy Garden, ‘Moonstruck’, in Wendy Garden et al., <i>Between the Moon and the Stars</i>, exhibition catalogue, Museum and Art Gallery of the Northern Territory (MAGNT) 2019, pp.26–38.</p>\n<p>Tamsin Hong and Manya Sellers, MCA Australia<br/>November 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-03-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1928–2013", "fc": "Wen-Ying Tsai", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/wen-ying-tsai-2071" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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{ "id": 3, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Cybernetic Sculpture No. 99</i> 1969 is a kinetic artwork from a series of works informally titled ‘Square Tops’. Originally exhibited at the Hayden Gallery at the Massachusetts Institute of Technology in 1971, the sculpture consists of aluminium rods attached upright to a stainless-steel plate. Usually installed in a darkened room, the work is activated by an electric motor that vibrates the metal rods at a constant rate of twenty to thirty cycles per second. Flashing stroboscopic lights are set off in the gallery giving the impression that the rods are undulating and changing. Each flash lasts for a millionth of a second. The intervals between the flashes are of variable duration. When the rate of flashes is equal to the rate of vibrations, the motion appears stationary in the shape of a harmonic curve. If the rate is slower or faster, the rods appear to be undulating. Moreover, the work responds kinetically to environmental sound, such as hands clapping or people speaking, thereby changing the frequency of the strobe flashes and, ultimately, what the viewer is seeing.</p>\n<p>As the human eye cannot perceive the transitions of the flashing strobes, the visual effect of the work depends on an afterimage. Tsai’s fellow artist and friend Otto Piene (1928–2014) described Tsai’s ‘Square Tops’ works as a ‘ghostly shimmer of dancing light threads leaving vanishing traces of metallic blue’ (Tsai 2018, p.69.), while the critic Robert Hughes stated:</p>\n<p class=\"cttext\">\n</p><blockquote>The result is that when one approaches a Tsai or makes a noise in its vicinity, the thing responds. The rods appear to move; there is a shimmering, flashing, an eerie ballet of metal, whose apparent movements range from stillness to jittering, and back to a slow indescribably sensuous undulation … The rods appear to defy the laws of matter and occupy two places at the same time; or one can put a finger into an apparently empty patch of air and feel it hammered by an individual solid.<br/>(Robert Hughes, ‘Shaped by Strobe’, <i>Time</i>, vol.100, no.14, 2 October 1972, <a href=\"http://content.time.com/time/subscriber/article/0,33009,906463,00.html\">http://content.time.com/time/subscriber/article/0,33009906463,00.html</a>, accessed 4 April 2024.)</blockquote>\n<p>Tsai was interested in the poetic possibilities of science and technology. After a career as an engineer, he devoted his practice to experiments that fused art and science. While in residence at the MacDowell Colony in 1965 he had a breakthrough moment observing natural phenomena such as the flickering of daylight in a grove of trees which led him to work with the stroboscope. Originally used for military purposes, the stroboscopic light allowed Tsai to sculpt movement, form and visual perception in magical and surprising ways. In doing so, the artist was a frontrunner of using the latest technology of the time, continuing to experiment with fibre optics and even early digital computers, such as the Radio Shack TRS-80, in his artmaking. Piene described Tsai as ‘a grand poet writing with light of soul electronics’ (Otto Piene, ‘The Tsai Ballet: Trembling Without Fear’, in Tsai 2018, p.69).</p>\n<p>Clara Kim<br/>October 2021</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Tsai: Cybernetic Sculpture Environment</i>, exhibition catalogue, Galerie Denise René, New York 1972.<br/>Lun-Yi London Tsai (ed.), <i>Tsai</i>, New York 2018.</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-04-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1963", "fc": "Xiyadie", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/xiyadie-30630" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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{ "id": 5, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This one of a group of paper works in Tate’s collection by the Chinese artist Xiyadie. The works come from two separate series of works which subvert in different ways the traditional and intricate art of papercutting, recognised in China as an ancient folk art that can be traced back to the Eastern Han Dynasty (25–220 CE). Three works from 2020 (<i>Gate (Tiananmen)</i>, <i>Fish on a Chopping Board</i> and <i>Train</i>, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-gate-tiananmen-t15927\" title=\"View the details of this artwork\"><span>T15927</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-train-t15929\" title=\"View the details of this artwork\"><span>T15929</span></a>) are large-scale papercuts from white ‘xuanzhi’ (宣纸), a type of paper which is also used for traditional Chinese calligraphy and ink-wash painting due to its resilient yet absorbent qualities. Once cut, each of these works is hand-painted with food colouring more commonly used for identifying the fillings of steamed ‘bao’ buns, a humble snack often sold at street food stalls throughout China. Though each of these works represents figurative subjects, they are highly stylised according to the parameters of cutting folded paper: an intricate skill which has generically been described as a ‘matriarchs’ art’ due to the way in which it has traditionally been passed down through generations of women within the domestic sphere.</p>\n<p>\n<i>Gate (Tiananmen)</i> depicts two nude male figures embracing in front of the gate to a palace, its imperial status indicated by the decoration of two dragons. <i>Fish on a Chopping Board</i> depicts a crowded kitchen filled with cooking utensils and foodstuffs, at the centre of which – and to the fascination of two predatory cats on a shelf – is the amorphic form of two embracing men in the shape of a fish. For the artist, this is a metaphorical expression of the vulnerability one experiences as a ‘tongzhi’ (同志) – which translates from Chinese as ‘comrade’ and since the 1990s has been used in the Greater China Region as an informal expression of gay solidarity. <i>Train</i> is an autobiographical work that portrays the artist’s first gay relationship with a train conductor. In this complex composition, the artist plays with scale, portraying the central figures as much larger than the rest of the scene to express the intensity of their romance.</p>\n<p>A smaller, earlier work, <i>Flying </i>2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-flying-t15934\" title=\"View the details of this artwork\"><span>T15934</span></a>), depicts the artist’s late son who was affected by cerebral palsy. Here the artist depicts the fantasy of his infant child soaring from his wheelchair and reaching out to a smiling, anthropomorphic crescent moon.</p>\n<p>A series of four smaller square works, dating from 2001 and 2017 – <i>Fun</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15932\" title=\"View the details of this artwork\"><span>T15932</span></a>), <i>Fun</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15933\" title=\"View the details of this artwork\"><span>T15933</span></a>), <i>Fun</i> 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15930\" title=\"View the details of this artwork\"><span>T15930</span></a>) and <i>‘No Worries, My Mother Is Next Door’</i> 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-no-worries-my-mother-is-next-door-t15931\" title=\"View the details of this artwork\"><span>T15931</span></a>) – conforms to the style of traditional Chinese red papercuts against white backgrounds, with an emphasis on plants and animals. In dramatic contrast to these, however, the subjects of Xiyadie’s papercuts are in fact acts of intimacy between men: two works show the act of fellatio; in another, two nude male figures ride closely together on a bicycle, surrounded by a fantastical scene of flora and fauna; in a fourth, what looks like the form of a flower turns out to be buttocks and genitalia. In resembling the more conventional forms of papercutting, this series acts as a ‘trojan horse’, surreptitiously depicting relationships that have often faced discrimination in mainstream society. </p>\n<p>Though each of Xiyadie’s papercuts is unique, the nature of the craft is such that it is easier to manipulate and cut several layers of paper at a time. Therefore, similar versions of each papercut exist, although the artist considers this a process of refining and often adds different details in each version, such as different animals or patterns. </p>\n<p>Writing in 2019, the historian Hongwei Bao wrote of Xiyadie’s artistic trajectory:</p>\n<p class=\"cttext\">\n</p><blockquote>What is remarkable about Xiyadie’s life is his transformation from an ordinary Chinese farmer and folk artist whose name was little known inside China, to a contemporary queer artist who has recently launched an international career … His experience speaks to a postsocialist context where class politics gives way to identity politics in cultural production, and it calls for a reinvigoration of Marxist and socialist perspectives for a better understanding of contemporary art production and social movements. </blockquote>\n<blockquote>(Bao 2019, pp.2–3.) </blockquote>\n<p>\n<b>Further reading</b>\n<br/>Hongwei Bao, ‘Metamorphosis of a Butterfly: Neoliberal Subjectivation and Queer Autonomy in Xiyadie’s Papercutting Art’, <i>Journal of Contemporary Chinese Art</i>, vol.6, September 2019, pp.2–3. <br/>‘The Siberian Butterfly – Full Length Version’, sexybeijingTV, YouTube, <a href=\"https://youtu.be/XTsXO1fQ2CQ\">https://youtu.be/XTsXO1fQ2CQ</a>, accessed 2 September 2020. </p>\n<p>Katy Wan<br/>August 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1963", "fc": "Xiyadie", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/xiyadie-30630" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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{ "id": 5, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This one of a group of paper works in Tate’s collection by the Chinese artist Xiyadie. The works come from two separate series of works which subvert in different ways the traditional and intricate art of papercutting, recognised in China as an ancient folk art that can be traced back to the Eastern Han Dynasty (25–220 CE). Three works from 2020 (<i>Gate (Tiananmen)</i>, <i>Fish on a Chopping Board</i> and <i>Train</i>, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-gate-tiananmen-t15927\" title=\"View the details of this artwork\"><span>T15927</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-train-t15929\" title=\"View the details of this artwork\"><span>T15929</span></a>) are large-scale papercuts from white ‘xuanzhi’ (宣纸), a type of paper which is also used for traditional Chinese calligraphy and ink-wash painting due to its resilient yet absorbent qualities. Once cut, each of these works is hand-painted with food colouring more commonly used for identifying the fillings of steamed ‘bao’ buns, a humble snack often sold at street food stalls throughout China. Though each of these works represents figurative subjects, they are highly stylised according to the parameters of cutting folded paper: an intricate skill which has generically been described as a ‘matriarchs’ art’ due to the way in which it has traditionally been passed down through generations of women within the domestic sphere.</p>\n<p>\n<i>Gate (Tiananmen)</i> depicts two nude male figures embracing in front of the gate to a palace, its imperial status indicated by the decoration of two dragons. <i>Fish on a Chopping Board</i> depicts a crowded kitchen filled with cooking utensils and foodstuffs, at the centre of which – and to the fascination of two predatory cats on a shelf – is the amorphic form of two embracing men in the shape of a fish. For the artist, this is a metaphorical expression of the vulnerability one experiences as a ‘tongzhi’ (同志) – which translates from Chinese as ‘comrade’ and since the 1990s has been used in the Greater China Region as an informal expression of gay solidarity. <i>Train</i> is an autobiographical work that portrays the artist’s first gay relationship with a train conductor. In this complex composition, the artist plays with scale, portraying the central figures as much larger than the rest of the scene to express the intensity of their romance.</p>\n<p>A smaller, earlier work, <i>Flying </i>2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-flying-t15934\" title=\"View the details of this artwork\"><span>T15934</span></a>), depicts the artist’s late son who was affected by cerebral palsy. Here the artist depicts the fantasy of his infant child soaring from his wheelchair and reaching out to a smiling, anthropomorphic crescent moon.</p>\n<p>A series of four smaller square works, dating from 2001 and 2017 – <i>Fun</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15932\" title=\"View the details of this artwork\"><span>T15932</span></a>), <i>Fun</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15933\" title=\"View the details of this artwork\"><span>T15933</span></a>), <i>Fun</i> 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15930\" title=\"View the details of this artwork\"><span>T15930</span></a>) and <i>‘No Worries, My Mother Is Next Door’</i> 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-no-worries-my-mother-is-next-door-t15931\" title=\"View the details of this artwork\"><span>T15931</span></a>) – conforms to the style of traditional Chinese red papercuts against white backgrounds, with an emphasis on plants and animals. In dramatic contrast to these, however, the subjects of Xiyadie’s papercuts are in fact acts of intimacy between men: two works show the act of fellatio; in another, two nude male figures ride closely together on a bicycle, surrounded by a fantastical scene of flora and fauna; in a fourth, what looks like the form of a flower turns out to be buttocks and genitalia. In resembling the more conventional forms of papercutting, this series acts as a ‘trojan horse’, surreptitiously depicting relationships that have often faced discrimination in mainstream society. </p>\n<p>Though each of Xiyadie’s papercuts is unique, the nature of the craft is such that it is easier to manipulate and cut several layers of paper at a time. Therefore, similar versions of each papercut exist, although the artist considers this a process of refining and often adds different details in each version, such as different animals or patterns. </p>\n<p>Writing in 2019, the historian Hongwei Bao wrote of Xiyadie’s artistic trajectory:</p>\n<p class=\"cttext\">\n</p><blockquote>What is remarkable about Xiyadie’s life is his transformation from an ordinary Chinese farmer and folk artist whose name was little known inside China, to a contemporary queer artist who has recently launched an international career … His experience speaks to a postsocialist context where class politics gives way to identity politics in cultural production, and it calls for a reinvigoration of Marxist and socialist perspectives for a better understanding of contemporary art production and social movements. </blockquote>\n<blockquote>(Bao 2019, pp.2–3.) </blockquote>\n<p>\n<b>Further reading</b>\n<br/>Hongwei Bao, ‘Metamorphosis of a Butterfly: Neoliberal Subjectivation and Queer Autonomy in Xiyadie’s Papercutting Art’, <i>Journal of Contemporary Chinese Art</i>, vol.6, September 2019, pp.2–3. <br/>‘The Siberian Butterfly – Full Length Version’, sexybeijingTV, YouTube, <a href=\"https://youtu.be/XTsXO1fQ2CQ\">https://youtu.be/XTsXO1fQ2CQ</a>, accessed 2 September 2020. </p>\n<p>Katy Wan<br/>August 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1963", "fc": "Xiyadie", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/xiyadie-30630" } ]

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{ "id": 5, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This one of a group of paper works in Tate’s collection by the Chinese artist Xiyadie. The works come from two separate series of works which subvert in different ways the traditional and intricate art of papercutting, recognised in China as an ancient folk art that can be traced back to the Eastern Han Dynasty (25–220 CE). Three works from 2020 (<i>Gate (Tiananmen)</i>, <i>Fish on a Chopping Board</i> and <i>Train</i>, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-gate-tiananmen-t15927\" title=\"View the details of this artwork\"><span>T15927</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-train-t15929\" title=\"View the details of this artwork\"><span>T15929</span></a>) are large-scale papercuts from white ‘xuanzhi’ (宣纸), a type of paper which is also used for traditional Chinese calligraphy and ink-wash painting due to its resilient yet absorbent qualities. Once cut, each of these works is hand-painted with food colouring more commonly used for identifying the fillings of steamed ‘bao’ buns, a humble snack often sold at street food stalls throughout China. Though each of these works represents figurative subjects, they are highly stylised according to the parameters of cutting folded paper: an intricate skill which has generically been described as a ‘matriarchs’ art’ due to the way in which it has traditionally been passed down through generations of women within the domestic sphere.</p>\n<p>\n<i>Gate (Tiananmen)</i> depicts two nude male figures embracing in front of the gate to a palace, its imperial status indicated by the decoration of two dragons. <i>Fish on a Chopping Board</i> depicts a crowded kitchen filled with cooking utensils and foodstuffs, at the centre of which – and to the fascination of two predatory cats on a shelf – is the amorphic form of two embracing men in the shape of a fish. For the artist, this is a metaphorical expression of the vulnerability one experiences as a ‘tongzhi’ (同志) – which translates from Chinese as ‘comrade’ and since the 1990s has been used in the Greater China Region as an informal expression of gay solidarity. <i>Train</i> is an autobiographical work that portrays the artist’s first gay relationship with a train conductor. In this complex composition, the artist plays with scale, portraying the central figures as much larger than the rest of the scene to express the intensity of their romance.</p>\n<p>A smaller, earlier work, <i>Flying </i>2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-flying-t15934\" title=\"View the details of this artwork\"><span>T15934</span></a>), depicts the artist’s late son who was affected by cerebral palsy. Here the artist depicts the fantasy of his infant child soaring from his wheelchair and reaching out to a smiling, anthropomorphic crescent moon.</p>\n<p>A series of four smaller square works, dating from 2001 and 2017 – <i>Fun</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15932\" title=\"View the details of this artwork\"><span>T15932</span></a>), <i>Fun</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15933\" title=\"View the details of this artwork\"><span>T15933</span></a>), <i>Fun</i> 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-fun-t15930\" title=\"View the details of this artwork\"><span>T15930</span></a>) and <i>‘No Worries, My Mother Is Next Door’</i> 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/xiyadie-no-worries-my-mother-is-next-door-t15931\" title=\"View the details of this artwork\"><span>T15931</span></a>) – conforms to the style of traditional Chinese red papercuts against white backgrounds, with an emphasis on plants and animals. In dramatic contrast to these, however, the subjects of Xiyadie’s papercuts are in fact acts of intimacy between men: two works show the act of fellatio; in another, two nude male figures ride closely together on a bicycle, surrounded by a fantastical scene of flora and fauna; in a fourth, what looks like the form of a flower turns out to be buttocks and genitalia. In resembling the more conventional forms of papercutting, this series acts as a ‘trojan horse’, surreptitiously depicting relationships that have often faced discrimination in mainstream society. </p>\n<p>Though each of Xiyadie’s papercuts is unique, the nature of the craft is such that it is easier to manipulate and cut several layers of paper at a time. Therefore, similar versions of each papercut exist, although the artist considers this a process of refining and often adds different details in each version, such as different animals or patterns. </p>\n<p>Writing in 2019, the historian Hongwei Bao wrote of Xiyadie’s artistic trajectory:</p>\n<p class=\"cttext\">\n</p><blockquote>What is remarkable about Xiyadie’s life is his transformation from an ordinary Chinese farmer and folk artist whose name was little known inside China, to a contemporary queer artist who has recently launched an international career … His experience speaks to a postsocialist context where class politics gives way to identity politics in cultural production, and it calls for a reinvigoration of Marxist and socialist perspectives for a better understanding of contemporary art production and social movements. </blockquote>\n<blockquote>(Bao 2019, pp.2–3.) </blockquote>\n<p>\n<b>Further reading</b>\n<br/>Hongwei Bao, ‘Metamorphosis of a Butterfly: Neoliberal Subjectivation and Queer Autonomy in Xiyadie’s Papercutting Art’, <i>Journal of Contemporary Chinese Art</i>, vol.6, September 2019, pp.2–3. <br/>‘The Siberian Butterfly – Full Length Version’, sexybeijingTV, YouTube, <a href=\"https://youtu.be/XTsXO1fQ2CQ\">https://youtu.be/XTsXO1fQ2CQ</a>, accessed 2 September 2020. </p>\n<p>Katy Wan<br/>August 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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