Categories
Gallery

Let’s get digital… part 2

In my last post, I looked at what the Nationals and other museums in London are doing to engage audiences during the Covid-19 pandemic, but they’re not the only ones creating new solutions to closed doors – as London gallery innovations bear witness to. Serpentine Galleries are offering digital guides to their current exhibitions, allowing you to explore interactively with additional content, audio, video and curator tours. They are also delivering online Saturday Talks, podcasts and digital commissions as well as offering weekly book recommendations to help keep minds and imaginations going. Gagosian have launched #GagosianSpotlight, a new online artist series, highlighting individual artists, one week at a time, who have had exhibitions affected by the current coronavirus crisis. As well as looking at their practice, it also includes videos, interviews, playlists and other insights into their artists’ inspiration. Sadie Coles have started an #AnswersfromIsolation series posing pertinent questions to their artists including “has the current isolation given you time to do or make something that you might not have”, “tell us about your current projects that have been delayed due to Covid-19”, as well as recipe tips and other insights. Victoria Miro are publishing long reads, hosting online in conversation… with their artists, and have partnered up with nine other contemporary art galleries in Venice to open the ‘virtual’ doors of their storage and allow a rare look behind the scenes; as each week, each gallery will pick an artwork from their store to share on the #VeniceGalleriesView platform. Edel Asanti have launched #ContactlessDeliveries comprising written responses to the global pandemic shared in text or in spoken word films. Each is delivered from a personal perspective and responds to the previous contributor. They have also begun #HomeFires, a series of five minute conversations between the artistic Director and their artists, discussing a recent or ongoing body of work. The Photographers’ Gallery’s #TPGTalks offers a wealth of online podcasts, videos and interviews from photographers, writers and curators drawn from their extensive Talks & Events Programme. The already active digital programme has also collaborated with Fotomuseum Winterhur to launch #ScreenWalks, offering a series of live streamed artist/research led explorations of the cultural sectors online spaces as the physical spaces currently lie redundant due to Covid-19. White Cube have launched an #InTheStudio series where each week a represented artist shares a diary of their activities under lockdown (kicked off by Tracey Emin), and have also started an #InsideWhiteCube post where staff members are introduced and talk about what they are seeing, thinking, reading, watching and listening to during isolation. Lisson Gallery have partnered with Augment, and app whose technology allows people to visualise 3D objects and artworks in augmented reality through their smartphones and tablets. Freelands Foundation have similarly harnessed 3D scanning technology, allowing people to now view their exhibition of four female artists’ works on their website. This is just a selection of what’s out there, and I will endeavour to see what else is going on and what new ideas emerge as the lockdown and social distancing continues.

Categories
Gallery Museum Photography

Performing For The Camera: Tate Modern

Directly across the hallway from ‘Performing Sculpture’ at Tate Modern is ‘Performing For The Camera’ – a photography exhibition spanning fourteen galleries and exploring the relationship between photography and performance. Taking a thematic approach the exhibition looks at how the camera has been used as a tool for exploring identity, gender and sexism, race and politics, and manipulated in advertising and by society’s portrayal and construction of themselves from its invention in the 1800’s to contemporary social media. It comprises over 500 images and several stand out; three large black and white images of Ai Wei Wei holding a 2,000 year old Han dynasty urn, dropping the urn, and the urn smashing on the floor, as well as Tomoko Sawada’s ‘ID400’ showing a collection of passport photographs taken by the artist over a 4 year period highlighting her diverse looks and identities yet still being the same person, Jemima Stehli’s ‘Strip’ which depicts the artist taking her clothes off in front of six different subjects who control the camera and timing of photos being taken, and Romain Mader’s ‘Ekaterina’ which humorously discusses Ukranian mail-order-bride tourism through a series of nine staged photographs. Another highlight of the exhibition was being introduced to Japanese photographer Eikoh Hosoe whose collaboration with the dancer Tatsumi Hijikata are documented in wonderful black and white images densely hung against bright red walls. With such a large volume of photographs on display there were bound to be some notable images, however the exhibition as a whole lacked something, and in contrast to the Calder exhibition across the corridor I felt that sculpture ‘performed’ much better than the camera on this occasion.

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