Being flexible with its collection is as important for Tate Modern as mounting blockbusters ( up next in July, Georgia O’Keeffe), thematic shows and retrospectives. Soundworks, immersive installations and multiscreen videos eat up whole rooms and even suites of galleries. In the tanks, performance sidles around sculpture that also invites audience participation. You need to use your imagination.Īlexandra Pirici and Manuel Pelmuş’s performance, both homage and parody, is one of several live events taking place around Tate Modern following the Switch House opening. Standing together and uttering sonorous moans, they become a living, singing simulacra of Mark Rothko’s Seagram Murals, one of the highlights of Tate Modern’s collection – except they aren’t fuzzy and they are not purple. Everyone lies on the floor as Shibboleth, the crevice Doris Salcedo dug into the floor of the Turbine Hall in 2007.
A lone woman does the Mona Lisa, with a constipated look and a weak smile. Beneath the Switch House, in a space formerly occupied by the power station’s oil tanks, five performers are acting out famous artworks, without using any props.
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