Friday, October 14, 2005

On Wednesday I went to see the new Rachel Whiteread exhibit in the Turbine Hall at the Tate Modern.

For those of you who haven't been to the Tate Modern, the Turbine Hall is the huge space that you walk into as you enter the gallery, which itself used to be a power station. The space is enormous and to completely fill it is an equally massive challenge. The most impressive installation I have seen to completely fill the space was the Anish Kapoor exhibit, over two years ago. The picture, below, only shows a third of it. Apparently it was actually physically impossible to view or photograph the whole piece at once.

in-turbine-hall4

The Rachel Whiteread installation, while much smaller than the Anish Kapoor, is completely amazing in a totally different way.

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The work was inspired by an old, worn cardboard box that Whiteread found in her mother's house shortly after she died. Whiteread remembered the box from her childhood as it used to be kept in her toy cupboard.

For the installation itself Whiteread filled a number of different sizes of similar boxes with plaster. She then peeled away the exteriors, which left her with perfect casts, each recording and preserving all the bumps and indentations on the inside. To retain their quality as containers, they were refabricated in a translucent polythene.

The title of the installation, Embankment, refers to the riverside location (the Tate Modern sits on the Thames) as well as the nature of the installation's construction, with the piles of boxes forming barriers which you can walk around. Looking at it from above I was reminded of piles of sugar lumps, but when you start walking amongst them it's kind of like being in a maze, with lots of branches and dead ends. Then right in the middle is this huge towering structure, which makes you feel really, really small.

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The thing that really affected me was how empty the installation made me feel. I don't know if that was Whiteread's intention, but I kept reminding myself that these boxes weren't actually boxes at all, but impressions of the nothingness inside boxes that themselves really existed. It was really profound.

I love stuff like this. For me, this is what art is all about. Anything that make me feel something: even if that feeling isn't necessarily good, or even comfortable.

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