Tate Morden

跑去专门玩，瞬间滑落时，心重重的沉了一下
For Carsten Höller, the experience of sliding is best summed up in a phrase by the French writer Roger Caillois as a 'voluptuous panic upon an otherwise lucid mind'. The slides are impressive sculptures in their own right, and you don't have to hurtle down them to appreciate this artwork. What interests Höller, however, is both the visual spectacle of watching people sliding and the 'inner spectacle' experienced by the sliders themselves, the state of simultaneous delight and anxiety that you enter as you descend.
To date Höller has installed six smaller slides in other galleries and museums, but the c
avernous space of the Turbine Hall offers a unique setting in which to extend his vision. Yet, as the title implies, he sees it as a prot
otype for an even larger enterprise, in which slides could be introduced across London, or indeed, in any city. How might a daily dose of sliding affect the way we perceive the world? Can slides become part of our experiential and architectural life?
Höller has undertaken many projects that invite visitor interaction, such as Flying Machine (1996) that hoists the user through the air,
Upside-Down Goggles (1994/2001) that modify vision, and Frisbee House (2000) - a room full of Frisbees. The slides, like these earlier works, question human behaviour, perception and logic, offering the possibility for self-exploration in the process.




上星期还和一位Goldsmiths学design的女生说起，她说csm盛产怪才，立刻想到4月初看的展览，笑。
Gilbert & George place themselves, their thoughts and their feelings at the centre of their art, and almost all of the images they use are gathered within walking distance of their home in London’s East End. Yet their pictures capture a broad human experience, encompassing an astonishing range of emotions and themes, from rural idylls to gritty images of a decaying London; from fantastical brightly-coloured panoramas to raw examinations of humanity stripped bare; from sex advertisements to religious fundamentalism.
From the beginning, they wanted to communicate beyond the narrow confines of the art world, adopting the slogan ‘Art for All’. As a result they have joined the very small handful of artists to become household names, and their impeccably-dressed figures are instantly recognisable to the general public. Bringing together a selection of pictures that spans their entire 40-year career, it is fitting that Gilbert &George: Major Exhibition is the largest retrospective of any artist to be held at Tate Modern.
George was born in Devon in 1942. Gilbert was born in Italy in 1943, in a small village in the Dolomites. They met as students on the sculpture course at St Martins School of Art, London, where they exhibited together and soon began to create art together. They adopted the identity of ‘living sculptures’ in both their art and their daily lives, becoming not only creators, but also the art itself.
They established their reputation in 1969 with THE SINGING SCULPTURE. Standing together on a table, they danced and sang the Flanagan and Allen standard ‘Underneath the Arches’ – a song in which two tramps describe the pleasures of sleeping rough. It was a telling choice, harking back to prewar England and traditions of vaudeville, while also identifying with the fringes of society. Gilbert & George were invited to present THE SINGING SCULPTURE all over the world, sometimes for eight hours at a stretch. Realising, however, that they could reach only a handful of people at a time, they began to create films and pictures that could extend the idea of living sculpture without requiring their physical presence.
The exhibition is curated by Jan Debbaut and Ben Borthwick, Assistant Curator, Tate Modern.