Visited Tate Modern to see a couple of the displays. First up was this very industrial looking installation by Abraham Cruzvillegas in the Turbine Hall which consists of a series of triangular wooden planters layed out in a geometric design. The planters are filled with earth taken from a variety of parks across London, and will be left to see what grows in the earth by the time the installation closes next April. It's not the most visually compelling installation, but the concept is intriguing. The geometric layout of the triangular planters form pleasing patterns but it remains to see what the soil will actually yield come next spring when the display closes.
I was pleasantly surprised to come across a room of Rebecca Horn's work. Her feather pieces are fantastic and I shall be featuring her butterfly pieces in a future edition of my Butterflies Through Others Eyes series.
Elements of Rebecca Horn's work are fetishishtic and erotic. These feather mask works are intimate and look wonderful when worn. I did not get the title of the feathered dress above, but the video of the layers of feathers rising and falling when the dress is worn is amazing.
Rebecca Horn - Cockfeather Mask - 1973
Rebecca Horn - Cockatoo Mask - 1973
Jacques Villeglé - Jazzmen 1961
I paid a visit to the Torn Papers and Walls Paper room as I absolutely love the torn collage work of Jacques Villeglé and Mimmo Rotella. The ripped, textural layers are beautiful as is the random nature and juxtapositions of type and colour.
Mark Bradford - Riding The Cut Vein 2013
I also like the work of Mark Bradford who also uses salvaged posters in his work, and then works into them with a variety of tools to create arial map and grid like works reminiscent of the neighborhoods where he found the posters.
Gordon Matta-Clark - Walls Paper 1972
These interested me. They are wallpaper and paint patterns taken from derelict homes in the Bronx, which the artist took photographs of to then make his own wallpaper installation.
Mathias Goeritz - Message 1959
I was seduced by the gloss and reflective surface of this golden minimalist piece - Message (1959), by Mathias Goeritz. I've also been working with lots of gold leaf this year so it really appealed to me, and I liked watching the shadows of visitors glide across the golden surface as they walked past it.
