1 Granary had the pleasure of popping down to Late at Tate: Chronology, organised in partnership between the Tate Collective and some of our very own chaps from UAL! Amidst the newly hung collection, exhibitions by Patrick Caulfield and Gary Hume, sound installations by Mark Peter Wright, a fashion show, artists in discussion as well as music provided by some of fabric’s finest, we had a cracking time and think the gang at Tate pulled off a mad evening! Late-at-Tate-Britain

It all started with a great big rehang…

“In between the chronological promenade and the more time-specific focus displays we aim to introduce a new kind of exhibition, in which we take a trans-historical perspective to the collection, looking across time at how artists from different periods respond to similar concerns. These new projects bring together the different period expertises of our curators, joining the dots across the years.” Introduction to the Millbank project by Penelope Curtis, Director of Tate Britain

This evening allowed the public to get to grips with the new chronological curation of work at Tate Britain. For a whopping great big institution such as this, it is pretty mouth eye watering stuff! Dates now orientate the visitors within periods of art history. There are also no longer any explanatory bits of text accompanying the work… Say what? The gallery experience becomes completely visual and has been received well by critics and papers such as the the Guardian, Daily Telegraph and Independent who have all backed the organisational marathon. Thus the atmosphere for Late at Tate: Chronology was extremely buzzy!

“You don’t have to be at art school, you don’t have to live in London; Tate Collectives believes in Art for All.” Tate Collective

Dotted around the gallery, orange T-shirted members of the Tate Collective were around to help out and direct the masses. We caught up in with a few members in room 1840, where preparations were underway for sets by Alexander Nut B2B Josey Rebelle, Lee Gamble and Craig Richards. It’s a rare opportunity to be able to chill with fabric next to Millais’ “Ophelia”, wouldn’t you agree? Tate Collectives are groups set up for each of the respective Tate galleries and are a place for young creatives to talk about and share their art. The group is made up of 15 – 25 year olds and gives them the opportunity to organise events such as Late at Tate.

Some of the events in the gallery included real time projections by Jae Huh at Clay, responding to the new curation and imagery in the collection, as well as Nailwraps:Influences run by artist Phoebe Davies. The queue to have nails done was pretty long and subsequently we spotted many a fine fingered visitor roaming the gallery. Moreover, artist Mark Peter Wright exhibited two sound installations in response to both Susan Hiller’s: Dedicated to the Unknown Artists (1972-76) and Damien Hirst’s: The Acquired Inability to Escape (1991). The resultant creations were titled 305 Seconds at Sea and A Faint Glimmer. The first piece presented a fantastic collage of coastlines accompanied by snippets of sea sounds which jar and trip in a scatter of one second clips. The other piece featured an ominous glass box in which an empty chair and pack of cigarettes are left for us to watch, set to the ominous collage of air ventilation shafts.

Time and Influence Fashion Show

At the Time and Influence Fashion Show, we saw a glorious collaboration between the budding creatives at Tate Collective and the University of the Arts London. The production was inspired not only by the wide range of artworks present in the Tate collection, but also the recent rehang of 500 pieces in chronological order, which as we say has earned rave reviews from critics. Walking through the galleries at Tate Britain that night, we were completely blown away by the powerful curation of British art right from the 16th century to the present day.

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Representation in Art

Towards the back of the gallery, curator Paul Goodwin was hosting Round Table: Representation in Art, a fascinating series of discussions which brought together artists Megan Pickering, Tracey Moberly, Sara Shamsavari, Kimathi Donkor and Dusty O. The discussions had a wonderful ebb and flow as people joined and sat down casually amidst marble pillars and paintings on display. It was remarkably relaxed and easy to forget about being in such a grand institution. In particular, we were really interested in performance artist Dusty O’s tale of escape from life in the Midlands to the vibrant heart of London and Soho where she has subsequently worked in residencies at The Astoria, Camp Attack, Heaven and Madame Jojo’s. Referencing a portrait of Elizabeth I in the Tate collection, Dusty shares a strong affinity to Elizabeth who faced adversity and struggles; an illegitimate Protestant woman in a man’s world. Controlling exactly the way in which people saw her through make up and portraiture, Dusty appreciates that there is just a little lady beneath the mask. It’s interesting how Dusty links this self presentation to her own practice and the different ways in which drag are used by some for commercial means and by others as part of day to day life. One member at the table asked if Dusty was trying to influence social change, to which Dusty replies that it is important that she is seen in drag. “Otherwise, people never touch your humanity.” It made her parents have to change for the better, she says.

SWISHING!

Back down in the foyer, a line began to form of people anxious to swish. CSM tutor Mo Tamoney organised Late at Tate’s Superswish which saw clothes taken in and styled before being hastily swapped by an onslaught of excitable art goers. Surplus gear was passed straight to the clothing charity TRAID, an organisation which takes the publics unwanted clothes for reuse and resale in their charity shops. Mo’s main areas of work involves issues of fair trade and workplace ethics, ethical and environmental sourcing, creative product strategy and trend direction for fashion and textiles. We spotted our very own fashion figurehead Willie Walters accompanied by some enlisted first year fashion troops, Edwin Mohney and Imogen Wright.

Thank you all and love from 1 Granary!

For more information about the Tate Collective http://collectives.tate.org.uk

Join in:
@TateCollectives @UALartseen #LateAtTate
Facebook.com/collectives.tate

For future events at Tate Britain http://www.tate.org.uk/whats-on

For the charity TRAID http://www.traid.org.uk

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