Visit to the Switch House

My first visit to the Switch House at the Tate Modern was on a very rainy cloudy and dark day last week. In fact it was a day after the historic vote to leave the EU and the weather seemed to mirror the mood of most Londoners. Wanting to start on  the 10th floor and work my way down through the new gallery spaces and  because the lifts were in such great demand I climbed up what starts as a sweeping staircase and changes to narrower stairways and interesting architectural spaces and a bridge even on level 1 and 4 to cross over to the older galleries in the Boiler House on the other side. On the way to the 10th floor and the viewing gallery I had a quick look at the Louise Bourgeois room on level 4. It was thoughtful that she should be the first artist represented in the ‘Artists Room’ a collection gifted by Anthony D’Offey in 2008. The first exhibition in the Turbine Hall when it first opened in 2000, housed Louise Bourgeois’s  enormous spider and the three towers one could walk up into it was a great show and remains a permanent fixture in my memory.


I was out of breath even before the spectacular view could have taken my breath away! A walk around the outside of the generous space of the viewing gallery provided a whole new vista of my favorite town and honing my eyes in closer to the buildings just across from the Tate I also had a new view straight into the exposed glass fronted apartment buildings but there was not a soul in sight, and I agree with Laura Cummings from the Observer, in that those ‘Neo’ apartments have become a part of the art a concept even as one sees them from  Switch House viewing tower.


The Tanks  down on the ground floor are dedicated to live art and performance. Plus a space for video art and the moving image. I watched Apichatpong Weerasethakul a fiction fantasy rolled into one on several screens at once and left the other exhibits for another time. Around Robert Morris’s sculpture which looks remarkably of the moment yet stems from 1965 dancers or performers spontaneously created human sculptures in amongst the audience and  Charlotte Posnenske’s Revolving Vane (1967) pieces were playful and changed shapes while interacting with the audience.IMG_0240


There is such a lot to see and I went back to visit on Saturday evening and found myself in the middle of a sound performance where I saw all those wonderful sound installation pieces in action surrounding us all with the mesmerising sounds of a ballon loosing it’s air amplified through a big black make shift tuba and a xylophone made from slate,  water music gurgling from pipes and chains lifted out from pottery pots these sounds are not normally listened to with such reverence.

Whether you like the Switch House or not it has given a very interesting new dimension to the Tate Modern and I look forward to going back to experience the other exhibits!


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Terminal P

La Panacée, Centre of Contemporary Culture, Montpellier.

La Panacée, Centre of Contemporary Culture, Montpellier.









Terminal P 

La Panacée, Centre of Contemporary Culture Montpelier France

Is a new exhibition exploring the theme of airports. It includes works from the digital arts, installations, sound videos and photography. La Panacée is filled with visual and acoustic signals, transforming the gallery into an airport environment.

Jasmina Cibic, Taryn Simon, Milan Tutunovic, ESBAMM, Stéphane Degoutin & Gwenola Wagon, Zeno Franchini & Francesca Gattello, Rags media collective, Kerwin Rolland, Martha Rosler, Lab [au], Adrian Paci, Joseph Popper, T. de Ruyter, C. Rouaud & E. Mysius, Richard Baker, Marnix De Nijs, Jonathan Monk, Eli Commins, Audrey Martin, Cecile Babiole, David Thomas Smith, Cédrick Eymenier and An te Liu

The image above is taken from Joseph Popper’s piece ‘The Same Face’ first exhibited at the Lighthouse in  Brighton in 2015.

Terminal P is curated by Franck Bouchard

The exhibition opens from June 18th – August 28th 2016

More information can be found at

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Ittah Yoda at Annka Kulty Gallery London

‘I think mango you say salmon’

Often I hear it said that there is nothing new in painting. But having seen and enjoyed the new and emotive installation , ’I think mango you say salmon’  by Ittah Yoda at Annka Kulty Gallery London on until the end of this week, I am convinced there will always new frontiers and borders to cross in painting and installation.

This new exhibition marks an other stage in Virgils Ittah’s and Kai Yoda’s collaborations and includes both sculpture and paintings.


Am I right to call them paintings though? pieces are wall mounted and paint has been applied in abstract gestures. But unlike in conventional paintings, here the layers that make up the work are transparent and delicately tinted gossamer fabrics are superimposed and these are individually mounted onto carefully designed frames leaving the layers visible.

The overall visual experience of the soft and delicate hues of pastel colour draw the visitor in to an atmosphere that is aesthetically relaxing and it takes time to ease oneself into the installation.  The arrangement of the individual pieces allows for the space around the work to be given as much importance as the objects themselves.

Much attention is given to the materiality and looking closely my senses are attracted to all the various tactile surfaces I am able to make out, and can’t touch because I m in an exhibition and I find it hard not to touch the clear transparent piece that is layered off the frame of one of the wall piece paintings and appears like a small watery puddle frozen in time. And I would like to run my fingers across the surface of the polished frames. These pieces are more than just wall hangings, nor are they paintings in frames because the frames are very much integral to and contrasting in the work.

There is an aquatic feel of the whole installation. I am invited to lie in one of the reclining chairs  and after a while I do begin to feel floaty and impressions of a new sunny and misty morning by the sea come to mind and the floor pieces and a winged ceiling piece remind of organic shapes found by the sea. This subtle calm inspiring installation lets the imagination drift into fragile and fleeting moments of memory. 

Kai Yoda’s and Virgil Ittah’s  collaboration here integrates their individual styles which come together in complementary and harmonious ways.


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