{"id":539513,"date":"2022-08-26T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/art\/design\/the-new-tate-modern-a-cathedral-for-art-straight-out-of-star-wars-2\/"},"modified":"2022-08-26T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"the-new-tate-modern-a-cathedral-for-art-straight-out-of-star-wars-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art\/design\/the-new-tate-modern-a-cathedral-for-art-straight-out-of-star-wars-2\/","title":{"rendered":"The new Tate Modern: a cathedral for art straight out of Star Wars"},"content":{"rendered":"\n
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The new Tate Modern by Jacques Herzog and Pierre de Meuron<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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The new Tate Modern by Jacques Herzog and Pierre de Meuron<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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The new Tate Modern by Jacques Herzog and Pierre de Meuron<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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The new Tate Modern by Jacques Herzog and Pierre de Meuron<\/figcaption>\n <\/figure>\n \n <\/div>\n <\/div>\n

It\u2019s 1995. The Swiss architect duo <\/strong>Jacques Herzog and Pierre de Meuron have won the competition to turn the disaffected power station designed by Giles Gilbert Scott into a great museum of modern and contemporary art for London. No one could have anticipated the success of what would become one of the greatest global institutions: The Tate Modern. Cynics ridiculed the goal of 1.8 million visitors a year. In the first year of its opening in 2000 there were 4.7 million. Today more than 5 million visit it annually. In 2000 Herzog and de Meuron were awarded the prestigious Pritzker Prize, the architect\u2019s Nobel.<\/p>\r\n\r\n

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A CATHEDRAL FOR ART<\/strong><\/p>\r\n\r\n

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The extension of the museum opened to the public on June 17th<\/strong> <\/strong>was also conceived by the famous Basel duo\u2019s agency. Since the Tate Modern, Herzog & de Meuron have multiplied their museum projects and become nothing short of an international reference. The San Francisco De Young Museum, the extension of the Unterlinden Museum in Colmar, the P\u00e9rez Art Museum in Miami, the extension of the Walker Art Center in Minneapolis, the Schaulager in Basel, the Blau Museum in Barcelona\u2026 In other words their comeback on the banks of the River Thames has been hotly anticipated. And is anyone disappointed?<\/strong><\/p>\r\n\r\n

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\u201cThis building that was once upon a time the beating heart of London is today its cultural cathedral.\u201d<\/em> \u2013 Lord Browne, Chairman of the Tate<\/strong><\/p>\r\n\r\n

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Not if we listen to the Tate chairman, Lord Browne. <\/strong>\u201cThis building that used to be the beating heart of London is today its cultural cathedral,\u201d<\/em> he enthusiastically announced before a crowd of guests at last Tuesday\u2019s official opening. But the 64.5m tall tower with its 10 storeys doesn\u2019t only have fans. \u201cToo depressing!\u201d <\/em>Some say of its fa\u00e7ade and choice of bricks \u2013 336,000 for its openwork fa\u00e7ade anchoring the building in an industrial past. \u201cA veritable bunker!\u201d <\/em> A reference to its compact structure and deliberate choice to abandon the large glass entrances, an easy symbols of modernity for so many contemporary edifices. And yet what a success!<\/p>\r\n\r\n

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THE NEW TATE MODERN, BETWEEN STAR WARS AND BLADE RUNNER<\/strong><\/p>\r\n\r\n

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Far from being a compacted bunker,<\/strong> the new wing is more like the monolith in 2001: A Space Odyssey<\/em>.<\/strong> Its majesty evokes spiritual and religious monuments. Reaching into the sky, the building recalls the Tower of Babel, embodying a human culture determined to confront the gods. Or maybe a new Inca or Greek temple. It\u2019s certainly an edifice to the glory of Art, the new contemporary idol. But these backward looking references don\u2019t truly do this one-of-a-kind architectural object justice. A crooked object that seems to be in perpetual motion as if under the impetus of high-tech electronic mechanics transforming its appearance like a Rubik\u2019s Cube. The imagination convened on this site is pure science fiction. The new Tate Modern is a spaceship from the Star Wars Empire. Better than that, a building straight out Ridley Scott\u2019s Blade Runner<\/em>.<\/p>\r\n\r\n

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La nuit tomb\u00e9e, la lumi\u00e8re int\u00e9rieure s\u2019\u00e9chappant des perc\u00e9es de la fa\u00e7ade<\/b> ne fait qu\u2019accentuer l\u2019impression de faire face \u00e0 un croiseur galactique. Pour Jacques Herzog : \u201cLa forme ext\u00e9rieure du b\u00e2timent para\u00eet aussi myst\u00e9rieuse que d\u00e9routante, mais elle r\u00e9sulte pourtant d\u2019une interpr\u00e9tation g\u00e9om\u00e9trique tr\u00e8s rationnelle des rues environnantes et du quartier. Les volumes qui en d\u00e9coulent nous rappellent une pyramide, mais aussi une tente. Les interpr\u00e9tations sont ouvertes.<\/i>\u201d<\/p>\r\n\r\n

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A CONSISTENT CHOICE: TWO WINGS FOR ONE BUILDING <\/strong><\/p>\r\n\r\n

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\u201cOur goal was to conceive a new building that fits in perfectly with the existing one,\u201d <\/em><\/strong>continues <\/em><\/strong>Jacques Herzog. <\/em>\u201c<\/em>We wanted to create a single entity where you cannot distinguish phase 1 from phase 2.\u201d For this the choice of brick was primordial in order for the architects to create a sense of continuity in the fa\u00e7ade of the two wings.<\/em> \u201c<\/em>The brick coating can be read in two ways. Solid and traditional, it blends in with the existing bricks of the power station <\/em>[that form the original Tate Modern]. <\/em>And yet it appears particularly light, almost like a textile or a knit, especially on the inclined parts.<\/em>\u201d A bridge overlooking the gigantic hall works on linking the interior, the wing originally known as the \u201cBoiler House\u201d to the new wing called \u201cSwitch House\u201d.<\/em><\/p>\r\n\r\n

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\u201cThe brick facade is perforated in such a way that the sun can enter and soften the strength of the concrete.\u201d \u2013 <\/strong><\/em>Jacques Herzog<\/strong><\/p>\r\n\r\n

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ART IN THE MIDST OF FUEL TANKS   <\/strong><\/p>\r\n\r\n

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Another daring choice of duo<\/strong> is the erection of the new wing on the existing fuel tanks <\/strong>\u2013 the very ones that were used to power the turbines of the Tate\u2019s monumental hall. These tanks, spaces of 30m installed in the basement, remind us of the industrial origins of the building. But now their concrete architecture is welcoming a fantastic line-up of performances and films, from the dreamy videos by Thai director Apichatpong Weerasethakul (Palme d\u2019or in Cannes) to the eccentric instruments of Tarek Atoui.<\/p>\r\n\r\n

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60% MORE SPACE\u2026 not necessarily devoted to art<\/strong><\/p>\r\n\r\n

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While the new wing allows the museum to increase its floor space by 60%,<\/strong> <\/strong>this gain is only partially set aside for exhibition space. Only levels 2 to 4 will be hosting the three inaugural exhibitions. The first – and most exciting – entitled \u201cBetween Object & Architecture\u201d (level 2) looks at the relationship between the work of art and its surrounding environment. Donald Judd, Rachel Whiteread, Daniel Buren, Cristina Iglesias, Eva Hesse, Rasheed Araeen, Bruce Nauman and Ricardo Basbaum have all been summoned. On level 3, \u201cPerformer and Participant\u201d closely scrutinises the links between art, performance and choreography, while level 4 gives over an impressive space to Louise Bourgeois and a space that\u2019s much too small to the urban theme of \u201cLiving Cities\u201d. The rest of the space is sucked up into a bar and boutique on level 1, with eight gigantic elevators on every floor, staircases and toilets everywhere, and a restaurant on level 9. <\/p>\r\n\r\n

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A<\/strong>N ARCHITECTURAL PROMENADE BETWEEN WOOD AND CONCRETE<\/strong><\/p>\r\n\r\n

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This new wing in brut concrete and pale oak wood <\/strong>provides vast and open volumes that are particularly interesting on level 2. It\u2019s interestingly different from one floor to the next. \u201cThe brick fa\u00e7ade is perforated in such a way that the sun can enter and soften the strength of the concrete<\/em>,\u201d comments Jacques Herzog. \u201cThe biggest difference with the old building is the flux management. Within the new wing the public will have access to a wide selection of stairs and railings that create a sort of architectural promenade with benches and alcoves where you can stop and chat<\/em>.\u201d<\/p>\r\n\r\n

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800 WORKS BY 300 ARTISTS FROM 50 DIFFERENT COUNTRIES<\/strong><\/p>\r\n\r\n

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The other major revolution at the new Tate Modern<\/strong> \u2013 and we\u2019ll be going back to this in more detail soon \u2013 is obviously the new installation in the heart of the two wings. \u201cNow we\u2019re able to tell a more international, more diverse and more stimulating history of art,<\/em>\u201d explains Nicolas Serota, director of the Tate. \u201cWe wanted to trace the history of living arts, from cinema to new media, and above all acquire and show more work by women<\/em> artists<\/em>.\u201d
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\r\nThe end of the Western, white male artist hegemony… <\/strong>The new installation is resolutely more interesting, more feminine and more diverse in its choice of media. Performance takes pride of place. Video is also very present. Of the 800 works, 75% of them have been acquired since 2000. The 300 artists on show come from 50 different countries including Chili, India, Russia, Sudan, Lebanon and Thailand\u2026 It\u2019s an undeniable success. And let\u2019s not forget the Tate Modern\u2019s iconic masterpieces \u2013 the Richter, Rothko and Riley rooms cannot help but move you to tears.
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On the top floor of this new wing<\/strong>, at more than 60 meters high, the visitor can contemplate <\/strong>360\u00b0 of a constantly changing London, \u2013 the cranes are countless \u2013 its most beautiful buildings (from Saint Paul\u2019s Cathedral to Renzo Piano\u2019s Shard) and its stormy sky. An exhilarating view offered by the Tate Modern that perfectly symbolises its architectural and artistic ambition: to stay at the top.<\/p>\r\n\r\n

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www.tate.org.uk\/visit\/tate-modern<\/a><\/strong><\/p>\r\n\r\n

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It\u2019s 1995. The Swiss architect duo Jacques Herzog and Pierre de Meuron have won the competition […]<\/p>\n

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