Of course, as well as complex and magical ideas, there is the notion of just having a large piece of Moving Image playing, the dark hall around and the reflective floor as contributing to the ideas that Moving Image can also be monumental and sculptural. It's such an opportunity - the scale beyond cinema, the simple freedom to go large.
Personally I admit that I was a little disappointed with the content of Film. It just didn't quite match the epic presentation. I admit also that I am not a fan in general of suddenness and flashing editing in Moving Image. I wanted to like it more than I did - I do generally admire the work of Tacita Dean.
Perhaps my experience was a little ruined for me by imagining how I would have done it differently, what I would show in that space, what I think would work. Watching a play with an actor, or hearing a concert with a musician, they often pick up technicalities and inaccuracies which other people, civilians, are willing to let wash over them. Although the bigness of the piece and the setting was great, I didn't really see how it would give much new to Moving Image, apart from to promote its cause and make it a more usual exhibit in major galleries.
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| Doris Salcedo, Shibboleth, Tate Modern, 2007 http://www.tate.org.uk/modern/exhibitions/dorissalcedo/images/salcedo_shibboleth.gif (accessed 19th March 2012) |
Still visible in the floor of Tate Modern is the trace of the crack made by Doris Salcedo. Poor pictures by my camera phone, but the filled in traces still run the length of the hall. What a wonderful work that was - it was everything - intriguing, ambiguous, funny, alarming, irresistible and very memorable. I love that the ghost of it is still there.
pictures at Tate Modern, 9th March 2012
19th March 2012
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