Tacita Dean, a British artist perhaps most well known for her16mm films which deal with the construction of history and shifting conundrum of memory, was named the artist to confront one of Contemporary arts decidedly mammoth and most overwhelming venues, the Tate Modern‘s Turbine Hall.
The Hall measuring 3,400 square meters of floor and five stories in height was once a Power station and housed the Electric turbines from which the hall garners its name.
Dean has recently been working with the issue of portraiture and has plied into the aura of art notables such as Merce Cunningham, Mario Merz, and poet Michael Hamburger. In the Craneway Event, Dean captured the expressions and details of the artist Cunningham in his final gestures and production and the manufacture and elaboration of his persona in the materials of humans, the given event of action, and surrounding containments of architecture.
Other artists who have work in the Turbine hall since its opening in 2000 include: Ai Weiwei, with the current exhibition of 100 meters of porcelain sunflower seeds which has been closed off to wandering through due to concerns of the ceramic dust pulverized underfoot.
Continuing the list is: Doris Salcedo who inserted an ominous crack in the Turbine hall floor: Carsten Höller who gave the hall his trademark amusement park production in a set of spiraling and convulsed slides which visitors could attempt to plummet through; Miroslaw Balka’s massive chamber of darkness in which to explore the notion of visual and bodily absence; and Olafur Eliasson’s 2003 Weather Project which manufactured an artificial sun in which spectators quickly learned to linger within per Seraut’s A Sunday Afternoon on the Island of La Grande Jatte (1884–1886).