Tate Britain is hosting an expansive survey of more than 90 works by legendary British artist Cornelia Parker, spanning from the 1980s \u2013 2022. On view until 16 October 2022, the show debuts new video and sculptural works Flag, 2022, and Island, 2022, which are staged alongside some of the...
At Tate Britain, Cornelia Parker’s first London survey show dissects politics and history and reframes everyday lifeTate Britain is hosting an expansive survey of more than 90 works by legendary British artist Cornelia Parker, spanning from the 1980s – 2022. On view until 16 October 2022, the show debuts new video and sculptural works, 2022, which are staged alongside some of the artist’s most recognisable sculptures and installations.
The wall text accompanying each piece is sprinkled with Parker’s first-person reflections, providing insight into the story and context behind each work. In her narration, we see Parker draw alternative meanings from the ordinary., 2012 – 13 brings us through a daily walk, where Parker extracts art from the everyday in prison-wall cracks, and her 2017 series, which sees children scrawl newspaper headlines of ‘Theresa Maybe’ and ‘Trump Spreading Social Poison’ on chalkboards.
Parker sees art in the underside of things. She highlights awkward objects and ugly mishaps, transforming them into abstract images of colourfully taped backs of signs and pools of spilt milk on the pavement. In, 2013, she takes a bronze cast of the gaps between paving stones and elevates it inches above the ground, creating a striking structure. Familiar shadows are cast on the floor below the hovering hopscotch, creating an emblem devoid of function. , 2015. © Anne - Katrin Purkiss.
Elsewhere, she animates stacks of newspapers and exposes brash headlines gathered during the campaign period for Britain’s 2017 General Election. In, 2017, newspapers blow around the House of Commons chamber at the hands of an artificially generated wind, evoking the turbulence and clashes so often associated with the space.
Parker’s sometimes tongue-in-cheek approach to violence is demonstrated in her comic book-esque imagining of an explosion frozen in time., 1991, allows the destruction of a shed to be inspected. The static light in the centre of the artwork sustains the brutality of the act, a reminder of the border between violence and reflection that this work sits on. Photo: Tate Photography Oli Cowling , 2022 – created especially for this exhibition – offers a similarly quiet moment.
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