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Tate Modern is buying work from artists in countries from Algeria to Egypt to Iran.
The gallery’s head of collections, Frances Morris, said it was a conscious repositioning in order “to collect the best art regardless of geography.”
Acquisitions announced yesterday include thirteen contemporary works by ten artists—all new to the collection—from the Middle East and north Africa. Among them are an installation piece by Mahmoud Bakhshi Moakhar called Air Pollution of Iran, 2004–2006, and a scale model of an ancient north African city called Ghardaia made from cooked couscous by the French-Algerian artist Kader Attia.
Morris said: “The ambitious repositioning of Tate’s collection is a response to the emergence of interesting and dynamic art centers across the world and an ever more complex and interconnected international art scene.” She added that Tate wanted “to contribute towards a reshaping of art history reflecting local art histories across the world.”
Photo 1:
MAHMOUD BAKHSHI MOAKHAR: Air Pollution of Iran 2004-6
Eight flags
object, each: 2350 x 1390 x 55 mm
installation
Purchased using funds provided by the Middle East North Africa Acquisitions Committee 2010
Artists statement:
“The main inspiration of my projects comes from political and social issues. Most of my projects are direct answers to situations I observe and connections I make with the historical past of my country. I have often had conflicted feelings about this approach and have always looked at artworks that are disconnected from political issues, that are beautiful and important for art history, with envy. But, I was born in Iran, grew up after the Revolution and during the Iran-Iraq War period. I have found difficult to create artworks disconnected from my surroundings.”
Photo 2:
KADER ATTIA: Untitled (Ghardaia), 2009
Cooked cous cous, table and photographs on paper installation
Purchased using funds provided by the Middle East North Africa Acquisitions Committee 2010
Untitled (Ghardaïa) 2009, by Kader Attia, is constructed out of cracked wheat moulded into a cityscape and placed on a table 2m (6ft) square. The unusual medium will present a challenge to curators when it is eventually displayed. The couscous must be cooked before it is shaped, readily falls apart, and runs the risk of attracting vermin during the course of an exhibition.
Tate would not disclose how much it paid for the installation but reassured the public that it was money well spent. Jessica Morgan, a curator at Tate Modern, said that the model was designed to disintegrate slowly as it is displayed to represent the crumbling architecture of the city. Ghardaïa, in the M’zab Valley, became a strong influence on modern European building design after its straight lines were copied by visiting architects such as Le Corbusier. The model is meant to be displayed next to a photograph of the architect.
“It is incredibly reminiscent of modern architecture but it is 200 years old,” Ms Morgan said. “Now it is becoming decayed and destroyed. Over time, the model begins to decay in the same way as the buildings are beginning to crumble. It’s normally shown over a period of three months. It doesn’t entirely fall apart so that it ends up with a flattened surface. It gently crumbles.” The artist also chose couscous because it is a staple food in North Africa.
http://www.tate.org.uk/collection/
Photos: © Copyright Tate Gallery
