What would Superflex, the Danish art collective, do to fill the gigantic Turbine Hall, the former power station that is now a arena-sized exhibition venue at Tate Modern? Things were not immediately clear upon first glance at the VIP opening tonight in London, at least from the upstairs viewing platform. There was a studio-apartment-sized steel ball tied to the ceiling, rocking back and forth. That got people’s attention pretty quick. And then, upon further inspection, down below, hanging from a series of tubes, were many, many swing sets.
Yes, the kind of swing sets that you played on as a kid are now at the Tate, ready to be swung on. The energetic title doesn’t permit you to swing on the swing sets: it asks you too, forcibly. It’s called One Two Three Swing!
With the playful points of entry, and the big moving thing, we have here art that will translate quite well to Instagram and Instagram Stories. And the place is lit for pictures: compared to the dark and damp doom and gloom that filled the space last year, for Philippe Parreno’s show, it was positively blinding.
“There’s no reason this place has to be this bright, people are drinking here,” said a friend, also in town from New York, where imbibing and art viewing are often conducted in less harsh lighting.
“We don’t need to see everyone’s faces, believe me,” she said.
Not that it mattered much—after a few minutes it was on to the next event.