Tate Modern Turbine corridor
The artist’s Empty Lot is like an allotment in winter – with the slight air of a displacement camp. Guerrilla gardeners and seed-bombers will bear a field day
The stepped platforms of Abraham Cruzvillegas’s Empty Lot stand on a forest of scaffolding. Rising towards the bridge from the downward slope of Tate Modern’s Turbine corridor,they continue to rise again beyond. Looking back from the rear of theroom, the structure resembles a ship in a dry dock, or its gigantic raised prow facing east. From down here the view of the upper level (where all the action is) is extremely limited. The best views are from the bridge and along the level 1 walkway,commanding a view of the deck below.
But it’s not a deck – more a garden or allotment. Cruzvillegas’s work is absorbing and frustrating in equal measure. Absorbing because of its wealth of details, frustrating because it is difficult to see all of them with any clarity. Wherever you are (and however sharp-eyed), or much of it is tough to make out. Distances are too far; the light is often against you. There’s too much going on. This is how it is in a crowded market,or any large public space.
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Source: theguardian.com