Boy stepping off the curb, N.Y.C. 1957–58, by Diane Arbus

Diane Arbus | Boy stepping off the curb | Works in Focus

Jeff L. Rosenheim, Curator in Charge of the Department of Photographs at The Metropolitan Museum of Art in New York, and curator of Hayward Gallery’s diane arbus: in the beginning introduces us to one of the photographs in the exhibition.

According to Rosenheim, Boy stepping off the curb, N.Y.C. 1957–58 shows how Arbus’ approach to documentary photography differed to that of her peers. Rather than act as a ‘fly on the wall’, Arbus used her camera as a way to connect with her subjects.

 

Arbus wanted to be seen, she wanted to be implicated in her work.
Jeff L. Rosenheim

 

This exhibition is organised by The Metropolitan Museum of Art, New York.


 

diane arbus: in the beginning is at Hayward Gallery until 6 May.

book now    find out more

 

Lady on a bus, N.Y.C. 1957, by Diane Arbus

Diane Arbus | Lady on a bus | Works in Focus

Jeff L. Rosenheim, Curator in Charge of the Department of Photographs at The Metropolitan Museum of Art in New York, and curator of Hayward Gallery’s diane arbus: in the beginning gives a short introduction to Arbus’ photograph, Lady on a bus, N.Y.C. 1957. 

 

They’re having a non-verbal dialogue. It’s very strong. It’s very much about generational communication.
Jeff L. Rosenheim

 

This exhibition is organised by The Metropolitan Museum of Art, New York.


 

diane arbus: in the beginning is at Hayward Gallery until 6 May.

book now   find out more

 

Jack Dracula at a bar, New London, Conn. 1961, by Diane Arbus

Diane Arbus | Jack Dracula at a bar | Works in Focus

Jeff L. Rosenheim, Curator in Charge of the Department of Photographs at The Metropolitan Museum of Art in New York, and curator of Hayward Gallery’s diane arbus: in the beginning, gives a short introduction to Arbus’ photograph Jack Dracula at a bar, New London, Conn. 1961.  

 

It’s like a Rembrandt to me, it feels timeless.
Jeff L. Rosenheim

 

This exhibition is organised by The Metropolitan Museum of Art, New York.


 

diane arbus: in the beginning is at Hayward Gallery until 6 May.

book now   find out more

Inspired by Arbus: celebrating emerging photographers

The early photographs of Diane Arbus – currently on display at Hayward Gallery (diane arbus: in the beginning) – are among the most intimate, surprising and haunting works of art of the twentieth century. Working almost exclusively in New York City, Arbus captured the spirit of post-war American society and her work inspired a generation of photographers.

Inspired by the spirit and themes of Arbus, we partnered with University of the Arts London – currently ranked number two in the world for Art and Design in the QS World University Rankings by Subject – to invite emerging photographers to share their own work which they felt best captured the zeitgeist of London and its population in our post-Trump/post-Brexit society.

From the many entrants, the following six winners were selected.

A portrait of photographer Carlos Alba
@carlosalbaphoto

Carlos Alba

MA Photography
London College of Communication

Carlo’s portraits explore the idea that change is inevitable. “I am questioning the idea of ‘Home’ and how its meaning can change depending on the societies we live in and our personalities.”

William Allen; UAL student and photographer who took part in Southbank Centre's Inspired by Arbus competition
@williamalln

William Allen

Design for Art Direction
London College of Communication

William’s work focuses on the people of London, their activities, attitudes and interaction with the surrounding city. “To some the idea of the day to day seems quite banal, but in such a major metropole, it is never banal.”

Theresa Maria Forthaus; UAL student and photographer who took part in Southbank Centre's Inspired by Arbus competition
@theresa_maria_forthaus

Theresa Maria Forthaus

BA Photography
London College of Communication

Taken on the streets of Southwark, Theresa’s photography is inspired by Arbus’ view for absurdity. “The continuous shift between light and shadow can serve as a symbol for the ups and downs we experience in the socio-political context of today.”

Cocoa Laney a UAL student and photographer who took part in Southbank Centre's Inspired by Arbus competition
@cocoalaney

Cocoa Laney

MA Photojournalism & Documentary Photography
London College of Communication

For her study Cocoa asked guests at a budget hotel near Victoria Station for their portrait. “Hotels are in-between spaces, caught between the public and private. I found that it is in these spaces that people let down their guard.”

Richard Maidment; UAL student and photographer who took part in Southbank Centre's Inspired by Arbus competition
@richardmaidment

Richard Maidment

Fashion Photography
London College of Fashion

Richard cites Diane Arbus as a huge influence on him and his studies. “Her ability to capture the true essence of a person with a beautiful uneasy feeling flowing through her work."

A portrait of the photographer Errin Yesilkaya
@errinyesilkaya

Errin Yesilkaya

BA Photography
London College of Communication

Errin’s submissions were taken on the busy streets of Peckham where he lives. “I always want to photograph everyone I see, the backdrop makes everyone here seem like such characters.”

the photographs

View an image from each of the photographers' submissions below.

 

Carlos Alba's submission for 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. The photograph depicts two teenage women on a bicycle in a park.
Carlos Alba
Student of MA Photography at London College of Communication
Carlos Alba's submission for 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. The photograph depicts two teenage women on a bicycle in a park.

Carlos Alba

Carlos Alba
“As part of a society, we should encounter the potential problems that change can result in and defy them. Change should be seen as an opportunity to grow, not only collectively but as an individual. I believe that objects, artefacts and archive can be used as a tool to address changes and, in particular, integration – making the whole process a positive experience. In my work I am examining the question of how the conscious act of walking can contribute to the discussion of borders as spaces rather than places. I am LAO questioning the idea of ‘home’ and how this meaning can change depending on the societies that we live and our personalities.”
Photograph submitted by William Allen for 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. Photograph depicts two men in traditional Scottish dress, standing on a London bridge.
William Allen
Student of Design for Art Direction at London College of Communication
Photograph submitted by William Allen for 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. Photograph depicts two men in traditional Scottish dress, standing on a London bridge.

William Allen

William Allen
“The main idea behind my work is to capture the purity that is present in the day to day. To some people the idea of the day to day seems quite banal, but being in London which is such a major metropole of the world, the day to day is never banal. My main focus is the people of London, their activities, attitudes and their interaction with the spaces that surround them. Although I am looking to move into street portraiture of the subjects I cross, my main focus has been on street photography.”
Photograph submitted by Theresa Maria Forthaus for the 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. Photograph depicts two young boys standing in a crowd, in Southwark, South London.
Theresa Maria Forthaus
Student of BA Photography at London College of Communication
Photograph submitted by Theresa Maria Forthaus for the 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. Photograph depicts two young boys standing in a crowd, in Southwark, South London.

Theresa Maria Forthaus

Theresa Maria Forthaus
“Inspired by Diane Arbus and her view for absurdity, my series captures moments and details on the streets of my neighbourhood in Southwark. For me, the continuous shift between light and shadow can serve as a symbol for the ups and downs we experience in the socio-political context of today. It also draws attention to the importance of the cohesion between cross different generations.”
Photograph submitted by Cocoa Laney for the 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. The photo depicts a young woman in a bedroom in a budget hotel by London's Victoria Station
Cocoa Laney
Student of MA Photojournalism & Documentary Photography at London College of Communication
Photograph submitted by Cocoa Laney for the 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. The photo depicts a young woman in a bedroom in a budget hotel by London's Victoria Station

Cocoa Laney

Cocoa Laney
“These images were taken during a night's stay at a budget hotel by Victoria Station, where I asked various guests for their portraits as they entered and exited their rooms. Hotels are in-between spaces, caught somewhere between the public and private, and I found that it is in these spaces that people let down their guards. This city can be isolating, especially for newcomers like me, but for one surreal night London's transitory nature facilitated the making of new connections. We exchanged stories and continued our journeys the next day.”
Richard Maidment
Student of Fashion Photography at London College of Fashion

Richard Maidment

Richard Maidment
“My passion lies in seeking out and photographing interesting people and unique moments taking place in everyday life. I try to capture the emotion and individual personalities of my subjects in a natural and candid way. Throughout my studies Diane Arbus was a huge influence on me, with her ability to capture the true essence of a person with a beautiful uneasy feeling flowing through her work.”
Photograph submitted by Errin Yesilkaya for the 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. Photograph depicts a smartly dressed man standing outside a shop in Peckham, South London
Errin Yesilkaya
Student of BA Photography at London College of Communication
Photograph submitted by Errin Yesilkaya for the 'Inspired by Arbus' photography competition run by Southbank Centre with UAL. Photograph depicts a smartly dressed man standing outside a shop in Peckham, South London

Errin Yesilkaya

Errin Yesilkaya
“Living in Peckham I always wanted to photograph everyone I saw. I think it’s the backdrop that makes everyone there seem like such characters. It’s such a busy and chaotic place, so for me, taking a photo and, even for that brief minute, getting to share the space and time with the person I’m photographing seems to block out all that’s going on around us.”

 

Each of these six photographers will be featured on Hayward Gallery’s Instagram channel during diane arbus: in the beginning, and a selection of their work will be displayed on digital screens across Southbank Centre.

 

diane arbus: in the beginning at Hayward Gallery runs 13 February – 6 May 2019

book tickets   find out more

 

Diane Arbus: An interview with Jeff L. Rosenheim and Karan Rinaldo

Katie Guggenheim, Hayward Gallery assistant curator, discusses Arbus’ early photographs with Jeff L. Rosenheim, the curator of diane arbus: in the beginning and Karan Rinaldo, Collections Specialist, Photographs, from the Metropolitan Museum of Art, New York. 

Katie Guggenheim: Jeff, you have curated this exhibition. What can we expect to see?

Jeff L. Rosenheim: Most people know Diane Arbus from her late work, but this exhibition looks at her beginnings. In this exhibition we can see a great artist at work – one of the most provocative picture makers of the period in any medium – and we can see how she started out. It’s extraordinary to see how mature Arbus was when she picked up a camera aged 33 and hit the streets of the city looking for signs of life. She was looking at the world in a pretty special way, and she asked questions that other artists didn’t. Some of those questions were existential: ‘Who am I and how do I become the person I want to be?’ Arbus used photography to explore those questions and she sought out people that she could share that experience with. It is those relationships that are in the pictures. 

 

Karan, you have done a lot of research into the locations and people that Arbus photographed. What are some of the subjects that we can see in these early pictures?

Karan Rinaldo: Arbus spent a lot of time on the streets of New York photographing people: children and women in particular and street characters like the street preacher who features in one of the photographs (Man yelling in Times Square, N.Y.C. 1958). As she found her way and her confidence as an independent photographer she went into different spaces and pursued different ideas. She spent time at Hubert’s Museum in Times Square and at Coney Island, and then she went further into private spaces, such as people’s homes. She photographed inside movie houses, which was not a common practice.

 

When Arbus was making these photographs in the late 1950s and early 1960s what set her apart from her contemporaries?

JR: What distinguishes Arbus’ photographs is not her subject matter, although most people think it is. What most distinguishes it and what makes it so powerful and poignant and emotional is how she worked with the camera – she allowed herself to be implicated in the process. 

Most photographers of her generation and the generation before her – people like Paul Strand,  Walker Evans and Robert Frank (who was a peer) – were very careful to not have any direct interactions with their subjects. Helen Levitt also made pictures on the street but she followed the Henri Cartier-Bresson mode of photography: get in, get out quickly, don’t get hurt. Arbus wanted to get hurt. She wanted that confrontation. 

Arbus was not just an observer, she was an active participant with the subjects in the making of the picture. I believe that as often as she chose her subjects, they chose her and that, psychologically, is extremely interesting. She was patient in a way that almost all of those other photographers were not. For Arbus the experience of engaging with her subjects was what she was looking for. She was not trying to steal a picture. She wanted everyone to know what she was doing. 

 

How and in what ways did she engage with her subjects?

KR: Arbus used the camera as a tool to interact with people. She was interested in engaging them beyond what happened inside the camera. 

JR: She would meet someone in a cafe and make a picture and then the next thing you know is that they are sitting together in an apartment and there is a picture of them there. Arbus is one of the only photographers of her generation who photographed the same individual over a decade-long period.

Photography is a recording medium and a visual art but most often, at least in street photography, it is used as a one-time interaction with a subject. Arbus slows time down and it’s a fascinating thing. I think her photographs make us question what the rules of engagement are and what the camera is for. The other photographers of her generation were making some similar observations but they were hiding – she always accepted the consequences of her actions.

 

Arbus used the camera as a tool to interact with people. She was interested in engaging them beyond what happened inside the camera.
Karan Rinaldo, Collections Specialist, Photographs, The Metropolitan Museum of Art

There are several striking examples of people engaging in direct eye contact with Arbus in this exhibition. I’m thinking particularly of the picture of the boy in the crowd. Could you tell us about that photograph?

JR: It’s a picture of a young boy who is rising above people who are seated (Boy above a crowd, N.Y.C. 1957) – that to me suggests that he chose to separate himself from his surroundings and engage with Arbus who was also choosing to separate herself from her crowd, if you will. There is an exchange there. Karan did some great research as to what that event was. 

KR: We know from adjacent frames on the roll of film – where there is another boy holding a pamphlet that says ‘I am American Day’ – that it was a celebration of new US citizens, which is pretty cool, especially in light of our current political climate.  

JR: This picture is about someone whose status is undergoing transformation. It’s a group ceremony to celebrate a new identity. Arbus’ work has always appealed to young people and people who are transforming themselves in different ways through their bodies, their social and sexual preferences, or how they dress. Arbus honours individuals who are in the process of self-transformation. 

KR: Another interesting example is Lady on a bus, N.Y.C. 1957. There’s so much going on there. Photographer and subject are definitely engaging, there is eye contact: an interaction that is undeniable but it’s a bus, it’s probably moving and it’s not crowded: there’s no escaping Arbus here and this woman gives it back, she’s right there with her.

JR: That directional gaze is pretty aggressive. 

 

Arbus honours individuals who are in the process of self-transformation.
Jeff L. Rosenheim, curator of diane arbus: in the beginning

Arbus is best known for her large square format photographs but almost all the photographs in this exhibition were shot on 35mm. Why did Arbus change formats and what was she trying to achieve?

JR: With 35mm you have to put the camera to your eye and it blocks your face and your expression from your subject. It doesn’t block them from you it blocks you from them: the picture-maker from the subject-person. The larger format Rolleiflex was a camera that you look down into, you don’t put it to your eye – so her expression was never really hidden from her subjects. That seemed to be important to her. 

 

Why do you think that Arbus’ work has been so important for people working with moving image?

JR: Filmmaking is a kind of storytelling – there is a narrative, a constructed relationship created by the cinematographer, the director and the actors. Many of Arbus’ subjects are performers and those who are not performers by training are in a kind of drama with her. She is interested in telling stories that are, at times, quite mythological or existential. She’s interested in identity and how you create a character is a question that every filmmaker has to solve. Arbus answers that question over and over in a very poetic way.

 

The small scale of these photographs is quite striking. I think we’ve become much more used to artists working in larger formats.

JR: Yes – one of the distinguishing things about this show is that most of the pictures are no larger than 6 by 9 inches. Artists today are making works that are cinematic in scope, that occupy space in a different physical way. Sadly, we’ve lost intimacy in the art world.

 

This image and main: Installation view of diane arbus: in the beginning at Hayward Gallery, 2019. Photo: Mark Blower

Could you tell me about the ideas behind the design of the exhibition?

JR: We take great pride in the design of this exhibition, which uses individual walls for each work. One of the things that this does is make these small pictures seem very large, and the connection with those subjects also becomes very large and respectful.

As a result of this exhibition design there is no particular sequence or prescribed route that the visitor makes through the show. It’s open ended. You get to choose your own path and the decisions you make implicate you. The curator does not define your experience, you do. Each visitor has to make their own decisions. Psychologically that puts the viewer beside Arbus, choosing and interacting with her subjects on a one to one basis. It’s a powerful design. With most exhibitions the curator pulls the visitor through the show by an invisible string and you’re supposed to see each work in an order defined by the exhibition design. This show does the opposite. It is daunting and you might not see every picture but that’s ok. It is a very liberating thing. 

 

Were most of the photographs in this exhibition printed by Arbus?

JR: Yes. All of the prints in the main body of the show were printed by Arbus. There is a separate gallery that presents her portfolio A box of ten photographs – those prints are posthumous prints made by one of her students, Neil Selkirk, and they are on loan from the Victoria and Albert Museum here in London. All of the other pictures are on loan from American collectors and The Metropolitan Museum of Art, New York. Most are a gift or promised gift from the Estate of Diane Arbus – the artist’s two daughters – who chose the Met to be the repository for the life’s work of their mother. This is the first show drawn from the Diane Arbus Archive, which has been preserved and catalogued by Karan. The Archive is an amazing resource consisting of negatives, contact sheets, papers, the artist’s library and her collection of work by other artists. 

KR: The papers importantly include her notebooks and appointment books where she made notes on the people she met and on the places she was going. Her writing is terrific and insightful – really just amazing. Some of her words are peppered throughout this exhibition. It’s a wonderful thing to experience her words alongside these images.

 

What does this exhibition reveal about Arbus that will be new to audiences of her work?

JR: If you know Arbus’ photographs but you haven’t seen the early work then you don’t fully know Arbus’ remarkable achievement with the camera. With this exhibition we are adding many pictures to the canon. 

Arbus only worked for around fifteen years but more than half of all the known prints she made are from these first seven years. This work is so mature; all the themes and styles and methods and strategies were already in place. Most exhibitions have excluded these early photographs. The first retrospective of Arbus’ work in 1972 was at the Museum of Modern Art in New York and although the early photographs were included they were not published in the catalogue. In a certain sense that was volume two and we have finally created volume one. 

 

This exhibition is organised by The Metropolitan Museum of Art, New York.

 


 

diane arbus: in the beginning at Hayward Gallery runs 13 February – 6 May 2019

book tickets   find out more

 

14 of our top instagram highlights from 2018

It’s been quite a year at Southbank Centre; from the reemergence of our brutalist venues to the 25th Meltdown, via some epic Hayward Gallery exhibitions and visits from new royalty and a former first lady. So as we approach 2018’s end we thought we’d take a look back at the past twelve months through some of our favourite Instagram photos.

What do you do when the artworks are too big to fit in the lift? In January we discovered the solution involved a pretty huge crane, as our instal team prepared for Hayward Gallery’s reopening exhibition of the photography of Andreas Gursky.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

WOW (Women of the World) is always a big hit at Southbank Centre, and in March we welcomed writers Chimamanda Ngozi Adichie and Reni Eddo-Lodge (pictured here backstage) for a particularly fascinating Royal Festival Hall talk.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

In April we said hello again to Queen Elizabeth Hall after three years of renovations and refurbs to restore the venue’s original iconic concrete, and the distinctive auditorium seating.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

The summer of 2018 seemed to go on forever; from May through to September our garden and terraces were regularly packed with Londoners making the most of the spectacular sunshine.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

This year saw the 25th anniversary of Meltdown, with curator Robert Smith delivering a fitting silver anniversary edition of the festival. This fantastic shot of The Cure frontman was taken by Andy Vella up on the roof of Royal Festival Hall.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

In July we celebrated the 100th birthday of Nelson Mandela with a special exhibition in Queen Elizabeth Hall, that even enticed The Duke and Duchess of Sussex along to Southbank Centre.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

When we weren’t outside soaking up the summer sun, we were enjoying some incredible performances indoors, including the incredible acrobatics and physical theatre of Backbone, who appeared here in August.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

Well-loved regulars at Southbank Centre, the energetic young performers of Kinetika Bloco were back in the summer of 2018 with a celebration of New Orleans jazz.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

The reopening and refurbishment of Queen Elizabeth Hall has opened up some new spaces and opportunities for our programme in 2018. One such new addition is our new club night Concrete Lates, which drew crowds to the Queen Elizabeth Hall Foyer Space until the early hours.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

Unlimited returned in September shining a light on extraordinary work by disabled artists. This shot is from behind the scenes of the festival’s striking publicity shoot, featuring members of The House of Krip, a deaf and disabled collective of vogue ball performers.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

September also saw the annual Koestler Trust exhibition return to Royal Festival Hall, showcasing the artwork of prisoners and detainees, including these paper superheroes.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

The striking architecture of Southbank Centre continues to entice photographers onto our site. Among the many fantastic photos that caught our eye in 2018 was this one by Rory Gardiner, featuring Hayward Gallery.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

The undeniable hottest tickets in town this year were for Michelle Obama’s appearance at Royal Festival Hall in early December. Around 50,000 people tried to get tickets to see her discussing her memoir Becoming, with Chimamanda Ngozi Adichie

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

A big hit on our Instagram this year has been some of the photos we’ve unearthed from Southbank Centre’s archive so it seems only right to finish on such picture; from the archives of The Robin and Lucienne Day Foundation it’s an incredible shot of the Royal Festival Hall’s restaurant shortly after its 1951 opening. Check out those Robin Day chairs!

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Southbank Centre (@southbankcentre) on

 

Keep up with what’s happening at Southbank Centre, and get a glimpse into our venues’ unique past by following us on Instagram.

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Space Shifters: Your Instagram images from 'the most Instagrammable exhibition'

‘Is this the year’s most Instagrammable exhibition?’ asked Hettie Judah in her review of our new Hayward Gallery show, Space Shifters, for the i. Two weeks in, and with our Instagram notifications pinging away like an office microwave at lunchtime, there certainly seems to be a strong argument for answering Judah’s question in the affirmative.

Bringing together the work of 20 different artists, Space Shifters features innovative, minimalist sculpture from the 1960s, as well as recent works that extend the legacy of this ‘optical’ minimalism in different ways, and a number of commissions which have been made in response to the architecture of the Hayward Gallery. With many of the artworks constructed from translucent or reflective materials - enabling us to see our surroundings in new and unexpected ways - it’s not hard to see why so many people visiting the exhibition have been reaching for their smartphones to capture their experience.

So, instead of sharing more of our own images of this remarkable exhibition, we thought why not let you convey its appeal for us? Here, for your visual enjoyment, are some of our favourites from your Instagram images of Space Shifters so far.

 

Fred Eversley Untitled (Parabolic Lens) (1971)

The violet, amber and blue Untitled (Parabolic Lens) (1971) was made by Aerospace engineer turned artist, Eversley, using a repurposed turntable originally used by the American military.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by 〰 Silvia 〰 (@silvia.giu) on

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Danielle C (@dscseventytwo) on

 

Ann Veronica Janssens Magic Mirrors (Pink #2 and Blue) (2013-2017)

Janssens's Magic Mirrors (Pink #2 and Blue) consist of shattered panes of 'safety glass' held between sheets of intact glass. A filter between the panes allows light to pass through the panes selectively, with the result that the light they cast and the reflections on their surfaces are different to what we expect.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by @faspinos on

 

Anish Kapoor Sky Mirror, Blue (2016)

Situated on one of Hayward Gallery's outdoor sculpture terraces, this concave mirror achieves the contradictory feat of bringing the sky down to the ground.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Studio Luca Bombassei (@studio_luca_bombassei) on

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by @spacecat_0112 on

 

Monika Sosnowska Handrail (2016-18)

Sosnowska’s Handrail (2016–18) is first encountered by the visitor two-thirds of the way up Hayward Gallery’s back staircase, where it wraps itself, vine-like, around the existing rail before taking off across the gallery wall in an energetic dance.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by markus (@kussmark) on

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by 〰 Silvia 〰 (@silvia.giu) on

 

Richard Wilson 20:50 (1987)

For this installation, first presented in Matt’s Gallery, London, Wilson floods an entire room with used engine oil, leaving only a narrow passageway through the centre.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Tara (@tazanna) on

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Dean Johnson (@deanjohnson0308) on

 

Jeppe Hein 360° Illusion V (2018)

For 360° Illusion V (2018), Hein placed two large mirrored panels at right-angles to one another. As well as reflecting the surrounding environment, each mirror also reflects its twin.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by F•/L•\p (@the.f.name) on

 

Felix Gonzalez-Torres "Untitled" (Golden) (1995)

Exhibited floor-to-ceiling, Gonzalez-Torres’s "Untitled" (Golden) creates a shimmering threshold through which every visitor must pass.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Stuart Carter (@stu_pc) on

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by @faspinos on

 

Alicja Kwade WeltenLinie (2017)

In WeltenLinie, Kwade creates the impression of sudden and surprising material transformations through the use of double-sided mirrors and the careful placement of objects.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Karel (@karel.kies) on

 

Yayoi Kusama, Narcissus Garden (1966-2018)

First staged as a large-scale, unofficial intervention at the 1966 Venice Biennale, Narcissus Garden (1966–2018), consists of hundreds of stainless steel reflective orbs.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Studio Luca Bombassei (@studio_luca_bombassei) on

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Vasko Stefano (@vaskostefano) on

 

Space Shifters was at Hayward Gallery from 26 September ,2018 until 6 January, 2019. 

From internationally acclaimed artists at Hayward Gallery, to pop-up installations, showcases and immersive experiences, an engaging and inspiring array of art and exhibitions can be found across Southbank Centre.

current & upcoming exhibitions

 

Tokyo by Andreas Gursky

Over the course of more than 30 years – almost the entirety of his career – Gursky has argued that purely documentary styles of representation are no match for the world’s complexity. ‘Reality can only be shown by constructing it’, he claims, and ‘montage and manipulation’ paradoxically bring us ‘closer to the truth’.

Andreas Gursky, Tokyo (2017)
Copyright: Andreas Gursky/DACS, 2017 Courtesy: Sprüth Magers

The artist began working with digital post-production in 1992, often using computer software to edit and combine shots taken with a film camera. As well as combining multiple different images to make a single work, he also uses editing software to remove, add or emphasise certain elements of his compositions.

Recently, Gursky has described the relationship between construction, documentation and authenticity in his work as similar to the way that we might recall a landscape glimpsed from a moving vehicle: ‘You look out of the window and get an impression, but when you write it down it will be what you imagine’, he explains.

This image of a Tokyo neighbourhood is constructed from the details of dozens of individual shots taken from the window of a high-speed train. While the foreground of this image is predictably out of focus, Gursky has also inserted blurry passages in the middle of the picture, prompting us to question what we are seeing and to look again.

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Pyongyang VI by Andreas Gursky

Following his image of a crowd of traders on the trading floor in Tokyo, Stock Exchange (1990), Gursky has continued to capture crowds at work and at play, not least in his May Day series (1997–2006), which depicts an annual rave that takes place in Dortmund, Germany. 

Andreas Gursky, Pyongyang VI , 2007/17
Copyright: Andreas Gursky/DACS, 2017 Courtesy: Sprüth Magers

In Pyongyang VI (2007/17), Gursky turns his attention to a very different kind of collective activity. The Arirang Festival, or Mass Games, is a vast gymnastic and artistic event that takes place in North Korea’s capital city Pyongyang.

The Games are held each year in honour of the previous dictator, Kim Il-sung. Gursky photographed the event – which features around 100,000 people including 70,000 gymnasts and over 30,000 school children – from an elevated altar dedicated to Kim Jong-il, in 2007.

The artist has recently returned to the subject, and reviewed previously unpublished material, due to the current political situation in North Korea.

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Utah by Andreas Gursky

This vast, cinematic work was inspired by a photograph that the artist took on his phone through the window of a moving car. It depicts a paradoxically ‘wild’ but mediated landscape that has provided the backdrop for science fiction films, westerns and road movies.

Utah (2017)
Copyright: Andreas Gursky/DACS, 2017 Courtesy: Sprüth Magers

The apparent spontaneity of the image, its out-of-focus passages and odd glitches, sets it apart from almost all of Gursky’s previous work. With Utah (2017) Gursky has fashioned a monumental homage to the mobile phone photo – casual, immediate, disposable – and the outsized role it plays in today’s visual culture.

Utah is one of eight new works by Andreas Gursky that are on display for the first time.

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