Denkmal 53, Tate Modern, Bankside 53, London SE1 9TG, 2005 was an extensive work by Belgian artist Jan De Cock that was not only displayed in the Level 2 Gallery space, but throughout the museum and its landscape. De Cock’s sculptures were placed at sites that are well-travelled but remain relatively invisible within the iconic architecture of Tate Modern, highlighting or disrupting their normative use or appearance.
Built mainly using plywood, De Cock’s free-standing forms resemble the abstract art of early twentieth-century Constructivism. Some echoed specific features of Tate’s building such as the entranceway, the chimney, and the Turbine Hall, while others appeared in the guise of functional furniture, such as information desks and seating. Exploring the tension within the building between Giles Gilbert Scott’s original design for a power station and the current museum space, De Cock invited us to question the role of these sites in the way we experience and interpret works of art.
The German word Denkmal, found in the titles of all De Cock’s works, implies both a monument and a memorial. De Cock’s work recalls a moment in the early twentieth century when the ambitions of art and architecture met in the common pursuit of the transformation of society. In this sense it could be read as a memorial to a moment now bygone. De Cock’s aim is not, however, merely to yearn for a utopian past, but to provide a new awareness of the significance of architectural space.
This exhibition was curated by Jessica Morgan, Curator, Contemporary Art, Tate Modern with the assistance of Ann Coxon, Assistant Curator, Tate Modern.
Text by Jessica Morgan
