Posted on September 19, 2014
Varala Maraj for Arc Magazine recently reviewed Up Hill Down Hall: An Indoor Carnival curated by Claire Tancons at Tate Modern. The article gives detailed descriptions of performance pieces by Marlon Griffith (No Black in the Union Jack) and Hew Locke (Give and Take) as well the architectural installation by Gia Wolff (The Canopy) and a flutter of falling paper messages conceived of and released by students at Central Saint Martins (The Sky is Dancing). About the exhibition, curator Claire Tancons says:
Its really an unprecedented opportunity to be able to feature the work of artists of Caribbean descent and otherwise who have been looking to Carnival as an artistic medium and form of public address.
The article goes on to challenge the multiple definitions of Carnival, and question the museum as a relevant setting for the event:
But does this art form belong in the museum, or only in its place of origin- the streets? As someone who has lived both in the Caribbean and UK, Locke offers some insight: The environment outside here is not like in the streets of Jamaica, Trinidad or anywhere in the West Indies, where youve got something to work against. Here, people dont really care. Whereas, within Tate Modern, you can say something. So this piece is designed specifically for here. It wont work outside in the street. This is evidence to support that Carnival is designed by cities for cities, by the people for the people.
To read the full article, visit Arc’s website, here.