Frith Street Gallery

Golden Square

17-18 Golden Square, London W1F 9JJ
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Press relating to Tacita Dean

  • Tacita Dean: Film – review ~ Adrian Searle

    Published in The Guardian, October, 2011

    The Turbine Hall is both set and cinema, a real place and a place of illusions in Dean’s Unilever commission. The more I think about it, the richer and more complex it gets. We are projectors too, life clattering through our brains. Film looks totally new and oddly out of time, with its cutaway images, hand-painted mountains, rivers of lightning like pulsing nerves, beautiful rocking reflections of leaves in water, sunsets glancing through foliage. Dean’s eye, and that of her young son Rufus, peer out as though through keyholes cut in the layered image.

  • Tacita Dean: Craneway Event ~ David Ryan

    Published in Art Monthly , October 2010

    The ‘Craneway Event’ of Dean’s film took place on the West Coast, in a magnificent Albert Kahn building from the 1930s. A ford assembly plant until 1955, it overlooks San Francisco bay, with three sides of the building glazed in order to maximise the light. Dean filmed the rehearsals over three days, including all initial preparations up to the final dress rehearsal. This raised various important questions for the film project: the absence of music (as in most Cunningham productions, the music is rehearsed separately from the dance, sharing only a broad, overall time structure), though not sound; and the issue of the edit - that is, how to condense the span of the rehearsals into smaller time period without being either conventional or overly ‘arty’ ( in fact admirably realised by Dean)

    Related Exhibitions: Tacita Dean: Craneway Event

  • TACITA DEAN: CRANEWAY Event Review ~ Gilda Williams

    Published in ARTFORUM, September 2010

    In Craneway Event, an art practice that combines in an unprecedented way moving and still images to capture a late-modernist culture on the brink of disappearing. In today’s culture, unable to preserve the relics-both mortal and architectural-of the last century, Dean’s film offers another means of reclaiming and displaying overlapping moments of our recent past.

    Related Exhibitions: Tacita Dean: Craneway Event

  • TACITA DEAN: Celestial bodies ~ Brian Dillon

    Published in Sight & Sound, June 2010

    Dean has a habit of chopping her wide screen into discrete-and a fearless willingness to let nothing happen in some of those segments for minutes on end. It’s a technique that pays off in some heart-stopping scenes: the sudden appearance of an exhausted dancer in the space beside a close-up Cunningham; the ponderous looming into shot of a huge ship in the harbour: the almost prissy movement of a thin mast behind the robust bodies of the dancers.

    Related Exhibitions: Tacita Dean: Craneway Event

  • Tacita Dean: Craneway Event Review ~ Sarah Crompton

    Published in The Daily Telegraph, May 2010

    In November 2008, she recorded three days of rehearsals for one of his “events” – selections from his works specially staged. But he died the following year, aged 90, before her film was finished. That turns an artistic record of one of the most important figures in contemporary dance into something more: an elegy, an epitaph, a memorial to the genius of creation. It is 110 minutes long, shown at specific times, and though you can wander in and out, it is so magical that you won’t want to.

    Related Exhibitions: Tacita Dean: Craneway Event

  • Tacita Dean: Craneway Event

    Published in The Observer, May 2010

    Anyone familiar with Dean’s work will know that the rehearsal itself is not likely to be the main event. Rather, she notices the totality of the scene: the grids of the windows like hundreds of picture frames on the landscape beyond, the cavernous space, the liquid sheen of the floor with its ever-changing reflections. Her cameras drink in the sunshine. Occasionally, a dancer slides into shot, or a ship glides past, but it gradually becomes apparent that these are Cunningham’s preoccupations, too, precisely what inspire the wonderful abstractions of his choreography.

    Related Exhibitions: Tacita Dean: Craneway Event

  • TACITA DEAN: Merce Cunningham's last dance

    Published in The Guardian , April 2010

    Related Exhibitions: Tacita Dean: Craneway Event

  • SLOWNESS' PANEGYRIC ~ Massimiliano Gioni

    Published in Flash Art , January 2010

    In another work, ‘Still Life’ (2009), Dean filmed the sheets of paper where Morandi traced the position of his objects, moving them around in the search of the perfect composition. These sheets are crisscrossed with hundreds of marks and lines, showing the infinite possible combination that led to each still life. As far as I know, this is the first time they have been made public: an important contribution to art history, but also a unique testament to a lifetime devoted to painting. Morandi’s involuntary drawings - his “accidental Twomblys”, as Dean calls them- are the cartography of an obsession, maps of an immobile existence spent between the four walls of a studio, weaving arabesques in an attempt to sort out that infinite chaos that is life.


    Published in The Guardian , December 2009

    Tacita Dean is an artist I revere. This year, she’s done the Tate Christmas tree; it is typical of her unostentatious and honest art. An ordinary Christmas tree stands in the entrance hall of London’s Tate Britain. Its only unusual aspect is to be lit by real candles, instead of electric fairylights. Lit every day at 4pm, the candles burn down as the sun sets. Time visibly passes.


    Published in The New York Times, November 2009

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