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Photographer Dayanita Singh explains how her photography books are like sculptures
In this film Dayanita Singh tells us how the overpowering colour of India led her to work in black and white which she felt made the images ‘more elusive’. She also talks about how her frustrations with how she feels her images become ‘fossilized’ in museums and art galleries and how this prompted to develop her mobile ‘pocket museums’ – which are structures that allow Dayanita herself or invited participants to move and change displays of her work.
When the Nigerian artist first moved to Berlin he couldn’t sleep because it was so quiet
Growing up in Lagos, Emeka Ogboh was surrounded by the city’s constant and powerful soundscape.
On leaving the city he was struck by the ability of sound to immerse and transport the listener physically. In his installation piece, The Way Heavenly Things are Going, first exhibited at Documenta 14 in Athens and currently on display in Tate Modern’s East Tank, he brings together a traditional Greek song of lamentation with a real time report of the stock market indexes. The artwork takes its title from a Bob Marley song and references the ongoing global financial crisis as well as mass migration and displaced communities.
Watch the artist perform a new work created especially for an online audience and filmed at Tate Modern
Joan Jonas, one of the most significant artists in the history of video and performance, opened the BMW Tate Live Performance Room 2013 series with a new work Draw Without Looking created especially for an online audience.
Following the performance, Jonas spoke to curator Catherine Wood and answered questions from viewers posted on social media.
BMW Tate Live: Performance Room is a series of performances commissioned and conceived exclusively for the online space, and the first artistic programme created purely for live web broadcast.
Dawn O'Porter takes us on a tour of nudity in art, from its origins 25,000 years ago to the present
With an unflinching gaze, television presenter and writer Dawn O’Porter tackles the ever-changing rules of acceptability for representing and beholding flesh in art.