Daughter x Tate Britain

An After-Hours Performance at the London Art Institution’s Ruin Lust Exhibition

“It’s a pretty terrifying picture to look at, the stark monochrome and the heavy intimidating concrete frame,” says Daughter’s ethereal front woman Elena Tonra of “Azeville,” the haunting image by British artists Jane and Louise Wilson. The staunch Nazi battery forms the backdrop to today’s intimate live performance at the Tate Britain in London. Tonra and Swiss-born guitarist Igor Haefeli (not featured is the band’s French drummer Remi Aguilella) play a late-night recital within Ruin Lust, the Tate’s current exhibition that maps four centuries of art’s infatuation with the abandoned and the decaying. Featuring here alongside the zine-maker and artist Laura Oldfield Ford’s sketches of urban-realist degradation, the severe image of a French bunker inspired the raw rendition of “Smother,” taken from their debut album on 4AD, If You Leave. “We felt that the song shares this idea of decay,” says Tonra. “Whether it is an abandoned man-made structure or a human body, everything will eventually be accepted back into the earth, however cold and brutal it once was.”

Ruin Lust runs through May 18 at Tate Britain, London. Tickets are available here.

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Conversations (3)

  • Faery
    @china hear hear!!
    • Posted By Faery
    • April 20, 2014 at 9:50AM
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    Beautiful musical performance
    • Posted By CHINA
    • April 18, 2014 at 5:10PM
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    Does anyone at the Tate have knowledge of the exhibition "Bunker Archeology" by Paul Virilio that was organized by the Center of Industrial Creation and presented at the Museum of Decorative Arts in Paris from December 1975 through February 1976? There is also a book on it. Jane and Louise....bogus?
    • Posted By CHINA
    • April 18, 2014 at 5:08PM
    • Share Comment:

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    Julian Schnabel: In The Course of Seven Days

    A Rare Look Inside the Artist's Home Studio as He Opens His First US Museum Show Since the 1980s

    Julian Schnabel’s bold, appropriative style has polarized critical opinion since he burst onto the New York art scene in the late 1970s, becoming one of America’s most famous living painters. His reputation as an artist was almost eclipsed by his success as a film director, with credits including Basquiat and The Diving Bell and the Butterfly, for which he won the Palme D’Or. Porfirio Munoz’s documentary In The Course of Seven Days is timely: currently showing at the Dallas Contemporary—his first US museum show since the 1980s—and with two solo exhibitions coming up, the controversial Brooklyn-born painter is back in vogue. “This show is a capsule of what happened, a selection of paintings from the past 10 years, more or less,” says Schnabel of Every Angel Has a Dark Side, which opens at the Dairy Art Centre in London on 25 April. “It's a continuum of ways that I have made marks, used materials and created images.” 

    Seven things that Julian Schnabel is excited about this spring:
    1. Seeing my son.
    2. Meeting all those fresh new people that are waiting to meet me.
    3. Watching the buds turn into flowers.
    4. Getting in the water.
    5. Surfing.
    6. Seeing these paintings hanging in all of these different places and seeing how people react to them.
    7. Hanging around with my friends.
    And everything else. 

    Every Angel Has a Dark Side runs at The Dairy Art Centre from April 25 through July 27 2014. View of Dawn in the Tropics: Paintings, 1989-1990 opens at the Gagosian Gallery, NY on April 17 - May 31. Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails) is at the Dallas Contemporary until 10 August.

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    Ill-Studio: Twisted Objects

    The Parisian Collective Shares Its Irreverent Ode to Design

    “It is about our fetishistic perception of pop culture as art directors,” says the visually-obsessed Ill-Studio of their new film, Twisted Objects, and Parisian exhibition Fetishistic Scopophilia. “The distorted way we look at everything that surrounds us through the prism of design.” While today’s animation warps obsolete, generic ephemera, the creative company––made up of Thomas Subreville, Léonard Vernhet and Pierre Dixsaut––also created giant computer desktop installations for their show at 12Mail gallery and takeover of Colette. For artists who have collaborated with Louis Vuitton, Christophe Lemaire and Supreme, Ill-Studio’s fascination with both low and high culture is indicative of their aesthetic. “We first noticed the pleasure in objects way before we started designing,” say the Parisians, who self-published a skateboarding-inspired collection of essays and artwork entitled Neapolis, featuring contributions from Rick Owens and Jerry Hsu, among others. “This unconscious pleasure is definitely a fetishism,” say the partners. “Being able to understand why you like, or don’t like, the shape, the material or the color of an object came way later.”

    Fetishistic Scopophilia runs until February 1 at Colette and March 14 at 12Mail

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