This article is published in Trebuchet Magazine
On Tuesday 3rd June, Tate achieved its first live broadcast to cinemas across the country with Tate Modern’s Henri Matisse: The Cut-Outs exhibition. This was definitely an evening of experimentation and the start of a new way of experiencing art at the Tate. There were high expectations, excitement and some nerves for those participating in the event and members of the public eagerly awaiting it in the cinemas.
Virtually led through sections of the exhibition, the audience was taken on an intimate private view. The exhibition rooms seemed uncanny without their normal heaving crowds, and the format was an ideal way to take in the cut-outs – artworks that demand lots of space in which to be viewed, as well as inviting movements from the spectator within that space. Neither the art nor the film encourages you to stay still. Continue reading