Pablo Hare
Monuments 2005–12
Giganotosaurus, Valle de Majes, Arequipa, 2006
© Pablo Hare
Project Space: Ruins in Reverse – Tate Modern ‘Project Space’ brings together six emerging and recently established international artists whose work explores archaeology, fiction and reality. Tate Modern, 1 March – 24 June 2013.]]>
Source: Tate Modern
“Ruins in Reverse” is the result of a curatorial collaboration between Tate Modern in London and the Museo de Arte de Lima in Peru, a partnership which will be celebrated by a new commission from José Carlos Martinat.
In her series of photographs No More Stars 2011, Rä di Martino’s plays the part of an archaeologist uncovering the contemporary detritus of the cinematic industry. She photographs the abandoned Star Wars movie sets in the deserts of North Africa, which now appear like a strange archaeological site or an unofficial monument to Hollywood’s glorious past. Capturing these once emblematic backdrops, her images reveal how they have become part of the landscape after years of being buffeted by sand and the elements.
The show also includes Pablo Hare’s Monuments series 2005-2011, a sequence of photographs documenting the proliferation of public statuary in Peru. Intended to embody the spirit of a place, these statues often fail to relate to their surroundings, such as a giant dinosaur on a remote hillside. Amalia Pica’s video work on Education 2008 also addresses public monuments in her work by confronting the ubiquity of equestrian statuary through the lens of Jean Jacques Rousseau’s treatise An Education.
José Carlos Martinat created two special commissions for Project Space, which will explore the idea of the neglected urban ruin and the signs and graffiti of London and Lima. Eliana Otta’s Archaeology as fiction 2010 presents a survey of the decline of the Peruvian record industry since its 1960s and 70s heyday, and the concurrent construction boom taking place in Lima. Haroon Mirza addresses similar issues through his sound installation Cross Section of a Revolution 2011.
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