Carlo Ratti’s exhibition is a claustrophobic mess of bio and techno theatrics, replying on expensive machines to solve problems that didn’t need fixing in the first place
The gallery’s much heralded rehang avoids burdening the art of the past with the politics of today as it reconsiders what the modern visitor really wants
They’re a hotbed of networking and flirting, but in an age of increasing digital fatigue, they also offer a space for experimentation and unmediated human connection
In apartheid South Africa, museums glorified white settlement and erased Black history; in the US today, they are again being captured under the guise of neutrality
Where Vuong’s 2019 debut, ‘On Earth We’re Briefly Gorgeous’, often felt overwrought and too writerly, his latest is firmly grounded and perfectly tuned
‘And All That Is In Between’ demonstrates that many of the aspects of global culture, or the way culture circulates globally, are not actually a new phenomenon of our ‘globalised’ times
From 2000: The artist had a Tate St Ives residency in 1998/99 when she worked from a temporary studio improvised in the lifeguard’s hut. Here, she recounts her experience
From 2012: Resonating throughout the exhibition is a belief that ideas ask for a physical form and that we always think with the help of the material world
