Arte espacial e arquiteturas espaciais: explorando ligações by Sandra Silva

“…The other scenario is hypothetical and refers to the futuristic art gallery architectures of the Tate in Space program (2000) of the Tate Modern. The possible interconnection was analysed from the theory of the five “atmospheres” (physical, geographical, sensory, social, and individual space) from the Book of Principles that artist Kristen Johannsen (2016) elaborated for artistic works to be sent into outer space. …”
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Performance/Media/Documentation... Thinking Beyond Dichotomies by Alessandro Cecchi

“…Auslander has written art criticism for ArtForum and other publications and regularly contributes essays to exhibition catalogs for museums in Europe and North America, including Tate Modern, The Whitney Museum of American Art, the Migros Museum, and the Walker Art Center. …”
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Artistic conundrums in the age of the virtual, the artificial and the non-fungible by Scarso, Jacek Ludwig

“…Drawing on his own performance/VR projects in collaboration with AVR London and Anise Gallery (Tate Modern and London Festival of Architecture), Scarso considers the paradox of a society that has never been more mediated, whilst consistently projected towards the “immediate”. …”
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Guy de Cointet: The Theatricality of the Code by Franziska Solte

“…His works and performances have most recently been shown at M-Museum, Leuven (2015), at the Centre Pompidou, Paris (2013), at the Museum of Modern Art, New York (2012), at the Getty Center (2011), at Tate Modern, London (2007), and elsewhere.…”
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Lição: Algumas reflexões sobre agenciamento e atividade fora do sistema comercial. by Harrell Fletcher

“…His work has been shown at SFMOMA, the de Young Museum, the Berkeley Art Museum, the Wattis Institute, and Yerba Buena Center for the Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, Apex Art, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, The Tate Modern in London, and the National Gallery of Victoria in Melbourne, Australia. …”
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Qu’est-ce que le Street art ? Essai et discussion des définitions by Ulrich Blanché

“…Cedar Lewisohn, curator of the Street Art show at Tate Modern (2008), blustered in an international street art conference in Lisbon (2014) about Street Art academics being rather fans than critical academics. …”
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Sharing Perspectives: Inviting Playful Curiosity Into Museum Spaces Through a Performative Score by Andreas Løppenthin, Dorte Bjerre Jensen, Cordula Vesper, Andreas Roepstorff, Joseph Dumit

“…Based on questionnaires and qualitative interviews with participants during the Olafur Eliasson exhibition “In Real Life” at the Tate Modern in London in November 2019, we explore how the SP score modulates a playful mode of being, enhancing the experience of a museum art exhibition as a space of transformation and reflection. …”
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Critical theatricality in the museum space by Scarso, Jacek Ludwig

“…Abstract: This contribution, developed from a presentation for the 2020 Conference on the Inclusive Museum, focuses on two participatory works created at Tate Modern in association with Tate Exchange, London Metropolitan University, AVR London and Anise Gallery. …”
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Art and conversation: disturbation in public space by Oketch, F

“…</p> <p>The thesis argues that <em>Shibboleth</em> confronted audiences with “the return of the repressed” through a disturbational process of interaction with the space of the Turbine Hall at Tate Modern. Departing from existing readings of Salcedo’s work, the thesis proposes that the installation provoked the experience of the political uncanny by physically enacting suppressed historical, economic and political divisions constructed upon a friend/enemy form of relationship.…”

Approaches to Sustainable Development in Contemporary Museology by Irene Campolmi

“…Lo studio osserva tale valore da un punto di vista sia teorico che pratico e cita l’esempio dei grandi musei europei, facendo più volte riferimento al caso della Tate Modern di Londra. Se da un lato l’argomento è esplicitamente collegato ai musei d’arte in quanto essi operano per la sostenibilità del bene comune, dall’altro i musei europei hanno basato le proprie politiche culturali adottando il così detto approccio “three bottom” già intrapreso dalle grandi aziende e dalle business companies. …”
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