Martin Creed, The Duveen Galleries, Tate Britain
Work No. 850 centres on a simple idea: that a person will run as fast as they can every thirty seconds through the gallery. Each run is followed by an equivalent pause, like a musical rest, during which the grand Neoclassical gallery is empty.
This work celebrates physicality and the human spirit. Creed has instructed the runners to sprint as if their lives depended on it. Bringing together people from different backgrounds from all over London, Work No. 850 presents the beauty of human movement in its purest form, a recurring yet infinitely variable line drawn between two points.
“In Palermo we went to see the catacombs of the Capuchin monks. We were very late and only had five minutes to see it all before closing time. To do it we had to run. I remember running at top speed with my friends through the catacombs looking desperately left and right at all of the dead people hanging on the walls in their best clothes, trying our best to see it all… it was a good way to see it. It was that kind of delirious running which makes you laugh uncontrollably when you’re doing it. I think it’s good to see museums at high speed. It leaves time for other things.” – Martin Creed
Find out how to take part in Work No. 850 as one of the runners.
Well… it seems like an interesting proposal, whilst touching the cliche concept of standing still infront of an art piece in order to absorb its diverse nature through the pass of time. As maria t. noted, the choice of Tate Britain housing paintings coming from classical approaches suits this piece the most. Yet, it seems to me that it does not offer a dimensional solution to the problematics associated with liminal spaces, since the actual viewer is not engaged in this catch-a-glimpse game, but remains isolated in observing a third party.