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Simon Starling Phantom Ride

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Simon Starling Phantom Ride moves precisely time and again, and from place to place, Works featured in Phantom Ride Simon Starling allow this vast and cumbersome machine to function as a miraculous compositing device – capable of collapsing time and space into a Phantom Ride single cinematic sequence – into something approximating ‘real In order of appearance time’. More images of violence and trauma follow: a contorted group of corpses piled up under a table; a Jaguar jet fighter lying Museums and libraries have become heterotopias in which time belly-up, its mirrored surfaces dematerialising its mechanical Michael Sandle born 1936 Andreas Gursky born 1955 never stops building up and topping its own summit, whereas A Twentieth Century Memorial 1971–8 Bahrain I 2005 menace. The technology of war is pitched against the technology Tate. Purchased 1994 Tate. Purchased with funds provided in the seventeenth century, even at the end of the century, of the digital age – the ancestry of both seemingly interwoven. by David Roberts 2007 museums and libraries were the expression of an individual Four simple mirror cubes fracture the space around them – a Scott Myles born 1975 choice. By contrast, the idea of accumulating everything, of The End of Summer 2001 British Pathé quiet refusal – as if aping the three protective wooden boxes for Courtesy of the artist and The Modern Oil for the Twentieth Century 1951 establishing a sort of general archive, the will to enclose in sculptures packed and ready to be shipped to a safe haven in 1939. Institute, Glasgow British Pathé archive one place all times, all epochs, all forms, all tastes, the idea of The sound of urgent footsteps momentarily fills the galleries and constituting a place of all times that is itself outside of time and Pablo Picasso 1881–1973 Muirhead Bone 1876–1953 then is gone. A machine-gun-toting mouse-creature guards the The Charnel House 1944–5 Building Ships: On the Stocks c.1917 inaccessible to its ravages, the project of organizing in this way entrance to the galleries, monumental in polished bronze. We pass Museum of Modern Art, New York Tate. Presented by the Ministry of a sort of perpetual and indefinite accumulation of time in an a bricked-up door, then, as if dragging us with it, a tiny paper and Mrs Sam A Lewisohn Bequest (by Information 1918 immobile place, this whole idea belongs to our modernity. exchange), and Mrs Marya Bernard Fund balsawood plane flits past, swooping down to land. A prophetic in memory of her husband Dr Bernard Sydney Carline 1888–1929 Ride Phantom Michel Foucault ‘Of Other Spaces’ 1967 reptilian droid cranes its neck towards our robotic eye – an image Bernard, and anonymous funds Over the Hills of Kurdistan: Flying above of the future, back from the past. Open your mouth, close your eyes. © Succession Picasso/DACS, London 2012. Kirkuk 1919 To experience the Duveen Galleries is to experience a series Digital image, The Museum of Modern Art, The Ashmolean Museum, Oxford New York/Scala, Florence Presented by Gwendolyn Harter, the artist’s of dislocations. We find ourselves in a street of sorts, an arcade Turning away, past a now empty South Duveens, the rubble widow 1929 Starling Simon perhaps? The street that we took to get here is now very much again an after-image, we find a painting, floating, ghost-like, freed Chris Burden born 1946 elsewhere. Now, within the galleries’ bombastic stone walls, Plane from When Robots Rule 1999 Leonard Rosoman 1913–2012 from the provisional shell of flimsy walls and suspended ceilings Bomb Falling into Water 1942 time and space as we understand them are temporarily that for decades obscured the architectural bombast below. Its Douglas Gordon born 1966 Tate. Presented by the War Artists Advisory suspended. For all its stylistic nods to the exterior world, staccato repetitions like an echoing gunshot from its three iconic pretty much every word written, spoken, Committee 1946 this is an architectural echo chamber, both acoustically and heard, overheard from 1989... 1989– cowboys. Are they shooting or dancing? We spin around a dandyish Courtesy Studio lost but found, Berlin Jackson Pollock 1912–1956 temporally. It’s a space that seems to hold ideas, sounds and and heavily foreshortened St George and his vanquished dragon – Number 23 1948 memories in perpetual play. Where this outside-in, enveloped the medieval sculptor’s perspectival sleight of hand that made him Andy Warhol 1928–1987 Tate. Presented by the Friends of the Tate facade is punctured – by doorways that lead into light-filled Triple Elvis 1963 Gallery (purchased out of funds provided plausible in his lofty position, seeming to foreground the digital Private Collection by Mr and Mrs H.J. Heinz II and H.J. Heinz galleries – we find no respite. We are thrown around, like the technology that now facilitates his return. © The Andy Warhol Foundation for the Co. Ltd) 1960 sound of our footsteps, from doorway to doorway, between Visual Arts / Artists Rights Society (ARS), © The Pollock-Krasner Foundation ARS, NY then and now, between the past and the present: contemporary New York / DACS, London 2012 and DACS, London 2012 These few moments from the past recreated here seem to drag © Photo Giorgio Colombo, Milan art to the Pre-Raphaelites, mid-century modernism to others with them. We populate the space with our own experiences neoclassicism, from chiselled stone to moving image. We are and memories. It is suddenly just yesterday as we float past a group bounced from moment to moment along the considerable length Statue of St George c.1510 Peter Kennard born 1949 of bronzes – a drum, a gun – the instruments of war – the last The Provost and Fellows of Eton College Haywain with Cruise Missiles 1980 of this corridor-cum-heterotopic-highway (to return to Foucault). objects to occupy this space. Then, an image from the day before Defended to Death 1983 Tate Britain Commission 2013 yesterday, as the absurd calligraphic arabesques of a desert-bound Patrick Keiller born 1950 Tate. Purchased from the artist 2007 We discover a large projection screen on which we find the Footage from Robinson in Ruins 2010 Simon Starling The Duveen racetrack give way to an aerial dog-fight playing out endlessly Courtesy of the artist Martin Creed born 1968 space redoubled. We are invited on a Phantom Ride courtesy of above the hills of Kurdistan. A bomb is caught falling into water, Work No.850 2008 Phantom Ride Galleries a disembodied eye, its looping trajectory pulling us up and back, we hit the floor and then rise again into the roof just as the runner Sir Jacob Epstein 1880–1959 Rennie Collection, Vancouver and from side to side, circumscribing the empty space through Torso in Metal from ‘The Rock Drill’ 1913–14 12 March – 20 October 2013 The Duveen Sculpture Galleries returns, powering towards us down the space, then the floor again, Tate. Purchased 1960 Leaflet images opened to the public in 1937. the repetition of the same movement – there and back, again and the mechanistic mouse, the blocked doorway, the loop... Cover: Crates packed in the Duveen Curated by Lizzie Carey-Thomas Stretching over 300 feet, the two long again like some perpetually turning hour-glass – and in so doing, Robert Morris born 1931 Galleries. Photo Alfred Carlebach 1939 and Carmen Juliá galleries with high, barrel-vaulted cut backwards and forwards through time. Untitled 1965/71 Interpretation by Rebecca Penrose ceilings were the first public galleries Simon Starling 2013 Tate. Purchased 1972 Reverse, main: Crack in the floor of Leaflet design by Tate Design Studio in England designed specifically © ARS, NY and DACS, London 2013 Gallery 29, Tate Britain for the display of sculpture. They The phantom ride was a genre of film popular in the very Acknowledgements were funded by Sir Joseph Duveen early days of cinema. A camera was fixed to a moving vehicle Fiona Banner born 1966 Reverse, side, top to bottom: Christopher Bastock, Simeon Corless, and designed by the architects Jaguar 2010 Scott Myles The End of Summer 2001 Lucy Davis, Allison Foster, Romanie-Walker and Gilbert Jenkins. to simulate a journey for an immobile cinema audience. They Courtesy of the artist Installation view, Tate Britain 2006 Juleigh Gordon-Orr, Andy Shiel sat pinned to their seats, white-knuckled for fear they might Born in Epsom in 1967, Simon Starling studied photography and and Liam Tebbs This leaflet de-rail on the next precipitous bend. The train tracks or the art at Maidstone College of Art, Trent Polytechnic Nottingham Ian Hamilton Finlay 1925–2006 Tate Director John Rothenstein with Ventose 1991 Tate staff surveying the damage caused Tate Britain is available road anticipated the trajectory of the ‘phantom’ vehicle. and Glasgow School of Art. Since his first solo exhibition at Osez 1991 by a bomb which hit the gallery on Pimlico Here though, the way has vanished. The highly precise and the Showroom in London in 1995, his work has been widely Drum 1991 16 September 1940 For more information in large print repeatable movements of the huge robotic arm on the similarly exhibited in the UK and elsewhere. Recent exhibitions include Quin Morere 1991 Call 020 7887 8888 Flute 1991 Fiona Banner Jaguar 2010 www.tate.org.uk track-bound ‘motion control camera’ used to make this film Simon Starling: Recent History at Tate St Ives in 2011, Project for Tate. Purchased 2006 Installation view, Tate Britain 2010 facilitate a roller-coaster ride on invisible rails. The film’s a Masquerade at the Museum of Contemporary Art, Hiroshima @tate soundtrack is the only remaining evidence of the camera’s in 2011, THEREHERETHENTHERE (Works 1997–2009) at the Musée Patrick Keiller born 1950 Martin Creed Work No.
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